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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>1 photograph : gelatin silver </text>
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                <text>St. Anthony's Parish of Wanneroo, Fremantle Saints Parade</text>
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                <text>Still image depicting members of St. Anthony's Parish participating in a Saints Parade. The medieval Franciscan priest Saint Anthony of Padua (1195-1231) was born in Portugal and died in Padua, Italy. </text>
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                <text>A drawing of a heraldic shield redolent of medieval manuscript annotation found on the second last page of the Journal of Arthur Bowes Smyth. Smyth (1750-1790) was the surgeon responsible for the women convicts on the Lady Penrhyn in the First Fleet, from 22 March 1787 â€“ 8 August 1789. His journal contains a number of sketches, doodles and drawings of English emblems, some of which - like this heraldic shield - are medieval. </text>
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                <text>A list of the Guilds which the members of the Lochac Region (within the Society for Creative Anachronism) can join. Some of the Guilds include:&lt;br /&gt;&#13;
&lt;ul&gt;&#13;
&lt;li&gt;Brewers, Vintners and Imbibers Guild&lt;/li&gt;&#13;
&lt;li&gt;Broiderers Guild&lt;/li&gt;&#13;
&lt;li&gt;Lohac Cooks' Guild&lt;/li&gt;&#13;
&lt;li&gt;Royal Guild of Defence&lt;/li&gt;&#13;
&lt;li&gt;Painters and Limners Guild&lt;/li&gt;&#13;
&lt;li&gt;College of Scribes&lt;/li&gt;&#13;
&lt;li&gt;Woodworkers' Guild&lt;/li&gt;&#13;
&lt;/ul&gt;&#13;
The Kingdom of Lochac is the regional branch of the Society of Creative Anachronism (SCA) for Australia, New Zealand and "their Antarctic territories."&amp;nbsp; &amp;nbsp;&lt;br /&gt;</text>
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                <text>&lt;a href="http://www.sca.org.au/lochac/groups/guilds.html"&gt;http://www.sca.org.au/lochac/groups/guilds.html&lt;/a&gt;</text>
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              <text>&lt;a href="http://sca.org.au/lochac/" target="_blank"&gt;http://sca.org.au/lochac/&lt;/a&gt;</text>
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                <text>The Kingdom of Lochac</text>
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                <text>&lt;p&gt;The Kingdom of Lochac is the name used by members of the Society for Creative Anachronism (SCA) for a fictional kingdom comprising Australia, New Zealand and their Antarctic territories. Lochac is one of nineteen kingdoms worldwide. Australia itself is divided into a number of large Barony&amp;rsquo;s, within which are smaller shires and cantons. Every Australian state and territory other than the Northern Territory has a resident SCA group. Members of the group research and recreate aspects of pre-17&lt;sup&gt;th&lt;/sup&gt; century European culture, including archery, calligraphy, costume, cooking, dance, heraldry, illumination, martial arts, metalwork, and music. Various events are held throughout the year and Lochac has its own king, queen, and office bearers.&lt;/p&gt;&#13;
For more on the Kingdom of Lochac and the Society for Creative Anachronism see &lt;a href="http://sca.org.au/lochac/" target="_blank"&gt;http://sca.org.au/lochac/&lt;/a&gt;</text>
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                <text>&lt;a href="http://sca.org.au/lochac/" target="_blank"&gt;http://sca.org.au/lochac/&lt;/a&gt;</text>
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                <text>&lt;a href="http://sca.org.au/lochac/" target="_blank"&gt;http://sca.org.au/lochac/&lt;/a&gt;</text>
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            <name>Date</name>
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                <text>16 September 2011</text>
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                <text>McLeod, Shane</text>
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              <elementText elementTextId="11225">
                <text>Society of Creative Anachronism</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;p&gt;St George Bank was formed in Sydney, New South Wales, in 1937 and is now a subsidiary of Westpac Banking Corporation. Despite its name, the logo of the bank fails to depict St George himself, but instead has a stylised head of a fire-breathing dragon, alluding to the popular tale of St George killing a dragon. The tale is thought to have been brought to Western Europe by crusaders returning from the Holy Lands in the eleventh century.&lt;/p&gt;&#13;
&lt;p&gt;The logo can be found on their website: &lt;a href="http://www.stgeorge.com.au/" target="_blank"&gt;http://www.stgeorge.com.au/&lt;/a&gt;&lt;/p&gt;</text>
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            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="21110">
                <text>St George Bank</text>
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            <element elementId="50">
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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.sthuberts.com.au/history/who" target="_blank"&gt;&lt;span style="color: #0000ff; font-family: Calibri; font-size: small;"&gt;http://www.sthuberts.com.au/history/who&lt;/span&gt;&lt;/a&gt;</text>
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                <text>St Hubertâ€™s Vineyard, Coldstream, Victoria</text>
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                <text>Antlers, Austrasia, Coldstream, cross, emblem, Franks, Hubert de Castella, hunters, Neustria, patron saint, Pepin of Heristal, saint, St Hubert, stag, symbolism, Victoria, VIC, vineyard, vision, winery, Yarra Valley</text>
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                <text>St Hubertâ€™s vineyard in Coldstream, Victoria, was founded by Hubert de Castella in 1862. It is named after St Hubert, the â€˜Apostle of Ardennesâ€™ and patron saint of hunters. Born c.656, Hubert was the eldest son of Bertrand, Duke of Aquitaine. He was a prominent member at the Court of Neustria in his youth and later (after fleeing to the Eastern Frankish territories) at Pepin of Heristalâ€™s Court in Austrasia. He is believed to have increasingly prioritised hunting over religious observance, which culminated sometime soon after his marriage (682) in a vision of a stag carrying a shining cross between his antlers. The stag told him to transform his ways or he would go to hell. Henceforth, he distributed his wealth amongst the poor, renounced his dukedom, was ordained as a priest, founded a number of monasteries and engaged in missionary work until his death in c.727. In homage to this legend, the St Hubertâ€™s Vineyard emblem features a stag and a cross. </text>
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            <name>Creator</name>
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                <text>St. Hubert's</text>
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                <text>2012</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="21747">
                <text>St. Hubert's</text>
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            <elementTextContainer>
              <elementText elementTextId="21748">
                <text>Hyperlink</text>
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        <name>Antlers</name>
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        <name>Franks</name>
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        <name>Hubert de Castella</name>
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        <name>hunters</name>
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        <name>Neustria</name>
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        <name>patron saint</name>
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        <name>Pepin of Heristal</name>
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        <name>saint</name>
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        <name>St Hubert</name>
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        <name>stag</name>
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        <name>symbolism</name>
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      <tag tagId="2984">
        <name>Vic</name>
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      <tag tagId="890">
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      <tag tagId="1146">
        <name>vineyard</name>
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        <name>vision</name>
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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>SMH Thurs 19 July 1945 Welcome Banquet in London Guildhall for Australian Sailors </text>
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                <text>At the end of World War II, Australian sailors of the vessel HMAS AUSTRALIA are depicted as heroic warriors (young and bronzed) who are privileged to march the medieval streets of Old London to dine and mingle with the Admiralty in the bombed London Guildhall. The backdrop of broken medieval stained-glass windows, shattered monuments and the temporary tin Hall roof highlights British pride in their Old World heritage but invokes powerful metaphors of victory amid ruins with the assistance of the New World, Australia. &#13;
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                <text>National Library of Australia</text>
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