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                <text>A view of the Redemptorist Church in North Perth, Western Australia. An entrance porch with decorative crenellations and a large traceried window containing five stained glass and lead light panels dominate the churchâ€™s appearance. The door is surrounded by gothic arches decorated with acanthus leaves, and is flanked on either side by stone buttresses and niches. The Greek letters Alpha and Omega are clearly visible on the door, signifying that Christ is the beginning and ending of all things.&#13;
&#13;
This Federation Gothic Style church and the adjoining monastery were designed by Michael and James Cavanagh in 1902 for the Redemptorist Order of the Catholic Church, which had been newly established in WA in 1899. The church was opened by Bishop Gibney and Abbot Torres (from New Norcia) on 13 September 1903 and is dedicated to Saints Peter and Paul. An additional monastery wing was added in 1912 and a chapel and transept in 1922. The monastery and church together were added to the WA Heritage register in 2006.</text>
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                <text>An image of a portrait of Gloria Rose Armstrong who designed and executed the hand embroidered 'Kyral Tapestry', which is displayed at Kryal Castle, a tourist attraction located 8km from Ballarat in Victoria. The tapestry depicts Kryal Castle and various aspects of medieval life. Reportedly the largest of its type in the Southern hemisphere, the Kryal tapestry took 3600 hours to complete and is thought to contain 19 million stitches.</text>
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                <text>Bank, business, colony, commerce, commercialisation, Executive, Governor John Stephen Hampton, Henry VIII, legislation, mail, mail carts, â€œmedieval conditionâ€, medieval condition, monetary orders, money, Perth, post office, Western Australia.</text>
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                <text>Members of the Society for Creative Anachronism (SCA) putting on armour in preperation for the SCA 'College Challenge' tournament. In Perth, Western Australia, there are only two chapters of the SCA which are based in colleges (St. Basil (UWA) or St. Lazarus (Murdoch University). Therefore, this challenge was fought solely between St. Basil and St. Lazarus at the UWA campus on the 19th December 2010.  &lt;br /&gt;&lt;br /&gt;About the Society for Creative Anachronism and the Kingdom of Lochac (the Australian and New Zealand regional branch of the SCA):  &lt;br /&gt;&lt;br /&gt;&lt;strong&gt;The Society for Creative Anachronism &lt;/strong&gt;is an international organisation which focuses on the study and 're-creation' of Medieval and Early Modern cultures and their histories before the seventeenth century. As the prime example of a 'living history' group, members of the SCA aim to re-create the past through applying elements of historical knowledge to a practical engagement with Medieval and Early Modern crafts, martial arts, science, metalwork and cooking (for example). The Society was created by graduates of the University of Berkley in California in the 1960s and has since branched out to include 19 kingdoms, with over 30,000 members in locations across the globe.  &lt;br /&gt;&lt;br /&gt;&lt;strong&gt;The Kingdom of Lochac&lt;/strong&gt; is the regional branch of the Society for Creative Anachronism for individuals living in Australia and New Zealand.  &lt;br /&gt;&lt;br /&gt;Information regarding the &lt;strong&gt;College of St. Basil the Great&lt;/strong&gt; (UWA) can be found at &lt;a href="http://lochac.sca.org/basil/index.php?page=home"&gt;http://lochac.sca.org/basil/index.php?page=home&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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                <text>Preparing for the Exhibition â€“ Gilding the Dome</text>
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                <text>In this article, an update is provided on repainting work being carried out at the Exhibition Building in Melbourne in the lead up to the 1888 Centennial International Exhibition. The most difficult task being undertaken as part of this redecoration, according to the author, was the gilding of the gold ball surmounting the dome. To complete this, painters had been swung 300 feet above ground level. The dome of the Royal Exhibition Building was modelled on Brunelleschiâ€™s fifteenth-century design for the dome of the Florence Cathedral.&#13;
About the Royal Exhibition Building:&#13;
The Royal Exhibition Building was designed by architect Joseph Reed and completed in 1880. It hosted two major world fairs in the late nineteenth century: the Melbourne International Exhibition in 1880 and the Melbourne Centennial International Exhibition in 1888. The Great Hall was also used for the opening of the first Commonwealth Parliament of Australia in 1901. The round-arched architectural style of the design combines elements from Byzantine, Romanesque, Lombardic and Italian Renaissance buildings (â€˜Rundbogenstilâ€™). Conservation and restoration of the building was completed in 1994, and the Royal Exhibition Building received National and World Heritage listing in 2004.</text>
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                <text>Preparing for the Exhibition â€“ Gilding the Dome (Illustration)</text>
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                <text>An illustration of painters gilding the dome of the Royal Exhibition Building in Melbourne. This task was undertaken in association with other contracted repainting and redecorating work in the lead-up to the 1888 Centennial International Exhibition. The dome of the Royal Exhibition Building was modelled on Brunelleschiâ€™s fifteenth-century design for the dome of the Florence Cathedral.&#13;
About the Royal Exhibition Building:&#13;
The Royal Exhibition Building was designed by architect Joseph Reed and completed in 1880. It hosted two major world fairs in the late nineteenth century: the Melbourne International Exhibition in 1880 and the Melbourne Centennial International Exhibition in 1888. The Great Hall was also used for the opening of the first Commonwealth Parliament of Australia in 1901. The round-arched architectural style of the design combines elements from Byzantine, Romanesque, Lombardic and Italian Renaissance buildings (â€˜Rundbogenstilâ€™). Conservation and restoration of the building was completed in 1994, and the Royal Exhibition Building received National and World Heritage listing in 2004.</text>
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Newspaper Illustration</text>
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