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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>An image of a gothic-style window at Kryal Castle, a tourist attraction located 8km from Ballarat in Victoria. It was built in 1972 and opened in 1974 by Keith Ryall.&#13;
&#13;
Described as â€˜Australiaâ€™s unique medieval castleâ€™, Kryal Castle can also be hired for weddings, conferences, functions, and special events.&#13;
&#13;
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              <text>&lt;strong&gt;&lt;/strong&gt;&#13;
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                <text>â€˜St Georgeâ€™ Stained Glass Window, Tolarno Hotel, St Kilda</text>
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                <text>This elaborate staircase window in a converted St Kilda mansion is probably by Ferguson &amp; Urie and dated c.1884. The window depicts a red-cloaked and fully armoured St George standing on the head of a dragon. Images of St George and the Dragon were popular in the nineteenth century, with this appeal being especially aided by Sir Walter Scottâ€™s reawakening of popular notions of chivalry in his writings. The outer border contains red and white Tudor roses interspersed with green leaves on a blue ground, while the solid looking pillars hold small medallion-shaped imprints of the Union Jack. Overall, the window represents a calm â€˜manlyâ€™ Victorian assurance in the face of determined opposition. Such a window can be interpreted as â€œan expansive declaration of the values and â€¦ institutions inherited from Britainâ€ (Beverley Sherry, Australiaâ€™s Historic Stained Glass, Sydney, Murray Child, 1991, p.44). Although little information is available regarding the mansionâ€™s original owner, it is thought that the house was built for someone engaged in local politics. Thus, St George killing the dragon makes an ideal theme for a grand staircase window in a house where integrity and propriety must be readily observable.</text>
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                <text>Â© Ray Brown </text>
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