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              <text>&lt;span style="color: #000000; font-family: Tahoma; font-size: x-small;"&gt;&lt;a href="http://www.birkatraders.com/main/index.php" target="_blank"&gt;http://www.birkatraders.com/main/index.php&lt;/a&gt;&lt;/span&gt;</text>
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                <text>Birka Traders</text>
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                <text>armaments, Peter Beatson, Birka, jewellery, market, merchant, metalwork, New South Wales, NSW, re-enactment, retail, Sweden, Sydney, trading centre, Viking, Viking Age, archaeology</text>
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                <text>Birka Traders was the online store created by Peter Beatson to sell his medieval metalwork. The collection included mainly jewellery and personal items such as belt buckles and strap ends, and focussed on the early medieval period, particularly the Viking Age. The items were based on actual archaeological finds. The store closed in January 2011.&#13;
&#13;
Birka was the main trading centre/market place in Sweden visited by international merchants between c. 760 and 960.</text>
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                <text>Beatson, Peter</text>
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                <text>8 January 2012</text>
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                <text>Peter Beatson</text>
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        <name>Birka</name>
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        <name>jewellery</name>
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        <name>market</name>
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        <name>merchant</name>
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        <name>metalwork</name>
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        <name>New South Wales</name>
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        <name>NSW</name>
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        <name>Peter Beatson</name>
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        <name>retail</name>
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        <name>Sweden</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>&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://blackwolfcaravan.blogspot.com.au/"&gt;http://blackwolfcaravan.blogspot.com.au/&lt;/a&gt;&lt;/span&gt;</text>
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                <text>Black Wolf re-enactment group</text>
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                <text>Allora, armour, Black Wolf, blog, caravan, chain mail, costume, Crusader, Crusades, Duke Robert, helmet, Holy Land, Ibn Battuta, knight, living history, Marco Polo, merchant, Middle East, multicultural, outremer, Qld, Queensland, re-enactment, shield, Silk Road, sword, trade, website.</text>
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                <text>&lt;p&gt;Black Wolf is a living history/re-enactment group based in the Queensland town of Allora. They are focus on the Crusades and Crusader experiences in the Middle East during the twelfth and thirteenth centuries. Their leader is &amp;lsquo;Duke Robert IV&amp;rsquo;. The text on the Black Wolf website emphasises the multicultural nature of the Holy Land (referred to as Outremer: Fr. outre mer, over-seas) and the merchant caravans travelling the Silk Road from China. Two famous medieval explorers, Marco Polo and Ibn Battuta, are also mentioned. The multicultural interest of the group can be seen in their members, whose characters are French, Turkish, Irish, Danish, and English. The gallery on the website highlights the martial aspects of the group, with members dressed as knights in chain mail and helmets fighting with swords and shields.&lt;/p&gt;&#13;
&lt;p&gt;For their blog see http://blackwolfcaravan.blogspot.com.au/&lt;/p&gt;</text>
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            <description>Information about rights held in and over the resource</description>
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        <name>Crusader</name>
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                  <text>Medievalism on the Streets</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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          <name>Local URL</name>
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              <text>&lt;a href="http://crimsoncog.wix.com/crimson-cog"&gt;http://crimsoncog.wix.com/crimson-cog&lt;/a&gt;</text>
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                <text>The Crimson Cog</text>
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                <text>Baltic Sea, cog, The Crimson Cog, Germany, Hanseatic League, LÃ¼beck, merchant, New South Wales, North Sea, NSW, re-enactment, ship, trade, website.</text>
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                <text>&lt;p&gt;The Crimson Cog are a historical re-enactment group in New South Wales. They focus on the Hanseatic League in the years 1250-1300, particularly the city of L&amp;uuml;beck in northern Germany. The Hanseatic League were a confederation of merchant guilds and towns who dominated trade in the Baltic and North Seas from the thirteenth to sixteenth centuries. The Cog was a cargo ship used by the League.&lt;/p&gt;&#13;
&lt;p&gt;For their website see &lt;a href="http://crimsoncog.wix.com/crimson-cog"&gt;http://crimsoncog.wix.com/crimson-cog&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;</text>
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                <text>Wix.com</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Crimson Cog</text>
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                <text>Website</text>
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        <name>LÃ¼beck</name>
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        <name>North Sea</name>
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        <name>ship</name>
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        <name>The Crimson Cog</name>
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        <name>trade</name>
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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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      <name>Hyperlink</name>
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          <name>URL</name>
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              <text>&lt;a href="http://www.artgallery.nsw.gov.au/collection/works/169.1984/" target="_self"&gt;http://www.artgallery.nsw.gov.au/collection/works/169.1984/&lt;/a&gt;</text>
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            <description>A name given to the resource</description>
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                <text>â€˜The Marriage of the Arnolfini â€“ After Jan van Eyckâ€™ by Fiona Hall</text>
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            <description>The topic of the resource</description>
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                <text>art, artwork, Bruges, Giovanni di Nicolao Arnolfini, insert, Jan van Eyck, marriage, merchant, modern art, New South Wales, NSW, photograph, portrait, The Arnolfini Portrait, The National Gallery, wedding.</text>
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                <text>This photographic artwork by Australian artist Fiona Hall was purchased by the Art Gallery of New South Wales in 1984. In the photograph Hall has reconstructed her own version of the scene from medieval Dutch painter Jan van Eyckâ€™s famous 1434 oil painting, â€œThe Arnolfini Portraitâ€, by transposing the figures into a modern setting and replacing their faces. At the bottom of the frame is an insert of the original painting by Jan van Eyck. The figures in van Eyckâ€™s painting are believed to be those of Gionvanni di Nicolao Arnolfini, a fifteenth-century Italian merchant living in the Flemish town of Bruges, and his wife. </text>
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                <text>Fiona Margaret Hall</text>
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                <text>The Art Gallery of New South Wales</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="30787">
                <text>1980</text>
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