The sample of steel from the S.S. Julia Percy’s boiler was made has been tested, according to the attached label. The test involved heating the steel to blood red temperature (or dark red colour) then dipping it into water and bending it when it was cold. A “very severe test for quality” was written on the ticket by T.H. Osborne. (Mr Thomas Hamilton Osborne was the secretary for the Western Steam Navigation Co, established in Warrnambool in 1886. The company’s office was on the corner of Timor and Liebig Streets in Warrnambool and its north-western wall is now part of the current Warrnambool Regional Art Gallery. ) Cold bending of steel in a press or through rollers is the typical method of curving steel for construction. The steel needs to be manufactured in such a way that it is strong enough yet still flexible enough not to crack when bent or rolled. The boiler on the Julia Percy could have been a Scotch Boiler, a design introduced in the 1870’s and still being used today. This design was more robust that previous boilers, generating higher working steam pressures. The design incorporate greater ability to roll iron plates, leading to greater strength, thicker plating and fewer riveted joints. They were originally made of iron then later incorporated steel sections until they were entirely constructed of steel. Many examples of this type of boiler can be found on wreck sites. Shipping was the cheapest and most practical means of carrying produce and goods during the period 1840-1890. Regular domestic steamer services commenced in the Warrnambool district in the late 1850’s and by 1870 the passenger trade was booming. Produce was loaded from the jetty into ‘lighters’ (small boats), which took it to the ships at anchorage in the bay. Passengers were taken to the ship’s side then climbed aboard up ladders or gangways. The coming of the railway in October 1889 meant the gradual decline and end of the steam shipping era. Originally the ship was known as the SS Julia Percy and was later renamed as the Leeuwin. She was an iron passenger-cargo steam ship built in Glasgow by Thomas Wingate for the Warrnambool Steam Packet Company, which commissioned the ship for the steamship trade in Victoria’s western district. She was first registered in Warrnambool, Victoria in 1876. At one point in time the Julia Percy would sail from Warrnambool to Melbourne every Friday and return from Melbourne to Warrnambool every Tuesday. The cost of a return ticket for a Saloon Fare was £1.0.0. She would sail “if practical and weather permitting”. The Julia Percy changed hands several times. Her next owner was the Western Steam Navigaiton Co of Melbourne (1887). It was the manager of this company, Mr. T.H. Osborne, who tagged ths steel sample above. Melbourne Steamship Co became the next owners (1890), followed by William Howard Smith and Sons (1901) for use in Queensland coastal trades, then she was bought by George Turnbull in 1903 and used for local mail contract in Western Australia. She was sold to the Melbourne Steamship Company Ltd. (1906) and re-named the Leeuwi but continued in her Western Australian coastal run. She was converted into a coal hulk in Melbourne in 1910 as a result of damaged caused when she was driven against the jetty at Dongara during a gale. The ship was eventually dismantled and scuttled in Bass Strait on 28 December 1934. The steel sample is significant for its association with the wreck of the Leeuwin (Julia Percy), which is on the Victorian Heritage Register. It is historically significant for being a rare artefact that has potential to interpret aspects of western Victoria’s 19th century steamship trade and Victorian cultural history, including the testing and manufacturing process associated with steam power. Leeuwin is listed on the Victorian heritage Register as being historically significant ‘as one of only four wrecks of steamships in Victorian waters associated with the western district of Victoria’s coastal steamship trade. Her registered number is VHR S413. A sample of the steel from which the boiler of the "SS Julia Percy" (later named Leeuwin) was made. The piece of steel is a ‘C’ shape with the ends almost meeting. A luggage ticket is tied onto the steel and has an inscription on it. The steel is rusty.Ticket with typed information “Steel of which the Boiler of the “Julia Percy” (Warrnambool Steam Navigation Co) was made. TEST: Made Blood hot or Dark Red then dipped into water and bent cold. A very severe test for quality T.H. Osborne. Below these words is the hand written inscription in black “FM 151 / 9.75” julia percy, leeuwin, steel, boiler, steam ship, metal testing, western steam navigation co., flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, t.h. osborne

The Uebergang family came from Silesia to Australia in 1848 and were early settlers in the Allansford area. The sons and other descendants also purchased farms in the area. The Percy Uebergang family lived at Tooram Park, Allansford from 1912 until 1992. Percy and Myrtle Uebergang's children were twins, Ray and Joyce born in 1926 who lived at Tooram Park until their deaths, Ray in 1986 and Joyce in 1992 after which the property was sold. Neither Ray nor Joyce married and following the death of her brother Joyce set up the Ray and Joyce Uebergang Foundation which supports the local community. The collection of items from their property was put into store for a number of years before being given into the care of the Cheese World Museum. The family often re-used, recycled and repaired items and examples can be seen in the museum. This Babcock tester is part of the collection of items given into the care of the Cheese World Museum. The Babcock tester was used to determine the butter fat content in milk. Prior to the use of the Babcock test farmers were paid on volume and milk was sometimes watered down to increase the supply to the factory. Once the Babcock test was introduced it provided a consistent means of paying farmers for milk supplied to the factory. The Babcock tester is significant as a scientific means of testing fat content of milk and the subsequent consistent payment mechanism to farmers. This test also provided a means for farmers to identify poor performing cows and upgrade the quality of their herd and subsequent milk supply to the factory.Four tipping metal testing tubes which revolve on a brass base. A winding handle has a wooden grip. The base and arms holding the metal tubes is painted red.OFFICIAL BABCOCK TESTERallansford, dairy farming, dairy industry, dairy processors, babcock test

This instrument was part of a collection of instruments used by Dr Michael Kloss, who was an obstetrician. Dr Kloss used this item in his own practice, before donating the item to the College. Dr Kloss is the son-in-law of Dr Fritz Duras (1896-1965), a doctor who moved to Australia from Germany in 1937. As his father was Jewish, Duras was forced to leave Germany, and Dr Duras came to Australia to take up a post as director of physical education at Melbourne University. Metal test tube holding instrument. Instrument resembles a pair of scissors, but with bowed prongs to allow for the grasping of a test tube between the prongs. The tip of each prong is also ridged for grip. The word 'Nickel' is engraved on the inner aspect of one of the prongs.'Nickel'

Book, black hard cover with embossed pattern and gold test, metal locking clasp. King James Version of the Holy Bible, containing the Old and New Testaments. It was published by Oxford University Press in 1866. Inscriptions on the loose endpaper list the marriage of Joseph and Elizabeth Bell in 1854 at St Paul's, Bristol, England, and their ten children born from 1856 to 1878.non-fictionTo understand the nature of your 1866 Oxford University Press (OUP) Bible, it helps to look at how Bibles were produced in the 19th century and the massive historical scale of the publisher. The context of the King James Version Bible is indicated by the standard phrase on the flyleaf: "Translated out of the Original Tongues... By His Majesty's Special Command." This work is a historical 1866 reprint of the original version published in 1611. This particular volume served as the family Bible for Joseph and Elizabeth Bell, documenting their family history through the births and deaths noted on its end papers.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, holy bible, book, religious book, bell family, bell family bible, elizabeth bell, joseph bell, 1826, 1833, 1854, st paul's bristol

The first school of Mines in Australia was established at Ballarat in 1870. At the time of its jubilee (1930) the following people were members of the School Council: W.H. Middleton (President), W.T. Humphreys (VP), J.S. Vickery (VP), F. Barrow, Col. W.K. Bolton, William Baragwanath, A.E. Cutter, J.N. Dunn, G. Fitches, W.H. Fleay, F. Herman. W.D. Hill, T. Hurley, K. Kean. J. Kelly, L. Lederman, Mayor of Ballarat, Mayour of Ballarat East, D. Maxwell, M. Martin, R. Maddern, D. Ronaldson, F. Saunders, R. Stephenson, A.O. Stubbs, R.E. Tunbridge. The School Staff in 1920 comprised: Herbert H. Smith, Walter Rowbotham, Reginald L. Cutter, M.C. Young, Hilda Wardle, M. Wiliamson, P.S. Richards, L.H. Archibald, J. Woods, Ken Moss, W. Kenneth, Mrs McIlvena. B. Robinson, S. Rowe, E. Hope-Jones, Miss Abrams, L.St.G.P. Austin, Alfred Mica Smith, J.R. Pound, Herbert R. Murphy, N.H. Junner, Maurice Copland, L.H. Archibald, E.J.A. McConnon, Newton King, D.m. Hull, T.R. Gordon, John M. Sutherland, T.K. Jebb, Dick Richards, C. Tonkin, A.W. Steane, J. Paterson, H.W. Malin, R.V. Maddison, S.M. Mayo, F.A. King, W.H. Steane, T.R. Gordon, T.A. Williams, H. Waldron, G. Black, E.J. McConnon, R.V. Duncan. R. Cutter, E.G. Vawdrey, Hilda WardleWhite stapled booklet - landscape format - 20pp + soft covers with blue writing. Includes an historical sketch of the Ballarat School of Mines. Contains images of the school from around 1920. The history outlined in the booklet follows: 'Ballarat has helped to influence the life and destinies of Australia in many ways, the recital of which would perhaps prove tedious to the citizens of less favoured localities! However, it can be said, without much fear of contradiction, that only less known thought Australia than its fame as a gold field is the reputation won for it by its school of Mines, ... Ballarat was still quite a new place when the School was founded, but a very propserous and popular place all the same, with a go-ahead lot of citizens brim full of the spirit of enterprise which seemsto animate mining populations generally. Money was plentiful, and they launched out into ventures, which later, were to develop and take the place of the gold mines, while what is more to the point, they understood the value of education. the old digging days were passing away. So far as Ballarat itself was concerned the day of the cradle and tin dish had already passed into an antiquity "as dead and distant as the age of the Tubal Caon," said dir redmond Barry on declaring the School open. Mining had become a serious business, and the mining engineer, the metallurgist, and the geologist had become a power in the land. In these circumstances the suggestions to found a School of Mines met with ready acceptance. The late Mr James M. Bickett had the honor of bringing forward the proposition at a meeting of the Ballarat Mining Board in October, 1869. it was agreed to, and the Government, having been approached for assistance, granted a lease of the old Supreme Court buildings at a nominal reantal. A modest sum, including 100 pounds from the Borough Council of Ballarat West, was subscribed by a number of sympathisers, and on the 26th October, 1870, the inaugural address was delivered by Sir Redmond Barry, the first President of the School. Classes were commenced on the 23rd January, 1871. The students at first were mostly adults. They were chiefly men emloyed at the mines, who had the wisdom and energy to devote their spare time to study, and, though their attendance was somewhat irregular, they made very good progress. Old prints which have been preserved show them at work at furnaces, big bearded men of the old-fashioned type of miner. It is interesting to note that among those who gave evidence and encouragement was Sir Roderick Murchison, who many years before had advised Cornish miners to emigrate to Australia to search for gold, and who in 1848 was in possession of gold ore sent from this country. Sir Roderick sent a parcel of books for the library, and gave useful advice as to the curriculum which should be adopted. The Museum, which now contains a most valuable collection of minerals, was one of the first things attended to, and the reports presented to the Council from time to time speak of additions being made from all parts of the world. New equipment was constantly being added to the School, a good deal of assay work was done, and some specimens were sent from the East Indies for examination as far back as 1873. By this time there was a difficulty in providing accomodation for the students who wished to enrol, and the number of instructors had grown from two to four. In 1882 the first building was being erected on what was then part of the gaol reserve. A little more than ten years afterwards a buildnig formerly serving as a Methodist Church was absorbed, while later on, the demand for accomodation increasing, the attack upon the gaol was renewed. The School continued to grow in reputation and size, and became the science centre of the district, and in 1889 a learge new building was opened by Sir Alexander Peacock. Students came from over seas as well as from all the States of Australia, and after going through their courses they took with them the name and fame of the old School to all parts of the globe. School of Mines boys have played a great part in developing the mining fields of Western Australia, South Australia, and africa, while old students who have made a name in their profession are constantly dropping in to see how the old place is getting along. It was not to be expected, however, that the Ballarat School would be left without rivals, its very success inspiring competition. Mining Schools were started in other parts of Australia, and, at the same time, Victoria ceased to hold first place as a mining state. On the other hand there was a great advance in manufacturing, and the demand for technicaly trained men became a great and as insistent as ever it had been for trained mining men. The Council was quick to adapt the school to the new conditions, and the result is seen in the institution, which is one of Ballarat's proudest possession. Instruction is given in all branches of technical work, and the classes are filled with students who are building up for Ballarat a reputation as an industrial centre, which promises to equal that which it formerly held as a mining town. Owing to its bracing climate, its abundant opportunities for recreations, and its accessibilty, Ballarat as a city is an ideal place for educational purposed, and is yearly becoming more and more appreciated throughout the State. The chairman of one of Ballarat's biggests industries claims that the workman can do twice the day's work here that he can do in Melbourne. he was a little enthusiastic over it, perhaps, but it is a well-known fact that the healthy and invigourating Ballarat climate is conducive to both physical and mental activity, and the records of the School provide ample proof of it. One of the most interesting and successful branches of the School of Mines and Industries - if the name be enlarged with the enlargement of its scope - is the Technical Art School. "The City of Statues" has from its earliest days been a stronghold of art. Art schools have flourised here, and in 1905 the Education Department came to the conclusion that the best thing to do with them was to place them under the management of the School of Mines Council. A magnificent new Technical Art School was built at a cost of some 12,000 pounds on the site of the old Supreme Court building, and was formally opened on the 23rd July, 1915. The results have not only been justified but surpassed all anticipations. The most comprehensive list of subjects is taught, and this list is constantly added to. Students have flocked to the art School, which may be said to occupy a unique position in Australia, and its record of success is really astonishing. Its students supply art teachers for the newer schools that are being built, and many occupy leading positinos in important business houses. So well is its reputation known that orders are constantly being received, not only from Victoria, but from other States, for honor boards and challenge shields to be designed and made. The most recent addition to the School of Mines and Industries is the Junior Technical School, for which a new building is now being erected on a portion of the gaol site, transferred to the School of Mines Counci by the Government. At the present moment temporary quarters are being occupied. Some students after passing through the Junior School go straight to employment, continuing perhaps to attend the evening trade classes, while others move on to the senior School. In a review of the work of the School of Mines mention must be made of a series of industrial research carried out under supervision of the Principal. One in particular, regarding the suitability of the local ores for the manufacture of pigments attracted much attention, while the experiemtns on the manufacture of white potery from Victorian clayes were considered of sufficient importance by the Federal Advisory Council of Science and Industry to warrant the appointment of a special investigator. The results of these have been most encouraging, and may have far-reaching consequences. The vocational training of returned soldiers also should not be overlooked. The work was taken in hand from the first, before the Repatriation Department gave assistance, and now with the help of the department of the School has become one of the largest vocational training centres in Victoria outside of Melbourne. The soldiers, trained in a variety of occupations, have made remarkable progress, and already considerable numbers have found employment in local workshops and factories. To sum up, the School is divided into the following departments, each well staffed and equipped: - The School of Mines, science, and Engineering; the Techncial Art School, the Boys' Junior Technical School, the Girl's Preparatory Technical Classes, Trade Classes, and the Commercial School. The school of Mines, science and Engineering, comprises the following branches: - Mining, Metallurgy, Geology, Electrical Engineering, Civil Engineering, Mechanical Engineering, Applied Chemistry, and Pharmacy. Battery treatments, Cyanide Testing, Smelting, Assays, and Clay Testing from a regular part of the School's work. Students gaining qualifications obtain concession in their courses at the university, should they proceed there to continue their studies. The technical Art school curriculum includes training in all branches of pictorial and applied art, an Architectural Diploma Course, a Draughtman's Course, technical Art teachers' Course, Photography,Ticket Writing, Art Metal Work, Woodcarving, Needlework, and Leather work. The Trade Classes give instruction in Telephone Mechanics, telegraphy, Carpentry, Cabinet Making, Plumbing, Blacksmithing, Fitting, Electric Wiring, and Printing. Numerous Scholarships are offered every year, and altogether students will find few places to equal the Ballarat School of Mines and Industries as a training place for their life's work. One of the first in the continent to be established, its Jubilee finds it still in the front rank, keeping pace with the times, and offering to the youths of this country the means of taking advantage of Australia's teeming opportunities. william, battery, smith, herbert, drawing from the antique, ballarat school of mines botanical gardens, ballarat school of mines, redmond barry, alfred mica smith, james bickett, museum, dick richards, ballarat junior technical school, s m b, ballarat school of mines and industries, ballarat technical art school, model mine, james m bickett, j m bickett, roderick murchison, vocational training rooms, wesley church, methodist church, alexander peacock, lathes, repatriation, repatriatin department, war service, school council, baragwanath, gold mining, mining laboratory, plaster cast, r.w. richards, anniversary, jubilee

The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/The form of the jug has been in use for many centuries.Stoneware jug. Two tone brown glaze with pierced lip behind spout. Spout chipped.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, jug, ceramic jug

In 1848, 43-year-old John Clarke launched a cutlery business in Harvest Lane in Neepsend, Sheffield UK. Clarke entered the trade late in life he was indenture and apprenticed to Octavius Twigg, a razor maker. Clarke was granted his Freedom in 1856 and began using the trademark 'NEVA'. By the 1860s, Thomas Clarke's son by his wife Elizabeth had joined the firm. When John Clarke died at his home at Augusta Place, Rock Street, Sheffield on 25 July 1873 (aged 68), he only employed six workmen.  By 1881, Thomas had expanded this number to twenty.  He sold a wide range of cutlery and was also an ‘emigration agent’, the Sheffield Independent, of 7th September in 1886 had an article published stating Thomas helped to recruit personnel from England for cutlery centers in America.  In 1893 Clarke’s showroom displayed miniature knives from '5/16ths-inch long to the most expensive sportsman's knives, that were gold and silver mounted.  Table knives and carvers were also manufactured (or factored).  Agencies were opened in London, New York, and Melbourne.  Besides ‘NEVA, the ‘EXPRESS’ and ‘RING’ marks were used on razors; and Clarke’s marketed the American ‘GEM’ safety razor.  By 1901, the firm had moved to Mowbray Street, where its Mowbray Works overlooked the River Don. Thomas Clarke died at Harrogate on 26 April 1902, aged 62, and was buried in the same Burngreave cemetery as his parents.  Thomas’s sons, John Roome Clarke (1860-1925) and Thomas Edward Clarke, were directors, another son George William Clarke was a shareholder. John Roome Clarke died on 3 February 1925, aged 64  his son, John Clarke, of Crimicar Lane, remained as the senior partner.  Clarke’s was one of the last producers of hand-made pocket knives and it also produced a large output of sheath knives for scouting associations. The firm was liquidated in 1964, but the company name was resurrected and Its last address after 1980 was at 65 Garden Street Sheffield.  The company trademark passed on to Meteor Industries and then to Egginton Ltd. Weber & Co: The Clarke company purchased or (factored) many of its blades for razors and knives from Weber & Co of Solingen Germany. The full name of the firm originally was Jowika Stahlwarenfabrik Eugen Weber & Altenbach KG. It was founded in Solingen prior to 1928, under the name Johann & Wilhelm Kleinewefers GMBH, Messerfabrik. JWK for short, hence JoWiKa. The company was sold to Eugen Weber in the 1930s. Weber was married to a woman named Altenbach, from a family that manufactured innovative low-priced pocketknives, as well as other cutlery items. In 1960 Weber opened a branch factory in Listowel Ireland. It was sold to Albert M. Baer of Imperial Schrade in 1978. The Listowel factory was closed about a year and a half before the U.S. Schrade factory closed in 2004 and the Jowika factory in Solingen had closed in 1984.An item with an interesting manufacturing history from the 1930s showing how one man can grow a business into a successful concern that made quality products that stand the test of time.Razor metal folding blade with horn handle in its original cardboard box Inscription Made by John Clarke and Son England. "Champion" razor. On box " The Champion 10/6d" and "Weber Lohmann & Co SOLINGEN".flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/ The bowl is an example of kitchenware used in the 19th century and still in use today.Bowl white ceramic. Crack on side. Badly stained.Backstamp very faint and unable to be read.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, mixing bowl, food preparation, kitchen equipment, ceramic

The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/ This bowl is an example of kitchenware used in the 19th century and still in use today.Bowl white ceramic plain that has two sets of edging around lip. Inside bowl has plaster designed to look like cooking mixture.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, kitchen equipment, ceramic

The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/This bowl was made by renowned pottery company J & G Meakin of England. The firm was established in the mid-1800's. The bowl is an example of kitchenware used in the 19th century and still in use today.Bowl; white ceramic, round and tapering inwards towards base. Made by J and G Meakin England.On base, 'Ironstone China Reg SOL 391413' with symbolflagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, mixing bowl, food preparation, j & g meakin, pottery, stoke-on-trent, kitchen equipment, ceramic

Glass tube attached capped with metal and with a green plastic coated copper wire attached to conduct electricity. The other end of the tube narrows and has a metal 'prod' attached. The tube has another tube inside it which includes a spring made of fine wire. A small amount of thick liquid is present between both tubes.laboratory, testing, graham hood

The test rig is contained in a metal frame with sloping front panel that contains the indicator and number setting knobs. A perspex lift-up lid covers numerous valve sockets and a set of coding wheels. Both sides and back covered with perspex. Metal surfaces painted hammerton grey. Abbreviated working instructions and AVO Valve data manual.Serial Number 1961scientific instrument, ballarat school of mines, valve characteristic meter

First type of metal filament lamp. Used as spot lights or a bank of these bulbs were used for load when testing the generators at SMB or University of Ballarat.Royal Ediswan, 240 V 60 W, pear shaped, wire filament bayonet light bulb.ballarat school of mines, globes, ediswan, lamps, light bulbs, bayonet

John Kennedy was born on 04 April 1862, the son of ship carpenter Robert Kennedy and his wife Florinda (Aitken), and the brother of Malcolm and Colin Kennedy. In 1860 the family migrated to Melbourne where Kennedy senior set up as a shipwright. In 1879 Malcolm and John, who trained as a naval architect, joined their father as Robert Kennedy & Sons, shipbuilders and shipsmiths. On 27 December 1883 at North Melbourne, Malcolm married Ann White with Presbyterian forms. Next year Robert Kennedy & Sons removed to Hobart where with John W. Syme and W. J. Duffy, partners until 1889, they took over the Derwent Ironworks & Engineering Co., a foundry formerly owned by the (Alexander) Clark family. The Kennedys also acquired the patent slipyard, formerly Ross's, at Battery Point. After the shipbuilding industry in Hobart began to flag John also turned to mining: he attended the Ballarat School of Mines, and reopened the Hobart smelters which had been an adjunct of the Derwent Ironworks in the 1870s. He made several voyages overseas on smelting business and as mining promoter, and was a member of the London Stock Exchange. In 1913-14 he was manager of Tongkah Compound (1910); Robert Kennedy & Sons was reputed to have contributed to the success of the Hobart-run Tongkah Harbour, Thailand, tin mines by developing a suitable dredge. The brothers also held shares in the Irrawaddy Burma Co. John was a member of the Australasian Institute of Mining Engineers and from 1932 an honorary life member of the American Institute of Mining & Metallurgical Engineers. John died in Hobart on 10 January 1937. (Ann G. Smith, 'Kennedy, John (1862–1937)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/kennedy-john-7092/text11963, published first in hardcopy 1983, accessed online 24 April 2020.) A book covered in black leather with 'John Kennedy' embossed on the front in gold. The book contains notes from the time he studies at the Ballarat School of Mines. The beginning of the book has an alphabetical section where John Kennedy has created an index.Inside front cover 'John Kennedy Nena Wharf Hobart Tasmania.' john kennedy, australasian institute of mining engineers, ausimm, american institute of mining metallurgical engineers, ballarat school of mines, lecture notes, lecture notebook, antinomy, brick clay, carbon, coal, copper, chemistry, clay, chrome, electricity, fire clay, gas, gold, gold bullion, glass, gold test for, iron metallurgy, light, lead, metallurgy, mica, mineralogy, pyrites, sulphur in pyrites, sugar, slags, wolfram, preparation of pure gold, scorification, gold bullion assay, petrography, melting poinys of bodies, metric system, geology, mount morgan, queensland, rock salt, assay of tailings, classification of rocks, muffle furnace, ballarat school of mines wind furnace, assay of antinomy, recovery of silver from solutionsheat pyrometer, spectroscope, organic acids, metallurgy of iron, assat of copper, cornstock lode nevada, mount morgan queensland, scarification, elmwood, metallurgy of lead, specific gravity, copper assay, seperation of gold from other metals, test for gold, wet assay, mercury

The history of spectacles The earliest form of spectacles are generally agreed to have been invented in Northern Italy in the thirteenth century. Over hundreds of years of innovation and refinement, they have been perfected into the stylish and functional designs you see today worn by millions of people to correct their eyesight. Here's a look at the key moments that defined the history of spectacles. Thirteenth century - Rivet spectacles The earliest form of spectacles was simply two mounted lenses riveted together at the handle ends. They had no sides and were secured to the face by clamping the nose between the rims, some of which had notches which may have been intended to improve the grip. Even then the wearer could only keep them in place by remaining relatively still and would normally support them with the hand. These spectacles contained convex lenses for the correction of presbyopic long-sightedness and were generally suited only to those few who lived beyond their forties and had the ability to read. Sixteenth century - Nose spectacles Nose spectacles were in more common use by the early sixteenth century. These often had a bow-shaped continuous bridge, almost of a modern appearance, that was sometimes flexible depending upon the material, for example leather or whalebone. The bridge was as much an area to be gripped as to rest on the nose. Spectacles were still usually held in place with the hand whilst being used temporarily for a brief period of reading or close inspection. By now the lenses could be used to correct both long and short sight. The general design changed little through the seventeenth century, though certain refinements increased the flexibility and comfort for some wearers. In some localised areas, notably in Spain, people experimented with ear loops made of string. This allowed them to walk around with their spectacles on. Eighteenth century - Temple glasses Only in the eighteenth century did the first modern eyewear, or ‘glasses’ as we would understand them, start to appear. The lenses might be glass, rock crystal or any other transparent mineral substance and were prone to smashing if the spectacles fell off, so there was an impetus to develop frames that could be worn continuously and would stay in place. London optician Edward Scarlett is credited with developing the modern style of spectacles which were kept in place with arms, known as ‘temples’. These were made of iron or steel and gripped the side of the head but did not yet hook over the ears because often the ears were concealed beneath a powdered wig, such as was fashionable at the time. As temples developed they were made with wide ring ends through which the wearer could pass a ribbon, thus tying the spectacles securely to the head. As spectacles were no longer primarily for use in sedentary activities, people began to be noticed out and about in their spectacles and might come to be identified as a ‘spectacle wearer’. By the end of the eighteenth century, people who needed correction for both distance and near could choose bifocals. Nineteenth century - Pince-nez Pince-nez were a nineteenth century innovation that literally translates as ‘pinching the nose’. They had a spring clip to retain the item in place under its own tension. Sometimes this clip was too tight and the wearer struggled to breathe. If it was too loose the pince-nez could fall off so, for safety and security, they were often connected to the wearer's clothing by a cord or a chain to avoid them being dropped or lost. Pince-nez were sometimes chosen by people who felt that large spectacles were too prominent and drew attention to a physical defect. They were also suitable for mounting lenses that could correct astigmatism. Twentieth century spectacles Spectacle wearing continued to become more widespread, key developments being the supply of spectacles to troops in the First World War, cheaper spectacles being subsidised through insurance schemes arranged by friendly societies, and the beginning of the National Health Service in 1948, when free spectacles were made available to all who might benefit from them. This normalised spectacle wearing and led to a significant increase in the scale of production. Entirely separate categories of women’s spectacles and sports eyewear both emerged in the 1930s. The latter half of the twentieth century saw spectacles become more fashionable and stylish as frames with different shapes, materials, and colours became available. Plastics frames, in particular, allowed a greater choice of colours and textured finishes. Plastic lenses were more durable and could be made lighter and thinner than glass, spurring a renewed interest in rimless designs. Designer eyewear bearing popular high-street brand names encouraged patients to regard spectacles as a desirable commodity, even as a fashion accessory, not just a disability aid. https://www.college-optometrists.org/the-british-optical-association-museum/the-history-of-spectacles The company Optical Prescription Spectacle Makers (OPSM ) was formed in Sydney in 1932 and publically listed in 1953. These spectacles and case were used by Dr. Angus when testing patients' eyes. The spectacles and case were donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he would take time to further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . The organisation began in South Australia through the Presbyterian Church in that year, with its first station being in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill where he’d previously worked as Medical Assistant and purchased a share of the Nelson Street practice and Mira hospital from Dr Les Middleton one of the Middleton Brothers, the current owners of what was once Dr Tom Ryan’s practice. Dr L Middleton was House Surgeon to the Nhill Hospital 1926-1933, when he resigned. [Dr Tom Ryan’s practice had originally belonged to his older brother Dr Edward Ryan, who came to Nhill in 1885. Dr Edward saw patients at his rooms, firstly in Victoria Street and in 1886 in Nelson Street, until 1901. The Nelson Street practice also had a 2 bed ward, called Mira Private Hospital ). Dr Edward Ryan was House Surgeon at the Nhill Hospital 1884-1902 . He also had occasions where he successfully performed veterinary surgery for the local farmers too. Dr Tom Ryan then purchased the practice from his brother in 1901. Both Dr Edward and Dr Tom Ryan work as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He too was House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. Dr Tom Ryan moved from Nhill in 1926. He became a Fellow of the Royal Australasian College of Surgeons in 1927, soon after its formation, a rare accolade for a doctor outside any of the major cities. He remained a bachelor and died suddenly on 7th Dec 1955, aged 91, at his home in Ararat. Scholarships and prizes are still awarded to medical students in the honour of Dr T.F. Ryan and his father, Dr Michael Ryan, and brother, John Patrick Ryan. ] When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery states “HOURS Daily, except Tuesdays, Fridays and Saturday afternoons, 9-10am, 2-4pm, 7-8pm. Sundays by appointment”. This plate is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. Dr Edward Ryan and Dr Tom Ryan had an extensive collection of historical medical equipment and materials spanning 1884-1926 and when Dr Angus took up practice in their old premises he obtained this collection, a large part of which is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. During his time in Nhill Dr Angus was involved in the merging of the Mira Hospital and Nhill Public Hospital into one public hospital and the property titles passed on to Nhill Hospital in 1939. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. ). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (The duties of a Port Medical Officer were outlined by the Colonial Secretary on 21st June, 1839 under the terms of the Quarantine Act. Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII 1941-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. Their interests included organisations such as Red Cross, Rostrum, Warrnambool and District Historical Society (founding members), Wine and Food Society, Steering Committee for Tertiary Education in Warrnambool, Local National Trust, Good Neighbour Council, Housing Commission Advisory Board, United Services Institute, Legion of Ex-Servicemen, Olympic Pool Committee, Food for Britain Organisation, Warrnambool Hospital, Anti-Cancer Council, Boys’ Club, Charitable Council, National Fitness Council and Air Raid Precautions Group. He was also a member of the Steam Preservation Society and derived much pleasure from a steam traction engine on his farm. He had an interest in people and the community He and his wife Gladys were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Spectacles and case, from the W.R. Angus Collection and used by Dr. Angus testing the sight of his patients. Metal case covered in red leather, black velvet lining. Tan rimmed spectacles. Maker is OPSM. Inscriptions on case, inside case and on spectacle rim.Inscribed on spectacle arms “CONTORA”. Inscription on case in gold print “OPSM Optical Prescription Spectacle Makers Pty Ltd”. Inscription on white oval label inside case is illegible. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, spectacles and case, optical testing, optometrist examination, opsm optical prescription spectacle makers

The history of spectacles The earliest form of spectacles are generally agreed to have been invented in Northern Italy in the thirteenth century. Over hundreds of years of innovation and refinement, they have been perfected into the stylish and functional designs you see today worn by millions of people to correct their eyesight. Here's a look at the key moments that defined the history of spectacles. Thirteenth century - Rivet spectacles The earliest form of spectacles was simply two mounted lenses riveted together at the handle ends. They had no sides and were secured to the face by clamping the nose between the rims, some of which had notches which may have been intended to improve the grip. Even then the wearer could only keep them in place by remaining relatively still and would normally support them with the hand. These spectacles contained convex lenses for the correction of presbyopic long-sightedness and were generally suited only to those few who lived beyond their forties and had the ability to read. Sixteenth century - Nose spectacles Nose spectacles were in more common use by the early sixteenth century. These often had a bow-shaped continuous bridge, almost of a modern appearance, that was sometimes flexible depending upon the material, for example leather or whalebone. The bridge was as much an area to be gripped as to rest on the nose. Spectacles were still usually held in place with the hand whilst being used temporarily for a brief period of reading or close inspection. By now the lenses could be used to correct both long and short sight. The general design changed little through the seventeenth century, though certain refinements increased the flexibility and comfort for some wearers. In some localised areas, notably in Spain, people experimented with ear loops made of string. This allowed them to walk around with their spectacles on. Eighteenth century - Temple glasses Only in the eighteenth century did the first modern eyewear, or ‘glasses’ as we would understand them, start to appear. The lenses might be glass, rock crystal or any other transparent mineral substance and were prone to smashing if the spectacles fell off, so there was an impetus to develop frames that could be worn continuously and would stay in place. London optician Edward Scarlett is credited with developing the modern style of spectacles which were kept in place with arms, known as ‘temples’. These were made of iron or steel and gripped the side of the head but did not yet hook over the ears because often the ears were concealed beneath a powdered wig, such as was fashionable at the time. As temples developed they were made with wide ring ends through which the wearer could pass a ribbon, thus tying the spectacles securely to the head. As spectacles were no longer primarily for use in sedentary activities, people began to be noticed out and about in their spectacles and might come to be identified as a ‘spectacle wearer’. By the end of the eighteenth century, people who needed correction for both distance and near could choose bifocals. Nineteenth century - Pince-nez Pince-nez were a nineteenth century innovation that literally translates as ‘pinching the nose’. They had a spring clip to retain the item in place under its own tension. Sometimes this clip was too tight and the wearer struggled to breathe. If it was too loose the pince-nez could fall off so, for safety and security, they were often connected to the wearer's clothing by a cord or a chain to avoid them being dropped or lost. Pince-nez were sometimes chosen by people who felt that large spectacles were too prominent and drew attention to a physical defect. They were also suitable for mounting lenses that could correct astigmatism. Twentieth century spectacles Spectacle wearing continued to become more widespread, key developments being the supply of spectacles to troops in the First World War, cheaper spectacles being subsidised through insurance schemes arranged by friendly societies, and the beginning of the National Health Service in 1948, when free spectacles were made available to all who might benefit from them. This normalised spectacle wearing and led to a significant increase in the scale of production. Entirely separate categories of women’s spectacles and sports eyewear both emerged in the 1930s. The latter half of the twentieth century saw spectacles become more fashionable and stylish as frames with different shapes, materials, and colours became available. Plastics frames, in particular, allowed a greater choice of colours and textured finishes. Plastic lenses were more durable and could be made lighter and thinner than glass, spurring a renewed interest in rimless designs. Designer eyewear bearing popular high-street brand names encouraged patients to regard spectacles as a desirable commodity, even as a fashion accessory, not just a disability aid. https://www.college-optometrists.org/the-british-optical-association-museum/the-history-of-spectacles These spectacles and case from F.G. and R.G. Bennett of Warrnambool were used by Dr. Angus to test his patients' eye sight. They were donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he would take time to further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . The organisation began in South Australia through the Presbyterian Church in that year, with its first station being in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill where he’d previously worked as Medical Assistant and purchased a share of the Nelson Street practice and Mira hospital from Dr Les Middleton one of the Middleton Brothers, the current owners of what was once Dr Tom Ryan’s practice. Dr L Middleton was House Surgeon to the Nhill Hospital 1926-1933, when he resigned. [Dr Tom Ryan’s practice had originally belonged to his older brother Dr Edward Ryan, who came to Nhill in 1885. Dr Edward saw patients at his rooms, firstly in Victoria Street and in 1886 in Nelson Street, until 1901. The Nelson Street practice also had a 2 bed ward, called Mira Private Hospital ). Dr Edward Ryan was House Surgeon at the Nhill Hospital 1884-1902 . He also had occasions where he successfully performed veterinary surgery for the local farmers too. Dr Tom Ryan then purchased the practice from his brother in 1901. Both Dr Edward and Dr Tom Ryan work as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He too was House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. Dr Tom Ryan moved from Nhill in 1926. He became a Fellow of the Royal Australasian College of Surgeons in 1927, soon after its formation, a rare accolade for a doctor outside any of the major cities. He remained a bachelor and died suddenly on 7th Dec 1955, aged 91, at his home in Ararat. Scholarships and prizes are still awarded to medical students in the honour of Dr T.F. Ryan and his father, Dr Michael Ryan, and brother, John Patrick Ryan. ] When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery states “HOURS Daily, except Tuesdays, Fridays and Saturday afternoons, 9-10am, 2-4pm, 7-8pm. Sundays by appointment”. This plate is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. Dr Edward Ryan and Dr Tom Ryan had an extensive collection of historical medical equipment and materials spanning 1884-1926 and when Dr Angus took up practice in their old premises he obtained this collection, a large part of which is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. During his time in Nhill Dr Angus was involved in the merging of the Mira Hospital and Nhill Public Hospital into one public hospital and the property titles passed on to Nhill Hospital in 1939. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. ). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (The duties of a Port Medical Officer were outlined by the Colonial Secretary on 21st June, 1839 under the terms of the Quarantine Act. Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII 1941-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. Their interests included organisations such as Red Cross, Rostrum, Warrnambool and District Historical Society (founding members), Wine and Food Society, Steering Committee for Tertiary Education in Warrnambool, Local National Trust, Good Neighbour Council, Housing Commission Advisory Board, United Services Institute, Legion of Ex-Servicemen, Olympic Pool Committee, Food for Britain Organisation, Warrnambool Hospital, Anti-Cancer Council, Boys’ Club, Charitable Council, National Fitness Council and Air Raid Precautions Group. He was also a member of the Steam Preservation Society and derived much pleasure from a steam traction engine on his farm. He had an interest in people and the community He and his wife Gladys were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Spectacles and case, from the W.R. Angus Collection and used by Dr. Angus testing the sight of his patients. Metal case covered in blue leather, blue velvet lining. Orange/yellow rimmed spectacles, one lens covered with cardboard. White oval label inside case. Inscription on case with maker’s details in gold print.Inscription on case reads “F. G. & R. G. BENNETT / WARRNAMBOOL”. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, spectacles and case, optical testing, optometrist examination, f.g. and r.g. bennett of warrnambool

This small label badge carries the symbol of the World Council of Churches (WCC), which was established in 1948. The WCC states on its website "The World Council of Churches (WCC) is the broadest and most inclusive among the many organized expressions of the modern ecumenical movement, a movement whose goal is Christian unity. " The 'V' on the back of the badge possibly stands for Victoria. The word on the logo of this badge has the spelling "OIKUMENE" but in many other WCC logos, the Greek word "Oikoumene" is used. The term is translated as "inhabited earth" and is used fifteen times in the original Greek New Testament, including in Matthew 24:14, which says "And the gospel of the kingdom shall be preached in all the world for a witness unto all nations and then shall the end come." The WCC explains that the logo uses early Christian symbols to portray its message, with the church portrayed as a boat afloat on the sea of the world with the mast in the form of a cross. This badge is part of a set of eleven badges collected from the 1920s to the 1940s by Dr W. R. Angus. The set represents various organisations that he had interests in. It was donated to Flagstaff Hill Maritime Village by the family of Doctor Angus, Surgeon and Oculist. The set of badges is part of the “W.R. Angus Collection” which includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at the University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was a house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was a physician, surgeon and chemist. In 1926, he was appointed as the new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus married Gladys in 1927 at Ballarat, the nearest big city to Nhill where he began as a Medical Assistant. He was also Acting House surgeon at the Nhill hospital where their two daughters were born. During World War II He served as a Military Doctor in the Australian Defence Forces. Dr Angus and his family moved to Warrnambool in 1939, where Dr Angus operated his own medical practice. He later added the part-time Port Medical Officer responsibility and was the last person appointed to that position. Both Dr Angus and his wife were very involved in the local community, including the planning stages of the new Flagstaff Hill and the layout of the gardens there. Dr Angus passed away in March 1970.This religious lapel badge of the World Council of Churches represents one of the organisations in which Dr Angus had an interest. The set of badges is significant for connecting Doctor Angus with Australian organisations of the early-to-mid 20th century, including those relating to military service support. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The Collection includes historical medical objects that date back to the late 1800s.Lapel badge; a small round blue enamel badge with gold image and text. The image contains the symbol of a cross above a small boat on waves. The image is the logo of the World Council of Churches.This badge is part of a set of badges collected by Dr W R Angus. the set represents organisations that he was involved in, and is part of the W.R. Angus Collection.Test above Logo: “OIKUMENE” Logo; [cross] above [small boat] above [waves] Text under clip; “V” flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, oikumene, w.r. angus, metal badge, enamel badge, organisation badges, religious badge, lapel badge, oikoumene, world council of churches, wcc, christian unity

Part of Graham Collection, donated by the family of Misses Mary and Edith Maude Graham, of 4 Blair Street, Portland. Displayed in History House. Box used to store sashes (3770.1 and 3770.2)Cardboard box in two parts, with metal-casing on corners. Box lid has a line drawing of glasses with a diagram, above proprietor's name and business details.Front: Miss Welshman/Convent of Sacred Heart/Burke Rd/East Malvern (ink, cover) T. Gaunt & Co., Prop. Ltd.,/Ophthalmic Opticians, Watchmakers and Jewellers,/Cnr Royal Arcade and Bourke Street,/MELBOURNE./ SIGHT TESTED GRATIS (printed cover)

Axe was part of firemans belt was owned by Senior Firefighter (S/F) W.G. Jamieson who was stationed at Ballarat Fire Station as part of the permanent staff. firemans small personal axe (tomahawk), axe has black rubberised/plastic handle and metal headNo. 125 (right side of handle), TESTED 20,000 VOLTS (left side of handle), W.GILPIN (stamped into left side of head)w g jamieson, ballarat fire station, firemans axe

This simple brass see-saw balance was used to test the gold sovereign coin and its half for wear, and to detect counterfeit coinsSovereigns and half sovereigns are no longer in use.A metal sovereign balance with two measuring plates and weight. Counterweighted desktop rocker tests for British gold Sovereigns and Half Sovereigns, both weight and thickness. It has the original green box with label on lid top.Front - sovereign - half - Askey's improved warranted - son -Bush'ssovereign-balance instrument weighing sovereign

Whether it’s an anaesthetic, blood test, insulin, vitamin shot or vaccination, at a base human level something feels instinctively wrong about having a long thin piece of metal stuck deep into your flesh. And yet, in allowing physicians to administer medicine directly into the bloodstream, the hypodermic needle has been one of the most important inventions of medical science. In the beginning… Typically, it was the Romans. The word ‘syringe’ is derived from Greek mythology. Chased to the edge of a river by the god Pan, a rather chaste nymph by the name of Syrinx magically disguised herself as water reeds. Determined, Pan chopped the hollow reeds off and blew into them to create a musical whistling sound, thereby fashioning the first of his fabled pipes. Taking that concept of ‘hollow tubes’, and having observed how snakes could transmit venom, the practice of administering ointments and unctions via simple piston syringes is originally described in the writings of the first-century Roman scholar Aulus Cornelius Celsus and the equally famous Greek surgeon Galen. It’s unclear if the Egyptian surgeon Ammar bin Ali al-Mawsili was a fan of either of their scribblings, but 800 years later he employed a hollow glass tube and simple suction power to remove cataracts from his patients’ eyes – a technique copied up until the 13th century, but only to extract blood, fluid or poison, not to inject anything. Syringes get modern Then, in 1650, while experimenting with hydrodynamics, the legendary French polymath Blaise Pascal invented the first modern syringe. His device exemplified the law of physics that became known as Pascal’s Law, which proposes “when there is an increase in pressure at any point in a confined fluid, there is an equal increase at every other point in the container.” But it wasn’t until six years later that a fellow Renaissance man, the English architect Sir Christopher Wren took Pascal’s concept and made the first intravenous experiment. Combining hollow goose quills, pig bladders, a kennel of stray dogs and enough opium to fell a herd of elephants, Wren started injecting the hapless mutts with the ‘milk of the poppy’. By the mid-1660s, thinking this seemed like a great idea, two German doctors, Johann Daniel Major and Johann Sigismund Elsholtz, decided to try their hand at squirting various stuff into human subjects. Things didn’t end well, and people died. Consequently, injections fell out of medical favour for 200 years. Let's try again… Enter the Irish doctor Francis Rynd in 1844. Constructing the first-ever hollow steel needle, he used it to inject medicine subcutaneously and then bragged about it in an issue of the Dublin Medical Press. Then, in 1853, depending on who you believe, it was either a Frenchman or a Scot who invented the first real hypodermic needle. The French physician Charles Pravaz adapted Rynd’s needle to administer a coagulant in order to stem bleeding in a sheep by using a system of measuring screws. However, it was the Scottish surgeon Alexander Wood who first combined a hollow steel needle with a proper syringe to inject morphine into a human. Thus, Wood is usually credited with the invention. Sharp advancements Over the following century, the technology was refined and intravenous injections became commonplace – whether in the administering of pain relief, penicillin, insulin, immunisation and blood transfusions, needles became a staple of medicine. By 1946, the Chance Brothers’ Birmingham glassworks factory began mass-producing the first all-glass syringe with interchangeable parts. Then, a decade later, after sterilisation issues in re-used glass syringes had plagued the industry for years, a Kiwi inventor called Colin Murdoch applied for a patent of a disposable plastic syringe. Several patents followed, and the disposable syringe is now widespread. https://www.medibank.com.au/livebetter/be-magazine/wellbeing/the-history-of-the-hypodermic-needle/ This syringe set was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he would take time to further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . The organisation began in South Australia through the Presbyterian Church in that year, with its first station being in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill where he’d previously worked as Medical Assistant and purchased a share of the Nelson Street practice and Mira hospital from Dr Les Middleton one of the Middleton Brothers, the current owners of what was once Dr Tom Ryan’s practice. Dr L Middleton was House Surgeon to the Nhill Hospital 1926-1933, when he resigned. [Dr Tom Ryan’s practice had originally belonged to his older brother Dr Edward Ryan, who came to Nhill in 1885. Dr Edward saw patients at his rooms, firstly in Victoria Street and in 1886 in Nelson Street, until 1901. The Nelson Street practice also had a 2 bed ward, called Mira Private Hospital ). Dr Edward Ryan was House Surgeon at the Nhill Hospital 1884-1902 . He also had occasions where he successfully performed veterinary surgery for the local farmers too. Dr Tom Ryan then purchased the practice from his brother in 1901. Both Dr Edward and Dr Tom Ryan work as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He too was House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. Dr Tom Ryan moved from Nhill in 1926. He became a Fellow of the Royal Australasian College of Surgeons in 1927, soon after its formation, a rare accolade for a doctor outside any of the major cities. He remained a bachelor and died suddenly on 7th Dec 1955, aged 91, at his home in Ararat. Scholarships and prizes are still awarded to medical students in the honour of Dr T.F. Ryan and his father, Dr Michael Ryan, and brother, John Patrick Ryan. ] When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery states “HOURS Daily, except Tuesdays, Fridays and Saturday afternoons, 9-10am, 2-4pm, 7-8pm. Sundays by appointment”. This plate is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. Dr Edward Ryan and Dr Tom Ryan had an extensive collection of historical medical equipment and materials spanning 1884-1926 and when Dr Angus took up practice in their old premises he obtained this collection, a large part of which is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. During his time in Nhill Dr Angus was involved in the merging of the Mira Hospital and Nhill Public Hospital into one public hospital and the property titles passed on to Nhill Hospital in 1939. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. ). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (The duties of a Port Medical Officer were outlined by the Colonial Secretary on 21st June, 1839 under the terms of the Quarantine Act. Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. Their interests included organisations such as Red Cross, Rostrum, Warrnambool and District Historical Society (founding members), Wine and Food Society, Steering Committee for Tertiary Education in Warrnambool, Local National Trust, Good Neighbour Council, Housing Commission Advisory Board, United Services Institute, Legion of Ex-Servicemen, Olympic Pool Committee, Food for Britain Organisation, Warrnambool Hospital, Anti-Cancer Council, Boys’ Club, Charitable Council, National Fitness Council and Air Raid Precautions Group. He was also a member of the Steam Preservation Society and derived much pleasure from a steam traction engine on his farm. He had an interest in people and the community He and his wife Gladys were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Syringe set (5 pieces) in container, from W.R. Angus Collection. Rectangular glass container with separate stainless steel lid, syringe cylinder, end piece and angle-ended tweezers. Container is lined with gauze and fabric. Scale on syringe is in "cc". Printed on Syringe "B-D LUER-LOK MULTIFIT, MADE IN U.S.A." Stamped into tweezers "STAINLESS STEEL" and "WEISS LONDON"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, dr ryan, surgical instrument, t.s.s. largs bay, warrnambool base hospital, nhill base hospital, mira hospital, flying doctor, medical treatment, syringe, b d syringe, luer-lok multifit, weiss london, surgical tweezers, hypodermic syringe, injections

Whether it’s an anaesthetic, blood test, insulin, vitamin shot or vaccination, at a base human level something feels instinctively wrong about having a long thin piece of metal stuck deep into your flesh. And yet, in allowing physicians to administer medicine directly into the bloodstream, the hypodermic needle has been one of the most important inventions of medical science. In the beginning… Typically, it was the Romans. The word ‘syringe’ is derived from Greek mythology. Chased to the edge of a river by the god Pan, a rather chaste nymph by the name of Syrinx magically disguised herself as water reeds. Determined, Pan chopped the hollow reeds off and blew into them to create a musical whistling sound, thereby fashioning the first of his fabled pipes. Taking that concept of ‘hollow tubes’, and having observed how snakes could transmit venom, the practice of administering ointments and unctions via simple piston syringes is originally described in the writings of the first-century Roman scholar Aulus Cornelius Celsus and the equally famous Greek surgeon Galen. It’s unclear if the Egyptian surgeon Ammar bin Ali al-Mawsili was a fan of either of their scribblings, but 800 years later he employed a hollow glass tube and simple suction power to remove cataracts from his patients’ eyes – a technique copied up until the 13th century, but only to extract blood, fluid or poison, not to inject anything. Syringes get modern Then, in 1650, while experimenting with hydrodynamics, the legendary French polymath Blaise Pascal invented the first modern syringe. His device exemplified the law of physics that became known as Pascal’s Law, which proposes “when there is an increase in pressure at any point in a confined fluid, there is an equal increase at every other point in the container.” But it wasn’t until six years later that a fellow Renaissance man, the English architect Sir Christopher Wren took Pascal’s concept and made the first intravenous experiment. Combining hollow goose quills, pig bladders, a kennel of stray dogs and enough opium to fell a herd of elephants, Wren started injecting the hapless mutts with the ‘milk of the poppy’. By the mid-1660s, thinking this seemed like a great idea, two German doctors, Johann Daniel Major and Johann Sigismund Elsholtz, decided to try their hand at squirting various stuff into human subjects. Things didn’t end well, and people died. Consequently, injections fell out of medical favour for 200 years. Let's try again… Enter the Irish doctor Francis Rynd in 1844. Constructing the first-ever hollow steel needle, he used it to inject medicine subcutaneously and then bragged about it in an issue of the Dublin Medical Press. Then, in 1853, depending on who you believe, it was either a Frenchman or a Scot who invented the first real hypodermic needle. The French physician Charles Pravaz adapted Rynd’s needle to administer a coagulant in order to stem bleeding in a sheep by using a system of measuring screws. However, it was the Scottish surgeon Alexander Wood who first combined a hollow steel needle with a proper syringe to inject morphine into a human. Thus, Wood is usually credited with the invention. Sharp advancements Over the following century, the technology was refined and intravenous injections became commonplace – whether in the administering of pain relief, penicillin, insulin, immunisation and blood transfusions, needles became a staple of medicine. By 1946, the Chance Brothers’ Birmingham glassworks factory began mass-producing the first all-glass syringe with interchangeable parts. Then, a decade later, after sterilisation issues in re-used glass syringes had plagued the industry for years, a Kiwi inventor called Colin Murdoch applied for a patent of a disposable plastic syringe. Several patents followed, and the disposable syringe is now widespread. https://www.medibank.com.au/livebetter/be-magazine/wellbeing/the-history-of-the-hypodermic-needle/ This syringe set was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he would take time to further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . The organisation began in South Australia through the Presbyterian Church in that year, with its first station being in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill where he’d previously worked as Medical Assistant and purchased a share of the Nelson Street practice and Mira hospital from Dr Les Middleton one of the Middleton Brothers, the current owners of what was once Dr Tom Ryan’s practice. Dr L Middleton was House Surgeon to the Nhill Hospital 1926-1933, when he resigned. [Dr Tom Ryan’s practice had originally belonged to his older brother Dr Edward Ryan, who came to Nhill in 1885. Dr Edward saw patients at his rooms, firstly in Victoria Street and in 1886 in Nelson Street, until 1901. The Nelson Street practice also had a 2 bed ward, called Mira Private Hospital ). Dr Edward Ryan was House Surgeon at the Nhill Hospital 1884-1902 . He also had occasions where he successfully performed veterinary surgery for the local farmers too. Dr Tom Ryan then purchased the practice from his brother in 1901. Both Dr Edward and Dr Tom Ryan work as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He too was House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. Dr Tom Ryan moved from Nhill in 1926. He became a Fellow of the Royal Australasian College of Surgeons in 1927, soon after its formation, a rare accolade for a doctor outside any of the major cities. He remained a bachelor and died suddenly on 7th Dec 1955, aged 91, at his home in Ararat. Scholarships and prizes are still awarded to medical students in the honour of Dr T.F. Ryan and his father, Dr Michael Ryan, and brother, John Patrick Ryan. ] When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery states “HOURS Daily, except Tuesdays, Fridays and Saturday afternoons, 9-10am, 2-4pm, 7-8pm. Sundays by appointment”. This plate is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. Dr Edward Ryan and Dr Tom Ryan had an extensive collection of historical medical equipment and materials spanning 1884-1926 and when Dr Angus took up practice in their old premises he obtained this collection, a large part of which is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. During his time in Nhill Dr Angus was involved in the merging of the Mira Hospital and Nhill Public Hospital into one public hospital and the property titles passed on to Nhill Hospital in 1939. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. ). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (The duties of a Port Medical Officer were outlined by the Colonial Secretary on 21st June, 1839 under the terms of the Quarantine Act. Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. Their interests included organisations such as Red Cross, Rostrum, Warrnambool and District Historical Society (founding members), Wine and Food Society, Steering Committee for Tertiary Education in Warrnambool, Local National Trust, Good Neighbour Council, Housing Commission Advisory Board, United Services Institute, Legion of Ex-Servicemen, Olympic Pool Committee, Food for Britain Organisation, Warrnambool Hospital, Anti-Cancer Council, Boys’ Club, Charitable Council, National Fitness Council and Air Raid Precautions Group. He was also a member of the Steam Preservation Society and derived much pleasure from a steam traction engine on his farm. He had an interest in people and the community He and his wife Gladys were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Syringe set (8 pieces),part of the W.R. Angus Collection. Pocket syringe kit in oval stainless steel container with separate lid. Container holds syringe cylinder, plunger, 2 needles, blade and cap. Printed on syringe cylinder "FIVEPOINT BRITISH" and symbol of a red star. One needle stamped "22"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, dr ryan, surgical instrument, t.s.s. largs bay, warrnambool base hospital, nhill base hospital, mira hospital, flying doctor, medical treatment, medical history, medical education, medical text book, fivepoint syringe, general surgical co., injections