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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;a href="http://www.artgallery.nsw.gov.au/collection/works/8536/" target="_self"&gt;http://www.artgallery.nsw.gov.au/collection/works/8536/&lt;/a&gt;</text>
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                <text>â€˜The Fight: St George Kills the Dragon VIâ€™ by Edward Burne-Jones</text>
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                <text>Aesthetic Pre-Raphaelitism, armor, armour, art, artwork, chivalric tradition, chivalry, damsel, dragon, gallantry, George, knight, legend, Myles Birket Foster, myth, New South Wales, NSW, Pre-Raphaelite, Princess Sabra, St George, sword, The Hill, Witley. </text>
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                <text>This oil on canvas painting by well-known nineteenth-century artist Edward Burne-Jones was gifted to the Art Gallery of New South Wales by Arthur Moon. It is one of seven paintings from a â€˜St George and the Dragonâ€™ narrative cycle that Burne-Jones was commissioned to produce in 1864 for the dining room of Myles Birket Fosterâ€™s house, The Hill, in Witley, Surrey. Completed in 1866, this is the sixth painting in the series. It depicts an armoured St George slaying a reptilian looking dragon, while a female figure wearing a flowing white gown and a wreath of flowers - Princess Sabra from the legend - clasps her hands and watches tentatively from the sidelines. The deadly threat posed by the dragon, and by extension the valour of the knight in quashing it, is evident from the skull and broken lance lying in the foreground of the painting. Although the legend of St George slaying the dragon is Eastern in origin, it is thought to have been taken back to England by medieval crusaders, where it was incorporated into the chivalric tradition. As the patron saint of England, a champion of Christianity, and an exemplar of chivalric masculinity, St George was a popular subject for Pre-Raphaelite artists such as Burne-Jones, and for the Victorian medieval revival more generally. </text>
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                <text>Edward Burne-Jones</text>
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                <text>The Art Gallery of New South Wales</text>
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                <text>1866</text>
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                <text>The Art Gallery of New South Wales</text>
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                <text>Oil on Canvas, 105.4cm x 130.8cm</text>
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                  <text>Medievalism on the Streets</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.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>2006</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.flickr.com/photos/34094515@N00/5762793457/in/set-72157626676456279"&gt;http://www.flickr.com/photos/34094515@N00/5762793457/in/set-72157626676456279&lt;/a&gt;&lt;strong&gt; &lt;/strong&gt;&lt;/p&gt;</text>
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                <text>â€˜The Black Knightâ€™</text>
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                <text>armor, armour, Blacktown, Blacktown Medieval Fayre, chivalric, chivalry, gallantry, horse, jousting, knight, lance, medieval fair, New South Wales, NSW, Nurragingy Reserve, plate armour, re-enactment, reenactment, Richard Taylor, Sir Walter Scott, Sydney, tournaments, Western Sydney</text>
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                <text>This detailed action photograph of two knights jousting was taken at the Blacktown Medieval Fayre by Richard Taylor in 2011. Considerable attention to detail is evidenced by quality gear and trappings. Note the blunt headed lance and knightly accoutrements. The combatants shown here are members of Full Tilt, â€œa world renowned quality jousting outfit,â€ that could have been extracted from the pages of a novel by Sir Walter Scott. The knights in this photograph wear plate armour, which fits with the rising popularity of jousting tournaments in the fifteenth century. By this time plate armour had largely replaced chain mail as the protective garment of choice for knights. The black colouring of the armour adds to the theatricality of the event.&#13;
&#13;
The Blacktown Medieval Fayre is billed as â€œa world of medieval magic,â€ and is part of the annual Blacktown Fiesta, an eight day extravaganza hosted by Blacktown City Council. It is just one of several interesting medieval events held throughout the country at different times of the year.&#13;
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                <text>Â© Richard Taylor. Some rights reserved dicktay2000</text>
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                <text>An image of a Great War Memorial Cross situated in the grounds of St Peterâ€™s Cathedral in Adelaide, South Australia. The colourful mosaic in the centre of the cross depicts a warrior armed with a shield and a lance, and draws on a number of different symbolic references to represent WWI soldiers as courageous, brave and righteous fighters. The tunic and the armour look classical, but the lance, the shield and the halo are distinctively medieval. The shield bearing the St George cross is reminiscent of those carried by knights during the Crusades, while the lance, an instrument used by jousting knights in the High Middle Ages, suggests gallantry, chivalry and honour. The halo encircling the figureâ€™s head is a common iconographic motif in medieval depictions of saints, and the white cloak has likely also been added to symbolise virtue and righteousness. </text>
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                <text>Dorey, Margaret</text>
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            <description>Information about rights held in and over the resource</description>
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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;br /&gt;&lt;/span&gt;</text>
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                <text>Alfred Lord Tennyson (1809-1892), Art, Arthur, Arthurian, Arthurian legend, Arthurian romance, chivalric, chivalry, Galahad, gallantry, Holy Grail, Idylls of a King, illustration, knight, Le Morte dâ€™Arthur, legend, Mabinogion, narrative poem, nostalgia, nun, piety, poem, purity, Sir Galahad, Sir Thomas Malory (1405-1471), Victorian revival</text>
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                <text>This photograph, taken by Julia Margaret Cameron in 1874, is held by the Art Gallery of South Australia. It depicts Sir Galahad, one of the Knights of the Round Table in Arthurian legend, and a nun. The illegitimate son of Lancelot and Elaine of Corbenic, Galahad was raised in a convent under the care of the Abbess, his Great Aunt. He was one of only 3 Knights to see the Holy Grail, and is renowned in legend for his gallantry, his piety and his purity. He was a popular character in the Victorian revival of Arthurian myth, and these qualities were emphasised in Alfred Lord Tennysonâ€™s 1842 poem â€˜Sir Galahadâ€™. This particular photograph appeared as Plate IX in Alfred Lord Tennysonâ€™s Idylls of the King and Other Poems, a collection of 12 narrative poems retelling the King Arthur legend published between 1856 and 1885. Tennysonâ€™s version was based primarily on two well-known medieval texts: Sir Thomas Maloryâ€™s Le Morte dâ€™Arthur and the Mabinogion. </text>
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                <text>Art Gallery of South Australia</text>
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                <text>Art Gallery of South Australia</text>
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                <text>Albumen-silver photograph, 33.4 x 27.2 cm;&#13;
Hyperlink</text>
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