1 8 2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Medievalism at the Foundations Description An account of the resource 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. Hyperlink Title, URL, Description or annotation. URL <a href="http://cs.nga.gov.au/Detail-LRG.cfm?View=LRG&IRN=100786">http://cs.nga.gov.au/Detail-LRG.cfm?View=LRG&IRN=100786</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource â€˜Inferno, canto XIII: The Forest of Suicidesâ€™ by Fiona Hall Subject The topic of the resource Afterlife, allegory, art, artwork, birds, canto, Dante Alighieri, dogs, epic poem, forest, Giacomo of Santâ€™ Andrea, harpies, Hell, â€˜Illustrations to Danteâ€™s Divine Comedyâ€™, Inferno, journey, Lano, medieval literature, mastiffs, medieval world-view, modern art, Pier della Vigna (c.1190-1249), photograph, poem, punishment, sin, soul, suffering, The Divine Comedy, The Forest of the Suicides, The National Gallery, trees, underworld, Virgil, wounded. Description An account of the resource This photographic artwork by Australian artist Fiona Hall belongs to a series titled ‘Illustrations to Dante’s Divine Comedy’. It is held by The National Gallery of Australia and depicts a scene from canto XIII of Dante Alighieri’s ‘Inferno’, the first part of his famous medieval Italian poem The Divine Comedy. Written between 1308 and 1321, The Divine Comedy tells of Dante’s journey through hell, purgatory and paradise respectively, guided at first by the Roman poet Virgil and then by his ideal woman, Beatrice. In canto XIII, Dante and Virgil descend into the second ring of the seventh circle of hell, where people who committed suicide were cast. They come across a thorny, tangled forest of gnarled trees that bleed and cry in pain when they are broken. One of the trees, who identifies himself as Pier della Vigna, a prominent figure at the imperial court of Frederick II, explains to Dante that people like himself who committed suicide were sent by Minos to the wood where they would grow into trees, all the while being wounded by harpies (half woman/half-bird creatures) who would tear and feast on their leaves. They are then disturbed by the sight of two figures running frantically through the forest. The slower of the two, subsequently identified as Giacomo of Sant’ Andrea, takes refuge in a bush, only to be pounced upon by a number of black female mastiffs who ‘rent him piecemeal’. For an English translation of ‘Inferno, canto XIII’, translated by the Rev. H. F. Cary, see: <a href="http://ebooks.adelaide.edu.au/d/dante/d19he/canto13.html">http://ebooks.adelaide.edu.au/d/dante/d19he/canto13.html</a> Creator An entity primarily responsible for making the resource Fiona Margaret Hall Source A related resource from which the described resource is derived The National Gallery of Australia Publisher An entity responsible for making the resource available The National Gallery of Australia Date A point or period of time associated with an event in the lifecycle of the resource 1988 Rights Information about rights held in and over the resource The National Gallery of Australia Format The file format, physical medium, or dimensions of the resource Photograph, 53.3cm x 61.5cm. â€˜Illustrations to Danteâ€™s Divine Comedyâ€™ Afterlife allegory art artwork birds canto Dante Alighieri dogs epic poem forest Giacomo of Santâ€™ Andrea harpies Hell Inferno journey Lano mastiffs medieval literature medieval world-view modern art photograph Pier della Vigna (c.1190-1249) poem punishment sin soul suffering The Divine Comedy The Forest of the Suicides The National Gallery trees underworld Virgil wounded Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Medievalism at the Foundations Description An account of the resource 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. Hyperlink Title, URL, Description or annotation. URL The City of Sydney Archives digital photograph bank: <a href="http://photosau.com.au/Cos/scripts/home.asp" target="_blank">http://photosau.com.au/Cos/scripts/home.asp</a> Type: ‘stained glass’ into the Search box, then ‘click’ Search View: Image 5 – 006121 (click to enlarge). Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The â€˜Australiaâ€™ window; or â€˜Oceaniaâ€™ in the Sydney Town Hall Subject The topic of the resource Allegory, centenary, colony, Goodlet & Smith, lantern, Lucien Henry, nationalism, neo-romanesque, New South Wales, Norman Revival, NSW, patriotism, Romanesque, Southern Cross, stained glass, Sydney, Sydney Town Hall, symbolism, trident, Union Jack, window Description An account of the resource One of two neo-romanesque with rounded heads and stylised borders designed by Frenchman Lucian Henry and manufactured by Goodlet & Smith for the Sydney Town Hall auditorium, at a time when national fervour was running high in the late nineteenth century. These windows are reminiscent of Romanesque or Norman figural windows dating from the eleventh century. A tall allegorical figure, which doubtless personifies the colony of NSW, wears a helmet of ramâ€™s horns encircled by the sunâ€™s rays. She carries a minerâ€™s lantern and a trident. The figure is draped in the Union Jack, and framed by four white stars on blue grounds in the shape of the Southern Cross. The fifth star is placed upon the womanâ€™s forehead. Symbolism of this type has decidedly classical and also medieval precedents (See James Hall, Dictionary of Subjects and Symbols in Art, 2nd Edition, Boulder, Westview Press, 2008, p.316). The woman stands astride the globe, which is inscribed with her name. The central window is flanked by decorative (and recognisably) Australian floral sidelights adorned with the words â€˜Advance Australiaâ€™ and the dates of the centenary (1788-1888). This â€˜Australiaâ€™ window is one of two inspirational Lucien Henry stair windows installed to celebrate Sydneyâ€™s centenary and to promote the developing national identity narrative. Creator An entity primarily responsible for making the resource Lucien Henry (designer) Goodlet & Smith (manufacturers) Date A point or period of time associated with an event in the lifecycle of the resource Sydney, 1887-88 (windows) Sydney, c. 1989 (photograph) Rights Information about rights held in and over the resource Â© City of Sydney Archives Format The file format, physical medium, or dimensions of the resource Hyperlink allegory centenary colony Goodlet & Smith lantern Lucien Henry nationalism neo-Romanesque New South Wales Norman Revival NSW patriotism Romanesque Southern Cross stained glass Sydney Sydney Town Hall symbolism trident Union Jack window