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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>One of three photographs of domestic roof-top adornments in Lyttleton Street, East Launceston. This one features a cat. Situated on the edge of the roof over-looking the street, it is possible that the cat was in part inspired by the gargoyles that adorn many medieval gothic churches. Although a cat may not seem particularly medieval, especially in comparison to the dragon and sea serpent on other Lyttleton Street roofs, domesticated animals were sometimes portrayed as gargoyles on medieval churches. For example, the fifteenth-century gothic Notre Dame church in Noyers-sur-Serein, Burgundy, France, includes a gargoyle in the shape of a dog.  </text>
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                <text>One of three photographs of domestic roof-top adornments in Lyttleton Street, East Launceston. The ornament on this roof creates a sea serpent effect, with its body coiling along the roof line and its head raised to look over the roof. Also known as a sea dragon, sea serpents, while appearing in classical literature, are particularly prevalent in Scandinavian culture. In Norse (Viking) mythology, the Midgard or World Sea Serpent, JÃ¶rmungandr, lives in the ocean that surrounds the world and is so large that it can encircle the world and grasp its own tail. A number of stone carvings exist in Scandinavia and northern England from the early medieval period showing the god Thor fishing for JÃ¶rmungandr. </text>
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                <text>One of three photographs of domestic roof-top adornments (although the house is now a medical practice) in Lyttleton Street, East Launceston. This one features one of the most popular and enduring images of the medieval period, the winged dragon. Situated on the edge of the roof and looking down towards the street, it is possible that the dragon was in part inspired by the gargoyles that adorn many medieval gothic churches. </text>
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        <src>https://ausmed.arts.uwa.edu.au/files/original/78e0cd2d3093c6da7c6889dbd6238770.pdf</src>
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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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          <description>If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data</description>
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              <text>&lt;p&gt;Newspaper Article in The Western Argus.&lt;/p&gt;&lt;p&gt;National Library of Australia - &lt;font color="#000000" face="Tahoma" size="2"&gt;&lt;font face="Calibri" size="3"&gt;&lt;a href="http://nla.gov.au/nla.news-article34593995" target="_blank"&gt;http://nla.gov.au/nla.news-&lt;wbr&gt;article34593995&lt;/a&gt;&lt;/font&gt;&lt;/font&gt;&lt;/p&gt;</text>
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                <text>The Mace of Parliament</text>
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                <text>authority, black rod, British Empire, ceremony, cross, crown, custom, decoration, emblem, harp, House of Commons, House of Lords, John Beckett (1984-1964), King, Legislative Assembly, Long Parliament (1653), mace, medieval customs, medieval tradition, Oliver Cromwell (1599-1658), orb, ornamentation, Parliament, parliamentary officials, parliamentary personnel, politician, ritual, rose, royal bodyguard, sergeant, serjeant-at-arms, Speaker, symbol, symbol of office, thistle, tradition, Usher of the Black Rod, Victoria, Victorian House of Parliament, waratah, warfare, weapon, weaponry, weapons</text>
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                <text>In this article from the Western Argus, the significance and history of the mace in parliamentary proceedings is explained. The author describes the mace used in the Victorian Legislative Assembly as a sceptre surmounted by a cross, an orb and the crown of England. It is also decorated with the waratah flower of Australia, the rose of England, the thistle of Scotland and the harp of Ireland. The symbolic and ceremonial function of the mace in the opening and closing of parliamentary proceedings is explained, and the history of the mace as a weapon of medieval warfare is noted. The article suggests that the association of the mace with parliament is likely to originate from the medieval period: â€œIn medieval England the king appointed a Royal bodyguard of stalwart men, gaudily uniformed, and each bearing a mace. They came to be known as serjeants-at-arms. When Parliament was divided into two Houses â€“ the Commons and the Lords â€“ two serjeants-at-arms were provided from the Kingâ€™s bodyguard. The institution has survived. With the serjeant-at-arms has remained the mace, not as a weapon but as a symbol of office; and gradually the mace came to be associated with all the ceremonies and customs of the Commonsâ€. The article goes on to explain the traditional rivalry between the House of Commons and the House of Lords concerning the superior authority of the mace or its equivalent in the House of lords, the black rod (in the keeping of The Usher of the Black Rod). Traditional and symbolic rituals involving the mace and the black rod are also described. If the Usher of the Black Rod approaches the House of Commons to summon the Speaker, for example, the door is ceremoniously closed on him and he is required to knock three times and beg admittance. Similarly, the serjeant-at-arms is not permitted to enter the House of Lords without first surrendering the mace to the doorkeeper. </text>
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                <text>National Library of Australia</text>
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                <text>The Western Argus</text>
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                <text>12 January 1932, p. 29.</text>
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                <text>The Western Argus</text>
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