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                <text>Members of the Society for Creative Anachronism (SCA) clad in 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>Members of the Society for Creative Anachronism (SCA) dressed in 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>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>The Uniting Church, York, Western Australia</text>
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                <text>The Uniting Church in York, Western Australia was erected in 1888. It was built as a chapel by followers of the Wesleyan Denomination of the Methodist faith. It exhibits architectural features which are typical of the nineteenth-century Gothic Revival style. The most obvious of these features are its lancet windows and arched doorways.</text>
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                <text>An image of St Andrewâ€™s Presbyterian Church on Raglan Road in the Sydney suburb of Manly. The building was designed by John Sulman in the Romanesque Revival style and was completed in 1890. The carved white sandstone building features a prominent bell tower with gargoyles, semi-circular arched windows and blind arcading, and a porch with an arched entrance.</text>
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                <text>&lt;p&gt;This linocut print, &lt;em&gt;Mother and Child&lt;/em&gt; (1985), by artist G. W. Bot depicts a Madonna and child scene in which the frame is occupied almost exclusively by a Virgin Mary figure holding a child. Although held by a private collector, the piece was exhibited in a number of regional Australian art galleries between 2010 and 2013 as part of a touring exhibition of G. W. Bot&amp;rsquo;s work &amp;ndash; &lt;em&gt;The Long Paddock: A 30 Year Survey&lt;/em&gt; &amp;ndash; developed by the Goulburn Regional Art Gallery and curated by Peter Haynes. Bot&amp;rsquo;s inspiration for this work derives from the status of the Madonna and Child as a powerful Christian icon, especially in medieval religious art. During an interview conducted for the educational resource kit accompanying the exhibition, G. W Bot acknowledged this medieval influence: &amp;lsquo;I&amp;rsquo;ve also found inspiration in the medieval icon painters &amp;ndash; I&amp;rsquo;ve always been fascinated by the question of how to encode spirituality in the visual arts&amp;rsquo; (see: &lt;a href="http://www.grag.com.au/userfiles/file/GW%20BOT%20Education%20Kit.pdf" target="_self"&gt;http://www.grag.com.au/userfiles/file/GW%20BOT%20Education%20Kit.pdf&lt;/a&gt;).&lt;/p&gt;&#13;
&lt;p&gt;For more on this artwork and other works featured in the exhibition, see the Exhibition Catalogue at: &lt;a href="http://www.grag.com.au/userfiles/file/4569%20GW%20BOT%20-%20Catalogue_v12.pdf" target="_self"&gt;http://www.grag.com.au/userfiles/file/4569%20GW%20BOT%20-%20Catalogue_v12.pdf&lt;/a&gt;&lt;/p&gt;</text>
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                <text>&lt;em&gt;The Long Paddock: A 30 Year Survey&lt;/em&gt; Exhibition (&lt;a href="http://www.grag.com.au/site/exhibition.php?id=3" target="_self"&gt;http://www.grag.com.au/site/exhibition.php?id=3&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>The former St Maryâ€™s Hospital is on the corner of Davey Street and Salamanca Place, at the rear of Parliament House, in Hobart, Tasmania. Designed by William Porden Kay (1809-1870), it was built as a private sixty bed hospital for Dr Edward Samuel Pickard Bedford (1809-1876), with the foundation stone being laid in 1847. After the hospital closed in 1862 the building was used by the Lands and Survey Department and then the Health Department. The building has a crenelated parapet above the second storey, and another above the pointed arch entrance.    </text>
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                <text>St John the Evangelistâ€™s Church exterior, Richmond, Tasmania </text>
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                <text>Brian Andrews, buttress, Catholic, Rod Cooper, Henry Edmund Goodridge, Gothic, Gothic Revival, lancet windows, Alexander North, John Bede Polding, pointed arch, porch, Augustus Welby Northmore Pugin, Pugin, Richmond, St John the Evangelistâ€™s Church, spire, Tas, Tasmania, Frederick Thomas, tracery, turret, Robert William Willson, Bishop Willson. </text>
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                <text>&lt;p&gt;St John the Evangelist&amp;rsquo;s Church is in the village of Richmond, Tasmania, and is the oldest continuously used Catholic church in Australia. The present building is an amalgam of two designs. The earliest building was designed by the English (Bath) architect Henry Edmund Goodbridge (1800-1863) after John Bede Polding (1794-1877), Australia&amp;rsquo;s first Catholic bishop, obtained plans for several churches from Goodbridge before sailing to Australia in 1835. Polding laid the foundation stone in 1835 and the church was completed in 1837. The nave of the present building is from the original church. In 1859 additions were completed under the supervision of architect Frederick Thomas (1817-1885) from a detailed scale model made by the English architect Augustus Welby Northmore Pugin (1812-1852) in 1843. The model was made for Pugin&amp;rsquo;s friend Robert William Willson (1794-1866) who was the first Catholic Bishop in Tasmania. From Pugin&amp;rsquo;s design come the chancel (including the rear window with tracery), sacristy and spire. The building is in the Gothic Revival style with pointed arch doorways, buttresses, tracery, spire, stair turret, and lancet windows. The present spire is the third and a scaled down version of Pugin's original designed by architect Rod Cooper and added in 1972. The cross on top of the spire is all that remains of the second spire, designed by Alexander North (1858-1945)&amp;nbsp;in 1893.&lt;/p&gt;&#13;
&lt;p&gt;Augustus Welby Northmore Pugin (1812-1852) played a central role in establishing the Gothic Revival style and is best remembered for his work on the Houses of Parliament in London, and the interior of the Palace of Westminster.&lt;/p&gt;&#13;
&lt;p&gt;For the interior see &lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1119" target="_self"&gt;http://ausmed.arts.uwa.edu.au/items/show/1119&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;For an essay on the church by Brian Andrews see &lt;a href="http://www.puginfoundation.org/assets/Richmond_Essay.pdf" target="_self"&gt;http://www.puginfoundation.org/assets/Richmond_Essay.pdf&lt;/a&gt;&lt;/p&gt;</text>
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                <text>No Copyright (Essay copyright Brian Andrews; Pugin Foundation)</text>
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