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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>Digitised Newspaper Article, National Library of Australia - &lt;a href="http://nla.gov.au/nla.news-article58414412" target="_blank"&gt;http://nla.gov.au/nla.news-article58414412&lt;/a&gt;</text>
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                <text>Wedding Fashions</text>
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                <text>bouquet, brides, bride, bridesmaids, brocade, chiffon, clothing, coronet, dress, gown, fashion, headdress, jackets, lace, lilies, medieval lines, medieval style, roses, satin, tulle, veil, velvet, wedding, wedding dress, womenâ€™s fashion</text>
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                <text>In this column on wedding fashions in 1929, readers are advised that the favoured style for wedding dresses has changed from the short straight frocks of the previous year to long medieval style dresses. A long frock, the author suggests, is more dignified than a short or flimsy one, and is therefore â€œmuch more in keeping with the church serviceâ€. Materials such as velvet and satin are recommended, and a new tendency to eliminate the train and replace it with a flowing tulle veil is noted. Veils of tulle or chiffon are advised to create a â€œcloudy effectâ€ that contrasts the heavier material of the dress. The bridesmaidâ€™s dresses, the article concludes, should be in the same style as the bride. If the bride wears a velvet dress of medieval design, it instructs, the bridesmaids should also wear velvet in a different colour, and definitely not tulle frocks of the early Victorian style. </text>
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                <text>The Sunday Times</text>
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                <text>12 May 1929, p. 5s.</text>
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                <text>The Sunday Times</text>
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                <text>â€œThe Winterâ€™s Taleâ€ for Perth Stage</text>
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                <text>Antigonus, Apolloâ€™s Temple, Bohemia, Camillo, costume, drama, Emilia, Florizel, head dress, head-dress, headdress, Hermione, jealousy, John Alden (1908-1962), John Alden Shakespearean Company, Leontes, Mamillius, medieval costume, medieval dress, oracle, Pauline, Perdita, performance, Perth, Polixenes, Shakespeare, shepherd, shepherdess, shoes, Sicilia, sleeves, stage, theatre, The Winterâ€™s Tale, WA, Western Australia, William Shakespeare (1564-1616)</text>
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                <text>&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&lt;span style="font-size: 10pt;"&gt;In this article from The West Australian in  1952, notice of the upcoming stage production  of Shakespeare&amp;rsquo;s &amp;ldquo;The Winter&amp;rsquo;s Tale&amp;rdquo; by the John Alden Shakespearean  Company is given. The medieval costumes - including elaborate  head-dresses, pointed shoes and draped sleeves - would be particularly  appealing to Perth audiences, the article suggests, because  they were such a marked change from the plays usually performed on the  Perth stage. &lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&lt;span style="font-size: 10pt;"&gt;About The Winter&amp;rsquo;s Tale:&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&lt;span style="font-size: 10pt;"&gt;In &amp;ldquo;The Winter&amp;rsquo;s Tale&amp;rdquo;, Leontes, the King  of Sicilia, becomes consumed with jealousy that  Hermione, his wife, is having an affair with the King of Bohemia  (Polixenes). He instructs his councillor Camillo to poison Polixenes,  but instead Camillo reveals Leontes&amp;rsquo; plans and both he and Polixenes  secretly leave for Bohemia. The pregnant Hermione is  banished to prison, where she gives birth to a daughter. Refusing to  believe the legitimacy of the child, Leontes demands that the child be  burned alive and then, upon the protestations of his chief adviser  Antigonus, abandoned off the coast of Bohemia. In  the events that unfold over the following Act, Leontes refuses to  believe an oracle from Apollo&amp;rsquo;s Temple exonerating Hermione&amp;rsquo;s and orders  her trial to proceed, his son Mamillius dies, Hermione dies, Leontes  realises his mistake and repents, Antigonus is killed  by a bear and a shepherd finds the abandoned baby and takes her home.  Sixteen years later, in Bohemia, the story recommences with Polixenes  expressing concern that his son Florizel has fallen in love with a  shepherdess. He attends a sheep-shearing festival  in disguise, revealing himself at the last moment to prevent the  betrothal of the couple, after which Florizel and the shepherdess are  advised by Camillo (now Polixenes&amp;rsquo; chief adviser) to flee to Sicilia.  When Polixenes also arrives in Sicilia with the shepherd  and his son, the shepherdess&amp;rsquo; identity as Leontes&amp;rsquo; lost child is  discovered and her marriage to Florizel condoned, Leontes and Polixenes  are friends once more, and a statue of Hermione comes to life, revealing  that she is alive and has been waiting to be reunited  with her daughter.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&lt;span style="font-size: 10pt;"&gt;For a copy of the text, see: &lt;a href="http://www.gutenberg.org/ebooks/2248" target="_blank"&gt;&lt;span style="color: #0000ff;"&gt;http://www.gutenberg.org/ebooks/2248&lt;/span&gt;&lt;/a&gt;. &lt;/span&gt;&lt;/p&gt;</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="line-height: 115%; font-size: 10pt;"&gt;National Library of Australia,&lt;/span&gt;&lt;span style="line-height: 115%; font-size: 10pt;"&gt; &lt;/span&gt;&lt;span lang="EN"&gt;&lt;a href="http://nla.gov.au/nla.news-article49052507" target="_blank"&gt;&lt;span style="font-family: Calibri; color: #0000ff; font-size: small;"&gt;http://nla.gov.au/nla.news-article49052507&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;&lt;a href="../../items/show/402"&gt;&lt;/a&gt;</text>
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                <text>The West Australian</text>
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                <text>13 September 1952, p. 5.</text>
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                <text>The West Australian</text>
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                <text>&amp;ldquo;This is What Women Wore in Bygone Times&amp;rdquo;, The West Australian, 18 September 1952, p. 7, &lt;a href="../../items/show/402"&gt;http://ausmed.arts.uwa.edu.au/items/show/402&lt;/a&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>This is What Women Wore in Bygone Times</text>
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                <text>&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&amp;nbsp;&lt;/p&gt;&#13;
&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&amp;nbsp;&lt;/p&gt;&#13;
&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&lt;span style="font-family: Tahoma; color: #000000; font-size: x-small;"&gt;&#13;
&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&lt;span style="font-size: 10pt;"&gt;This  article features a photograph of costume head-dresses from the stage  production of Shakespeare&amp;rsquo;s &amp;ldquo;The Winter&amp;rsquo;s Tale&amp;rdquo;  performed in Perth in 1952 as part of a national tour by the John Alden  Shakespearean Company. The four actresses in the photograph are Lucille  Robinson and Elsie Dayne (ladies of the court), Mavis Turner (Perdita)  and Iris Hart (Emilia). The head-dresses  are described by the author as &amp;ldquo;millinery of medieval times&amp;rdquo;. &lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&lt;span style="font-size: 10pt;"&gt;About The Winter&amp;rsquo;s Tale:&lt;/span&gt;&lt;/p&gt;&#13;
&lt;/span&gt;&lt;span style="font-size: 10pt;"&gt;In &amp;ldquo;The Winter&amp;rsquo;s Tale&amp;rdquo;, Leontes, the King  of Sicilia, becomes consumed with jealousy that  Hermione, his wife, is having an affair with the King of Bohemia  (Polixenes). He instructs his councillor Camillo to poison Polixenes,  but instead Camillo reveals Leontes&amp;rsquo; plans and both he and Polixenes  secretly leave for Bohemia. The pregnant Hermione is  banished to prison, where she gives birth to a daughter. Refusing to  believe the legitimacy of the child, Leontes demands that the child be  burned alive and then, upon the protestations of his chief adviser  Antigonus, abandoned off the coast of Bohemia. In  the events that unfold over the following Act, Leontes refuses to  believe an oracle from Apollo&amp;rsquo;s Temple exonerating Hermione&amp;rsquo;s and orders  her trial to proceed, his son Mamillius dies, Hermione dies, Leontes  realises his mistake and repents, Antigonus is killed  by a bear and a shepherd finds the abandoned baby and takes her home.  Sixteen years later, in Bohemia, the story recommences with Polixenes  expressing concern that his son Florizel has fallen in love with a  shepherdess. He attends a sheep-shearing festival  in disguise, revealing himself at the last moment to prevent the  betrothal of the couple, after which Florizel and the shepherdess are  advised by Camillo (now Polixenes&amp;rsquo; chief adviser) to flee to Sicilia.  When Polixenes also arrives in Sicilia with the shepherd  and his son, the shepherdess&amp;rsquo; identity as Leontes&amp;rsquo; lost child is  discovered and her marriage to Florizel condoned, Leontes and Polixenes  are friends once more, and a statue of Hermione comes to life, revealing  that she is alive and has been waiting to be reunited  with her daughter.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&lt;span style="font-size: 10pt;"&gt;For a copy of the text, see: &lt;a href="http://www.gutenberg.org/ebooks/2248" target="_blank"&gt;&lt;span style="color: #0000ff;"&gt;http://www.gutenberg.org/ebooks/2248&lt;/span&gt;&lt;/a&gt;. &lt;/span&gt;&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>In this instalment of â€œThe Ladiesâ€™ Sectionâ€ of the Sunday Times, an illustration is provided of a fashionable wedding dress described as being â€œof medieval inspirationâ€. The simplicity of the dress, the caption suggests, is what constitutes its charm. The dress is cut along medieval lines and embellished with pearl trimmings. </text>
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PDF</text>
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                <text>The Ancient Order of Foresters - Women Parading in Headdresses</text>
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                <text>&lt;p&gt;Image depicting two women of the Ancient Order of Foresters wearing elaborate headdresses at a parade in 1929.&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;About the Ancient Order of Foresters:&lt;/strong&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;The Ancient Order of Foresters originated in England in the mid-eighteenth century, with the first recorded Foresters meeting being held in Leeds in 1834. The Ancient Order of Foresters established its first branch (court) in Australia in Victoria in 1849.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;The Foresters are a non-profit &lt;span class="spelle"&gt;organisation&lt;/span&gt;. The principles of the society are founded on a desire to provide financial and social benefits as well as support to members and their families in times of unemployment, sickness, death, disability and old age. Consequently, the Foresters played a particularly active role in the lives of members and their families during the Depression and both World Wars.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;Membership growth was significant during and up to the mid 1940's. At this stage the society had nearly one hundred courts located throughout Victoria, and had representation in all states of Australia. During this period funds raised by Foresters contributed to the construction of approximately twenty Foresters halls throughout the state. These facilities were &lt;span class="spelle"&gt;utilised&lt;/span&gt; for meetings and community purposes and halls were used as refuges in times of trauma such as bushfires and floods.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;In the post Second World War period membership began to decline as the social circumstances improved due to the growth of the economy and an abundance of work and improvement in the provision of government benefits. Although the importance of such groups as the Ancient Order of Foresters has declined in recent years, the society through a core of loyal and dedicated &lt;span class="grame"&gt;members,&lt;/span&gt; has never wavered from its original objectives and mission to "serve the community and deserving groups by involvement in social activities and fund raising for charities." &lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="MsoNormal"&gt;&lt;a href="http://www.forestersfs.com.au/1history.html"&gt;http://www.forestersfs.com.au/1history.html&lt;/a&gt;&lt;/p&gt;</text>
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