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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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                <text>The Walled City of Nuremburg â€“ The Cradle of Nazism.</text>
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                <text>Adam Krafft, Adam Kraft, Adam Kraft (c.1460-1509), Adolf Hitler (1889-1945), Albrecht DÃ¼rer (1471-1528), apprentice, architecture, art, artisan, artists, burgher, carving, cathedral, church, craftsmen, crozier, engraving, filigree stonework, gable, Germany, gothic architecture, guild, Hans Sachs (1494-1576), journeyman, masonry, Master, medieval city, medieval craft, medieval guild, medieval housing, merchant, monstrance, Nuremburg, painting, Percy Bysshe Shelley (1792-1822), Peter Vischer (1455-1529), religion, Rothenburg, seven virtues, St Laurence, stone, stone carving, swastika, â€œTo a Skylarkâ€ (1820), undergarments, vaulting, Veit Stoss (1450-1533), walled city, wood carving</text>
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                <text>In this article, John T. McMahon describes a visit to the city of Nuremburg in 1936. Arriving only days after one of the Naziâ€™s infamous Nuremburg rallies, he notes the swastikaâ€™s still lining the streets and parade ground. For most of the article, however, McMahon concentrates on explaining Nuremburgâ€™s â€œsplendidâ€ medieval history, and the lasting traces of its past in the physical landscape. He describes tracing the line of the medieval walls, looking in awe at the large merchant houses with their elaborate adornments and recognising, as he looked over the city from the castle, why itâ€™s winding streets and narrow alleys had always held such a fascination for artists and etchers. He identifies Nuremburg as a town famous for its medieval craft guilds, and describes the artistic training and accomplishments of its most famous son, Albrecht DÃ¼rer. He concludes by describing the mastery of the carving work by Adam Kraft in St Laurenceâ€™s Church, which carried the gaze up to the vaulted ceiling â€œlike Shelleyâ€™s skylarkâ€. </text>
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                <text>Adolf Hitler, Hitler, Adolf Hitler (1889-1945), architecture, art, Bavaria, Bayreuth, burgher, Burgomaster Nusch, cathedral, church, commander-in-chief Tilly, â€œDer Meistertrunkâ€, Dinkelsbuhl, education, engraving, festival, Friedrich Schiller (1759-1805), Germany, German folklore, gothic architecture, â€˜heroic pastâ€™, historical plays, Johann Wolfgang von Goethe (1749-1832), journeyman, Master, medieval city, medieval craft, medieval housing, medieval town, merchant, Nazi parades, Nuremburg, pageant, Peasantsâ€™ Revolt (1525), Rathaus (Town Hall), religion, Roder gate, Rothenburg, school pilgrimages, St James, St Marcus Tower, Thirty Yearsâ€™ War (1618-1648), Tillman Riemenschneider (1460-1531), tradition, Wagner festival, walled town, Whitsuntide</text>
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                <text>In this article, John T. McMahon discusses a visit to Rothenburg in 1936, which he describes as â€œthe finest surviving example of a medieval city with its walls, gates and towersâ€. After giving a brief history of Rothenburgâ€™s medieval past, its conversion to Protestantism after the Peasantsâ€™ Revolt in 1525 and its involvement in the Thirty Yearsâ€™ War, he recounts a folkloric tale about Burgomaster Nusch saving the town from being plundered in 1621, by plying the Catholic Commander-in-Chief Tilly and his Imperial soldiers with large quantities of wine and himself accepting a challenge to drink the contents of a very large goblet. This tale, McMahon suggests, began the tradition of performing the historical festival play, â€œDer Meistertrunkâ€, in the Rathaus (Town Hall) every Whitsuntide. He then moves on to discuss what he coins as â€œHitlerâ€™s Historical Programmeâ€. In Nazi Germany, he suggests, there is a renewed interest in German folklore, a â€œrenaissance of interest in the heroic stories of the German peopleâ€. As well as the festival play in Rothenburg, he cites school pilgrimages to the homes of Goethe and Schiller, the founding of museums, and parades in historically significant locations such as Nuremburg as examples of this trend. He commends the â€œfar-reaching educative influence of such a treatment of historyâ€, suggesting that â€œwe could, with profit, do much more of that form of pageantry in school entertainments and occasional celebrationsâ€. He concludes, however, by taking issue with Hitlerâ€™s stance on religion. Not only were the church steeples and shrines he saw in Bavaria evidence of the continued importance of religious faith in the â€œsimple God-fearing lives of peasant farmersâ€, he argues, the continuing legacy of gothic churches such as St James (built in 1373) and ecclesiastical artwork such as Riemenschneiderâ€™s 1478 â€œLast Supperâ€ could simply not be overlooked. </text>
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      <tag tagId="2939">
        <name>Wagner festival</name>
      </tag>
      <tag tagId="2940">
        <name>walled town</name>
      </tag>
      <tag tagId="2941">
        <name>Whitsuntide</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
