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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>Newspaper Article&lt;br /&gt;&lt;br /&gt; &lt;a href="http://nla.gov.au/nla.news-article33213695" target="_blank"&gt;http://nla.gov.au/nla.news-article33213695&lt;/a&gt;</text>
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                <text>The King of Spain</text>
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                <text>Ceremony, coronation, Duke of Connaught, hymn, King Alfonso XIII of Spain, King Edward VII, medieval procession, oath, Order of the Garter, Te Deum</text>
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                <text>This article from the Western Mail relates news from London regarding the end of the Spanish regency in 1902 when Alfonso XIII assumed his full powers as Spainâ€™s king at age 16. The article begins by informing readers that on 18 May 1902, the day before the regency ceased, the Duke of Connaught invested Alfonso XIII with the Order of the Garter on behalf of the British king, Edward VII. It then provides details about some of the traditional rituals and ceremonies that had followed in connection with the new kingâ€™s coronation, including his taking of oaths and the singing of a Te Deum hymn followed by â€˜a magnificent medieval processionâ€™.</text>
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                <text>Anon.</text>
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                <text>National Library of Australia</text>
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                <text>The Western Mail</text>
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                <text>24 May 1902, p. 24</text>
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                <text>The Western Mail</text>
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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;a href="http://kingshorses.ballarat.vic.au/index.php?option=com_frontpage&amp;amp;Itemid=1"&gt;http://kingshorses.ballarat.vic.au/index.php?option=com_frontpage&amp;amp;Itemid=1&lt;/a&gt;</text>
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                <text>The Kingâ€™s Horses Medieval Equestrian Society Inc., Ballarat, Victoria</text>
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                <text>Armour, Ballarat, combat, costume, equestrian, helmet, horse, The Kingâ€™s Horses, The Kingâ€™s Horses Medieval Equestrian Society Inc., jousting, knight, lance, living history, performance, re-creation, re-enactment, shield, sword, tournament, Vic, Victoria, weapons, website.</text>
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                <text>&lt;p&gt;The King&amp;rsquo;s Horses Medieval Equestrian Society Inc. are a living history group based in the Victorian city of Ballarat. The group were formed in 2007 to focus on the equestrian aspects of the medieval period, especially the 13th century. The King&amp;rsquo;s Horses re-enact jousting at tournaments, where knights riding horses would do battle. The knights and horses are clad in appropriate costume, including helmets, armour, swords, lances, and shields. The group perform at medieval fairs, schools, and corporate functions.&lt;/p&gt;&#13;
&lt;p&gt;For their website see &lt;a href="http://kingshorses.ballarat.vic.au/index.php?option=com_frontpage&amp;amp;Itemid=1"&gt;http://kingshorses.ballarat.vic.au/index.php?option=com_frontpage&amp;amp;Itemid=1&lt;/a&gt;&lt;/p&gt;</text>
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                <text>The Kingâ€™s Horses Medieval Equestrian Society Inc.</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>The Kingâ€™s Horses Medieval Equestrian Society Inc.</text>
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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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              <text>&lt;a href="http://sca.org.au/lochac/" target="_blank"&gt;http://sca.org.au/lochac/&lt;/a&gt;</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>The Kingdom of Lochac</text>
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            <description>The topic of the resource</description>
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                <text>Archery, calligraphy, costume, cooking, dance, heraldry, illumination, Kingdom of Lochac, Lochac, martial arts, metalwork, music, re-creation, re-enactment, SCA, Society for Creative Anachronism</text>
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            <description>An account of the resource</description>
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                <text>&lt;p&gt;The Kingdom of Lochac is the name used by members of the Society for Creative Anachronism (SCA) for a fictional kingdom comprising Australia, New Zealand and their Antarctic territories. Lochac is one of nineteen kingdoms worldwide. Australia itself is divided into a number of large Barony&amp;rsquo;s, within which are smaller shires and cantons. Every Australian state and territory other than the Northern Territory has a resident SCA group. Members of the group research and recreate aspects of pre-17&lt;sup&gt;th&lt;/sup&gt; century European culture, including archery, calligraphy, costume, cooking, dance, heraldry, illumination, martial arts, metalwork, and music. Various events are held throughout the year and Lochac has its own king, queen, and office bearers.&lt;/p&gt;&#13;
For more on the Kingdom of Lochac and the Society for Creative Anachronism see &lt;a href="http://sca.org.au/lochac/" target="_blank"&gt;http://sca.org.au/lochac/&lt;/a&gt;</text>
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                <text>Society of Creative Anachronism</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>&lt;a href="http://sca.org.au/lochac/" target="_blank"&gt;http://sca.org.au/lochac/&lt;/a&gt;</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="11222">
                <text>&lt;a href="http://sca.org.au/lochac/" target="_blank"&gt;http://sca.org.au/lochac/&lt;/a&gt;</text>
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            <name>Date</name>
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              <elementText elementTextId="11223">
                <text>16 September 2011</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>McLeod, Shane</text>
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          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="11225">
                <text>Society of Creative Anachronism</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>English</text>
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        <name>illumination</name>
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        <name>Kingdom of Lochac</name>
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        <name>Lochac</name>
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                  <text>Medievalism on the Page</text>
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                  <text>This Collection examines literary medievalism from the mid-nineteenth century to the present day. It traces an arc from the populist literary medievalism of the nineteenth century, through the more rarefied modernist turn of the mid-twentieth century, to the re-emergence of popular forms such as childrenâ€™s literature and fantasy since the 1980s. In this Collection you will find items relating to printed medievalist works and also to medievalism operating in print, for example in references to medieval events, people, and literature in nineteenth- and twentieth-century texts and dramatic works.</text>
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              <text>&lt;a href="http://www.fremantlepress.com.au/books/newreleases/1253" target="_blank"&gt;http://www.fremantlepress.com.au/books/newreleases/1253&lt;/a&gt;</text>
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                <text>The childrenâ€™s picture book â€˜The Last Vikingâ€™ by Australian authors Norman Jorgensen and James Foley (illustrator) published by the Western Australian publisher Fremantle Press. The story is about a boy who connects with his inner Viking to help him outwit bullies. The Vikings were warriors from Scandinavia in the period c. 790-1100 who were renowned for their bravery and ferocity.  </text>
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                <text>&lt;p&gt;Jorgensen, Norman, and James Foley, "The Last Viking," in Medievalism in Australian Cultural Memory, Item #420, &lt;a href="../../../items/show/420"&gt;http://ausmed.arts.uwa.edu.au/items/show/420&lt;/a&gt;&lt;/p&gt;&#13;
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&lt;p&gt;&lt;a href="../../items/show/420"&gt;&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="../../items/show/420"&gt;&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="../../items/show/420"&gt;&lt;/a&gt;&lt;/p&gt;&#13;
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                <text>Weighing in on a wider printed debate about the cost and value of university teaching, the author of this article takes issue with the prevailing focus on lectures as the principal delivery mode for teaching in universities. He associates the development of lecturing with the medieval origins of universities and the need to disseminate knowledge before the invention of print. Following â€˜the book ageâ€™, however, the author suggests that lectures are redundant and superfluous. Rather than guiding students in their wider learning as intended, he argues, lectures have the opposite effect in that students regarded them as an adequate alternative to reading. In an age where books are accessible and the ability to read almost universal, he recommends that the teaching of subjects such as English, History, Economics and Philosophy should instead be based on independent student reading followed by class discussion. This would also have the effect of allowing professors more time to conduct research instead of preparing lectures. â€œIn the tenacity with which they [universities] still adhere to the propagation of knowledge by lecturesâ€, the author chides, â€œthere is something peculiarly medievalâ€.</text>
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                <text>â€œDiogenes Mactubâ€</text>
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PDF</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; 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;
&lt;span style="color: #000000; font-family: Tahoma; font-size: x-small;"&gt;2.&amp;nbsp;&amp;nbsp; search by artist or title. &lt;/span&gt;&lt;br /&gt;</text>
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                <text>The Loving Cup</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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              <elementText elementTextId="20534">
                <text>Art, Arthurian, Arthurian romance, chivalry, cup, Dante Gabriel Rossetti (1828-1882), Gouache, ivy, knight, legend, medieval clothing, nostalgia, Pre-Raphaelite, replica, romance, SA, South Australia, Victorian, watercolour</text>
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                <text>&lt;p&gt;This work by Dante Gabriel Rossetti, a&amp;nbsp;renowned nineteenth-century painter and member of the Pre-Raphaelite Brotherhood, depicts a young woman in a voluminous medieval-looking gown raising a golden cup decorated with a heart shaped design to her lips. In her other hand she clasps the lid of the cup to her breast. A lace cloth, ivy (the symbol of fidelity) and 4 brass plates (2 depicting deer, 1 depicting Adam and Eve eating the forbidden fruit and the other showing Hosea and Joshua with a bunch of grapes) are visible in the background. This painting is one of three watercolour replicas that Rossetti produced in 1867 of an oil painting that is currently held by the National Gallery of Western Art, Tokyo. The frame of the original painting is inscribed "Douce nuit et joyeux jour/ A chevalier de bel amour (Sweet night and pleasant day/to the beautifully loved knight)," which suggests that the woman is toasting her recently departed knight. The source of these words is uncertain, but it is thought that Rossetti, well-known for his poetry as well as his artwork, probably wrote it himself. (For more on the Tokyo painting, see &lt;a href="http://collection.nmwa.go.jp/en/P.1984-0005.html" target="_blank"&gt;&lt;span style="color: #0000ff;"&gt;http://collection.nmwa.go.jp/en/P.1984-0005.html&lt;/span&gt;&lt;/a&gt;).&lt;/p&gt;&#13;
The Arthurian theme and subject matter of the painting are typical of Rossetti&amp;rsquo;s work from the mid-1850s, and the work of the second phase of the Pre-Raphaelite Brotherhood more generally. As Elizabeth Prettejohn suggests, these paintings convey a sense in which the &amp;ldquo;the world presented in the pictures is somehow distant or remote from the everyday&amp;rdquo;. They depict scenes of leave-taking, but the circumstances are left untold, and we do not learn the fortunes of the figures involved. This, she suggests, &amp;ldquo;contrasts abruptly with the narrative specificity of most Victorian painting, and of earlier Pre-Raphaelite pictures. The precise detail in the drawings gives us a medieval world that is apparently complete in itself, but to which we as spectators only have partial access&amp;rdquo; (Elizabeth Prettejohn, &lt;em&gt;The Art of the Pre-Raphaelites&lt;/em&gt;, Tate Publishing, London, 2000, pp.106-7).</text>
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            <name>Creator</name>
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                <text>Rossetti, Dante Gabriel</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="20537">
                <text>Art Gallery of South Australia</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="20538">
                <text>c 1867</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="20539">
                <text>Art Gallery of South Australia</text>
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            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="20540">
                <text>Gouache on paper, 52.6 x 35.9 cm</text>
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        <name>Dante Gabriel Rossetti (1828-1882)</name>
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        <src>https://ausmed.arts.uwa.edu.au/files/original/78e0cd2d3093c6da7c6889dbd6238770.pdf</src>
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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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              <name>Description</name>
              <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>Document</name>
      <description>A resource containing textual data.  Note that facsimiles or images of texts are still of the genre text.</description>
      <elementContainer>
        <element elementId="7">
          <name>Original Format</name>
          <description>If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data</description>
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              <text>&lt;p&gt;Newspaper Article in The Western Argus.&lt;/p&gt;&lt;p&gt;National Library of Australia - &lt;font color="#000000" face="Tahoma" size="2"&gt;&lt;font face="Calibri" size="3"&gt;&lt;a href="http://nla.gov.au/nla.news-article34593995" target="_blank"&gt;http://nla.gov.au/nla.news-&lt;wbr&gt;article34593995&lt;/a&gt;&lt;/font&gt;&lt;/font&gt;&lt;/p&gt;</text>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>The Mace of Parliament</text>
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            </elementTextContainer>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="9406">
                <text>authority, black rod, British Empire, ceremony, cross, crown, custom, decoration, emblem, harp, House of Commons, House of Lords, John Beckett (1984-1964), King, Legislative Assembly, Long Parliament (1653), mace, medieval customs, medieval tradition, Oliver Cromwell (1599-1658), orb, ornamentation, Parliament, parliamentary officials, parliamentary personnel, politician, ritual, rose, royal bodyguard, sergeant, serjeant-at-arms, Speaker, symbol, symbol of office, thistle, tradition, Usher of the Black Rod, Victoria, Victorian House of Parliament, waratah, warfare, weapon, weaponry, weapons</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>In this article from the Western Argus, the significance and history of the mace in parliamentary proceedings is explained. The author describes the mace used in the Victorian Legislative Assembly as a sceptre surmounted by a cross, an orb and the crown of England. It is also decorated with the waratah flower of Australia, the rose of England, the thistle of Scotland and the harp of Ireland. The symbolic and ceremonial function of the mace in the opening and closing of parliamentary proceedings is explained, and the history of the mace as a weapon of medieval warfare is noted. The article suggests that the association of the mace with parliament is likely to originate from the medieval period: â€œIn medieval England the king appointed a Royal bodyguard of stalwart men, gaudily uniformed, and each bearing a mace. They came to be known as serjeants-at-arms. When Parliament was divided into two Houses â€“ the Commons and the Lords â€“ two serjeants-at-arms were provided from the Kingâ€™s bodyguard. The institution has survived. With the serjeant-at-arms has remained the mace, not as a weapon but as a symbol of office; and gradually the mace came to be associated with all the ceremonies and customs of the Commonsâ€. The article goes on to explain the traditional rivalry between the House of Commons and the House of Lords concerning the superior authority of the mace or its equivalent in the House of lords, the black rod (in the keeping of The Usher of the Black Rod). Traditional and symbolic rituals involving the mace and the black rod are also described. If the Usher of the Black Rod approaches the House of Commons to summon the Speaker, for example, the door is ceremoniously closed on him and he is required to knock three times and beg admittance. Similarly, the serjeant-at-arms is not permitted to enter the House of Lords without first surrendering the mace to the doorkeeper. </text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="9408">
                <text>Anon.</text>
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          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="9409">
                <text>National Library of Australia</text>
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          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="9410">
                <text>The Western Argus</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>
            <elementTextContainer>
              <elementText elementTextId="9411">
                <text>12 January 1932, p. 29.</text>
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            </elementTextContainer>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="9412">
                <text>The Western Argus</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="9413">
                <text>Digitised Newspaper Article</text>
              </elementText>
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          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="9414">
                <text>English</text>
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        <name>authority</name>
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      <tag tagId="2879">
        <name>black rod</name>
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      <tag tagId="2611">
        <name>British Empire</name>
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        <name>ceremony</name>
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      <tag tagId="132">
        <name>cross</name>
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      <tag tagId="199">
        <name>crown</name>
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      <tag tagId="1410">
        <name>custom</name>
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      <tag tagId="1316">
        <name>decoration</name>
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        <name>emblem</name>
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        <name>harp</name>
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        <name>House of Commons</name>
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        <name>House of Lords</name>
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        <name>John Beckett (1984-1964)</name>
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        <name>king</name>
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        <name>Legislative Assembly</name>
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        <name>Long Parliament (1653)</name>
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        <name>mace</name>
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        <name>medieval customs</name>
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        <name>medieval tradition</name>
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        <name>Oliver Cromwell (1599-1658)</name>
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        <name>orb</name>
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        <name>ornamentation</name>
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        <name>parliament</name>
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        <name>parliamentary officials</name>
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        <name>politician</name>
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        <name>ritual</name>
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        <name>rose</name>
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      <tag tagId="2891">
        <name>royal bodyguard</name>
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        <name>sergeant</name>
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        <name>serjeant-at-arms</name>
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        <name>Speaker</name>
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        <name>symbol</name>
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        <name>symbol of office</name>
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        <name>thistle</name>
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        <name>tradition</name>
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        <name>Usher of the Black Rod</name>
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        <name>Victoria</name>
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        <name>Victorian House of Parliament</name>
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        <name>waratah</name>
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