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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>&lt;p&gt;To view this image,&lt;/p&gt;&#13;
&lt;p&gt;1.&amp;nbsp; go to: &lt;a href="http://www.artgallery.sa.gov.au/agsa/home/Collection/CollectionSearch.jsp" target="_blank"&gt;http://www.artgallery.sa.gov.au/agsa/home/Collection/CollectionSearch.jsp&lt;/a&gt;&lt;/p&gt;&#13;
&lt;span style="color: #000000; font-family: Tahoma; font-size: x-small;"&gt;2.&amp;nbsp;&amp;nbsp; search by artist or title. &lt;/span&gt;&lt;br /&gt;</text>
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                <text>The Feigned Death of Juliet</text>
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                <text>bedchamber, Capulet, characters, Count Paris, domestic interior, Frederic Leighton (1830-1896), Friar Laurence, Juliet, Lady Capulet, medieval dress, music, musical instruments, musicians, nurse, play, Romeo and Juliet, SA, Shakespearean characters, South Australia, tragedy, William Shakespeare (1564-1616)</text>
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                <text>This oil on canvas painting by nineteenth-century artist Frederic Leighton was acquired by the Art Gallery of South Australia with funds from the Elder Bequest in 1899. Titled â€˜The Feigned Death of Julietâ€™ it depicts a scene from William Shakespeareâ€™s tragedy 'Romeo and Juliet'. In Act IV Scene V of the play, Count Paris arrives at the Capulet house with Friar Laurence to claim Juliet as his bride. However, instead of finding her ready to proceed to the church to be wed, he discovers Juliet seemingly lifeless in her chamber. In Leightonâ€™s painting, Juliet is shown lying on a bed surrounded by her mother, her nurse, her father and Count Paris. Friar Laurence hovers in the corner and a band of musicians congregate by the open door with their instruments. Although the play was written in the 1590s, it is set in Verona in an earlier (but unspecified) period. The characters in the painting are all depicted wearing styles of dress typical of the High Middle Ages. </text>
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                <text>Leighton, Frederic</text>
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                <text>Art Gallery of South Australia</text>
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                <text>Art Gallery of South Australia&#13;
&#13;
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                <text>1856 - 1858</text>
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                <text>Art Gallery of South Australia</text>
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                <text>Oil on Canvas, 113.6 x 175.2cm;&#13;
Hyperlink</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;Newspaper Article:&lt;/p&gt;&#13;
&lt;p&gt;National Library of Australia &lt;span&gt;&lt;span style="font-family: Tahoma; color: #000000; font-size: x-small;"&gt;&lt;a href="http://nla.gov.au/nla.news-article58662791" target="_blank"&gt;&lt;span style="color: #0000ff;"&gt;http://nla.gov.au/nla.news-article58662791&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;</text>
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                <text>"Saint Joan"</text>
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                <text>Albert Chevalier, Atholl Fleming (1984-1972), Battle, Bishop of Beauvais, Bluebeard, British stage, Bruce Winston, canonisation, Captain La Hire, cast, characters, Charles VII, Charles de Ponthieu (1403-1461), Christopher Casson (1912-1996), Dauphin, Donald Eccles (1908-1986), drama, Dunois, Earl of Warwick, George Bernard Shaw (1856-1950), Hilda Davies, His Majestyâ€™s Theatre, Hundred Yearsâ€™ War (1336-1453), Inquisitor, Jeanne dâ€™Arc, Joan of Arc (1412-1431), Ladvenu, Leonard Bennett, Lewis Casson (1875-1969), maid of OrlÃ©ans, medieval France, Michael Martin-Harvey (1897-1975), New Theatre, Page, Perth, play, Poulengey, Rheims Cathedral, Robert de Baudricourt, Rouen, Saint Joan, â€œSaint Joanâ€, St. Joan, St Joan, saint, saints, stage, Sybil Thorndike (1882-1976), T. Tracy, theatre, theatrical production, trial, warrior, Zillah Carter (1864-1941)</text>
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                <text>&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;"&gt;&lt;span style="font-size: 10pt;"&gt;This article from the Sunday Times provides  a positive review of George Bernard Shaw&amp;rsquo;s &amp;ldquo;Saint Joan&amp;rdquo;, which  premiered in Australia at His Majesty&amp;rsquo;s Theatre in 1932. &amp;ldquo;Saint Joan&amp;rdquo; is  a play based  on the life (Scenes 1-5), trial (scene 6) and canonisation (Epilogue)  of Joan of Arc. The play&amp;rsquo;s depiction of medieval France is praised by  the reviewer as vivid and realistic. For a copy of Shaw&amp;rsquo;s &amp;ldquo;Saint Joan&amp;rdquo;,  see &lt;a href="http://gutenberg.net.au/ebooks02/0200811h.html" target="_blank"&gt;&lt;span style="color: #0000ff;"&gt;http://gutenberg.net.au/ebooks02/0200811h.html&lt;/span&gt;&lt;/a&gt;. &lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;"&gt;&lt;strong&gt;&lt;span style="font-size: 10pt;"&gt;&amp;nbsp;&lt;/span&gt;&lt;/strong&gt;&lt;/p&gt;&#13;
&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;"&gt;&lt;span style="font-size: 10pt;"&gt;About Joan of Arc:&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;"&gt;&lt;span style="font-size: 10pt;"&gt;&lt;br /&gt; Joan of Arc was born in 1412 in the French village of Domr&amp;eacute;my. From the  age of about 12, Joan had visions of saints and heard heavenly voices  that increasingly urged her to fight for France during the Hundred  Years&amp;rsquo; War. She travelled to the court of Charles  De Ponthieu, the Orl&amp;eacute;anist claimant to the throne, where she was  provided with a suit of armour and her distinctive banner depicting a  golden fleur-de-lys. She secured a decisive military victory to rescue  the city of Orl&amp;eacute;ans from the Earl of Salisbury&amp;rsquo;s English  army in 1429, and was present at the coronation of Charles VII.  However, in May the following year Joan was captured by Burgundian  forces at Compi&amp;egrave;gne, and was handed over to the English. She was tried  at Rouen on charges of witchcraft and heresy, and was  condemned to death. On 30 May 1431, she was executed. Two and a half  decades later, the case was appealed and her conviction was overturned.  She was beatified in 1909 and canonised as a saint in 1920.&lt;/span&gt;&lt;/p&gt;</text>
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                <text>Anon.</text>
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                <text>&lt;span&gt;&lt;span style="font-family: Tahoma; color: #000000; font-size: x-small;"&gt;&lt;span style="font-size: 10pt;"&gt;National Library of Australia, &lt;/span&gt;&lt;span style="font-size: 10pt;" lang="EN"&gt;&lt;a href="http://nla.gov.au/nla.news-article58662791" target="_blank"&gt;&lt;span style="color: #0000ff;"&gt;http://nla.gov.au/nla.news-article58662791&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;</text>
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                <text>8 May 1932</text>
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                <text>National Library of Australia</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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