The museum is very pleased to announce the 2017-2018 awards made of grants and internships through the Maritime Museums of Australia Project Support Scheme (MMAPSS), supporting not-for-profit organisations to care for Australia’s maritime heritage. MMAPSS has been offering support since 1995, awarding over $1.6M to support over 395 projects. Internships have been awarded since 2000, with over 50 internships awarded since that time.
In 1993, the Australian National Maritime Museum was ready the rebuild the Cape Bowling Green Light. After some discussion, a site near the wharf was selected. Reconstruction of the lighthouse started in late 1993. This visual story shows how the lighthouse was rebuilt piece by piece at Darling Harbour.
When Australian yachting made history fifty years ago early in August 1967 by winning the Admiral’s Cup event sailed in UK waters, then recognized as the unofficial world championship for ocean racing, it was one of those dominant sporting wins that stands out as a blueprint of how to achieve success.
Australia had a plan – and one of the first steps was building on the past. It was only the second time an Australian team had entered the event, which, up to then, had been dominated by yachts from the UK and USA. However, as described in the first part of this story, Australia had shocked everyone in 1965 by coming second, and their yacht Caprice of Huon had won two of the four races. The post-race write-ups noted how well Australia had sailed as a team, and how well led the crews were.
At 2 am on Sunday 9th August 1942 the Royal Australian Navy’s County class heavy cruiser HMAS Canberra (D33) was leading a combined US and Australian naval task force protecting the US 1st Division Marine landings on the islands of Tulagi and Guadalcanal in the Solomon Islands.
How do you move a building from a remote cape in far north Queensland? In 1987 the 113-year old Cape Bowling Green Light was superseded by radar beacon, decommissioned and sold to the Australian National Maritime Museum. Somehow, the museum had to transport a 22-metre structure from Cape Bowling Green to Darling Harbour, Sydney. So, how does a lighthouse travel over 2000km?
At 22 metres tall Cape Bowling Green Lighthouse seems a solid, immovable structure. In fact, it was designed for ready disassembly and has been moved at least three times in its 150-year life. It has also been continuously modified throughout its history. The lighthouse at the museum is only partially the lighthouse that was built at Cape Bowling Green in 1873-4. The lighthouse and its changing history challenges ideas about the preservation of immovable cultural heritage. Continue reading
Several of the most unusual and interesting items in Escape from Pompeii are from the Museum of the Parco Archeologico dei Campi Flegrei housed in the Castle at Baia on the Bay of Naples. The Archaeological park covers the ancient sites of Cumae, Puteoli (modern Pozzuoli) and Baiae which were a lot more famous to ancient Romans than Pompeii and Herculaneum. The sites are on northern side of the Bay as it stretches past Mount Vesuvius and Naples.
All three sites are situated in or around the Campi Flegrei, which translates as the fields of fire. The Campi Flegrei is one very large ground level volcano with gaseous fumeroles, boiling mud pools, and numerous smaller craters – about 24 of them – some of them flooded like Lake Avernus. The caldera of the volcano continues underwater into the Bay of Naples. If it were erupt it would be catastrophic.
Thirty years ago, field-research for the museum took me to a remote little Indonesian island called Raas in the Java Sea. It was so far off regular motor-ship routes that I took passage on an engineless trading prahu propelled by a huge lateen sail. Prahus like these, called lete-lete, provided transport and livelihoods for Raas and adjacent islands, and some of them were sailed on long-haul fishing expeditions into northern Australian waters. The museum, which at that time was just beginning to develop its collections and first exhibitions, wanted to learn more about various types of maritime contacts linking Australia and Indonesia.
This autumn I returned to these same waters, leading a small group of visitors from Australia, the UK and Canada who were eager to meet some of Indonesia’s least-known maritime communities, in a region of the Java Sea where tourism has not yet arrived.
If, like me, you’ve been meaning to reread Jane Austen, among other classics you first read long ago, then this year is the time to do it — the 200th anniversary of her death in July 1817. And if, like me, you weren’t sure which one to begin with, let me guide you as a reader of Signals to Persuasion, with its splendid central characters drawn from the Royal Navy at the end of the Napoleonic Wars. It’s not just chick-lit for the literati. You can read it, if you like, as an adjunct or appendix to the well-thumbed maritime classics of C S Forrester and Patrick O’Brian, most likely sitting on your bookshelves already.
“People think ‘That was it, the deep oceans became accessible to man with Titanic in 1985’. Well, that’s completely false.”
David Mearns is one of the world’s pre-eminent shipwreck hunters. His company, Blue Water Recoveries, has an 88% recovery rate. He discovered the HMAS Sydney, and the Kormoran, the HMS Hood, the Royal Navy flagship sunk by the Bismarck, Vasco da Gama’s Esmerelda (which sunk in 1503), the Lucona a cargo ship sunk by a time bomb that murdered its crew and the Rio Grande, the deepest shipwreck ever found – at 5,762 metres.
How to Become a Shipwreck Hunter
But Mearns wasn’t interested in history at University. He actively avoided it, instead, he concentrated on getting degrees in marine biology and later, marine geology. He found work in the offshore industry, helping search and recovery for the US Navy. This is what sparked his now lifelong obsession as a shipwreck hunter: part detective, part archaeologist, part deep ocean adventurer – and historian.
His passion for the stories of the past drives him thousands of metres below the waves.
Ningbo is a smallish city near Shanghai of just 7 million people. It was once one of the five ‘Treaty Ports’, when colonial powers were forcing China into trading concessions during the 19th century. Ningbo had always historically been an important juncture of trade networks between China, Korea and Japan – and beyond. Its maritime history was the focus of a conference I recently attended, exploring what is now called the ‘Maritime Silk Road’ – the incredible trade routes that stretched from China to Africa over the past one thousand years or so. The sight of Chinese junks and Sampans in the Indian Ocean is now reasonably well known and forming the basis of a possible World Heritage listing for the maritime silk road. However, there was little knowledge and some interest at the conference in my research paper on the history of Chinese junks and sampans that were built in Australia between 1870 and 1910.
The museum has been fortunate to host a travelling exhibition on the history of pearling and the uses of pearl shell. The award winning exhibition – Lustre: Pearling and Australia – has been very well received by visitors but unfortunately will close soon. If you haven’t seen it yet, do yourself a favour and get along to the National Maritime Museum before August 13. Lustre is full of fascinating objects and interesting stories, particularly the long cultural importance of pearl shell in north western Australian Aboriginal communities.
Fifty years ago, in August 1967, Australian yachting made history on the world stage, winning the Admiral’s Cup event sailed in UK waters, then recognized as the unofficial world championship for ocean racing.
It was only the second time an Australian team had entered the event, which, up to then, had been dominated by yachts from the UK and USA. The result was astonishing at the time – similar to Australia beating Brazil in a final of the World Cup.
This is part one of a two part story of that remarkable victory.
One of the issues we readily face in the museum world is how to increase the proportion of our collection that is accessible to the public. The unfortunate reality is that due to collection size and the display space available the percentage of the collection on display at any one time is limited to approximately 9%.
The solution: digitise.