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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://nla.gov.au/nla.news-article51597233" target="_self"&gt;http://nla.gov.au/nla.news-article51597233&lt;/a&gt;</text>
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                <text>&amp;lsquo;The New Renaissance&amp;rsquo;, &lt;em&gt;Australian Women&amp;rsquo;s Weekly&lt;/em&gt;, 6 April 1955</text>
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                <text>This article from &lt;em&gt;The Australian Women&amp;rsquo;s Weekly&lt;/em&gt; in 1955 posits contemporary Australian society as being at the precipice of a &amp;lsquo;New Renaissance&amp;rsquo; in terms of widening access to and public interest in fine art. Pinpointing Ancient Greece and the Renaissance in Europe as rare periods in history when art was appreciated not only by the rich and privileged but by a large proportion of the population, the article suggests that evidence of a growing and widespread interest in art is noticeable in art school attendance and patronage trends. As a result, &amp;lsquo;Housewives and shop-assistants, politicians and plumbers are now among those able to tell a Matisse from a Michelangelo and to live more fully because of that ability&amp;rsquo;. The article&amp;rsquo;s overall purpose is to advertise a &amp;pound;2000 Art Prize offered by &lt;em&gt;The Australian Women&amp;rsquo;s Weekly&lt;/em&gt;, so it is in the magazine&amp;rsquo;s interest to draw links between the flourishing of art in the Renaissance and the potential for contemporary interest in art to enrich society.</text>
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                <text>TROVE: National Library of Australia, &lt;a href="http://nla.gov.au/nla.news-article51597233" target="_self"&gt;http://nla.gov.au/nla.news-article51597233&lt;/a&gt;</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>The â€˜Caxton Windowâ€™</text>
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                <text>books, education, John Ashwin &amp; Co., John Radecki, Margaret of Burgundy, Mitchell Reading Room, New South Wales, NSW, patronage, print, printing, printing press, Recuyell of the Historyes of Troye (1474), stained glass, State Library of NSW, Sydney, William Caxton (c.1422-1492), window</text>
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                <text>An image of the â€˜Caxton Windowâ€™ located in the Mitchell Reading Room at the State Library of New South Wales. This stained glass window was created in a neo-medieval figurative style by John Radecki of Ashwin and Co., Sydney in 1941. It shows Englishman William Caxton presenting a copy of the Recuyell of the Historyes of Troye (1474) to his patron Margaret of Burgundy. The Caxton theme is an effective means of commemorating a momentous achievement in the history of English literature, namely the ready dissemination of cultural values and the arts via the printed page. Caxton later set up a printing press in Westminster in 1476, initially using type that he brought over from Bruges. This didactic window is superbly executed, and the significance of books and learning is highly appropriate for a library reading room. Regrettably the windowâ€™s finer details are not easily discernible from ground level. The placement of this window in the Mitchell reading room, which houses the early Australiana collection, provides a bridge between the two continents (Europe and Australia). </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>Saint Patrick, St. Patrick, St Patrick, Father Patrick Gibney, Patrick Gibney, convict, convicts, Joseph Nunan, architecture, architect, building, vaulted ceiling, Gothic revival, Gothic, Gothic building, Gothic revival, Catholic, Catholicism, Christian, Christianity, church, churches, religious, religion, saint, saints, lancet window, rose window, lancet windows, windows, window, tower, spire, spires, arch, arches, York, South Street, Perth, Western Australia, WA, statue, statues, Ireland, Irish, patron, patronage, patron saint, patron saints, stained glass, stained glass windows, stained-glass windows</text>
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                <text>A side view of St. Patrick's Catholic Church in the town of York, Western Australia. This image shows lancet windows separated by stone mullions and a rose window, which are located on the north-west side of the church.&#13;
&#13;
About St. Patrick's Catholic Church, York:&#13;
&#13;
The Church's foundation stone was laid on St. Patrick's Day in 1875, with the building being completed in 1886. Its design is typical of the Gothic revival style with its spire and lancet windows. This style of architecture was particularly popular in England, Australia, and other British colonies throughout the eighteenth and nineteenth centuries.&#13;
&#13;
It was designed and built under the supervision of ex-convict Joseph Nunan, who was commissioned by the resident priest of the time, Father Patrick Gibney, to build a larger church to accommodate an increasing congregation.    </text>
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                <text>An image of the stained glass window located above the entrance to St. Patrick's Catholic Church in the town of York, Western Australia. &#13;
&#13;
About St. Patrick's Catholic Church:&#13;
&#13;
The foundation stone of St. Patrick's Catholic Church was laid on St. Patrick's Day in 1875, with the building being completed in 1886. It was designed and built under the supervision of ex-convict Joseph Nunan, who was commissioned by the resident priest of the time, Father Patrick Gibney, to build a larger church to accommodate an increasing congregation.&#13;
&#13;
The design of the church is typical of the Gothic revival style with its spire, tall arches, vaulted ceiling, rose windows and lancet windows. This style of architecture was particularly popular in England, Australia, and other British colonies throughout the eighteenth and nineteenth centuries. </text>
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