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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.slv.vic.gov.au/jcollins/gid/slv-pic-aaa94201/1/jc015226"&gt;http://www.slv.vic.gov.au/jcollins/gid/slv-pic-aaa94201/1/jc015226&lt;/a&gt;</text>
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                <text>Skipton Presbyterian Church of Victoria Detail</text>
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                <text>Presbyterian, bluestone building, bluestone, gothic, gothic building, building, architecture, architect, gothic revival, exterior, gargoyle, gargoyles, gothic church, church, churches, religion, religious, Christian, Christianity</text>
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                <text>Hyperlink to an image of Skipton Presbyterian Church in Victoria. Shows a detailed corner of the building. Built in the 19th Century gothic style from bluestone.</text>
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                <text>Collins, John T.</text>
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                <text>State Library of Victoria</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>Arched Window, St. Mary's Cathedral, East Perth</text>
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                <text>Image of Gothic style arched window at St. Mary's Cathedral in East Perth, Western Australia. &#13;
&#13;
About St Maryâ€™s Roman Catholic Cathedral:&#13;
&#13;
St Maryâ€™s Roman Catholic Cathedral is a neo-gothic cathedral located in Perth, WA.  It was constructed in four stages between 1865 and 2009. Building of the original brick portion of the cathedral commenced in 1863 but stalled due to lack of funds. It was completed in 1865 when an evening procession of all the Catholic clergy in Perth was held, and the building was blessed and named the Cathedral of the Immaculate Conception. Additions and alterations between 1897 and 1905 emphasised the gothic character of the Cathedral. These included the addition of a steeple, pinnacles, gargoyles and crenellation to the bell tower, and the addition of a porch, an aedicule housing a statute of the Virgin Mary and extra lancet windows to the western end.  Following the elevation of Perth to an Archdiocese in 1913, Archbishop Clune began a series of appeals to replace the Cathedral with a grander structure. Well-known WA architect Michael Cavanagh was appointed and produced plans for a completely new limestone Cathedral of Academic Gothic design. Due to financial constraints, however, it was decided to utilise the existing building, which subsequently became the nave, and add only new transepts and a sanctuary. These were completed in 1930 and the Cathedral retained this structure until 2006, when Archbishop Hickey ordered renovations to complete Cavanaghâ€™s grand design. &#13;
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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;p&gt;Newspaper Article&lt;/p&gt;&#13;
&lt;p&gt;National Library of Australia, &lt;a href="http://nla.gov.au/nla.news-article32632366" target="_blank"&gt;http://nla.gov.au/nla.news-article32632366&lt;/a&gt;&lt;/p&gt;</text>
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                <text>Untitled article: â€œthe medieval barbarities of our state criminal factoriesâ€</text>
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                <text>In the second half of this article, an excerpt from the Geraldton Express discussing the Royal Commission into the penal system in Western Australia is reprinted. The Commission, it asserts, had already succeeded in awaking public opinion to the need for reform and had led to the release of a number of innocent men from prison. In an attempt to emphasise the obsolete practices and inhumane punishments of the penal administration, the author associates them with the pre-modern past. The role of the Commission is described as being â€œto inquire into the Chamber of National Horrors at Fremantle and the medieval barbarities of our state criminal factoriesâ€.</text>
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                <text>National Library of Australia, &lt;a href="http://nla.gov.au/nla.news-article32632366" target="_blank"&gt;http://nla.gov.au/nla.news-article32632366&lt;/a&gt;</text>
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                <text>West Australian Sunday Times</text>
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                <text>25 December 1898, p. 18.</text>
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&lt;p&gt;Image of the Jeanne d&amp;rsquo;Arc bronze statue at  the State Library of  Victoria in Melbourne. The statue is the work of  French sculptor  Emmanuel Fr&amp;eacute;miet, and is a cast of the 1899 version of  his Jeanne d&amp;rsquo;Arc  which stands in the Place des Pyramides in Paris.  Purchased in 1906 by  Bernard Hall, the Director of the National Gallery  of Victoria, with  funds from the Felton Bequest, it was installed at  the entrance to the  State Library of Victoria on 4 February 1907. The  sculpture depicts the  young Joan of Arc astride a war-horse, dressed in  her body-armour and  raising an oriflamme banner.&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="text-decoration: underline;"&gt;About Joan of Arc:&lt;/span&gt;&lt;br /&gt; Joan of Arc was born in 1412 in the French village of Domr&amp;eacute;my. From the   age of about 12, Joan had visions of saints and heard heavenly voices   that increasingly urged her to fight for France during the Hundred   Years&amp;rsquo; War. She travelled to the court of Charles De Ponthieu, the   Orl&amp;eacute;anist claimant to the throne, where she was provided with a suit of   armour and her distinctive banner depicting a golden fleur-de-lys. She   secured a decisive military victory to rescue the city of Orl&amp;eacute;ans from   the Earl of Salisbury&amp;rsquo;s English army in 1429, and was present at the   coronation of Charles VII. However, in May the following year Joan was   captured by Burgundian forces at Compi&amp;egrave;gne, and was handed over to the   English. She was tried at Rouen on charges of witchcraft and heresy, and   was condemned to death. On 30 May 1431, she was executed. Two and a   half decades later, the case was appealed and her conviction was   overturned. She was beatified in 1909 and canonised as a saint in 1920.&lt;/p&gt;&#13;
&lt;p&gt;For more information about this statue and its background, see Ted  Gott,  &amp;lsquo;An Iron Maiden for Melbourne &amp;ndash; The History and Context of  Emmanuel  Fr&amp;eacute;miet&amp;rsquo;s 1906 Cast of Jeanne d&amp;rsquo;Arc&amp;rsquo;, The La Trobe Journal,  vol.81,  Autumn 2008, pp.53-68: &lt;a href="http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-81/t1-g-t5.html" target="_blank"&gt;http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-81/t1-g-t5.html&lt;/a&gt;.&lt;/p&gt;&#13;
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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>armour, banner, banners, battles, battle, Bernard Hall, bronze, Charles VII (r., Charles de Ponthieu (1403-1461), DomrÃ©my, Emmanuel FrÃ©miet (1824-1910), equestrian, execution, Felton Bequest, fleur-de-lys, Jeanne dâ€™Arc, Joan of Arc (1412-1431), La Pucelle, legend, maid of OrlÃ©ans, Melbourne, National Gallery of Victoria, oriflamme, OrlÃ©ans, Paris, pennant, Place des Pyramides, sculpture, State Library of Victoria, statue, Victoria, war, war-banner, war-horse, war horse, war banner</text>
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                <text>&lt;p&gt;Image of the Jeanne d&amp;rsquo;Arc bronze statue at the State Library of  Victoria in Melbourne. The statue is the work of French sculptor  Emmanuel Fr&amp;eacute;miet, and is a cast of the 1899 version of his Jeanne d&amp;rsquo;Arc  which stands in the Place des Pyramides in Paris. Purchased in 1906 by  Bernard Hall, the Director of the National Gallery of Victoria, with  funds from the Felton Bequest, it was installed at the entrance to the  State Library of Victoria on 4 February 1907. The sculpture depicts the  young Joan of Arc astride a war-horse, dressed in her body-armour and  raising an oriflamme banner.&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="text-decoration: underline;"&gt;About Joan of Arc:&lt;/span&gt;&lt;br /&gt; Joan of Arc was born in 1412 in the French village of Domr&amp;eacute;my. From the  age of about 12, Joan had visions of saints and heard heavenly voices  that increasingly urged her to fight for France during the Hundred  Years&amp;rsquo; War. She travelled to the court of Charles De Ponthieu, the  Orl&amp;eacute;anist claimant to the throne, where she was provided with a suit of  armour and her distinctive banner depicting a golden fleur-de-lys. She  secured a decisive military victory to rescue the city of Orl&amp;eacute;ans from  the Earl of Salisbury&amp;rsquo;s English army in 1429, and was present at the  coronation of Charles VII. However, in May the following year Joan was  captured by Burgundian forces at Compi&amp;egrave;gne, and was handed over to the  English. She was tried at Rouen on charges of witchcraft and heresy, and  was condemned to death. On 30 May 1431, she was executed. Two and a  half decades later, the case was appealed and her conviction was  overturned. She was beatified in 1909 and canonised as a saint in 1920.&lt;/p&gt;&#13;
&lt;p&gt;For more information about this statue and its background, see Ted Gott,  &amp;lsquo;An Iron Maiden for Melbourne &amp;ndash; The History and Context of Emmanuel  Fr&amp;eacute;miet&amp;rsquo;s 1906 Cast of Jeanne d&amp;rsquo;Arc&amp;rsquo;, The La Trobe Journal, vol.81,  Autumn 2008, pp.53-68: &lt;a href="http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-81/t1-g-t5.html" target="_blank"&gt;http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-81/t1-g-t5.html&lt;/a&gt;.&lt;/p&gt;</text>
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                <text>McEwan, Joanne</text>
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                <text>27 April 2011</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>art, artwork, Benedictine, boarding school, Catholic church, Catholic college, Catholic education, chapel, convent school, Gertrude of Hackerborn, Gothic revival style, Helfta, Jesus, Josephite Sisters, Mary Mackillop, monastery, monasticism, monks, neo-gothic architecture, New Norcia, nuns, Order of St Benedict, painting, Sisters of St Joseph of the Sacred Heart, Spanish influence, Spanish mission, St Benedict of Nursia, St Gertrude, St Gertrudeâ€™s College, St Mechtilde, WA, Western Australia</text>
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                <text>&lt;p&gt;A view of the chapel interior at St Gertrude&amp;rsquo;s College, New Norcia. St  Gertrude was a thirteenth-century Benedictine nun and mystic in Helfta,  Germany. She entered the convent aged only 5 and was entrusted by the  Abbess, Gertrude of Hackerborn, to the care of St Mechtilde. In her  mid-twenties, Gertrude began having mystical visions and dedicated the  remainder of her life to the study and teaching of the scriptures and  theology. In the painting on the domed ceiling, she can be seen  ascending to Heaven to meet Jesus.&lt;/p&gt;&#13;
&lt;p&gt;About New Norcia:&lt;br /&gt; New Norcia is a monastic town located 132 km north of Perth in Western  Australia. The town is owned and run by a community of Benedictine monks  and houses one of only three Benedictine monasteries (for men) in  Australia. At its height the monastery housed approximately 80 monks,  but currently there are only seven in residence. The Benedictines are  part of a religious order within the Catholic Church known as the Order  of St Benedict (OSB). Benedictines live in small, largely autonomous  communities and base their way of life on the Rule of St Benedict, which  prioritises a balance of prayer and work and calls for promises of  stability, obedience and a conversion of life. The first Benedictine  community was established in the sixth-century in Italy by St Benedict  of Nursia (c.480-547).&lt;br /&gt; Originally intended as a mission to evangelise and educate the  indigenous peoples of the Victoria Plains, the site at New Norcia was  founded in 1847 by two Spanish Benedictine missionaries, Dom Jos&amp;eacute; Benito  Serra and Dom Rosendo Salvado. Serra&amp;rsquo;s involvement in the missionary  activities at new Norcia decreased following his appointment as  Co-adjutor Bishop of Perth in 1849, while Salvado (1814-1900) committed  himself wholly to developing the mission and leading the monastic  community. He subsequently became the key figure in the first 50 years  of New Norcia&amp;rsquo;s history. He made numerous fundraising trips to Europe,  which provided him with the means to purchase books, vestments, artwork  and equipment for the community and also to oversee the construction of  new buildings. He died in Rome in 1900 and his body was returned to New  Norcia. Under Salvado&amp;rsquo;s successor, Bishop Fulgentius Torres (1861-1914),  New Norcia became more like a traditional monastic settlement. An  increased focus on education and artistic pursuits led to the  establishment of two schools and improvements to many of the town&amp;rsquo;s  buildings. St Gertrude&amp;rsquo;s opened in 1908 and originally functioned as a  convent boarding school for girls. It was staffed by Josephite sisters,  the first of whom were to New Norcia by Mary Mackillop at the request of  Bishop Fulgentius Torres. The school closed in 1991 and is now used  primarily as a venue for school camps. For more information on New  Norcia, see the New Norcia Benedictine Community website: &lt;a href="http://newnorcia.wa.edu.au/" target="_blank"&gt;http://newnorcia.wa.edu.au/&lt;/a&gt;.&lt;/p&gt;</text>
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