John Nunn was one of the earliest brickmakers on record in Ballarat and has a road named for him - Nunn Street - where he resided..1) An oblong-shaped timber box open at top. Only butt joints are used. Iron strapping wraps around the vertical pieces of timber and across the top edge of the box. The longest pieces of vertical timber protrude past the end and are shaped like solid handles - one is broken. On each end piece there are small, blank iron plates held with screws. The base piece of timber is made from two different width weatherboard-style timbers. The nails in the base piece appear to be hand-made. Remnants of clay still line the interior. .2) Light brown brick. Please note: Brick mould and brick may be from different sources..1) Handwritten (possibly in ink) on one long side: MR H. G. SMITH ...(illegible) Ballarat .2) Imprinted: J. NUNNjohn nunn, j nunn, brick, mould, brick mould, industrial mould, brickmaker, ballarat, clay, ceramics

Crucibles are used for heating and pouring molten metal. The set of six crucibles was raised from the wreck of the Loch Ard and includes a range of sizes, now in the Flagstaff Hill collection. All were manufactured by the Morgan brothers who founded the Patent Plumbago Crucible Company in 1856, making crucibles in a small factory in Battersea London. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, and abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles this technique was pioneered by the Morgan Bros thereby making a significant technological advance in foundry technology and metallurgy. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially, they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm's manufacturing rights and began producing their graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the Loch Ard suggests they may have been part of a sample shipment intended for similar promotion in the Australian colonies or at Melbourne's International Exhibition to be held in 1880. A newspaper account of an 1864 tour of the Morgan brothers' 'Black Potteries' at Battersea indicates: "All the pots were numbered according to their contents, each number standing for one kilogram or a little over two pounds; a No. 2 crucible contains two kilograms; a No. 3, three kilograms, and so on." These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six is of the same size. A brief history of the Loch Ard (1873-1878): - The sailing ship Loch Ard was one of the famous Loch Line of ships that sailed the long voyage from England to Australia. Barclay, Curdle and Co. built the three-masted iron vessel in Glasgow in 1873. It had sailed three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of recently married, 29-year-old Captain Gibbs. It was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, and a heavier load of railway irons, cement, lead and copper. Other cargo included items intended for display in the Melbourne International Exhibition of 1880. The Loch Ard had been sailing for three months and was close to its destination on June 1, 1878. Captain Gibbs had expected to see land at about 3 am but the Loch Ard ran into a fog that greatly reduced visibility and there was no sign of land or the Cape Otway lighthouse. The fog lifted at 4 am and the sheer cliffs of Victoria's west coast were much closer to them than Captain Gibbs expected. He tried to manage the vessel but failed and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck loosened from the hull, and the masts and rigging crashed down, knocking passengers and crew overboard. The lifeboat was launched by Tom Pearce but crashed into the side of Loch Ard and capsized. He clung onto its overturned hull and sheltered under it. He drifted out to sea and the tide brought him back to what is now called Loch Ard Gorge. He swam to shore and found a cave for shelter. A passenger, Eva Carmichael, had raced onto the deck to find out what was happening and was confronted by towering cliffs above the ship. She was soon swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He swam out and dragged her to the shelter of the cave. He revived her with a bottle of brandy from a case that had washed up on the beach. Tom scaled a cliff in search of help and followed some horse hoof prints. He came from two men from Glenample Station, three and a half miles away. He told the men of the tragedy and then returned to the gorge while the two men rode back to the station to get help. They reached Loch Ard Gorge and took the two shipwreck survivors to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome and was presented with a medal and some money. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collection's objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history.This crucible is the smallest of three nested crucibles, or fluxing pots, numbered according to their size. These containers rise slightly from a smaller flat base to a wider open top with a lip for pouring. They were recovered from the wreck of the Loch Ard. The crucibles have a coating of sediment that obscures some of their numerical specifications of size and capacity. Made by the Patent Plumbago Crucible Company at the Battersea Works in London. The number on this crucible is obscured by the sticker.Stamped into side "MORGAN'S PATENT" Stemped into base "MORGAN'S PATENT" "THE PATENT PLUMBAGO CRUCIBLE COMPANY" Sticker "L 96"flagstaff hill, warrnambool, graphite crucible, plumbago crucible, morgan's crucible company, loch ard, morgan potteries, crucible, fluxing pot, nested crucibles, heat proof container, metal worker, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, morgans crucible company, flagstaff hill maritime museum and village, fluxing pots, morgan’s patent, morgan brothers, patent plumbago crucible co, battersea works, london, loch ard gorge, port campbell

The objects are a sample of medium caliber lead shot raised by Flagstaff Hill divers from the Loch Ard shipwreck site in 1976. Included in the vessel’s cargo manifest were 22 tonnes of lead shot, packed into her holds in cloth bags and wooden casks. These 49 pieces of 7 mm diameter lead shot are identical in size and smoothness. Each one also bears the same slightly raised square of residual metal left behind by the process of pouring molten lead into individual but identical moulds through a small (square) opening. These pieces of shot can be compared with contrast pieces in the Maritime Village collection, which are examples of shot tower pellet production; an industrial technique more suited to the creation of uniformly spherical balls that do not need subsequent trimming. In conventional shot tower production, lead is heated in a cauldron at the top of a 150-160 feet tower, and poured through a copper lattice that divides the metal into falling droplets. As these droplets fall, they spin into small spheres and gradually cool, before finishing in a pool of water at the bottom of the tower. However the maximum size of lead shot, and the economic efficiency of shot tower production, is limited by the practical height of the drop. Larger diameter lead shot must fall further in order to cool evenly and sufficiently to avoid shape distortion on hitting the water at the base. This sample of larger 7 mm lead shot, although mass produced, appears to have been manufactured under the traditional and more labour intensive mould system. They are therefore distinct from the other samples of smaller gauged and shot tower produced lead shot that were being imported on the Loch Ard . In terms of metallurgical technology these 7 mm shot are more closely related to an artifact in our Collection (No. 5241) — a forged set of pincers or pliers with two facing cups at the end. When the pincers are closed, the cups join to form a single mould. Molten lead is poured through a small (circular) opening left at the top of the mould. When cooled the pincers are opened, breaking the mould and releasing the lead shot. The excess metal left over from the pouring operation at the top of the ball is then trimmed off using the scissor like cutting edges on the inner side of the pliers handles. In this manner, individual shooters were able to make their own ammunition for their shotguns. History of the Loch Ard: The Loch Ard got it’s name from ”Loch Ard” a loch which lies to the west of Aberfoyle, and to the east of Loch Lomond. It means "high lake" in Scottish Gaelic.The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curdle and Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Loch Ard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Loch Ard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Loch Ard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition in. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register Ref S 417. Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we are able to interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history. A quantity of forty-nine (49) loose round lead shot of 7 mm diameter retrieved from the wreck of the Loch Ard. All are smooth round spheres with the same small raised square of excess lead on one face.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, shipwreck artefact, shot, lead shot, shot towers, shot mould, colonial imports, practical metallurgy

This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity in foundries and expansion of demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggest they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. The summary of cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’ does not mention any crucibles, implying that they were not a large consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six are of the same size from a visual appraisal.The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Register S417A large crucible, or fluxing pot, for heating and pouring molten metal. It was recovered from the wreck of the LOCH ARD. The clay fired vessel rises from circular flat base to a larger rim with pouring lip. It is stained a rust colour and bears some sedimentary accretion. Half of its loose fitting lid with central knob has also survived. Markings on the artefact indicate it is a Morgan’s crucible, made with graphite to prevent cracking in the furnace and provide a smooth (non-adhesive) inner surface. On base: “…RGAN’S PATENT CRUCIBLE”. On rim: “MORGAN’S PATENT P…” Below top edge "BAK"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, graphite crucible, plumbago crucible, morgans crucible company, loch ard, fluxing pot, crucible

This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity and expansion in foundries and demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggest they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. A summary of the LOCH ARD cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’ does not mention any crucibles, implying that they were not part of a larger consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six are of the same size from a visual appraisal. The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Register S417A No. 6 size Morgan’s graphite crucible (i.e. 6kgs capacity). The crucible rises in a slight curve from a smaller flat base up to a wider top with a (chipped) pouring lip. It was recovered from the wreck of the LOCH ARD. The artefact is largely accretion free despite its long period of submersion at the wreck site. It has a number of visible maker’s markings which identify the manufacturer and the smelting capacity of the pot. The graphite crucible is in fair and stable condition. The number “6” which is framed in a square. The letters “THE PATENT PLUMBAGO CRUCIBLE COMPANY” and “BATTERSEA WORKS COMPANY”. Below rim "... GNS"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, graphite crucible, plumbago crucible, morgan's crucible company, loch ard, crucible, fluxing pot

The wooden pattern forms part of a larger collection, securely stored within a durable wooden crate. This pattern was an essential tool at Briggs’ Brass Foundry, specifically designed for creating sand casts. Sand casting is a time-honoured technique, with a history exceeding 2,000 years. The handcrafted nature of this process results in the production of brass and copper alloy items, which are particularly suitable for maritime applications. Typical products include bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. The distinctive bronze mixture used at Briggs’ Foundry is copper-based, composed of local ingots of copper, tin, zinc and lead, blended in precisely measured quantities. The resulting alloy is non-ferrous, known for its exceptional durability and longevity. In the early years of Flagstaff Hill, the Briggs family generously donated the crate of patterns along with other related items such as brassware, tools and machinery. These items were prominently displayed in a simulated Brass Foundry within the Village, alongside other working crafts, trades and services typical of a maritime town. From the completion of the building in 1986 until its repurposing in 1994, visitors could view these items and gain insight into the foundering and metalwork trades that supported maritime industries, including shipwrights and boatbuilders. The castings produced at the foundry were also vital for farmers, manufacturers and other local industries. The Brass Foundry display featured a historic Cornish chimney, constructed as a working model to illustrate the process of smelting metal in furnaces and pouring it into sand moulds. The chimney, crafted from specially curved bricks, currently stands at approximately two-thirds of its original height, having previously been located at the Grassmere Cheese factory. The craft of sand-casting, which utilises intricately carved wooden patterns to create metal objects, stands as a testament to the enduring value of traditional skills. This age-old technique remains relevant today, linking past craftsmanship to ongoing industrial practices. The foundry pattern set holds particular significance due to its strong associations with brass foundries, both locally and in coastal regions across Victoria. In these areas, marine industries such as ship and boat building have long depended on high-quality metal castings for the machinery, equipment, and fittings essential to their operations. The alloys formulated by Briggs Brass Foundry, crafted from non-ferrous metals, were specifically designed to provide superior longevity and durability in maritime environments. These patterns are closely tied to the history of the Briggs Brass Foundry, a respected and long-running company that specialised in producing cast goods for the marine sector. The foundry was equipped to supply both unique, one-off items and mass-produced components, ensuring that its products found their way onto a variety of sail and steam vessels along the Victorian coast, including in Warrnambool. In addition to its broader marine applications, Briggs Brass Foundry established itself as a bell-founder specialist. The company’s expertise is notably linked to the historic Schomberg Bell at Flagstaff Hill, which they restored to its original splendour as a fine example of a bell from a luxury migrant ship of the mid-19th century. The significance of the pattern set is further heightened by its association with Briggs Brass Founders, a firm established in the early 20th century and widely recognised for its proficiency in producing, repairing, and restoring ship bells and other marine equipment. Renowned for their non-ferrous metal casting, Briggs Brass Founders consistently supplied high-quality fittings and equipment vital to maritime pursuits. Moreover, the company expanded its influence by opening a branch in Warrnambool. Through this local presence, Briggs Brass Founders supported the regional marine industry and forged strong connections with fishermen and businesses. This not only reinforced their reputation as skilled manufacturers but also highlighted their commitment to community engagement and support. Pattern; hexagonal wooden shape painted orange. The thick carved wooden shape is in halves forming a hole when locked together with the dowel pegs and opposing drilled holes. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912, briggs, briggs brass foundry, briggs marine foundry, briggs marine products, frank lee, les lee, eva lee, briggs marine warrnambool, non-ferrous founders, bell specialists, ship bell specialists, founders, traditional send casting

This chair is one of a set of three kitchen chairs once used by the Warrnambool Council. The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom and Canada, and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'. Endowed professorships are referred to as chairs. It was not until the 16th century that chairs became common. Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs that have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin. Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high. In ancient Egypt, chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honour. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[ The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor. The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level. In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day. Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire. In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available. The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[ moulded plastic chairs and ergonomic chairs. The recliner became a popular form, at least in part due to radio and television. The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966. Technological advances led to moulded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs.The set of chairs represents one of the most commonly used items providing comfort. It represents domestic furniture used in the late 19th and early 20th centuries in Australia, signified by its decoration of an Australian theme motif.Chair, wooden, varnished dark brown. Spokes for back support, front legs, and spokes joining legs are patterned turned wood. Backrest has a carved floral emblem with a kangaroo in the centre.Back rest: motif {floral emblem with a kangaroo in the centre]flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, dining, carpentry

People in ancient civilisations smoked pipes during various healing and religious ceremonies. By the end of the 15th century, after tobacco was discovered in America, smoking had become a common pastime for everyday people. From that time, tobacco pipes were fashioned from many materials ranging from gold and silver to corn cobs and clay. A popular material was meerschaum, an expensive, soft, white stone from Turkey. In the 1820s, French craftsmen carved pipes out of the wood from the growth on the root of a Mediterranean White Heath. This material became increasingly popular due to its durable, heat-resistant qualities. The growth was called ‘bruyere’, now anglicised to ‘briar’ wood. Bakelite was the first plastic made from synthetic components. It was developed by Leo Baekeland of New York in 1907. The material was heat-resistant and could be moulded into any shape and hardened to keep its shape. This invention greatly impacted the industrial world and the products available to the domestic market, making more objects available at reduced cost.This smoker's tobacco pipe symbolises one of the leisure activities of the early 20th century that has continued into modern times. The shape and materials of the pipe represent a point in time in the evolution of tobacco pipes, including the revolutionary impact that the 1900s invention of Bakelite had on objects available in the domestic and industrial markets.Smoker's tobacco pipe; a round brown wooden pipe bowl joined to a dark brown mouthpiece. The French pipe's bowl is made from briar wood, and its mouthpiece is Bakelite. There is an inscription on the pipe."French Briar Pipe"warrnambool, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, smoker's pipe, tobacco pipe, briar wood pipe, wooden pipe, smoking, french pipe, bakelite, smoker's equipment

This chair is one of a set of three kitchen chairs once used by the Warrnambool Council. The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom and Canada, and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'. Endowed professorships are referred to as chairs. It was not until the 16th century that chairs became common. Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin. Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high. In ancient Egypt, chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honour. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[ The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor. The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level. In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day. Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire. In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available. The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[ moulded plastic chairs and ergonomic chairs. The recliner became a popular form, at least in part due to radio and television. The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966. Technological advances led to moulded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs.The set of chairs represents one of the most commonly used items providing comfort. It represents domestic furniture used in the late 19th and early 20th centuries in Australia, signified by its decoration of an Australian theme motif.Chair, wooden, one of a set of three. The kitchen chair has a dark brown varnish. The spokes for the back support, front legs, and joining legs are patterned turned wood. The backrest has a carved floral emblem with a kangaroo in the centre.Back rest: motif {floral emblem with a kangaroo in the centre]flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, chair, kitchen chair, dining chair, carpentry, carving, australian motif

This chair is one of a set of three kitchen chairs once used by the Warrnambool Council. The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom and Canada, and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'. Endowed professorships are referred to as chairs. It was not until the 16th century that chairs became common. Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin. Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high. In ancient Egypt, chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honour. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[ The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor. The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level. In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day. Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire. In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available. The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[ moulded plastic chairs and ergonomic chairs. The recliner became a popular form, at least in part due to radio and television. The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966. Technological advances led to moulded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs.The set of chairs represents one of the most commonly used items providing comfort. It represents domestic furniture used in the late 19th and early 20th centuries in Australia, signified by its decoration of an Australian theme motif.Chair, wooden, one of a set of three. The kitchen chair has a dark brown varnish. The spokes for the back support, front legs, and joining legs are patterned turned wood. The backrest has a carved floral emblem with a kangaroo in the centre.Back rest: motif {floral emblem with a kangaroo in the centre]flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, chair, kitchen chair, dining chair, carpentry, carving, australian motif

This bucket was made from vertical planks of wood with bands of metal around it for strength. Buckets such as this were made by coopers, who had expertise in making wooden barrels. Wood or animal skin was used to make buckets in colonial times when other materials were unavailable. Buckets had many uses in domestic and agricultural life including carrying, measuring and storing. Cooper tradesmen used carpentry and blacksmithing skills to make a wide range of wooden containers and other objects. They sometimes used water or steam to bend and mould the timber.The bucket is an example of a product made from wood and iron by an experienced Cooper. In early colonial timeswhen ready-made products were scarce so the trades of coopers, blacksmiths, metal smiths, carpenters, builders and others were necessary for domestic, commercial and industrial establishment.Wooden coopered bucket; three metal bands around vertical wooden planks that form the body of the bucket. Two lugs extend higher than the planks and have a rope joined between them.warrnambool, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, bucket, wooden bucket, container, domestic bucket, cooper, cooper trade, coopered bucket

This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, and abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity in foundries and expansion of demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially, they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggests they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. The summary of the LOCH ARD cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’, does not mention any crucibles, implying that they were not a large consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six is of the same size from a visual appraisal. A brief history of the Loch Ard (1873-1878): - The sailing ship Loch Ard was one of the famous Loch Line of ships that sailed the long voyage from England to Australia. Barclay, Curdle and Co. built the three-masted iron vessel in Glasgow in 1873. It had sailed three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of recently married, 29-year-old Captain Gibbs. It was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, and a heavier load of railway irons, cement, lead and copper. Other cargo included items intended for display in the Melbourne International Exhibition of 1880. The Loch Ard had been sailing for three months and was close to its destination on June 1, 1878. Captain Gibbs had expected to see land at about 3 am but the Loch Ard ran into a fog that greatly reduced visibility and there was no sign of land or the Cape Otway lighthouse. The fog lifted at 4 am and the sheer cliffs of Victoria's west coast were much closer to them than Captain Gibbs expected. He tried to manage the vessel but failed and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck loosened from the hull, and the masts and rigging crashed down, knocking passengers and crew overboard. The lifeboat was launched by Tom Pearce but crashed into the side of Loch Ard and capsized. He clung onto its overturned hull and sheltered under it. He drifted out to sea and the tide brought him back to what is now called Loch Ard Gorge. He swam to shore and found a cave for shelter. A passenger, Eva Carmichael, had raced onto the deck to find out what was happening and was confronted by towering cliffs above the ship. She was soon swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He swam out and dragged her to the shelter of the cave. He revived her with a bottle of brandy from a case that had washed up on the beach. Tom scaled a cliff in search of help and followed some horse hoof prints. He came from two men from Glenample Station, three and a half miles away. He told the men of the tragedy and then returned to the gorge while the two men rode back to the station to get help. They reached Loch Ard Gorge and took the two shipwreck survivors to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome and was presented with a medal and some money. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Register S417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best-known shipwrecks in Victoria’s history.A Morgan’s Patent graphite crucible No.8 (i.e. 8kgs capacity), one of a set. It was recovered from the wreck of the LOCH ARD. It is in its original grey colouring with minimal sediment accretion on the top rim. It rises in a slight curve from a flat circular base to a wider rim with a pouring lip. Maker’s marks on the side of the container clearly identify the manufacturer. The maker's details are stamped into the base around and within a circle. A white sticker is attached. Made by the Patent Plumbago Crucible Company at the Battersea Works in London. Number “8”. Letters “MORGAN’S PATENT”. Details on the base "MORGAN'S PATENT" "THE PATENT PLUMBAGO CRUCIBLE COMPANY" Symbol [8] above "BATTERSEA WORKS LONDON" Handwritten on a white sticker in black pen "LA/89"flagstaff hill, warrnambool, maritime museum, shipwreck coast, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, graphite crucible, plumbago crucible, morgans crucible company, flagstaff hill maritime museum and village, fluxing pots, crucible, morgan’s patent, morgan brothers, patent plumbago crucible co, battersea works, london, port campbell

This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, and abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity in foundries and expansion of demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially, they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggests they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. The summary of the LOCH ARD cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’, does not mention any crucibles, implying that they were not a large consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six is of the same size from a visual appraisal. A brief history of the Loch Ard (1873-1878): - The sailing ship Loch Ard was one of the famous Loch Line of ships that sailed the long voyage from England to Australia. Barclay, Curdle and Co. built the three-masted iron vessel in Glasgow in 1873. It had sailed three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of recently married, 29-year-old Captain Gibbs. It was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, and a heavier load of railway irons, cement, lead and copper. Other cargo included items intended for display in the Melbourne International Exhibition of 1880. The Loch Ard had been sailing for three months and was close to its destination on June 1, 1878. Captain Gibbs had expected to see land at about 3 am but the Loch Ard ran into a fog that greatly reduced visibility and there was no sign of land or the Cape Otway lighthouse. The fog lifted at 4 am and the sheer cliffs of Victoria's west coast were much closer to them than Captain Gibbs expected. He tried to manage the vessel but failed and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck loosened from the hull, and the masts and rigging crashed down, knocking passengers and crew overboard. The lifeboat was launched by Tom Pearce but crashed into the side of Loch Ard and capsized. He clung onto its overturned hull and sheltered under it. He drifted out to sea and the tide brought him back to what is now called Loch Ard Gorge. He swam to shore and found a cave for shelter. A passenger, Eva Carmichael, had raced onto the deck to find out what was happening and was confronted by towering cliffs above the ship. She was soon swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He swam out and dragged her to the shelter of the cave. He revived her with a bottle of brandy from a case that had washed up on the beach. Tom scaled a cliff in search of help and followed some horse hoof prints. He came from two men from Glenample Station, three and a half miles away. He told the men of the tragedy and then returned to the gorge while the two men rode back to the station to get help. They reached Loch Ard Gorge and took the two shipwreck survivors to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome and was presented with a medal and some money. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Register S417 Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best-known ahipwrecks in Victoria’s history.A Morgan’s Patent graphite crucible No.4 (i.e. 4kgs capacity), one of a set of three. It was recovered from the wreck of the LOCH ARD. It is in its original grey colouring with minimal sediment accretion on the top rim. It rises in a slight curve from a flat circular base to a wider rim with a pouring lip. Maker’s marks on the side of the container clearly identify the manufacturer. The maker's details are stamped into the base around and within a circle. A white sticker is attached. Made by the Patent Plumbago Crucible Company at the Battersea Works in London.Number or. Letters “MORGAN’S PATENT”. Details on the base "MORGAN'S PATENT" "THE PATENT PLUMBAGO CRUCIBLE COMPANY" Symbol [4] above "BATTERSEA WORKS LONDON" Handwritten on a white sticker in black pen "L89"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, graphite crucible, plumbago crucible, morgan's crucible company, flagstaff hill maritime museum and village, fluxing pots, crucible, morgan’s patent, morgan brothers, patent plumbago crucible co, battersea works, london, port campbell

Soft covered bookw.l. allen, industry, albion, hulett street

These money boxes were made at the Hardings Foundry, who had the mould for them. The Foundry was situated on the corner of Doveton and Norman Streets, Ballarat.An example of early industrial heritage in BallaratColour photograph of a money box.money box, hardings foundry

The manufacture of firebricks is believed to have begun in Bacchus Marsh in the 1880s when William Thomas Wittick in partnership with a Mr Ackers, and later a Mr Telford, quarried a rich deposit of fire clay at Darley. In 1902 financial assistance was provided by David Mitchell a significant businessman and contractor from Melbourne and the business then expanded and became a major supplier of refractories for gas works in Melbourne, with side lines in moulded fire bricks for foundries and smelting furnaces and complete kiln lines for potteries. The business traded under the name Darley Firebrick Company and later as Darley Refractories Ptd Ltd and was in business for over 100 years. The tile (aka refractory) described in this record was possibly produced for use in very high temperatures (in excess of 1,000°F [538°C]) encountered in modern manufacturing. More heat-resistant than metals, they are used to line the hot surfaces found inside many industrial processes. The date the tile was produced is unknown.Rectangle shaped ceramic tile'Darley 26' inscribed within a circledarley firebrick company, refractory materials, wittick family bacchus marsh, william thomas wittick 1857-1939, darley refractories ptd ltd