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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>â€˜St Georgeâ€™ window, St Albanâ€™s Anglican church, Highgate</text>
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                <text>Anglican, armour, church, cross, dragon, helmet, Highgate, Joseph John Talbot Hobbs, iconography, parish church, pennant, Romanesque, St Albanâ€™s, St George, St Georgeâ€™s Cathedral, semi-circular arch, shield, spear, stained glass, sword, Victorian Romanesque, WA, Western Australia.</text>
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                <text>&lt;p&gt;An image of the &amp;lsquo;Saint George&amp;rsquo; stained glass window at St Alban&amp;rsquo;s Anglican Church, Highgate. This stained glass is one of three windows (the others depicting St Alban and St Michael) located at the rear of the church. It was originally purchased for St George&amp;rsquo;s Cathedral but was later discovered to be the wrong shape (rounded instead of pointed) and was donated to St Alban&amp;rsquo;s. The stained glass depicts George standing astride a vanquished winged-dragon. As is common in artistic renditions, George&amp;rsquo;s role as a warrior saint is symbolised by a suit of elaborate armour, a sword and a shield. His spear, which pierces the dragon, is also a processional cross and has a pennant with a cross flying from it.&lt;/p&gt;&#13;
&lt;p&gt;About St Alban&amp;rsquo;s:&lt;/p&gt;&#13;
&lt;p&gt;St Alban&amp;rsquo;s is a small limestone parish church located in Highgate, Western Australia. Built in 1889 (with enlargements in 1898) in a Victorian Romanesque style, it is one of the earliest buildings designed by well-known WA architect Sir J. J. Talbot-Hobbs (1864-1938). Its characteristically romanesque features include the semi-circular arches, the traditional load-bearing masonry of the buttresses and solid walling, and the small window and door openings in relation to the overall wall area. The St Alban&amp;rsquo;s church Hall was used briefly as a preparatory school by The Sisters of the Church of England between 1907 and 1915. For more information about St Alban&amp;rsquo;s, see: &lt;a href="http://stalbans.org.au/about-st-albans/historic-st-albans/" target="_blank"&gt;http://stalbans.org.au/about-st-albans/historic-st-albans/&lt;/a&gt;.&lt;/p&gt;</text>
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                <text>Le Coultre, Eleanor</text>
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                <text>23 November 2010</text>
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                <text>Eleanor Le Coultre, Warden at St Albanâ€™s Anglican Church, Highgate, WA.</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>Bell Tower, Northbridge, Perth</text>
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                <text>Arched windows, Bell Tower, Catholic, Claremont, convent, education, Loreto Convent, Loreto Sisters, Northbridge, Perth, Romanesque, school, Reginald Summerhayes, WA, Western Australia.</text>
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                <text>The Bell Tower from the former Loreto Convent in Claremont was designed by Reginald Summerhayes and built in 1937. It was rebuilt with the original bricks at its present inner-city site in Northbridge in 1991 after the Loreto Convent and school site was sold. The Bell Tower is 20.2 metres high and is in the Romanesque style, featuring semi-circular arched windows.  </text>
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                <text>McLeod, Shane</text>
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                <text>June 22, 2012</text>
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                <text>McLeod, Shane</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>Campanile Tower, St Michaelâ€™s Uniting Church, Melbourne</text>
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                <text>A view of the tall campanile tower at St Michael&amp;rsquo;s Uniting Church in Collin&amp;rsquo;s Street, central Melbourne. St Michael&amp;rsquo;s Uniting Church was designed by architectural firm Reed and Barnes in a Victorian Romanesque style. The style has more specifically been described as &amp;lsquo;Lombardic Romanesque&amp;rsquo; on account of the polychrome brickwork and campanile style tower pictured here (See, for example, the Victorian Heritage Register: &lt;a href="http://vhd.heritage.vic.gov.au/#detail_places;721"&gt;http://vhd.heritage.vic.gov.au/#detail_places;721&lt;/a&gt;). The polychrome pattern is unusual for a neo-romanesque building, as it was more often found in buildings of gothic design. The church was constructed by John Young between 1866 and 1867, and was originally named The Independent Church. It was renamed in 1977.</text>
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                <text>McEwan, Joanne</text>
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&#13;
About the Mitchell Building:&#13;
&#13;
The Mitchell Building was designed by South Australian architect Willliam McMinn in the Victorian Academic Gothic style. It was completed between 1879 and 1881, and officially opened in 1882. The Mitchell Building was the first building on the North Terrace campus of The University of Adelaide and originally housed all of the university disciplines. It was named the Mitchell Building in 1961 in honour of Sir William Mitchell, who was Vice-Chancellor of the university from 1916-1942 and Chancellor from 1942-1948. Today it is used as an administrative hub. The Mitchell Buildingâ€™s neo-gothic features include its steeply gabled roof, lancet windows, decorative stone tracery and the roof fleche/spire.</text>
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&lt;p&gt;For more on the hotel see &lt;a href="http://www.gracehotel.com.au/"&gt;http://www.gracehotel.com.au/&lt;/a&gt;&lt;/p&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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                <text>An image of a courtyard 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;
Its medieval architectural features include crenellation, a moat, and a defended gate with flanking towers, drawbridge and a porticullis. </text>
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                <text>A view of a traceried gothic window at Scotâ€™s Church on Collins Street in central Melbourne. Above the window, an arcade of lancet arches lines the gable. A number of other slender lancet windows and examples of decorative blind tracery are visible.&#13;
&#13;
Scotâ€™s Church was built in a decorated Gothic Revival style to the design of architectural firm Reed &amp; Barnes. It is constructed from Barrabool Hills freestone with sandstone dressings sourced from New Zealand. The current Scotâ€™s Church building was completed in 1874 and replaced an older church that had operated from the site since 1841. The site was granted to the Church of Scotland in 1839, and transferred to the Presbyterian Church of Victoria upon its formation in 1859 (when the Church of Scotland, the United Presbyterian Church and the Free Church united). Other characteristic neo-gothic features of Scotâ€™s Church include its 120ft spire, which for a number of years was the highest point in Melbourneâ€™s townscape, its decorative quoins, buttresses, and pinnacles. The church also boasts a number of stained glass windows by well-known artists such as Ferguson &amp; Urie of Melbourne, Van der poorten of Brussels and F.X. Zettler of Munich.</text>
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