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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;span&gt;&lt;a href="http://www.ngv.vic.gov.au/col/work/4277" target="_blank"&gt;&lt;span style="color: #0000ff;"&gt;http://www.ngv.vic.gov.au/col/work/4277&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;</text>
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                <text>The Flight of Jane Shore</text>
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                <text>Art, Edward IV (1442-1483), Elizabeth Shore (1445-1527), imprisonment, Jane Shore (1445-1527), Ludgate prison, mistress, Pre-Raphaelite, Richard III (1452-1485), royal mistress, Thomas Grey (c.1455-1501), VIC, Victoria, Wars of the Roses, William Hastings (c.1430-1483).</text>
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                <text>&lt;span style="font-family: 'Tahoma','sans-serif'; font-size: 10pt;"&gt;This painting by Val Prinsep was gifted to the National Gallery of Victoria in 1934 by A L Prinsep. It depicts a woman, who the title identifies as Jane Shore, crouching under a bridge in an attempt to hide from a group of soldiers looking to arrest her. Shore, whose birth name was actually Elizabeth, is believed to have been Edward IV&amp;rsquo;s royal mistress from approximately 1476 until his death in 1483. Following Edward&amp;rsquo;s death, she was linked by contemporary sources to Thomas Grey, marquess of Dorset, and William, Lord Hastings. Some historians have claimed that she was involved in a Woodville-Hastings plot against Richard (while he was still the Duke of Gloucester and&amp;nbsp;attempting to secure the throne), while others have suggested different, but similarly political, motives for his (mis)treatment of her. Shore was arrested on Richard&amp;rsquo;s command in 1483 and imprisoned, firstly in the tower of London and later in Ludgate prison. She was pardoned and released&amp;nbsp;upon her marriage to&amp;nbsp;the king&amp;rsquo;s solicitor, Thomas Lynom. For more on Jane Shore, see: &lt;/span&gt;&lt;span style="font-family: 'Tahoma','sans-serif'; font-size: 10pt;"&gt;Rosemary Horrox, &amp;lsquo;&lt;span&gt;Shore , Elizabeth [Jane]&lt;/span&gt;&lt;span&gt; (&lt;/span&gt;&lt;em&gt;&lt;span style="font-family: 'Tahoma','sans-serif';"&gt;d.&lt;/span&gt;&lt;/em&gt;&lt;span&gt; 1526/7?)&lt;/span&gt;&amp;rsquo;, &lt;em&gt;Oxford Dictionary of National Biography&lt;/em&gt;, Oxford University Press, 2004 [&lt;a href="http://www.oxforddnb.com/view/article/25451" target="_blank"&gt;http://www.oxforddnb.com/view/article/25451&lt;/a&gt;, accessed 6 Feb 2012]&lt;/span&gt;</text>
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                <text>Prinsep, Val</text>
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                <text>National Gallery of Victoria</text>
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                <text>National Gallery of Victoria</text>
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                <text>c. 1865</text>
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                <text>National Gallery of Victoria</text>
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                <text>Oil on Canvas, 155.3 x 92.4cm;&#13;
Hyperlink</text>
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        <name>Elizabeth Shore (1445-1527)</name>
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        <name>imprisonment</name>
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        <name>Jane Shore (1445-1527)</name>
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        <name>mistress</name>
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        <name>William Hastings (c.1430-1483)</name>
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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;strong&gt;&lt;/strong&gt;&#13;
&lt;p&gt;&lt;a href="http://www.ngv.vic.gov.au/col/work/4069" target="_blank"&gt;&lt;span style="color: #0000ff; font-family: Calibri; font-size: small;"&gt;http://www.ngv.vic.gov.au/col/work/4069&lt;/span&gt;&lt;/a&gt;&lt;/p&gt;</text>
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                <text>Fair Rosamund</text>
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                <text>Arthur Hughes (1832-1915), Eleanor of Aquitaine, fleur-de-lys, flowers, foxgloves, garden, Henry II of England, iris, maze, mistress, poison, Rosamund, secret garden, symbolism, VIC, Victoria, Walter de Clifford, Woodstock</text>
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                <text>This work by English artist Arthur Hughes depicts the twelfth-century figure of Rosamund in the garden that King Henry II of England created for her at his royal residence in Oxfordshire. Rosamund was Henryâ€™s mistress. She was reputedly poisoned in 1176 by Eleanor of Aquitaine, Henry's wife. Eleanor can be seen in the background of the painting discovering the entrance to the secret garden, which was only accessible by way of a maze. As Ted Gott et al suggest,the selection of flowers in the painting add important symbolism - blue foxgloves, a source of poison, line the queenâ€™s path, while purple irises are visible in the foreground. Irises were associated with the Greek Goddess Iris who chaperoned the souls of dead women to the Elysian Fields, and also with the fleur-de-lys, a symbol of the French crown. Eleanor of Aquitaine was the Queen of France from 1137-1152. (See Ted Gott et al, 19th Century Painting and Sculpture in the International Collections of the National Gallery of Victoria, Melbourne, National Gallery of Victoria, 2003, p.78).</text>
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                <text>Hughes, Arthur</text>
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                <text>National Gallery of Victoria</text>
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                <text>1854</text>
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              <elementText elementTextId="18557">
                <text>National Gallery of Victoria</text>
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                <text>Oil on Wood Panel, 40.3 x 30.5cm;&#13;
Hyperlink</text>
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