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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>St Luke the Physicianâ€™s Church interior, Richmond, Tasmania </text>
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                <text>Anglican, John Lee Archer, Bishop Broughton, convict, Gothic, Gothic Revival, Old French, pointed arch, Richmond, Romanesque, roof trusses, St Luke the Physicianâ€™s Church, Tas, Tasmania, James Thompson, tracery. </text>
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                <text>&lt;p&gt;St Luke the Physician&amp;rsquo;s Anglican Church is in the town of Richmond, Tasmania. It was designed by architect John Lee Archer and built with convict labour. It was completed in 1836 and consecrated by Bishop Broughton in 1838. The building is primarily in the Romanesque style with semi-circular windows, although the pointed arch stained glass window with tracery in the chancel is Gothic in style. The timber work inside the building was done by convict James Thompson, who was granted his freedom as reward. The ceiling of the church feature timber trusses, derived from Old French &amp;lsquo;trousse&amp;rsquo;: &amp;lsquo;a collection of things bound together&amp;rsquo;.&lt;/p&gt;&#13;
&lt;p&gt;For the exterior see &lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1121"&gt;http://ausmed.arts.uwa.edu.au/items/show/1121&lt;/a&gt;&lt;/p&gt;&#13;
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                <text>&lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1121"&gt;http://ausmed.arts.uwa.edu.au/items/show/1121&lt;/a&gt;</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;St Joseph&amp;rsquo;s Catholic Church is on the corner of MacQuarie and Harrington Streets in Hobart, Tasmania. The foundation stone for the sandstone church was laid in 1840 and it was opened by Fr. John Joseph Therry (1790-1864) on Christmas day, 1841. The tower was completed in 1843 and a side chapel added in 1877. It was the principal Catholic church in Tasmania until St Mary&amp;rsquo;s Cathedral was completed in 1866, so Tasmania&amp;rsquo;s first Catholic bishop, Robert William Willson (1794-1866), was installed there when he arrived from England in 1844. The church was designed by ex-convict Alexander Thompson (1805-1860), and it was built using convict labour. It is in the Gothic Revival style with pointed arch windows and doorways, buttresses, a crenelated parapet on top of the tower, lancet windows, and pointed corner finials on the tower and the side of the church.&lt;/p&gt;&#13;
&lt;p&gt;For the interior see &lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1129" target="_self"&gt;http://ausmed.arts.uwa.edu.au/items/show/1129&lt;/a&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&lt;/p&gt;&#13;
&lt;p&gt;For more on St Joseph&amp;rsquo;s see &lt;a href="http://www.passionistshobart.org.au/"&gt;http://www.passionistshobart.org.au/&lt;/a&gt;&lt;/p&gt;</text>
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                <text>Blind arcading, Catholic, convict, gallery, Gothic, Gothic Revival, Hobart, Henry Hunter, lancet windows, Walter McEntee, pointed arch, roof trusses, Tas, Tasmania, John Joseph Therry, James Alexander Thompson, tower, Robert William Willson, Bishop Willson.</text>
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                <text>&lt;p&gt;St Joseph&amp;rsquo;s Catholic Church is on the corner of MacQuarie and Harrington Streets in Hobart,&lt;br /&gt;Tasmania. The foundation stone for the sandstone church was laid in 1840 and it was opened by Fr. John Joseph Therry (1790-1864) on Christmas day, 1841. It was the principal Catholic church in Tasmania until St Mary&amp;rsquo;s Cathedral was completed in 1866, so Tasmania&amp;rsquo;s first Catholic bishop, Robert William Willson (1794-1866), was installed there when he arrived from England in 1844. The church was designed by ex-convict James Alexander Thompson (1805-1860), and it was built using convict labour. Alterations to the interior were made under the direction of Bishop Willson in 1856 by Henry Hunter (1832-1892). The interior is in the Gothic Revival style and features pointed arch windows and doorway, blind arcading, a gallery supported by rounded clustered gothic columns, and lancet windows. The timber trusses of the roof were painted brown to make them resemble English oak. The large brass electric lights were designed in the Gothic style by Fr Walter McEntee and added in 1972.&lt;/p&gt;&#13;
&lt;p&gt;For the exterior see &lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1125" target="_self"&gt;http://ausmed.arts.uwa.edu.au/items/show/1125&lt;/a&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&lt;/p&gt;&#13;
&lt;p&gt;For more on St Joseph&amp;rsquo;s see &lt;a href="http://www.passionistshobart.org.au/"&gt;http://www.passionistshobart.org.au/&lt;/a&gt;&lt;/p&gt;</text>
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                <text>&lt;p&gt;Repair work on St Mary&amp;rsquo;s Catholic Cathedral, Hobart, in 2008 brought to light the possibility that a baptismal font in the Cathedral may be from the medieval Norman period. The cylindrical font has elaborately carved columns and Romanesque arches. The Romanesque style was popular in Normandy and was introduced to England following the Norman conquest in 1066. It is thought that the font was brought to Hobart from England by Tasmania&amp;rsquo;s first Catholic bishop, Robert William Willson (1794-1866) in 1844. When the antiquity of the font was first discovered, the Cathedral administrator told ABC News in 2008 that it may date&lt;br /&gt;back to the ninth century, but as Normandy was not formally established until 911 this is unlikely. More recently it has been suggested that the font comes&lt;br /&gt;from the Norman period in England and is dated c. 1066-1200. Research into the font is continuing.&lt;/p&gt;&#13;
&lt;p&gt;The baptismal font is a rare example of the Australian&lt;br /&gt;public&amp;rsquo;s practical use of, and interaction with, an actual medieval item for many generations.&lt;/p&gt;&#13;
&lt;p&gt;For the original dating see &lt;a href="http://www.cathnews.com/article.aspx?aeid=7424"&gt;http://www.cathnews.com/article.aspx?aeid=7424&lt;/a&gt;.&lt;/p&gt;&#13;
&lt;p&gt;For the revised dating see &lt;a href="http://hobart.catholic.org.au/history/st-marys-cathedral"&gt;http://hobart.catholic.org.au/history/st-marys-cathedral&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&lt;/p&gt;</text>
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                <text>&lt;p&gt;The foundation stone for the Convict Church at the former penal settlement of Port Arthur, Tasmania, was laid by Lieutenant Governor George Arthur (1784-1854) in 1836. The church was possibly designed by the Deputy Commissariat Officer Thomas Lempiere (1796-1852) and convict architect Henry Laing (1803-1842). It was built with convict labour, with some of the decorative stonework and pews done by the boys at the nearby Point Puer Juvenile Establishment. The church opened in 1837 and was never consecrated as it was used by different denominations for the compulsory Sunday services. It could accommodate one thousand people. The former steeple on top of the tower blew down in 1876, and the church was gutted by fire in 1884. Since then it has been a picturesque ruin, similar to many actual medieval churches in Europe. The church is in the Gothic Revival style, with a tower with crenellation, pointed arch windows and doorways, lancet windows, and numerous spires.&lt;/p&gt;&#13;
&lt;p&gt;For the church tower see &lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1136"&gt;http://ausmed.arts.uwa.edu.au/items/show/1136&lt;/a&gt;&lt;/p&gt;</text>
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                <text>&lt;p&gt;The foundation stone for the Convict Church at the former penal settlement of Port Arthur, Tasmania, was laid by Lieutenant Governor George Arthur (1784-1854) in 1836. The church was possibly designed by the Deputy Commissariat Officer Thomas Lempiere (1796-1852) and convict architect Henry Laing (1803-1842). It was built with convict labour. &amp;nbsp;The church opened in 1837 and was never consecrated as it was used by different denominations during the compulsory Sunday services. It could accommodate one thousand people. The former steeple on top of the tower blew down in 1876, and the church was gutted by fire in 1884. Since then it has been a picturesque ruin, similar to many actual medieval churches in Europe. The church is in the Gothic Revival style and features a prominent tower with crenellation, pointed arch doorways, lancet windows, and corner spires.&lt;/p&gt;&#13;
&lt;p&gt;For the rest of the church see &lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1134"&gt;http://ausmed.arts.uwa.edu.au/items/show/1134&lt;/a&gt;&lt;/p&gt;</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="28911">
                <text>McLeod, Shane</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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              <elementText elementTextId="28912">
                <text>October 7, 2012</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="28913">
                <text>No Copyright</text>
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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="28914">
                <text>3xDigital Photograph</text>
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        <name>convict</name>
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        <name>Convict Church</name>
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        <name>crenellation</name>
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      <tag tagId="5705">
        <name>George Arthur</name>
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        <name>Gothic</name>
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      <tag tagId="72">
        <name>Gothic Revival</name>
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        <name>Henry Laing</name>
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        <name>lancet window</name>
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        <name>pointed arch</name>
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        <name>Port Arthur</name>
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        <name>spire</name>
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        <name>steeple</name>
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        <name>Tas</name>
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        <name>Tasmania</name>
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        <name>Thomas Lempriere</name>
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        <name>tower.</name>
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