‘Heraldic’ domestic pattern window, Front entrance, Longerenong homestead, Longerenong, Victoria
Celtic, Ferguson & Urie, floral grid pattern, flowers, harp, heraldry, John Lyon, Longerenong homestead, medieval design, Samuel Wilson, Stained glass, Victoria, VIC, window
This ‘heraldic’ pattern transom hangs over the doorway at Longerenong homestead in Victoria. Central to the design is a golden Celtic harp on blue shield (c. 13th century) representing owner Samuel Wilson’s Irish roots. This is flanked by his initials (S W), and the year (AD 1862). A ‘diapered’ medieval floral grid pattern dominates the background, and alternate blue and white flowers attached to golden stems and leaves, occupy the red outer borders. Beverley Sherry points out that, “The nineteenth-century pioneers of Victoria’s pastoral districts had a strong sense of family pride and this was [often] expressed in stained glass†(Australia’s Historic Stained Glass, Sydney, Murray Child, 1991, p.37). The colourful ‘Longerenong’ window provides an excellent example of such expression.
Lewis, Miles (digital image)
2009 - 2011
© Miles Lewis and University of Melbourne
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Fair Rosamund
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
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 Henry’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 queen’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).
Hughes, Arthur
National Gallery of Victoria
1854
National Gallery of Victoria
Oil on Wood Panel, 40.3 x 30.5cm;
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Morris Dancers at the Perth Medieval Fayre, Held at the Supreme Court Gardens, Perth, Western Australia
baldricks, bell pads, Cotswolds, custom, dance, dance troupe, dancers, dancing, ‘early Morris Project’, festivity, flowers, Folk dance, handkerchief, hat, May, maypole, medieval festivities, medieval recreation, morris dancing, Perth, Perth Medieval Fayre, re-creation, recreation, sticks, traditional dance, Western Australia, WA
Morris dancers performing a version of the folk dance at the Perth Medieval Fayre in Western Australia. The style of the dance is derived from the English villages of the Cotswolds and is characterised by groups of six men dressed in white clothing with coloured baldricks, bell pads and flower-covered hats dancing in formation. The dancers also frequently make use of handkerchiefs and sticks in this form of morris dance. The origins of morris dancing are subject to debate, with some scholars arguing that it developed from a pagan fertility ritual, and others arguing that it originated in the medieval period. Scholars involved in collating references to morris dancing for the ‘Early Morris Project’ have suggested that the earliest written reference is in two English wills dated 1458 (see John Forrest and Michael Heaney, ‘Charting Early Morris’ in Folk Music Journal, vol.6, no.2, 1991, pp.169-186). Morris dancing has also frequently been linked to the month of May and the dancing and festivities that took place around the maypole.
The Perth Medieval Fayre is organised and run by the Western Australian Medieval Alliance. In 2011 it was held at Supreme Court Gardens on 19 March. Enthusiasts and vendors showcased a range of medieval arts and crafts, from dancing, calligraphy and lace-making to demonstrations of the techniques, weaponry and apparel of medieval combat.
McEwan, Joanne
19 March 2011
No Copyright
Digital Photograph; JPEG
Morris Dancers at the Perth Medieval Fayre
baldricks, bell pads, Cotswolds, custom, dance, dance troupe, dancers, dancing, ‘early Morris Project’, festivity, flowers, Folk dance, handkerchief, hat, May, maypole, medieval festivities, medieval recreation, morris dancing, Perth, Perth Medieval Fayre, re-creation, recreation, sticks, traditional dance, Western Australia, WA
Morris dancers performing a version of the folk dance at the Perth Medieval Fayre in Western Australia. The style of the dance is derived from the English villages of the Cotswolds and is characterised by groups of six men dressed in white clothing with coloured baldricks, bell pads and flower-covered hats dancing in formation. The dancers also frequently make use of handkerchiefs and sticks in this form of morris dance. The origins of morris dancing are subject to debate, with some scholars arguing that it developed from a pagan fertility ritual, and others arguing that it originated in the medieval period. Scholars involved in collating references to morris dancing for the ‘Early Morris Project’ have suggested that the earliest written reference is in two English wills dated 1458 (see John Forrest and Michael Heaney, ‘Charting Early Morris’ in Folk Music Journal, vol.6, no.2, 1991, pp.169-186). Morris dancing has also frequently been linked to the month of May and the dancing and festivities that took place around the maypole.
The Perth Medieval Fayre is organised and run by the Western Australian Medieval Alliance. In 2011 it was held at Supreme Court Gardens on 19 March. Enthusiasts and vendors showcased a range of medieval arts and crafts, from dancing, calligraphy and lace-making to demonstrations of the techniques, weaponry and apparel of medieval combat.
McEwan, Joanne
19 March 2011
No Copyright
Digital Photograph; JPEG
Morris Dancers at the Perth Medieval Fayre
baldricks, bell pads, Cotswolds, custom, dance, dance troupe, dancers, dancing, ‘early Morris Project’, festivity, flowers, Folk dance, handkerchief, hat, May, maypole, medieval festivities, medieval recreation, morris dancing, Perth, Perth Medieval Fayre, re-creation, recreation, sticks, traditional dance, Western Australia, WA
Morris dancers performing a version of the folk dance at the Perth Medieval Fayre in Western Australia. The style of the dance is derived from the English villages of the Cotswolds and is characterised by groups of six men dressed in white clothing with coloured baldricks, bell pads and flower-covered hats dancing in formation. The dancers also frequently make use of handkerchiefs and sticks in this form of morris dance. The origins of morris dancing are subject to debate, with some scholars arguing that it developed from a pagan fertility ritual, and others arguing that it originated in the medieval period. Scholars involved in collating references to morris dancing for the ‘Early Morris Project’ have suggested that the earliest written reference is in two English wills dated 1458 (see John Forrest and Michael Heaney, ‘Charting Early Morris’ in Folk Music Journal, vol.6, no.2, 1991, pp.169-186). Morris dancing has also frequently been linked to the month of May and the dancing and festivities that took place around the maypole.
The Perth Medieval Fayre is organised and run by the Western Australian Medieval Alliance. In 2011 it was held at Supreme Court Gardens on 19 March. Enthusiasts and vendors showcased a range of medieval arts and crafts, from dancing, calligraphy and lace-making to demonstrations of the techniques, weaponry and apparel of medieval combat.
McEwan, Joanne
19 March 2011
No Copyright
Digital Photographs; JPEGs
Trades and Industrial Hall and Literary Institute Association of Sydney’s Illuminated Address presented to Thomas Bavister, 1906.
associations, carpenter, Christmas Bells, commemoration, flannel flowers, flowers, 'Illuminated Address', illuminated documents, illumination, Literary Institute, New South Wales, outstanding service, politician, Sydney, Sydney Heads, Thomas Bavister (1850-1923), tools, Trades and Industrial Hall and Literary Institute Association of Sydney, trade union, trade unionist, Trades Hall, tradesman, wattle, worker, workers
An illuminated address presented to Thomas Bavister, trade unionist and politician, by the Trades and Industrial Hall and Literary Institute Association of Sydney to recognise his service to the association. Illuminated addresses were a popular way to commemorate events or committed service in the late Victorian period. The address reads “Presented to Thomas Bavister, Esq. In recognition of his services as chairman of the above association from February 9th 1906 to August 8th 1906†and is signed by the serving Chairman and Secretary. It is surrounded by watercolour drawings depicting a male worker (possibly a carpenter) with his tools on the left, and insets of Sydney Heads, Trades Hall, and a Literary Institute building. It is also decorated with drawings of native flowers such as wattle, flannel flowers and Christmas Bells.
Anon.
Picture Australia/State Library of New South Wales
Trades and Industrial Hall and Literary Institute Association of Sydney
1906
State Library of New South Wales
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