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                  <text>This Collection analyses popular medievalism in material and public culture from the mid-nineteenth century to the present, with an emphasis on popular medievalist theatre, parades and public spectacles, as well as recreational, literary and political associations. It explores the ways in which medievalism was not simply derivative but also local and disctinctive. In this Collection you will find items relating to medievalism in public contexts and popular culture, and the revisitation or reenactment of the Middle Ages by groups such as the Society for Creative Anachronism.</text>
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              <text>&lt;a href="http://citadel-medieval-society.webs.com/Index.html"&gt;http://citadel-medieval-society.webs.com/Index.html&lt;/a&gt;</text>
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                <text>Archery, armour, chivalry, Citadel Medieval Society, combat, costume, Crusade, Estonia, France, helmet, heraldry, knight, La Rochelle, living history, Livonian Brothers of the Sword, Livonian Crusade, Livonian Order, performance, Qld, Queensland, re-creation, re-enactment, Schwertzbruder, shield, spear, sword, Sword Brethren, Teutonic Order, warrior-monks, website.</text>
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                <text>&lt;p&gt;Citadel Medieval Society is a living history group based in Queensland. The group were founded seventeen years ago and focus on two time periods and locations: the port of La Rochelle, France, in c. 1370 during the Hundred Years War; and the German warrior-monks the Livonian Brothers of the Sword (also known as the Sword Brethren or Schwertzbruder) who took part in the Livonian Crusade and operated in modern-day Estonia from 1202-1236, when they became the Livonian Order within the Teutonic Order. The group focus on combat (although other activities such as music and craft are practiced) and appear in full costume, and with weapons and tents, at various events. They are also available for hire.&lt;/p&gt;&#13;
&lt;p&gt;For their website see http://citadel-medieval-society.webs.com/Index.html&lt;/p&gt;</text>
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                  <text>This Collection examines literary medievalism from the mid-nineteenth century to the present day. It traces an arc from the populist literary medievalism of the nineteenth century, through the more rarefied modernist turn of the mid-twentieth century, to the re-emergence of popular forms such as childrenâ€™s literature and fantasy since the 1980s. In this Collection you will find items relating to printed medievalist works and also to medievalism operating in print, for example in references to medieval events, people, and literature in nineteenth- and twentieth-century texts and dramatic works.</text>
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                <text>&amp;lsquo;On Tapestry&amp;rsquo;, &lt;em&gt;The Bulletin&lt;/em&gt;, 14 July 1910</text>
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                <text>Ballad, chivalry, Courtly Love, crusade, E. J. Brady (1869-1952), Holy Land, joust,  knight, romance.</text>
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                <text>This engaging &amp;ldquo;McCrae-like medieval narrative ballad&amp;rdquo; (John B. Webb, &amp;ldquo;A Critical Biography of Edwin James Brady 1869-1952&amp;rdquo; PhD Thesis, The University of Sydney, 1972, p.95) concerns the fortunes of a triad of ill-starred lovers. On one hand there is brave Sir Maurice, the wealthy and impetuous knight who excels in chivalric conduct but who is tragically slain while crusading in the Holy Land. On the other is the golden-haired Lady Alice, a romantic counterpart for him who naively &amp;ldquo;vowed [...] Her Lord he&amp;rsquo;d be&amp;rdquo;. Unknown to either of these two quixotically tempered day-dreaming protagonists is the real target of Cupid&amp;rsquo;s dart, the &amp;ldquo;crow-haired&amp;rdquo; ladies maid, who recognises from the outset that her suit is hopeless, and who must content herself with plaintive prayers and &amp;ldquo;A [hasty] daylight glance.&amp;rdquo; The tragedy of the missed opportunity that is all too often &amp;lsquo;staring you in the face&amp;rsquo; is a theme that Brady also favours and highlights in his less accomplished, more light-hearted medievalist poem, &amp;lsquo;On Keira (See: &lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1032" target="_self"&gt;http://ausmed.arts.uwa.edu.au/items/show/1032&lt;/a&gt;).&amp;rsquo;</text>
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                <text>&lt;em&gt;The Bulletin&lt;/em&gt;</text>
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                <text>&lt;em&gt;The Bulletin&lt;/em&gt;</text>
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                <text>14 July 1910, p.39</text>
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                <text>Public Domain</text>
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                <text>&lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1032" target="_self"&gt;http://ausmed.arts.uwa.edu.au/items/show/1032&lt;/a&gt;</text>
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                  <text>This Collection examines literary medievalism from the mid-nineteenth century to the present day. It traces an arc from the populist literary medievalism of the nineteenth century, through the more rarefied modernist turn of the mid-twentieth century, to the re-emergence of popular forms such as childrenâ€™s literature and fantasy since the 1980s. In this Collection you will find items relating to printed medievalist works and also to medievalism operating in print, for example in references to medieval events, people, and literature in nineteenth- and twentieth-century texts and dramatic works.</text>
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                <text>â€œRobin Hoodâ€ (comic opera)</text>
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                <text>Comic opera, Conservatorium, Crusade, Government House, Reginald De Koven, light opera, music, New South Wales, NSW, opera, performance, Richard I, Robin Hood, Royal Botanic Gardens, Harry B. Smith, Sydney, Sydney Conservatorium of Music, Sydney Morning Herald.</text>
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                <text>&lt;p&gt;This piece titled &amp;ldquo;Robin Hood&amp;rdquo; in the &amp;lsquo;Amusements&amp;rsquo; section of the Sydney Morning Herald newspaper appeared on June 30, 1928. It brings to attention a new production of the comic/light opera Robin Hood at the Sydney Conservatorium of Music in the Royal Botanic Gardens, formerly the stables of Government House. Elsewhere on the same page in the &amp;lsquo;Music and Drama&amp;rsquo; section there is a complimentary article to remind readers of two previous seasons of the opera, and to discuss the opera&amp;rsquo;s origins and style. The &amp;lsquo;rustic&amp;rsquo; opera by Americans Reginald De Koven (music) and Harry B. Smith (libretto) was written in Chicago in the 1880s and, according to the newspaper article, features comic treatment of the characters of the Sherriff and Sir Guy. The opera is based on the popular adventures of the outlaw Robin Hood and is set in Nottingham, England, during the reign of Richard I (the Lionheart) during his time abroad on crusade.&lt;/p&gt;&#13;
&lt;p&gt;For the article see &lt;a href="http://nla.gov.au/nla.news-article28052740"&gt;http://nla.gov.au/nla.news-article28052740&lt;/a&gt;&lt;/p&gt;</text>
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              <text>&lt;p&gt;&lt;a href="http://www.youtube.com/watch?v=EXXifVGU8Lk"&gt;http://www.youtube.com/watch?v=EXXifVGU8Lk&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;</text>
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                <text>â€˜Gallantry is backâ€™ St George beer commercial</text>
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                <text>Advertisement, alcohol, beer, Boagâ€™s Brewery, chivalry, commercial, crusade, dragon, gallantry, â€˜gallantry is backâ€™, James Boagâ€™s, Launceston, logo, St George, sword, Tas, Tasmania.</text>
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                <text>&lt;p&gt;This advertisement is for the Launceston, Tasmania, brewing company James Boag&amp;rsquo;s &amp;lsquo;St George&amp;rsquo; beer. The slogan of the commercial is &amp;lsquo;Gallantry is back&amp;rsquo;, which plays on one of the attributes associated with St George, that of honour. In medieval chivalric culture St George was also depicted as showing great chivalry towards women, and this is the notion found in the advertisement. The advertisement concludes with the logo of a mounted St George coming to life and trampling a dragon underfoot.&lt;/p&gt;&#13;
&lt;p&gt;For the advertisement see &lt;a href="http://www.youtube.com/watch?v=EXXifVGU8Lk"&gt;http://www.youtube.com/watch?v=EXXifVGU8Lk&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;</text>
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                <text>James Boag Brewery</text>
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                  <text>This Collection analyses popular medievalism in material and public culture from the mid-nineteenth century to the present, with an emphasis on popular medievalist theatre, parades and public spectacles, as well as recreational, literary and political associations. It explores the ways in which medievalism was not simply derivative but also local and disctinctive. In this Collection you will find items relating to medievalism in public contexts and popular culture, and the revisitation or reenactment of the Middle Ages by groups such as the Society for Creative Anachronism.</text>
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              <text>&lt;p&gt;&lt;a href="http://www.classicblonde.com.au/#/brands/stgeorge/regular/background/"&gt;http://www.classicblonde.com.au/#/brands/stgeorge/regular/background/&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;</text>
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                <text>Alcohol, beer, Boagâ€™s Brewery, crusade, dragon, label, logo, James Boagâ€™s, Launceston, St George, sword, Tas, Tasmania.</text>
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                <text>&lt;p&gt;The Launceston, Tasmania, brewing company James Boag has a &amp;lsquo;St George&amp;rsquo; beer. The bottle&amp;rsquo;s label features St George on a horse and carrying a sword trampling a dragon underfoot. This was one of the original logos of the brewery and has been used since 1883. The Boag&amp;rsquo;s website states that St George symbolises &amp;lsquo;strength, honour and courage&amp;rsquo;. Although the mounted figure depicts a more historic St George, who was a Roman soldier, than most other images, the tale of St George fighting a dragon is thought to have been brought to Western Europe by crusaders returning from the Holy Lands in the eleventh century.&lt;/p&gt;&#13;
&lt;p&gt;More information about the beer can be found at &lt;a href="http://www.classicblonde.com.au/#/brands/stgeorge/regular/background/"&gt;http://www.classicblonde.com.au/#/brands/stgeorge/regular/background/&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;</text>
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              <elementText elementTextId="21379">
                <text>James Boag Brewery</text>
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      <tag tagId="3222">
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                  <text>This Collection analyses popular medievalism in material and public culture from the mid-nineteenth century to the present, with an emphasis on popular medievalist theatre, parades and public spectacles, as well as recreational, literary and political associations. It explores the ways in which medievalism was not simply derivative but also local and disctinctive. In this Collection you will find items relating to medievalism in public contexts and popular culture, and the revisitation or reenactment of the Middle Ages by groups such as the Society for Creative Anachronism.</text>
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              <text>&lt;a href="http://www.stgeorge.com.au/" target="_blank"&gt;http://www.stgeorge.com.au/&lt;/a&gt;</text>
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                <text>Bank, Crusade, dragon, logo, New South Wales, NSW, St George, St George Bank, Sydney, Westpac.</text>
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                <text>&lt;p&gt;St George Bank was formed in Sydney, New South Wales, in 1937 and is now a subsidiary of Westpac Banking Corporation. Despite its name, the logo of the bank fails to depict St George himself, but instead has a stylised head of a fire-breathing dragon, alluding to the popular tale of St George killing a dragon. The tale is thought to have been brought to Western Europe by crusaders returning from the Holy Lands in the eleventh century.&lt;/p&gt;&#13;
&lt;p&gt;The logo can be found on their website: &lt;a href="http://www.stgeorge.com.au/" target="_blank"&gt;http://www.stgeorge.com.au/&lt;/a&gt;&lt;/p&gt;</text>
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            <element elementId="50">
              <name>Title</name>
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                  <text>Medievalism at the Foundations</text>
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                  <text>This Collection illustrates how medievalism has always existed â€˜in plain viewâ€™ in Australian public life, as a conspicuous cultural memory ghosting Australiaâ€™s modernity. It focuses on discourses about, debates over, and changing interpretations of i) Australiaâ€™s medievalist political and religious institutions and rituals, ii) its architecture, and iii) its civic environment. In this Collection are items relating to all three of these key areas. Firstly, you will find items that point to the medieval influences and inflections that still permeate and influence our political, legal and religious institutions and traditions. Secondly, you will find numerous examples of neo-gothic and neo-romanesque architecture, and some cases where architectural features are known to have been modelled on specific medieval buildings. Thirdly, you will find items relating to the ways in which medievalism is incorporated into our civic environments and expressed through statues, monuments and war memorials.</text>
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      <elementSet elementSetId="1">
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Saracen Estates Winery, Margaret River</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Crusade, Crusades, Margaret River, Saracen, Saracen Estates Winery, scimitar, sculpture, sculptures, shield, sword, tourism, WA, South West, south-west, warrior, Western Australia, winery, wine</text>
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                <text>&lt;p&gt;This photograph is of a life-size bronze sculpture of a Saracen warrior at the entrance to the cellar of Saracen Estates Winery on Caves Road in the Margaret River region of Western Australia. The warrior is mounted and carries a curved sword, known as a scimitar, and a round shield. Saracens were first mentioned by Roman authors and in the medieval period the term was often used to describe all Arabs, or even all Muslims. They were particularly associated with those fighting the European Crusaders during the medieval Crusades to the Holy Land.&lt;/p&gt;&#13;
The website of the winery can be found at &lt;a href="http://www.saracenestates.com.au/Home.aspx" target="_blank"&gt;http://www.saracenestates.com.au/Home.aspx&lt;/a&gt;.</text>
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                <text>McEwan, Joanne</text>
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