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                  <text>Medievalism at the Foundations</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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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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            <name>Title</name>
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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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            <name>Date</name>
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                <text>1854</text>
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                <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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        <name>Walter de Clifford</name>
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