1 8 18 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Medievalism at the Foundations Description An account of the resource 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. Hyperlink Title, URL, Description or annotation. URL <a href="http://cs.nga.gov.au/Detail-LRG.cfm?View=LRG&IRN=100786">http://cs.nga.gov.au/Detail-LRG.cfm?View=LRG&IRN=100786</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource â€˜Inferno, canto XIII: The Forest of Suicidesâ€™ by Fiona Hall Subject The topic of the resource Afterlife, allegory, art, artwork, birds, canto, Dante Alighieri, dogs, epic poem, forest, Giacomo of Santâ€™ Andrea, harpies, Hell, â€˜Illustrations to Danteâ€™s Divine Comedyâ€™, Inferno, journey, Lano, medieval literature, mastiffs, medieval world-view, modern art, Pier della Vigna (c.1190-1249), photograph, poem, punishment, sin, soul, suffering, The Divine Comedy, The Forest of the Suicides, The National Gallery, trees, underworld, Virgil, wounded. Description An account of the resource This photographic artwork by Australian artist Fiona Hall belongs to a series titled ‘Illustrations to Dante’s Divine Comedy’. It is held by The National Gallery of Australia and depicts a scene from canto XIII of Dante Alighieri’s ‘Inferno’, the first part of his famous medieval Italian poem The Divine Comedy. Written between 1308 and 1321, The Divine Comedy tells of Dante’s journey through hell, purgatory and paradise respectively, guided at first by the Roman poet Virgil and then by his ideal woman, Beatrice. In canto XIII, Dante and Virgil descend into the second ring of the seventh circle of hell, where people who committed suicide were cast. They come across a thorny, tangled forest of gnarled trees that bleed and cry in pain when they are broken. One of the trees, who identifies himself as Pier della Vigna, a prominent figure at the imperial court of Frederick II, explains to Dante that people like himself who committed suicide were sent by Minos to the wood where they would grow into trees, all the while being wounded by harpies (half woman/half-bird creatures) who would tear and feast on their leaves. They are then disturbed by the sight of two figures running frantically through the forest. The slower of the two, subsequently identified as Giacomo of Sant’ Andrea, takes refuge in a bush, only to be pounced upon by a number of black female mastiffs who ‘rent him piecemeal’. For an English translation of ‘Inferno, canto XIII’, translated by the Rev. H. F. Cary, see: <a href="http://ebooks.adelaide.edu.au/d/dante/d19he/canto13.html">http://ebooks.adelaide.edu.au/d/dante/d19he/canto13.html</a> Creator An entity primarily responsible for making the resource Fiona Margaret Hall Source A related resource from which the described resource is derived The National Gallery of Australia Publisher An entity responsible for making the resource available The National Gallery of Australia Date A point or period of time associated with an event in the lifecycle of the resource 1988 Rights Information about rights held in and over the resource The National Gallery of Australia Format The file format, physical medium, or dimensions of the resource Photograph, 53.3cm x 61.5cm. â€˜Illustrations to Danteâ€™s Divine Comedyâ€™ Afterlife allegory art artwork birds canto Dante Alighieri dogs epic poem forest Giacomo of Santâ€™ Andrea harpies Hell Inferno journey Lano mastiffs medieval literature medieval world-view modern art photograph Pier della Vigna (c.1190-1249) poem punishment sin soul suffering The Divine Comedy The Forest of the Suicides The National Gallery trees underworld Virgil wounded Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Medievalism at the Foundations Description An account of the resource 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. Hyperlink Title, URL, Description or annotation. URL <a href="http://www.slv.vic.gov.au/sjones/gid/slv-pic-aab31193/1/sj001241">http://www.slv.vic.gov.au/sjones/gid/slv-pic-aab31193/1/sj001241</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wallace Monument, Botanic Gardens, Ballarat Subject The topic of the resource â€˜The Cotterâ€™s Saturday Nightâ€™, Ballarat, Ballarat Botanic Gardens, Battle, Battle of Stirling Bridge (1297), bequest, Edward I (1239-1307), Guardian of Scotland, hero, James Russell Thomson (1818-1886), patriot, poem, Percival Ball (1845-1900), reverence, Robert Burns (1759-1796), statue, Thomson Bequest, VIC, Victoria, William Wallace, warrior. Description An account of the resource This statue of William Wallace, the Scottish warrior famous for leading the defeat of English forces at the Battle of Stirling Bridge in 1297, stands in the Botanic Gardens in Ballarat, Victoria. Sculpted by Percival Ball of Melbourne and unveiled in 1889, the statue was funded by a Â£3000 bequest to the gardens by James Russell Thomson, a Scottish miner who made his fortune during the Victorian gold rush. It was intended as a tribute to Thomsonâ€™s Scottish origins. The front the statue bears an inscription from Robert Burnsâ€™ 1785 sentimental poem â€˜The Cotterâ€™s Saturday Nightâ€™, which also lauds Wallace as a noble patriot and hero. Creator An entity primarily responsible for making the resource Valentine & Sonsâ€™ Publishing Co Source A related resource from which the described resource is derived State Library of Victoria Date A point or period of time associated with an event in the lifecycle of the resource c.1913 Rights Information about rights held in and over the resource State Library of Victoria Format The file format, physical medium, or dimensions of the resource Postcard: printed; 8.8 x 13.8 cm â€˜The Cotterâ€™s Saturday Nightâ€™ Ballarat Ballarat Botanic Gardens battle Battle of Stirling Bridge (1297) bequest Edward I (1239-1307) Guardian of Scotland hero James Russell Thomson (1818-1886) patriot Percival Ball (1845-1900) poem reverence Robert Burns (1759-1796) statue Thomson Bequest Vic Victoria warrior William Wallace https://ausmed.arts.uwa.edu.au/files/original/88d3e8f40c7f1256ba83ed4874da3a8f.JPG a28e6673bb077ff86f484c104835fe9a Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 2592 Width 1944 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Medievalism in the Classroom Description An account of the resource This Collection traces the development of academic medievalism in Australiaâ€™s universities, and explores the disciplineâ€™s complex ideological affiliations. In this Collection you will find items relating to: the medievalist content of educational programmes, such as examples of university unit outlines; the teaching of the medieval through processes of medievalism, such as in demonstrations of medieval cooking or fighting techniques; and references to the medieval in modern educational debates and contexts. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Digital Photograph;JPEG Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hurdy Gurdy demonstration Subject The topic of the resource Alana Bennett, conference, demonstration, hurdy gurdy, instrument, music, performance, Perth, poem, â€˜Receptionsâ€™, University of Western Australia, WA, Western Australia. Description An account of the resource This photograph shows Alana Bennett playing a six stringed Phoenix Standard hurdy gurdy made by Helmut Gotschy in Germany (<a href="http://www.gotschy.com">www.gotschy.com</a>). The hurdy gurdy is a stringed instrument played by using a crank-turned wheel. It developed from fiddles and was first used during the medieval period. The predecessor of the hurdy gurdy, the organistrum, is first mentioned in a treatise found in a manuscript written at Augsburg (Germany) in c. 1100. Alana presented a paper at the ‘Receptions: Medieval and Early Modern Cultural Appropriations’ conference held at The University of Western Australia in August 2012 and gave an impromptu demonstration of the hurdy gurdy during a break. Creator An entity primarily responsible for making the resource McLeod, Shane Date A point or period of time associated with an event in the lifecycle of the resource August 18, 2012 Rights Information about rights held in and over the resource No copyright Format The file format, physical medium, or dimensions of the resource Digital Photograph â€˜Receptionsâ€™ Alana Bennet conference demonstration hurdy gurdy instrument music performance Perth poem University of Western Australia WA Western Australia. https://ausmed.arts.uwa.edu.au/files/original/e515b638d91b1844eb823cc11d271dcf.jpg debe30135e57d65b443722423598211d Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 3498 Width 724 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Medievalism on the Page Description An account of the resource This Collection examines literary medievalism from the mid-nineteenth century to the present day. It traces an arc from the populist literary medievalism of the nineteenth century, through the more rarefied modernist turn of the mid-twentieth century, to the re-emergence of popular forms such as childrenâ€™s literature and fantasy since the 1980s. In this Collection you will find items relating to printed medievalist works and also to medievalism operating in print, for example in references to medieval events, people, and literature in nineteenth- and twentieth-century texts and dramatic works. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource ‘Because of her Father’s Blood’, The Bulletin, 25 June 1908 Subject The topic of the resource â€˜As It Is in the Days of Now,â€™ â€˜The Old Squire,â€™ ancestry, bravery, courage, Dame Ruth, forebears, Henry Lawson (1867-1922), knight, loyalty, outlaws, poem, Sir William series, war. Description An account of the resource Henry Lawson produced several interrelated medieval poems c. 1908 which The Bulletin published. ‘Because of her Father’s Blood’ is the third poem of the Sir William series. While the knight is away crusading his aunt, Dame Ruth, is left to keep things in good order at home. This is a poignantly nostalgic poem of courage arising from dire and severe need, wherein an elderly lady and a handful of domestic servants keep a large and rapacious band of outlaws at bay ‘against all the odds.’ There is something to be said, it seems, for resolute and purposeful determination under duress. That is the core message here, where ordinary men and women - domestics, scullions and grooms, none of them martial or overly brave - combine together under the considerable will and fierce determination of Dame Ruth, and heroic deeds are enacted as a result. Looking to her illustrious forebears provides the catalyst for Dame Ruth’s heroism and bravery: “For a fearsome mistress she was to serve, / Because of her father’s blood.” And, extending and applying this ‘medievalist’ performative metaphor to the national cause, loyalty and bravery are strongly emblematic of Australia’s attitude towards and defence of the British Empire in its foreign wars. Creator An entity primarily responsible for making the resource Henry Lawson Source A related resource from which the described resource is derived The Bulletin Publisher An entity responsible for making the resource available The Bulletin Date A point or period of time associated with an event in the lifecycle of the resource 25 June 1908, p.43 Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource Journal Article â€˜As it is in the Days of Now â€™ â€˜The Old Squire â€™ ancestry bravery courage Dame Ruth forebears Henry Lawson (1867-1922) knight loyalty outlaws poem Sir William series war https://ausmed.arts.uwa.edu.au/files/original/a8742398a9e4c597f090120eff525f80.jpg 794ad680ec018e9449c230cd681de0b5 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 3497 Width 1840 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Medievalism on the Page Description An account of the resource This Collection examines literary medievalism from the mid-nineteenth century to the present day. It traces an arc from the populist literary medievalism of the nineteenth century, through the more rarefied modernist turn of the mid-twentieth century, to the re-emergence of popular forms such as childrenâ€™s literature and fantasy since the 1980s. In this Collection you will find items relating to printed medievalist works and also to medievalism operating in print, for example in references to medieval events, people, and literature in nineteenth- and twentieth-century texts and dramatic works. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Microfilm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource ‘Parkes and the Templars’, The Bulletin, 3 September 1887 Subject The topic of the resource alcohol, Bulletin, drunkenness, I.O.G.T., New South Wales, NSW, piety, pledge, poem, politics, Sir Henry Parkes (1815-1896), state politics, temperance, Templars. Description An account of the resource This poem has links with medievalism through its reference to ‘the Templars’. However, the Templars to whom it refers are not the famous medieval order of crusading knights but rather the crusading nineteenth-century temperance society, the I.O.G.T. The anonymous writer accuses Sir Henry Parkes (P-RK-S) of joining with, or rather of making use of, the temperance league for vested political interests. Presumably, the wily NSW premier was being accused of securing temperance votes by any means possible; including offering false ‘pledges.’ At the time, Parkes was into his fourth premiership, which he secured on a Free Trade ticket. He later managed to attain the office for a fifth time, equalling the accomplishment of his old rival Sir John Robertson. It is unlikely that Parkes ever seriously entertained the idea of enforcing temperance on the colony; he was too canny and his own fondness for champagne was too well known (see A. W. Martin, 'Parkes, Sir Henry (1815–1896)', Australian Dictionary of Biography, <a href="http://adb.anu.edu.au/biography/parkes-sir-henry-4366" target="_blank">http://adb.anu.edu.au/biography/parkes-sir-henry-4366</a>). He did, however, “regulate the liquor trade” in 1881, which pleased the temperance groups momentarily. The final stanza of the poem announces “When all the world is turned teetotal / Then P----s will leave the pleasant bottle, / But that’s in dim hereafter.” The anonymous Bulletin contributor also upbraids Sir Henry (and presumably politicians in general) for failing to maintain and justify ‘broken’ political pledges, for reasons only hinted at here. Creator An entity primarily responsible for making the resource Anonymous Source A related resource from which the described resource is derived The Bulletin Publisher An entity responsible for making the resource available The Bulletin Date A point or period of time associated with an event in the lifecycle of the resource 3 September 1887, p.8 Rights Information about rights held in and over the resource Public Domain alcohol Bulletin drunkenness I.O.G.T. New South Wales NSW piety pledge poem politics Sir Henry Parkes (1815-1896) state politics temperance Templars https://ausmed.arts.uwa.edu.au/files/original/f386208bac1df2a3541416a3a7e63a7a.jpg 6123f7c36a7af32b6125f8129469963b Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 3487 Width 1354 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Medievalism on the Page Description An account of the resource This Collection examines literary medievalism from the mid-nineteenth century to the present day. It traces an arc from the populist literary medievalism of the nineteenth century, through the more rarefied modernist turn of the mid-twentieth century, to the re-emergence of popular forms such as childrenâ€™s literature and fantasy since the 1980s. In this Collection you will find items relating to printed medievalist works and also to medievalism operating in print, for example in references to medieval events, people, and literature in nineteenth- and twentieth-century texts and dramatic works. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Journal (Microfilm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource â€˜The Rule of the Manyâ€™, The Bulletin, 15 November 1890. Subject The topic of the resource Democracy, feudalism, inequality, natural law, merit, poem, privilege, wealth, workers rights Description An account of the resource This poem provides a vigorous denunciation of â€œthe English caste systemâ€ and â€œcelebrates the decay of feudalism,â€ at least in the Australian rural locale (Louise D'Arcens, Old Songs in the Timeless Land: Medievalism in Australian Literature 1840-1910, Turnhout: Brepols, 2011, p. 143). It praises â€œmuscle and brainâ€ (merit) while condemning the undeserving ruling classes, who it refers to as â€œPampered idlersâ€. The point of the exercise is demonstrated in the lines: â€œKing, prince and lord are a useless load and must by that law abide! / No Parliament can alter that fact, / Or the march of mankind stay.â€ The law that this section of the poem acknowledges is simply the law of Nature, for no law of man can usurp natural law. Underpinning everything else is the firm belief that the â€˜fruits of the earthâ€™ (its wealth and resources) are made not just for a select and powerful minority, but for everyone equally. The inescapable conclusion of the poem is that with the removal of the medieval â€˜baggageâ€™ of the past, i.e. feudalism, nostalgia, overlordship and the monarchy, the earth will return to an extended period of serenity and harmony under the sure-handed guidance of â€œthe Peopleâ€. Creator An entity primarily responsible for making the resource A. X. C. (Unknown) Source A related resource from which the described resource is derived The Bulletin Publisher An entity responsible for making the resource available The Bulletin Date A point or period of time associated with an event in the lifecycle of the resource 15 November 1890 (p. 17) Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource Journal (Microfilm) Language A language of the resource English democracy feudalism inequality merit natural law poem privilege wealth workers rights Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Medievalism at the Foundations Description An account of the resource 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. Hyperlink Title, URL, Description or annotation. URL <a href="http://www.ngv.vic.gov.au/col/work/4068" target="_blank">http://www.ngv.vic.gov.au/col/work/4068</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource La Belle Dame sans merci, by Arthur Hughes Subject The topic of the resource Alain Chartier, apparition, armor, armour, Arthur Hughes (1832-1915), Arthurian, ballad, chivalric, chivalry, courtly love, damsel, dream, faery child, fair lady, false promise, infatuation, John Keats, knight, La Belle Dame sans merci, maiden, medieval costume, poem, supernatural, unrequited love, VIC, Victoria Description An account of the resource This painting by English artist Arthur Hughes was acquired by the National Gallery of Victoria in 1919 with funds from the Felton Bequest. It portrays a scene from the well-known ballad of the same name penned in 1819 by Romantic poet John Keats. The poem is a tale of unrequited love featuring an Arthurian knight and a beautiful woman he meets in the woods. Described by Keats as a ‘faery’s child’, the woman woos the knight with songs, food and promises of love, before taking him back to her elfin grot and lulling him to sleep. While asleep, however, he dreams of death-pale kings, princes and warriors crying “La Belle Dame sans merci/Thee hath in thrall!” before waking up alone on a cold hillside. In the painting, the infatuated knight is pictured in the woods shortly after he has met the beautiful woman and lifted her onto his horse. In the background, the apparitions of the pale figures he will later dream of are visible, trying to convey their warning in vain. Keats borrowed the title for his Arthurian ballad from a fifteenth-century courtly love poem by Alain Chartier. For a copy of Keats’ La Belle Dame sans merci, see <a href="http://www.poetryfoundation.org/poem/173740" target="_blank"> http://www.poetryfoundation.org/poem/173740</a>. Creator An entity primarily responsible for making the resource Hughes, Arthur Source A related resource from which the described resource is derived National Gallery of Victoria Date A point or period of time associated with an event in the lifecycle of the resource 1863 Rights Information about rights held in and over the resource National Gallery of Victoria Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 153.7 x 123cm; Hyperlink Alain Chartier apparition Armor Armour Arthur Hughes (1832-1915) Arthurian Ballad chivalric chivalry Courtly Love damsel dream faery child fair lady false promise infatuation John Keats knight La Belle Dame sans merci maiden medieval costume poem supernatural unrequited love Vic Victoria Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Medievalism at the Foundations Description An account of the resource 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. Hyperlink Title, URL, Description or annotation. URL To view this image, 1.  go to: <a href="http://www.artgallery.sa.gov.au/agsa/home/Collection/CollectionSearch.jsp" target="_blank">http://www.artgallery.sa.gov.au/agsa/home/Collection/CollectionSearch.jsp</a> 2.   search by artist or title. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sir Galahad and the Pale Nun Subject The topic of the resource 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 Description An account of the resource 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. Creator An entity primarily responsible for making the resource Cameron, Julia Margaret Source A related resource from which the described resource is derived Art Gallery of South Australia Date A point or period of time associated with an event in the lifecycle of the resource 1874 Rights Information about rights held in and over the resource Art Gallery of South Australia Format The file format, physical medium, or dimensions of the resource Albumen-silver photograph, 33.4 x 27.2 cm; Hyperlink 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