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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.puginfoundation.org/" target="_self"&gt;http://www.puginfoundation.org/&lt;/a&gt;</text>
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                <text>Pugin Foundation</text>
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                <text>Catholic, churches, essays, Gothic, Gothic Revival, New South Wales, NSW, Pugin Foundation, Augustus Welby Northmore Pugin, Qld, Queensland, Tas, Tasmania, Vic, Victoria, website.  </text>
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                <text>&lt;p&gt;The Pugin Foundation is a not for profit organisation based in Victoria. Their website is devoted to the works of English architect August Welby Northmore Pugin (1812-1852). The website has a particular focus on the Pugin-designed churches built in Australia, examples of which survive in New South Wales, Queensland, and Tasmania. The list of surviving churches include links to essays on most the churches. Pugin was instrumental in establishing the Gothic Revival movement in architecture. Although he never visited Australia, the churches were constructed after detailed drawings, and sometimes scale models, were sent from England.&lt;/p&gt;&#13;
&lt;p&gt;For their website see &lt;a href="http://www.puginfoundation.org/" target="_self"&gt;http://www.puginfoundation.org/&lt;/a&gt;&lt;/p&gt;</text>
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                <text>2006</text>
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                <text>Pugin Foundation</text>
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                  <text>Medievalism on the Streets</text>
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                  <text>This Collection analyses popular medievalism in material and public culture from the mid-nineteenth century to the present, with an emphasis on popular medievalist theatre, parades and public spectacles, as well as recreational, literary and political associations. It explores the ways in which medievalism was not simply derivative but also local and disctinctive. In this Collection you will find items relating to medievalism in public contexts and popular culture, and the revisitation or reenactment of the Middle Ages by groups such as the Society for Creative Anachronism.</text>
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              <text>&lt;span style="font-family: 'Tahoma','sans-serif'; font-size: 10pt;" lang="EN-AU"&gt; &lt;a href="http://www.qlhf.org.au/" target="_blank"&gt;http://www.qlhf.org.au/&lt;/a&gt;&lt;/span&gt;</text>
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                <text>Queensland Living History Federation</text>
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                <text>Brisbane, Fort Lytton National Park, History Alive, living history, Lytton, QLD, QLHF, Queensland, Queensland Living History Federation, re-enactment</text>
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                <text>The Queensland Living History Federation (QLHF) are an umbrella group based in Brisbane for 54 smaller historical re-enactment, or living historian, groups in Queensland. QLHF formed in 1997 and its members re-enact time periods from the Roman Empire to the Vietnam War. Within this broad time frame are a number of groups who focus on the medieval period. The main event of QLHF is the History Alive weekend (see separate entry).</text>
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                <text>6 January 2012</text>
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                <text>Queensland Living History Federation</text>
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                  <text>Medievalism on the Streets</text>
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                  <text>This Collection analyses popular medievalism in material and public culture from the mid-nineteenth century to the present, with an emphasis on popular medievalist theatre, parades and public spectacles, as well as recreational, literary and political associations. It explores the ways in which medievalism was not simply derivative but also local and disctinctive. In this Collection you will find items relating to medievalism in public contexts and popular culture, and the revisitation or reenactment of the Middle Ages by groups such as the Society for Creative Anachronism.</text>
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              <text>&lt;span style="font-family: 'Tahoma','sans-serif'; font-size: 10pt;" lang="EN-AU"&gt;&lt;a href="http://www.historyalive.com.au/home.html" target="_blank"&gt;http://www.historyalive.com.au/home.html&lt;/a&gt;&lt;/span&gt;</text>
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                <text>History Alive: A Journey Through Time</text>
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                <text>Brisbane, carnival, dance, event, Fort Lytton National Park, History Alive, living history, Lytton, market, QLD, QLHF, Queensland, Queensland Living History Federation, re-enactment, tournament</text>
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                <text>History Alive: A Journey Through Time is a re-enactment weekend event held by The Queensland Living History Federation (QLHF). The event is held at Fort Lytton National Park and features re-enactment groups covering the period from the Roman Empire to the Vietnam War. Within this broad time frame are a number of groups who focus on the medieval period, and the main arena at the event hosts a 14th century tournament. As well as martial displays in the arena, there are also market stalls, displays by local historical groups, and dance. </text>
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                <text>8 January 2012</text>
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                <text>Queensland Living History Federation</text>
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              <description>An account of the resource</description>
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                  <text>This Collection analyses popular medievalism in material and public culture from the mid-nineteenth century to the present, with an emphasis on popular medievalist theatre, parades and public spectacles, as well as recreational, literary and political associations. It explores the ways in which medievalism was not simply derivative but also local and disctinctive. In this Collection you will find items relating to medievalism in public contexts and popular culture, and the revisitation or reenactment of the Middle Ages by groups such as the Society for Creative Anachronism.</text>
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              <text>&lt;span style="line-height: 115%; font-family: 'Tahoma','sans-serif'; font-size: 10pt; mso-fareast-font-family: 'Times New Roman'; mso-ansi-language: EN-AU; mso-fareast-language: EN-AU; mso-bidi-language: AR-SA; mso-bidi-font-weight: bold;"&gt;&lt;a href="http://www.abc.net.au/local/videos/2009/04/21/2548797.htm"&gt;http://www.abc.net.au/local/videos/2009/04/21/2548797.htm&lt;/a&gt;&lt;/span&gt;</text>
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                <text>â€˜Home-made medieval war machine goes off with a bangâ€™</text>
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              <elementText elementTextId="27244">
                <text>ABC, Australian Broadcasting Corporation, ballista, counterweight trebuchet, crossbow, Hobart, Doug Pattison, performance, Carol Raabus, re-creation, siege, siege engine, Tas, Tasmania, trebuchet, war, website.</text>
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                <text>&lt;p&gt;This online article by Carol Raabus was posted in 2009 on the Australian Broadcasting Corporation&amp;rsquo;s Hobart page. It is about local man Doug Pattison and his re-creation of siege engines. He has built a trebuchet, first used in the twelfth century, and a ballista (a large version of a crossbow), which was first used by the classical Greeks and remained popular until replaced by the trebuchet. Doug sometimes gives public performances of the weapons.&lt;/p&gt;&#13;
&lt;p&gt;For the story, including a clip of the trebuchet in action, see &lt;a href="http://www.abc.net.au/local/videos/2009/04/21/2548797.htm"&gt;http://www.abc.net.au/local/videos/2009/04/21/2548797.htm&lt;/a&gt;&lt;/p&gt;</text>
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                <text>Raabus, Carol</text>
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                <text>April 21, 2009</text>
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                <text>Carol Raabus; Australian Broadcasting Corporation</text>
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                <text>Amidst media fervour over the royal wedding of Prince William and Kate Middleton (Princess Catherine), Geoffrey Robertson raises the Australian republican question in this opinion piece. Beginning with reference to Thomas Paineâ€™s denunciation of hereditary monarchy and the religious bias of the 1701 Act of Settlement which prevents non-Protestant heirs from succeeding to the British throne, Robertson suggests that Australiaâ€™s enduring penchant for royal tradition is what keeps it part of the commonwealth. He goes on to cite examples of what he refers to as â€˜medieval nonsenseâ€™ that â€˜still applies in Australiaâ€™, including the feudal principle of primogeniture, the 1351 Treason Act and obsolete but unrepealed laws such as one that vests the ownership of wild swans with the monarch.</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;span&gt;&lt;a href="http://www.artgallery.sa.gov.au/agsa/home/Collection/detail.jsp?ecatKey=4181" target="_blank"&gt;&lt;span style="color: #0000ff;"&gt;http://www.artgallery.nsw.gov.au/work/349.2001.a-f/&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;</text>
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                <text>The Second Maquette for the Burghers of Calais</text>
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                <text>Andrieu dâ€™Andres, attack, army, Auguste Rodin (1840-1917), bronze, burghers, Calais, cast, commemoration, conflict, Eustache de Saint-Pierre, Hundred Yearsâ€™ War, Jacques de Weissant, Jean dâ€™Aire, Jean de Fiennes, King Edward III of England (1312-1377), King Philip VI of France (1293-1350), maquette, medieval war, model, New South Wales, NSW, Pierre de Weissant, plaster, sculpture, siege, Siege of Calais (1347), surrender,  war, warfare</text>
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                <text>&lt;span style="font-family: 'Tahoma','sans-serif'; font-size: 10pt;"&gt;This piece from the Art Gallery of New South Wales collection is one of 12 bronze sculptures cast from a plaster sculpture created by Rodin in 1885. The original &amp;lsquo;Second Maquette for the Burghers of Calais&amp;rsquo; from which it was cast is currently housed in the Mus&amp;eacute;e Rodin in Paris. The sculpture features six separate figures ranging in size from 60.5cm to 70 cm. Rodin was commissioned in 1884 to produce a monument commemorating the bravery of six Calais burghers who were prepared to sacrifice themselves to save the city&amp;rsquo;s other citizens when Calais fell to the English King, Edward III, during the Hundred Years&amp;rsquo; War in 1347. The figures are Pierre de Weissant, Jean d&amp;rsquo;Aire, Eustache de Saint-Pierre, Jacques de Weissant, Andrieu d&amp;rsquo;Andres and Jean de Fiennes. His first maquette features all of the figures on a shared base, whereas the second consists of six separate figures. For more information, see the accompanying notes on the Gallery of New South Wales website: &lt;a href="http://www.artgallery.sa.gov.au/agsa/home/Collection/detail.jsp?ecatKey=4181" target="_blank"&gt; &lt;span style="color: #0000ff;"&gt;http://www.artgallery.nsw.gov.au/work/349.2001.a-f/&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;</text>
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                <text>Modelled 1885; Cast 1972</text>
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                  <text>This Collection analyses popular medievalism in material and public culture from the mid-nineteenth century to the present, with an emphasis on popular medievalist theatre, parades and public spectacles, as well as recreational, literary and political associations. It explores the ways in which medievalism was not simply derivative but also local and disctinctive. In this Collection you will find items relating to medievalism in public contexts and popular culture, and the revisitation or reenactment of the Middle Ages by groups such as the Society for Creative Anachronism.</text>
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                <text>Anglo-Saxon, archery, art, axe, Byzantine Empire, chain mail, combat, costume, education, gripping-beast, helmet, javelin, Lismore, living history, New South Wales, Norman, NSW, performance, re-enactment, Rognvald Ingvarson, Rognvaldâ€™s Lith, Rognvaldâ€™s Lith: Lismore Medieval Re-enactment Society, rune, runestone, Rus, school, serpent, shield, spear, stave, Sweden, sword, Uppsala, Varangian Guard, Viking, website.</text>
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                <text>&lt;p&gt;Rognvald&amp;rsquo;s Lith: Lismore Medieval Re-enactment Society is a re-enactment group founded in 2003 and based in Lismore, New South Wales. The group concentrate on the period 700-1200 and such peoples as Anglo-Saxons, Normans, Rus, and Vikings. Combat and weapon training with swords, spears, axes, staves, shields, javelins, archery, chain mail, and helmets is carried out. Rognvald&amp;rsquo;s Lith (Rognvald&amp;rsquo;s troop) do public performances, including educational performances for schools.&lt;/p&gt;&#13;
&lt;p&gt;The group is named after Rognvald Ingvarson, a commander of the Varangian Guard (who fought for the Byzantine Empire) from Sweden. The club&amp;rsquo;s banner is based on the serpent design of a eleventh-century runic inscription in Uppsala that Rognvald had made. Their website includes photographs of the runestone, as well as other designs based on Viking Art, including the &amp;lsquo;gripping-beast&amp;rsquo; motif.&lt;/p&gt;&#13;
&lt;p&gt;For their website see &lt;a href="http://www.rognvaldslith.com/"&gt;http://www.rognvaldslith.com/&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;</text>
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                <text>Rognvaldâ€™s Lith</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="31607">
                <text> Copyright Rognvald's Lith</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Website</text>
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        <name>Anglo-Saxon</name>
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        <name>Rognvald Ingvarson</name>
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        <name>Rognvaldâ€™s Lith: Lismore Medieval Re-enactment Society</name>
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          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Medievalism at the Foundations</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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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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    <itemType itemTypeId="11">
      <name>Hyperlink</name>
      <description>Title, URL, Description or annotation.</description>
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        <element elementId="28">
          <name>URL</name>
          <description/>
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            <elementText elementTextId="20541">
              <text>&lt;p&gt;To view this image,&lt;/p&gt;&#13;
&lt;p&gt;1.&amp;nbsp; go to: &lt;a href="http://www.artgallery.sa.gov.au/agsa/home/Collection/CollectionSearch.jsp" target="_blank"&gt;http://www.artgallery.sa.gov.au/agsa/home/Collection/CollectionSearch.jsp&lt;/a&gt;&lt;/p&gt;&#13;
&lt;span style="color: #000000; font-family: Tahoma; font-size: x-small;"&gt;2.&amp;nbsp;&amp;nbsp; search by artist or title. &lt;/span&gt;&lt;br /&gt;</text>
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    <elementSetContainer>
      <elementSet elementSetId="1">
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="20533">
                <text>The Loving Cup</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="20534">
                <text>Art, Arthurian, Arthurian romance, chivalry, cup, Dante Gabriel Rossetti (1828-1882), Gouache, ivy, knight, legend, medieval clothing, nostalgia, Pre-Raphaelite, replica, romance, SA, South Australia, Victorian, watercolour</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="20535">
                <text>&lt;p&gt;This work by Dante Gabriel Rossetti, a&amp;nbsp;renowned nineteenth-century painter and member of the Pre-Raphaelite Brotherhood, depicts a young woman in a voluminous medieval-looking gown raising a golden cup decorated with a heart shaped design to her lips. In her other hand she clasps the lid of the cup to her breast. A lace cloth, ivy (the symbol of fidelity) and 4 brass plates (2 depicting deer, 1 depicting Adam and Eve eating the forbidden fruit and the other showing Hosea and Joshua with a bunch of grapes) are visible in the background. This painting is one of three watercolour replicas that Rossetti produced in 1867 of an oil painting that is currently held by the National Gallery of Western Art, Tokyo. The frame of the original painting is inscribed "Douce nuit et joyeux jour/ A chevalier de bel amour (Sweet night and pleasant day/to the beautifully loved knight)," which suggests that the woman is toasting her recently departed knight. The source of these words is uncertain, but it is thought that Rossetti, well-known for his poetry as well as his artwork, probably wrote it himself. (For more on the Tokyo painting, see &lt;a href="http://collection.nmwa.go.jp/en/P.1984-0005.html" target="_blank"&gt;&lt;span style="color: #0000ff;"&gt;http://collection.nmwa.go.jp/en/P.1984-0005.html&lt;/span&gt;&lt;/a&gt;).&lt;/p&gt;&#13;
The Arthurian theme and subject matter of the painting are typical of Rossetti&amp;rsquo;s work from the mid-1850s, and the work of the second phase of the Pre-Raphaelite Brotherhood more generally. As Elizabeth Prettejohn suggests, these paintings convey a sense in which the &amp;ldquo;the world presented in the pictures is somehow distant or remote from the everyday&amp;rdquo;. They depict scenes of leave-taking, but the circumstances are left untold, and we do not learn the fortunes of the figures involved. This, she suggests, &amp;ldquo;contrasts abruptly with the narrative specificity of most Victorian painting, and of earlier Pre-Raphaelite pictures. The precise detail in the drawings gives us a medieval world that is apparently complete in itself, but to which we as spectators only have partial access&amp;rdquo; (Elizabeth Prettejohn, &lt;em&gt;The Art of the Pre-Raphaelites&lt;/em&gt;, Tate Publishing, London, 2000, pp.106-7).</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="20536">
                <text>Rossetti, Dante Gabriel</text>
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          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="20537">
                <text>Art Gallery of South Australia</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="20538">
                <text>c 1867</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="20539">
                <text>Art Gallery of South Australia</text>
              </elementText>
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          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="20540">
                <text>Gouache on paper, 52.6 x 35.9 cm</text>
              </elementText>
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        <name>art</name>
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        <name>Arthurian</name>
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        <name>Arthurian romance</name>
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        <name>chivalry</name>
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        <name>cup</name>
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        <name>Dante Gabriel Rossetti (1828-1882)</name>
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        <name>ivy</name>
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        <name>knight</name>
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        <name>Pre-Raphaelite</name>
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        <name>Victorian</name>
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