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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;span&gt;&lt;a href="http://museumvictoria.com.au/collections/items/245425/window-stained-glass-ferguson-urie-circa-1872" 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://museumvictoria.com.au/collections/items/245425/window-stained-glass-ferguson-urie-circa-1872&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;</text>
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                <text>Stairwell window at â€˜Glenferrie,â€™ Malvern, Victoria</text>
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                <text>Australiana, blazon, coat-of-arms, colonialism, Emu, Ferguson &amp; Urie, Fergusson coat-of-arms, Glenferrie, James Fergusson, Kangaroo, Malvern, medieval design, rose, shamrock, Stained Glass, symbolism, thistle, VIC, Victoria</text>
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                <text>This commanding stairwell window by Ferguson &amp; Urie (1872) is calculated to reflect the prosperity and good fortune of the original owner, James Fergusson. Fergusson was a Melbourne manufacturing stationer, and was at times a member of the Legislative assembly and Shire President. The window was probably installed shortly after he moved into â€˜Glenferrieâ€™ in 1872 and remained there, long after Fergusson died in 1888, until the house was demolished in 1954. The window comprises three large central lights, the innermost of which contains the Fergusson Coat-of-Arms, and three smaller top lights, each containing specifically Australian motifs (Kangaroo, Colonial Coat-of Arms, and an Emu). The â€˜diaperedâ€™ octagonal background quarries feature a rose, shamrock, and thistle pattern that is stylistically â€˜medieval,â€™ signifying a link to the British Isles. Hand painted scenes in the (lower) main tier of panels depict relevant features of the burgeoning economy, which are related to trade, productivity, and the exploitation of natural resources.</text>
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            <name>Creator</name>
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              <elementText elementTextId="18824">
                <text>Healley, Ben</text>
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            <name>Source</name>
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              <elementText elementTextId="18825">
                <text>Museum Victoria</text>
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            <name>Date</name>
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              <elementText elementTextId="18826">
                <text>2001</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="18827">
                <text>Â© Museum Victoria </text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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        <name>Australiana</name>
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        <name>blazon</name>
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        <name>coat-of-arms</name>
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        <name>colonialism</name>
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        <name>Emu</name>
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        <name>Ferguson &amp; Urie</name>
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        <name>James Fergusson</name>
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        <name>kangaroo</name>
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        <name>Malvern</name>
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        <name>medieval design</name>
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        <name>rose</name>
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        <name>shamrock</name>
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        <name>stained glass</name>
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        <name>thistle</name>
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        <name>Vic</name>
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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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          <name>URL</name>
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              <text>&lt;strong&gt;&lt;/strong&gt;&#13;
&lt;p&gt;&lt;a href="http://www.ngv.vic.gov.au/col/work/4069" target="_blank"&gt;&lt;span style="color: #0000ff; font-family: Calibri; font-size: small;"&gt;http://www.ngv.vic.gov.au/col/work/4069&lt;/span&gt;&lt;/a&gt;&lt;/p&gt;</text>
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                <text>Fair Rosamund</text>
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                <text>Arthur Hughes (1832-1915), Eleanor of Aquitaine, fleur-de-lys, flowers, foxgloves, garden, Henry II of England, iris, maze, mistress, poison, Rosamund, secret garden, symbolism, VIC, Victoria, Walter de Clifford, Woodstock</text>
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                <text>This work by English artist Arthur Hughes depicts the twelfth-century figure of Rosamund in the garden that King Henry II of England created for her at his royal residence in Oxfordshire. Rosamund was Henryâ€™s mistress. She was reputedly poisoned in 1176 by Eleanor of Aquitaine, Henry's wife. Eleanor can be seen in the background of the painting discovering the entrance to the secret garden, which was only accessible by way of a maze. As Ted Gott et al suggest,the selection of flowers in the painting add important symbolism - blue foxgloves, a source of poison, line the queenâ€™s path, while purple irises are visible in the foreground. Irises were associated with the Greek Goddess Iris who chaperoned the souls of dead women to the Elysian Fields, and also with the fleur-de-lys, a symbol of the French crown. Eleanor of Aquitaine was the Queen of France from 1137-1152. (See Ted Gott et al, 19th Century Painting and Sculpture in the International Collections of the National Gallery of Victoria, Melbourne, National Gallery of Victoria, 2003, p.78).</text>
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                <text>Hughes, Arthur</text>
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              <elementText elementTextId="18555">
                <text>National Gallery of Victoria</text>
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            <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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              <elementText elementTextId="18556">
                <text>1854</text>
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            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="18557">
                <text>National Gallery of Victoria</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Oil on Wood Panel, 40.3 x 30.5cm;&#13;
Hyperlink</text>
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        <name>Arthur Hughes (1832-1915)</name>
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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;span&gt;&lt;a href="http://www.ngv.vic.gov.au/col/work/4068" target="_blank"&gt;&lt;span style="color: #0000ff; font-family: Calibri; font-size: small;"&gt;http://www.ngv.vic.gov.au/col/work/4068&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;</text>
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                <text>La Belle Dame sans merci, by Arthur Hughes</text>
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                <text>Alain Chartier, apparition, armor, armour, Arthur Hughes (1832-1915), Arthurian, ballad, chivalric, chivalry, courtly love, damsel, dream, faery child, fair lady, false promise, infatuation, John Keats, knight, La Belle Dame sans merci, maiden, medieval costume, poem, supernatural, unrequited love, VIC, Victoria</text>
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                <text>&lt;p&gt;This painting by English artist Arthur Hughes was acquired by the National Gallery of Victoria in 1919 with funds from the Felton Bequest. It portrays a scene from&amp;nbsp;the well-known ballad of the same name penned in 1819 by Romantic poet John Keats. The poem is a tale of unrequited love featuring an Arthurian knight and a beautiful woman he meets in the woods. Described by Keats as a &amp;lsquo;faery&amp;rsquo;s child&amp;rsquo;, the woman woos the knight with songs, food&amp;nbsp;and promises of love, before taking him back to her elfin grot and lulling him to sleep. While asleep, however, he dreams of death-pale kings, princes and warriors crying &amp;ldquo;La Belle Dame sans merci/Thee hath in thrall!&amp;rdquo; before waking up alone on a cold hillside. In the painting, the infatuated knight is pictured in the woods shortly after he has met the beautiful woman and lifted her onto his horse. In the background, the apparitions of the pale figures he will later dream of are visible, trying to convey their warning in vain. Keats borrowed the title for his Arthurian ballad from a fifteenth-century courtly love poem by Alain Chartier.&lt;/p&gt;&#13;
&lt;p&gt;For a copy of Keats&amp;rsquo; &lt;em&gt;La Belle Dame sans merci&lt;/em&gt;, see &lt;a href="http://www.poetryfoundation.org/poem/173740" target="_blank"&gt; &lt;span style="color: #0000ff;"&gt;http://www.poetryfoundation.org/poem/173740&lt;/span&gt;&lt;/a&gt;.&lt;/p&gt;</text>
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                <text>Hughes, Arthur</text>
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                <text>National Gallery of Victoria</text>
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                <text>1863</text>
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                <text>National Gallery of Victoria</text>
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                <text>Oil on Canvas, 153.7 x 123cm;&#13;
Hyperlink</text>
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        <name>Alain Chartier</name>
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&#13;
About Kryal Castle:&#13;
Kryal Castle is a tourist attraction located 8km from Ballarat in Victoria. Described as â€˜Australiaâ€™s unique medieval castleâ€™, Kryal Castle can also be hired for weddings, conferences, functions, and special events. It was built in 1972 and opened in 1974 by Keith Ryall. Its medieval architectural features include crenellation, a moat, and a defended gate with flanking towers, drawbridge and a porticullis. </text>
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&#13;
About Kryal Castle:&#13;
Kryal Castle is a tourist attraction located 8km from Ballarat in Victoria. Described as â€˜Australiaâ€™s unique medieval castleâ€™, Kryal Castle can also be hired for weddings, conferences, functions, and special events. It was built in 1972 and opened in 1974 by Keith Ryall. Its medieval architectural features include crenellation, a moat, and a defended gate with flanking towers, drawbridge and a porticullis.  </text>
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About Kryal Castle:&#13;
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