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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.flickr.com/photos/raysalmanac/5712404471/in/photostream" target="_blank"&gt;&lt;span style="line-height: 115%; font-family: 'Tahoma','sans-serif'; font-size: 10pt;"&gt;&lt;span style="color: #0000ff;"&gt;http://www.flickr.com/photos/raysalmanac/5712404471/in/photostream&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;</text>
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                <text>â€˜The Seasons window,â€™ Mandeville Hall, Toorak</text>
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                <text>autumn, country, cupid, David Relph Drape, Diana, Ferguson &amp; Urie, foliage, frieze, harvest, Joseph Clarke, landscape, nature, nostalgia, Romanesque, Saint George, seasons, spring, St George, stained glass, stairwell, summer, Toorak, VIC, Victoria, window, winter</text>
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                <text>This staircase â€˜Seasonsâ€™ window at Mandeville Hall in Toorak was designed by David Relph Drape and created by Ferguson &amp; Urie for the original owner, millionaire Joseph Clarke, in 1877. The circular medallions in the centre of the window depict scenes of the four different seasons, beginning with winter. The idyllic country scenes that fill the main medallions are of typically English views, and doubtless served, as Beverley Sherry suggests, as â€œpersuasive [and â€˜nostalgicâ€™] reminders of â€˜homeâ€™â€ (Australiaâ€™s Historic Stained Glass, Sydney, Murray Child, 1991, p.39). The figures to the left and right of the medallions also represent the four seasons, and feature banners identifying which season they represent. Clarkeâ€™s initials appear on the central lower border flanked by curved floral motifs that were probably adapted from classical Roman frieze work. There is also a star-studded cross of St George at each of the corners. In this way, classical Rome, medievalism, and British imperialism appear as natural offshoots of the other. This decorative and largely opaque window is intricately patterned with entwined foliage, and dominated by figural seasonal vignettes. It is crowned by a semi-circular top light (another concession to the architectural â€˜Romanesqueâ€™ or Norman style) containing a reclining Diana, and Cupid holding a bow. </text>
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                <text>Brown, Ray</text>
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                <text>6 December 2010</text>
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                <text>Â© Ray Brown </text>
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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;span style="color: #000000; font-family: Tahoma; font-size: x-small;"&gt;&lt;a href="http://www.ngv.vic.gov.au/col/work/3796" target="_blank"&gt;&lt;span style="font-family: 'Tahoma','sans-serif'; font-size: 10pt;"&gt;&lt;span style="color: #0000ff;"&gt;http://www.ngv.vic.gov.au/col/work/3796&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;&lt;/span&gt;</text>
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                <text>In Springtime (Im Fruhling)</text>
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                <text>Arnold BÃ¶cklin (1827-1901), art, beauty, Felton Bequest, feminine ideal, landscape, medieval dress, medieval theme, music, musical instrument, naturalism, nature, nostalgia, Renaissance art, Renaissance beauty, seasons, spring, springtime, VIC, Victoria</text>
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                <text>This work by Swiss-born artist Arnold BÃ¶cklin was acquired by the National Gallery of Victoria with funds from the Felton Bequest in 1977. The painting depicts two beautiful â€˜otherworldlyâ€™ female figures in flowing, colourful dresses walking in an idyllic green landscape. Although the dresses are of a romanticised medieval style, the naturalism with which the landscape is rendered is a typically nineteenth-century artistic style. â€œBy bringing a modern sensibility to a late medieval sceneâ€, Ted Gott et al have suggested, â€œthe artist has brilliantly linked to his contemporary world the fifteenth-century ideal of beautyâ€ (19th Century Painting and Sculpture in the International Collections of the National Gallery of Victoria, Melbourne, National Gallery of Victoria, 2003, p.63). </text>
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                <text>BÃ¶cklin, Arnold</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>1873</text>
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                <text>National Gallery of Victoria</text>
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                <text>Oil on Canvas, 104.5 x 78cm;&#13;
Hyperlink</text>
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