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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;p&gt;To view this image,&lt;/p&gt;&#13;
&lt;p&gt;1.&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&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;
2.&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; search by artist or title. &lt;br /&gt;</text>
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                <text>Virgin of the Offering</text>
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                <text>Alsace, bronze, Christ, Christianity, Ã‰mile-Antoine Bourdelle (1861-1929), gothic, infant Jesus, Jesus, Madonna, Mary, model, Niederbruck, religious sculpture, Romanesque, sculpture, SA, South Australia, virgin, virgin and child</text>
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                <text>&lt;span style="font-family: 'Tahoma','sans-serif'; font-size: 10pt;"&gt;This work by French sculptor &lt;/span&gt;&lt;span style="font-family: 'Tahoma','sans-serif'; font-size: 10pt;"&gt;&amp;Eacute;mile-Antoine Bourdelle was gifted to the Art Gallery of South Australia by William Bowmore AO OBE, through the Art Gallery of South Australia Foundation in 1994. It is a 2.5m tall bronze sculpture of the Virgin Mary holding the infant Jesus aloft. Along with similar sculptures held by the National Museum of Western Art in Tokyo and the National Galleries of Scotland (titled La Vierge d&amp;rsquo;Alsace), this work appears to be a model for Bourdelle&amp;rsquo;s much larger 6m tall stone carving of the subject, which was completed in 1922 and is situated on a hill in Niederbruck, Alsace, France. Bourdelle studied sculpture at the &amp;Eacute;cole des Beaux-Arts in Paris after training as a wood-carver with his father, and entered Rodin&amp;rsquo;s studio as a practitioner in 1893. He incorporated both subjects&amp;nbsp;and techniques from Ancient Greek and medieval sculpture into his work. In &amp;lsquo;Virgin and the Offering&amp;rsquo;, his admiration of gothic and medieval religious art is evident in his choice of subject, while his use of simplified forms is reminiscent of earlier Romanesque sculpture. On the Gothic and Romanesque influences of Bourdelle&amp;rsquo;s work, see the catalogue description of NG Scotland&amp;rsquo;s La Vierge d&amp;rsquo;Alsace at: &lt;a href="http://www.nationalgalleries.org/object/GMA%202" target="_blank"&gt;&lt;span style="color: #0000ff;"&gt;http://www.nationalgalleries.org/object/GMA 2&lt;/span&gt;&lt;/a&gt;.&lt;/span&gt;</text>
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                <text>Bourdelle, Ã‰mile-Antoine</text>
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                <text>Art Gallery of South Australia</text>
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                <text>1921</text>
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                <text>Art Gallery of South Australia</text>
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                <text>Bronze Sculpture, 250 x 90 x 70cm; Hyperlink</text>
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        <name>Ã‰mile-Antoine Bourdelle (1861-1929)</name>
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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.flickr.com/photos/raysalmanac/5735966859/in/photostream" target="_blank"&gt;&lt;span style="line-height: 115%; font-family: 'Tahoma','sans-serif'; font-size: 10pt;"&gt;&lt;span style="color: #0000ff;"&gt;http://www.flickr.com/photos/raysalmanac/5735966859/in/photostream&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;</text>
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                <text>St Peterâ€™s East Window, SCEGGS Great Hall, Darlinghurst, Sydney</text>
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                <text>Canopy, Christ, Christianity, Darlinghurst, Empire, Ferguson &amp; Urie, geometric patterning, Great Hall, medallion, medieval design, New South Wales, NSW, quarries, SGEGGS, school, school buildings, St Peterâ€™s Church, Stained glass, Sydney, Sydney Girls Grammar School, window</text>
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                <text>An image of the East Window in the Great Hall at Sydney Girls Grammar School (SGEGGS) in Darlinghurst, Sydney. The window was originally installed in St Peterâ€™s church in 1867, but the church has since been incorporated into the School Hall. It is the only known Ferguson &amp; Urie window in Sydney. Depictions of Christ and the disciples in lozenge and mandorla medallions stand out amidst a richly patterned geometrical background. This window employs several medieval design and glazing techniques, notably: 12th century lancets, the use of â€˜diaperedâ€™ background quarries, extensive geometric patterning, and painted figures restricted to â€˜mandorlaâ€™ and lozenge-shaped medallions. Note the comparatively larger, central figure of Christ standing under the imitation c. 14th century canopy. While not limited to a medieval primary colour scheme, the overall feeling and tone of this window is decidedly one of an adventurous medievalism. Such a window transmits the essence of the gospel message in visual narrative form, to the effect that the contents of each medallion can quite easily be â€˜readâ€™ by onlookers. The twin themes of Empire and Christianity merge seamlessly within the context of the windowâ€™s Neo-Gothic medievalism.</text>
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                <text>Brown, Ray</text>
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                <text>6 May 2011</text>
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                <text>Â© Ray Brown </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>Stained Glass Lancet Windows, St. Patrick's Catholic Church, York, Western Australia</text>
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                <text>Saint Patrick, St. Patrick, St Patrick, Father Patrick Gibney, Patrick Gibney, convict, convicts, Joseph Nunan, architecture, architect, building, vaulted ceiling, Gothic revival, Gothic, Gothic building, Gothic revival, Catholic, Catholicism, Christian, Christianity, church, churches, religious, religion, saint, saints, lancet window, rose window, lancet windows, windows, window, tower, spire, spires, arch, arches, York, South Street, Perth, Western Australia, WA, statue, statues, Ireland, Irish, patron, patronage, patron saint, patron saints, stained glass, stained glass windows, stained-glass windows, windows, Christ, Jesus, Jesus Christ, cross, crucifix</text>
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                <text>An image of stained glass lancet windows inside St. Patrick's Catholic Church in the town of York, Western Australia. &#13;
&#13;
About St. Patrick's Catholic Church, York, WA:&#13;
&#13;
The foundation stone of St. Patrick's Catholic Church was laid on St. Patrick's Day in 1875, with the building being completed in 1886. It was designed and built under the supervision of ex-convict Joseph Nunan, who was commissioned by the resident priest of the time, Father Patrick Gibney, to build a larger church to accommodate an increasing congregation.&#13;
&#13;
The design of the church is typical of the Gothic revival style with its spire, tall arches, vaulted ceiling, rose windows and lancet windows. This style of architecture was particularly popular in England, Australia, and other British colonies throughout the eighteenth and nineteenth centuries. </text>
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                <text>27 November 2011</text>
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The foundation stone of St. Patrick's Catholic Church was laid on St. Patrick's Day in 1875, with the building being completed in 1886. It was designed and built under the supervision of ex-convict Joseph Nunan, who was commissioned by the resident priest of the time, Father Patrick Gibney, to build a larger church to accommodate an increasing congregation.&#13;
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        <name>Gothic building</name>
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        <name>Jesus Christ</name>
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        <name>Saint Patrick</name>
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        <name>spires</name>
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        <name>St. Patrick</name>
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        <name>tower</name>
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        <name>vaulted ceiling</name>
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      <tag tagId="838">
        <name>WA</name>
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      <tag tagId="73">
        <name>Western Australia</name>
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        <name>window</name>
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        <name>windows</name>
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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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              <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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              <text>This artwork can be viewed online at: &lt;a href="http://www.artwhatson.com.au/hawkesbury/the-long-paddock-a-30-year-survey/mother-and-child" target="_self"&gt;http://www.artwhatson.com.au/hawkesbury/the-long-paddock-a-30-year-survey/mother-and-child&lt;/a&gt;, or in The Long Paddock: A 30 Year Survey Exhibition Catalogue at:&lt;a href="%20http://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;</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>â€˜Mother and Childâ€™ by G. W. Bot</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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              <elementText elementTextId="27579">
                <text>Art, child, Christ, devotional, exhibition, G. W. Bot, icon, infant Jesus, Madonna, Mary, medieval painters, Mother, Mother and Child, religious art, spirituality, Virgin Mary.</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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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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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="27581">
                <text>G. W. Bot (Chrissy Gishkin)</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="27582">
                <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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          </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="27583">
                <text>1985</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="27584">
                <text>Goulburn Regional Art Gallery</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="27585">
                <text>Linocut on BFK Paper, 62cm x 55.5cm</text>
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        <name>art</name>
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      <tag tagId="339">
        <name>child</name>
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      <tag tagId="3800">
        <name>Christ</name>
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      <tag tagId="244">
        <name>devotional</name>
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        <name>exhibition</name>
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        <name>G. W. Bot</name>
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      <tag tagId="4098">
        <name>icon</name>
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      <tag tagId="4099">
        <name>infant Jesus</name>
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      <tag tagId="3760">
        <name>Madonna</name>
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      <tag tagId="2293">
        <name>Mary</name>
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      <tag tagId="5643">
        <name>medieval painters</name>
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      <tag tagId="5600">
        <name>Mother</name>
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        <name>Mother and Child</name>
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        <name>spirituality</name>
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        <name>Virgin Mary</name>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
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                  <text>Medievalism on the Streets</text>
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              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
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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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      <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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              <text>&lt;span&gt;&lt;a href="http://acms.sl.nsw.gov.au/item/itemLarge.aspx?itemID=42162" target="_blank"&gt;&lt;span style="color: #0000ff;"&gt;http://acms.sl.nsw.gov.au/item/itemLarge.aspx?itemID=42162&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Corpus Christi at Manly: Children in the Procession</text>
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            <description>The topic of the resource</description>
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                <text>Catholic, Catholicism, celebration, children, Christ, Corpus Christi, crowd, Eucharist, feast day, feast of Corpus Christi, Hugh of St-Cher, Jacques PantelÃ©on, Juliana of LiÃ¨ge (1193-1258), laity, Latin Rite, Manly, Mass, medieval ritual, mystic, mysticism, New South Wales, NSW, nun, Papal Bull, Pope Urban IV, procession, religious ceremony, Robert de Thorete (d.1246), sacrament, St Juliana, Sydney, Ted Hood (1911-2000),Transiturus de hoc mundo, veneration, vision</text>
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              <elementText elementTextId="18061">
                <text>A photograph taken by photographer Ted Hood of children participating in the Corpus Christi procession at Manly, New South Wales, in 1934.&#13;
&#13;
Corpus Christi is an annual feast day observed by the Catholic Church on the Thursday following Trinity Sunday. It celebrates the Eucharist (or â€˜Blessed Sacramentâ€™) as the blood and body of Christ, and is often followed by a procession. Corpus Christi was established as a feast day in the thirteenth century after revelations by a Belgian nun, Juliana of LiÃ¨ge (St Juliana), that she had experienced repeated visions of Christ and had been instructed to petition for a feast day to celebrate the sacrament. Juliana disclosed her visions to Robert de Thorete, the Bishop of LiÃ¨ge, Hugh of St-Cher and Jacques PantelÃ©on, then the Archdeacon of LiÃ¨ge. Robert de Thorete used his power as a bishop (with the authority to order a feast in his diocese) to convene a synod in 1246 and order the celebration of Corpus Christi to be observed the following year. In 1261, Jacques PantelÃ©on became Pope Urban IV. In 1264 he published a Papal Bull, Transiturus de hoc mundo , in which he ordered the annual celebration of Corpus Christi and the granting of indulgences to the faithful for their attendance at Mass and at the Office. </text>
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                <text>Hood, Ted</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>State Library of New South Wales</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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                <text>State Library of New South Wales</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1934</text>
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            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
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                <text>State Library of New South Wales</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
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        <name>Corpus Christi</name>
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                <text>Corpus Christi at Manly: The Procession</text>
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                <text>A photograph taken by photographer Ted Hood of the procession following the Corpus Christi Mass at Manly, New South Wales, in 1934.&#13;
&#13;
Corpus Christi is an annual feast day observed by the Catholic Church on the Thursday following Trinity Sunday. It celebrates the Eucharist (or â€˜Blessed Sacramentâ€™) as the blood and body of Christ, and is often followed by a procession. Corpus Christi was established as a feast day in the thirteenth century after revelations by a Belgian nun, Juliana of LiÃ¨ge (St Juliana), that she had experienced repeated visions of Christ and had been instructed to petition for a feast day to celebrate the sacrament. Juliana disclosed her visions to Robert de Thorete, the Bishop of LiÃ¨ge, Hugh of St-Cher and Jacques PantelÃ©on, then the Archdeacon of LiÃ¨ge. Robert de Thorete used his power as a bishop (with the authority to order a feast in his diocese) to convene a synod in 1246 and order the celebration of Corpus Christi to be observed the following year. In 1261, Jacques PantelÃ©on became Pope Urban IV. In 1264 he published a Papal Bull, Transiturus de hoc mundo , in which he ordered the annual celebration of Corpus Christi and the granting of indulgences to the faithful for their attendance at Mass and at the Office. </text>
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