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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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                <text>&lt;p&gt;The Window of Roman-era Saints is in the south wall of St David&amp;rsquo;s Anglican Cathedral, Hobart. The large pointed arch window with stonework tracery is made up of three lancet windows with stained glass. Each lancet window features a Saint martyred during the rule of the Roman Empire: St Stephen (died c. 34), St Alban (3rd century), and St Laurence (c. 225-258). St Alban is depicted as a knight from the late middle ages in plate armour, an embroidered tunic, and wearing a sword. The saints stand upon a tiled platform of Gothic stonework featuring columns, blind arcading, pointed finials, as well as Romanesque semi-circular arches. Below each of the platforms is a heraldic shield.&lt;/p&gt;&#13;
&lt;p&gt;For the interior of the Cathedral see &lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1198"&gt;http://ausmed.arts.uwa.edu.au/items/show/1198&lt;/a&gt;&lt;/p&gt;</text>
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                <text>&lt;p&gt;The Window of Old Testament is in St David&amp;rsquo;s Anglican Cathedral, Hobart. It was created by the firm Burlison and Grylls in London and installed in 1872. The window is made up of three lancet windows with a figure in each: King David, King Solomon, and King Hezekiah. King Solomon is dressed as a king of the late medieval period. In his right hand he holds a scale model of a Gothic church with a tower, spire, buttresses, and apse. Kings Solomon and Hezekiah also wear medieval-era crowns and swords. Below the each of the figures is a heraldic shield.&lt;/p&gt;&#13;
&lt;p&gt;For the interior see &lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1198"&gt;http://ausmed.arts.uwa.edu.au/items/show/1198&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;</text>
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                <text>&lt;p&gt;This monument to William Bedford (1781-1852) is situated in St David&amp;rsquo;s Park (previously a cemetery), Hobart. Bedford was arrived in Hobart in 1823 and became the senior chaplain of St David&amp;rsquo;s Church, the main Church of England church in the colony. The cenotaph was raised by public subscription in 1853 and placed over his remains. It is in the Gothic style and features delicate pointed arches and the elaborate stonework often associated with ecclesiastical architecture.&lt;/p&gt;&#13;
&lt;p&gt;For more on William Bedford see: &lt;a href="http://adb.anu.edu.au/biography/bedford-william-1760"&gt;http://adb.anu.edu.au/biography/bedford-william-1760&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;</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;This photograph of a sign was taken at the rear of the Cascade Brewery. The sign features a warrior on horseback killing a dragon with a lance. The similarity of the sign to the original St George logo used by the Launceston brewery Boag&amp;rsquo;s, which was purchased by Cascade Brewery in 1922, suggests that this may also be an image of the warrior saint popular during the medieval period.&lt;/p&gt;&#13;
&lt;p&gt;For the Boag's Brewery image see &lt;a href="http://ausmed.arts.uwa.edu.au/items/show/884"&gt;http://ausmed.arts.uwa.edu.au/items/show/884&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>McEwan, Joanna</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>&lt;p&gt;This pear case label for Viking Brand Fancy Grade Pears is approximately A4-size. It probably dates from 1938 or 1939 (see link below). Viking Brand were exported by W.H. Ikin &amp;amp; Son in Hobart and the produce was from Tasmania. The advert depicts a Viking dragon boat with both oars and sail being used. The boat also has round shields along its side, as is historically attested from the tenth-century Gokstad ship found in 1880 and now housed in the Viking Ship Museum near Oslo, Norway. The advertisement also proudly states that the pears are &amp;lsquo;Empire Produce&amp;rsquo;.&lt;/p&gt;&#13;
&lt;p&gt;For more information see &lt;a href="http://catalogue.statelibrary.tas.gov.au/item/?id=682142"&gt;http://catalogue.statelibrary.tas.gov.au/item/?id=682142&lt;/a&gt;&lt;/p&gt;</text>
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        <name>Viking Brand Fancy Grade Pears.</name>
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                <text>Advertisement, helmet, Hobart, horned helmet, icecream, logo, mythology, Norse, Odin, Old Norse mythology, shield, sign, Tas, Tasmania, Valhalla, Valhalla Icecream, Valkyrie, Viking, warrior, winged helmet.</text>
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                <text>&lt;p&gt;Valhalla Icecream is made in the Hobart suburb of Moonah. As seen on this advertising sign, the company&amp;rsquo;s logo features the side profile of the head of a Viking warrior on a red shield. The warrior wears a helmet with wings, a notion popular in the late 19&lt;sup&gt;th&lt;/sup&gt; century before Vikings with horned helmets became more popular. In Old Norse (Viking) mythology Valhalla was a giant hall where chosen warriors who had died in battle went to join the Norse god Odin. The warriors were led to Valhalla by Valkyries.&lt;/p&gt;&#13;
&lt;p&gt;For their website see &lt;a href="http://valhallaicecream.com.au"&gt;http://valhallaicecream.com.au&lt;/a&gt;&lt;/p&gt;</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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                <text>Buttress, Catholic, education, Gothic, Gothic Revival, Hobart, Henry Hunter, lancet window, St Maryâ€™s Cathedral, St Maryâ€™s College, Daniel Murphy, niche, lancet windows, pointed arch, Presentation Sisters, school, Tas, Tasmania, tower, tracery.</text>
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                <text>St Maryâ€™s College is a day school for girls is located beside St Maryâ€™s Catholic Cathedral in Hobart, Tasmania. The opening of the college was instigated by Bishop Daniel Murphy (1815-1907) in 1866 when he invited his sister Mother Superior Francis Murphy and four other Presentation Sisters to Hobart from Ireland. The school opened in February 1868. The original convent and school rooms were designed by architect Henry Hunter (1832-1892) and are still in use. The school is still administered by the Presentation Sisters. The large convent building (photograph one and two) includes Gothic features such as the pointed arch doorway, buttresses, pointed arch windows with tracery on the third storey, and three lancet windows in the tower. The smaller school building (photograph three) is in the Gothic Revival style and includes corner buttresses and groups of three lancet windows.    </text>
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                <text>Catholic, Gothic, Gothic Revival, William Hall, John Hardman, Hardman Studio, high alter, Hobart, Henry Hunter, lancet window, St Maryâ€™s Cathedral, Byron Malloy, tabernacle, Tas, Tasmania, tower, tracery, William Wardell, Robert William Willson, Bishop Willson.</text>
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                <text>&lt;p&gt;The building of St Mary&amp;rsquo;s Catholic Cathedral, Hobart, Tasmania, was instigated by Tasmania&amp;rsquo;s first Catholic bishop, Robert William Willson (1794-1866). The building was designed by William Wardell and built between 1860 and 1866, supervised by Henry Hunter (1832-1892). It was opened by Willson's successor Bishop Daniel Murphy (1815-1907). However the building was found to be faulty and had to be largely dismantled and rebuilt to a modified design by Hunter between 1876 and 1881. The building is in the Gothic Revival style. The interior includes pointed arch windows and columns supporting pointed arch openings within the nave. A survival from the original cathedral is the Hardman window. The stained glass window was made by the Hardman Studio run by John Hardman in Birmingham, England. It is based on Gothic windows of the fourteenth century and features five lancet windows and tracery. It is a memorial to Bishop William and his Vicar-General William Hall (1807-1866). Below the window is the tabernacle. It is made from the remains of the high alter carved by Byron Malloy that was installed at the re-opening of the cathedral in 1881.&lt;/p&gt;&#13;
&lt;p&gt;For the exterior see &lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1138"&gt;http://ausmed.arts.uwa.edu.au/items/show/1138&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;For the Norman font see &lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1133"&gt;http://ausmed.arts.uwa.edu.au/items/show/1133&lt;/a&gt;&lt;/p&gt;</text>
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                <text>&lt;p&gt;&lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1138"&gt;http://ausmed.arts.uwa.edu.au/items/show/1138&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1133"&gt;http://ausmed.arts.uwa.edu.au/items/show/1133&lt;/a&gt;&lt;/p&gt;</text>
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