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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;a href="http://www.artgallery.nsw.gov.au/collection/works/169.1984/" target="_self"&gt;http://www.artgallery.nsw.gov.au/collection/works/169.1984/&lt;/a&gt;</text>
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                <text>â€˜The Marriage of the Arnolfini â€“ After Jan van Eyckâ€™ by Fiona Hall</text>
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                <text>art, artwork, Bruges, Giovanni di Nicolao Arnolfini, insert, Jan van Eyck, marriage, merchant, modern art, New South Wales, NSW, photograph, portrait, The Arnolfini Portrait, The National Gallery, wedding.</text>
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                <text>This photographic artwork by Australian artist Fiona Hall was purchased by the Art Gallery of New South Wales in 1984. In the photograph Hall has reconstructed her own version of the scene from medieval Dutch painter Jan van Eyckâ€™s famous 1434 oil painting, â€œThe Arnolfini Portraitâ€, by transposing the figures into a modern setting and replacing their faces. At the bottom of the frame is an insert of the original painting by Jan van Eyck. The figures in van Eyckâ€™s painting are believed to be those of Gionvanni di Nicolao Arnolfini, a fifteenth-century Italian merchant living in the Flemish town of Bruges, and his wife. </text>
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                <text>Fiona Margaret Hall</text>
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                <text>The Art Gallery of New South Wales</text>
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                <text>The Art Gallery of New South Wales</text>
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                <text>Camelot Castle, in the Adelaide Hills</text>
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                <text>Adelaide hills, arcading, arches, Arthurian, battlements, Camelot, castle, castellation, hotel, hotels, accommodation, chapel, wedding, weddings, motel, restaurant, crenellation, recreation, towers, SA, South Australia, tourism, Arthur, Arthurian</text>
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&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&lt;span style="font-size: 10pt;" lang="EN-AU"&gt;An  image of 'Camelot  Castle&amp;rsquo; in  the Adelaide Hills. The building has  functioned  as a hotel  and wedding venue since 1972 and is described on  their  website as a  &amp;lsquo;medieval themed complex&amp;rsquo;, and &amp;lsquo;a medieval Castle  in the  heart of South  Australia&amp;rsquo;. The 3000 square metre building is  named after  the  fictitious castle of King Arthur and has many   features which one would  expect of a castle &amp;ndash; towers, crenellation,   pointed arched windows and  arcading, a chapel and a suit of armour   (although the armour is from  the 17&lt;sup&gt;th&lt;/sup&gt; century).&lt;/span&gt;&lt;/p&gt;&#13;
&lt;span style="font-size: 10pt;" lang="EN-AU"&gt;More information is available at &lt;a href="http://www.camelotcastlesa.com.au/" target="_blank"&gt;http://www.camelotcastlesa.com.au&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;&#13;
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                <text>McLeod, Shane, photos by Margaret Dorey</text>
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                <text>McLeod, Shane, photos by Margaret Dorey, "Camelot Castle, A Motel and  Restaurant in the Adelaide Hills," in Medievalism in Australian Cultural  Memory, Item #435, &lt;a href="../../../items/show/435"&gt;http://ausmed.arts.uwa.edu.au/items/show/435&lt;/a&gt;&lt;br /&gt; &lt;br /&gt; McLeod, Shane, photos by Margaret Dorey, "Camelot Castle Sign," in Medievalism in Australian Cultural Memory, Item #434, &lt;a href="../../../items/show/434"&gt;http://ausmed.arts.uwa.edu.au/items/show/434&lt;/a&gt;&lt;br /&gt; &lt;br /&gt; McLeod, Shane, photos by Margaret Dorey, "Camelot Castle, Adelaide  Hills," in Medievalism in Australian Cultural Memory, Item #432, &lt;a href="../../../items/show/432"&gt;http://ausmed.arts.uwa.edu.au/items/show/432&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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&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&lt;span style="font-size: 10pt;" lang="EN-AU"&gt;An image of 'Camelot  Castle&amp;rsquo; in  the Adelaide Hills. The building has functioned  as a hotel  and wedding venue since 1972 and is described on their  website as a  &amp;lsquo;medieval themed complex&amp;rsquo;, and &amp;lsquo;a medieval Castle in the  heart of South  Australia&amp;rsquo;. The 3000 square metre building is named after  the  fictitious castle of King Arthur and has many  features which one would  expect of a castle &amp;ndash; towers, crenellation,  pointed arched windows and  arcading, a chapel and a suit of armour  (although the armour is from  the 17&lt;sup&gt;th&lt;/sup&gt; century).&lt;/span&gt;&lt;/p&gt;&#13;
&lt;span style="font-size: 10pt;" lang="EN-AU"&gt;More information is available at &lt;a href="http://www.camelotcastlesa.com.au/" target="_blank"&gt;http://www.camelotcastlesa.com.au&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;</text>
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&lt;span style="font-size: 10pt;" lang="EN-AU"&gt;More information is available at &lt;a href="http://www.camelotcastlesa.com.au/" target="_blank"&gt;http://www.camelotcastlesa.com.au&lt;/a&gt;&lt;/span&gt;</text>
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&lt;p&gt;&lt;br /&gt; McLeod, Shane, photos by Margaret Dorey, "Camelot Castle, A Motel and  Restaurant in the Adelaide Hills," in Medievalism in Australian Cultural  Memory, Item #435, &lt;a href="../../../items/show/435"&gt;http://ausmed.arts.uwa.edu.au/items/show/435&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;br /&gt; McLeod, Shane, photos by Margaret Dorey, "Camelot Castle, Adelaide  Hills," in Medievalism in Australian Cultural Memory, Item #432, &lt;a href="../../../items/show/432"&gt;http://ausmed.arts.uwa.edu.au/items/show/432&lt;/a&gt;&lt;/p&gt;</text>
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                <text>In this column on wedding fashions in 1929, readers are advised that the favoured style for wedding dresses has changed from the short straight frocks of the previous year to long medieval style dresses. A long frock, the author suggests, is more dignified than a short or flimsy one, and is therefore â€œmuch more in keeping with the church serviceâ€. Materials such as velvet and satin are recommended, and a new tendency to eliminate the train and replace it with a flowing tulle veil is noted. Veils of tulle or chiffon are advised to create a â€œcloudy effectâ€ that contrasts the heavier material of the dress. The bridesmaidâ€™s dresses, the article concludes, should be in the same style as the bride. If the bride wears a velvet dress of medieval design, it instructs, the bridesmaids should also wear velvet in a different colour, and definitely not tulle frocks of the early Victorian style. </text>
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                <text>In this instalment of â€œThe Ladiesâ€™ Sectionâ€ of the Sunday Times, an illustration is provided of a fashionable wedding dress described as being â€œof medieval inspirationâ€. The simplicity of the dress, the caption suggests, is what constitutes its charm. The dress is cut along medieval lines and embellished with pearl trimmings. </text>
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&#13;
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