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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.flickr.com/photos/raysalmanac/5735966859/in/photostream" 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://www.flickr.com/photos/raysalmanac/5735966859/in/photostream&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;</text>
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                <text>St Peterâ€™s East Window, SCEGGS Great Hall, Darlinghurst, Sydney</text>
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                <text>Canopy, Christ, Christianity, Darlinghurst, Empire, Ferguson &amp; Urie, geometric patterning, Great Hall, medallion, medieval design, New South Wales, NSW, quarries, SGEGGS, school, school buildings, St Peterâ€™s Church, Stained glass, Sydney, Sydney Girls Grammar School, window</text>
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                <text>An image of the East Window in the Great Hall at Sydney Girls Grammar School (SGEGGS) in Darlinghurst, Sydney. The window was originally installed in St Peterâ€™s church in 1867, but the church has since been incorporated into the School Hall. It is the only known Ferguson &amp; Urie window in Sydney. Depictions of Christ and the disciples in lozenge and mandorla medallions stand out amidst a richly patterned geometrical background. This window employs several medieval design and glazing techniques, notably: 12th century lancets, the use of â€˜diaperedâ€™ background quarries, extensive geometric patterning, and painted figures restricted to â€˜mandorlaâ€™ and lozenge-shaped medallions. Note the comparatively larger, central figure of Christ standing under the imitation c. 14th century canopy. While not limited to a medieval primary colour scheme, the overall feeling and tone of this window is decidedly one of an adventurous medievalism. Such a window transmits the essence of the gospel message in visual narrative form, to the effect that the contents of each medallion can quite easily be â€˜readâ€™ by onlookers. The twin themes of Empire and Christianity merge seamlessly within the context of the windowâ€™s Neo-Gothic medievalism.</text>
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                <text>Brown, Ray</text>
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                <text>6 May 2011</text>
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                <text>Â© Ray Brown </text>
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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.flickr.com/photos/raysalmanac/5712404471/in/photostream" 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://www.flickr.com/photos/raysalmanac/5712404471/in/photostream&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;</text>
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                <text>â€˜The Seasons window,â€™ Mandeville Hall, Toorak</text>
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                <text>autumn, country, cupid, David Relph Drape, Diana, Ferguson &amp; Urie, foliage, frieze, harvest, Joseph Clarke, landscape, nature, nostalgia, Romanesque, Saint George, seasons, spring, St George, stained glass, stairwell, summer, Toorak, VIC, Victoria, window, winter</text>
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                <text>This staircase â€˜Seasonsâ€™ window at Mandeville Hall in Toorak was designed by David Relph Drape and created by Ferguson &amp; Urie for the original owner, millionaire Joseph Clarke, in 1877. The circular medallions in the centre of the window depict scenes of the four different seasons, beginning with winter. The idyllic country scenes that fill the main medallions are of typically English views, and doubtless served, as Beverley Sherry suggests, as â€œpersuasive [and â€˜nostalgicâ€™] reminders of â€˜homeâ€™â€ (Australiaâ€™s Historic Stained Glass, Sydney, Murray Child, 1991, p.39). The figures to the left and right of the medallions also represent the four seasons, and feature banners identifying which season they represent. Clarkeâ€™s initials appear on the central lower border flanked by curved floral motifs that were probably adapted from classical Roman frieze work. There is also a star-studded cross of St George at each of the corners. In this way, classical Rome, medievalism, and British imperialism appear as natural offshoots of the other. This decorative and largely opaque window is intricately patterned with entwined foliage, and dominated by figural seasonal vignettes. It is crowned by a semi-circular top light (another concession to the architectural â€˜Romanesqueâ€™ or Norman style) containing a reclining Diana, and Cupid holding a bow. </text>
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                <text>Brown, Ray</text>
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                <text>6 December 2010</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="19042">
                <text>Â© Ray Brown </text>
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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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              <text>&lt;strong&gt;&lt;/strong&gt;&#13;
&lt;p&gt;&lt;a href="http://www.flickr.com/photos/raysalmanac/5605716834/in/photostream" target="_blank"&gt;&lt;span style="color: #0000ff;"&gt;http://www.flickr.com/photos/raysalmanac/5605716834/in/photostream&lt;/span&gt;&lt;/a&gt;&lt;/p&gt;</text>
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                <text>â€˜St Georgeâ€™ Stained Glass Window, Tolarno Hotel, St Kilda</text>
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                <text>This elaborate staircase window in a converted St Kilda mansion is probably by Ferguson &amp; Urie and dated c.1884. The window depicts a red-cloaked and fully armoured St George standing on the head of a dragon. Images of St George and the Dragon were popular in the nineteenth century, with this appeal being especially aided by Sir Walter Scottâ€™s reawakening of popular notions of chivalry in his writings. The outer border contains red and white Tudor roses interspersed with green leaves on a blue ground, while the solid looking pillars hold small medallion-shaped imprints of the Union Jack. Overall, the window represents a calm â€˜manlyâ€™ Victorian assurance in the face of determined opposition. Such a window can be interpreted as â€œan expansive declaration of the values and â€¦ institutions inherited from Britainâ€ (Beverley Sherry, Australiaâ€™s Historic Stained Glass, Sydney, Murray Child, 1991, p.44). Although little information is available regarding the mansionâ€™s original owner, it is thought that the house was built for someone engaged in local politics. Thus, St George killing the dragon makes an ideal theme for a grand staircase window in a house where integrity and propriety must be readily observable.</text>
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                <text>Brown, Ray (Photographer)</text>
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                <text>11 February 2001 (image)</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Â© Ray Brown </text>
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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.flickr.com/photos/raysalmanac/5560713668/in/photostream" 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://www.flickr.com/photos/raysalmanac/5560713668/in/photostream&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;</text>
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                <text>Upper vestibule window, â€˜Narrapumelap,â€™ Wickliffe, Victoria</text>
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                <text>baronial window, John Dixon Wyselaskie, Ferguson &amp; Urie, floral-rod pattern, homestead, initials, leaf and flower head design, medieval design, Narrapumelap homestead, roses, stained glass, VIC, Victoria, Wickliffe, window</text>
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                <text>An image of a stained glass window at the Narrapumelap homestead in Wickliffe, Victoria. The panelâ€™s outer edge is framed by an eye-catching â€˜floral-rodâ€™ pattern in spiral form. The window is divided into three segments (l, m, r) separated by wide vertical stripes with red roses on rigid leafy stems (x 2). The window contains the houseâ€™s construction date (1873) and owner John Dixon Wyselaskieâ€™s initials. The patterned background is an adapted medieval â€˜rigidâ€™ leaf and flower head design. The window is in a prominent position and would easily be seen by staff and clients alike. At night it would offer a welcoming glow to visitors and guests. An expensive â€˜Baronialâ€™ window such as this bears silent testimony to the wealth and social standing of its owner - in this case the pastoralist and philanthropist J. D. Wyselaskie.</text>
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                <text>9 January 2011</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="19059">
                <text>Â© Ray Brown </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>1 photograph : b&amp;w, gelatin silver</text>
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              <text>21 x 18.2 cm.  </text>
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              <text>&lt;a href="http://nla.gov.au/nla.pic-an22828135"&gt;http://nla.gov.au/nla.pic-an22828135&lt;/a&gt;</text>
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                <text>Laurie Payne, Tour of Camelot, 1966  </text>
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                <text>actor, armor, armour, Arthur, Arthurian, Arthuriana, Camelot, chivalric, chivalry, costume, entertainment, Guinevere, helmet, King Arthur, knight, knighthood, Lancelot, Laurie Payne, musical, performance, plate armour, popular culture, Round Table, stage, stage performance</text>
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                <text>In this black and white photograph from the Laurie Payne Collection of Theatrical Photographs (held by the National Library of Australia), actor Laurie Payne poses in his costume, a suit of armour, for the musical Camelot. The musical, written by Alan Jay Lerner in 1960, is based on Arthurian legend and tells the story of Arthurâ€™s marriage to Guinevere, his establishment of the Round Table, the love triangle that ensued between Arthur, Guinevere and Lancelot and the rescue of Guinevere by Lancelot when she was sentenced to death for her adultery.</text>
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                <text>Bryan &amp; Shear (Firm) </text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>National Library of Australia: &lt;a href="http://nla.gov.au/nla.pic-an22828135" target="_blank"&gt;http://nla.gov.au/nla.pic-an22828135&lt;/a&gt;</text>
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                <text>Bryan &amp; Shear (Firm) </text>
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                <text>1966</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>National Library of Australia</text>
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        <name>King Arthur</name>
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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;p&gt;&lt;a href="http://www.abc.net.au/news/2012-09-15/knights-take-up-the-sword-at-medieval-festival/4263190?section=tas" target="_self"&gt;http://www.abc.net.au/news/2012-09-15/knights-take-up-the-sword-at-medieval-festival/4263190?section=tas&lt;/a&gt;&lt;/p&gt;</text>
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                <text>&lt;p&gt;This brief article by Selina Bryan appears in the online version of ABC News and follows a more expansive television segment on ABC News (Tasmania) broadcast on September 15. The 1.5 minute news broadcast is available on the website. Both stories report on a medieval festival held in the Tasmanian town of Wynyard on the weekend of September 15 and 16, 2012. The festival featured jousting competitions and open combat sword-fighting, with contestants wearing armour. 'It is the first time that open combat swordsmanship and jousting competitions have been held in&amp;nbsp;Tasmania.'&amp;nbsp;&lt;/p&gt;&#13;
&lt;p&gt;The article can be found at &lt;a href="http://www.abc.net.au/news/2012-09-15/knights-take-up-the-sword-at-medieval-festival/4263190?section=tas" target="_self"&gt;http://www.abc.net.au/news/2012-09-15/knights-take-up-the-sword-at-medieval-festival/4263190?section=tas&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;For the event poster see &lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1148"&gt;http://ausmed.arts.uwa.edu.au/items/show/1148&lt;/a&gt;&lt;/p&gt;</text>
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                <text>&lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1148"&gt;http://ausmed.arts.uwa.edu.au/items/show/1148&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 class="MsoNormal"&gt;Link to 1 photograph; silver gelatin, 16.5 x 20.5 cm&lt;/p&gt;&#13;
National Library of Australia Website:&lt;br /&gt;&lt;a href="http://nla.gov.au/nla.pic-an11579945-8" target="_blank"&gt;http://nla.gov.au/nla.pic-an11579945-8&lt;/a&gt;</text>
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                <text>St Francis Xavier Church in Geraldton, Western Australia, designed by Monsignor John Cyril Hawes, has a mixture of Romanesque and Spanish mission style architecture. The first stone was laid in 1916, but the cathedral was not completed until 1938.&#13;
&#13;
&#13;
About Monsignor John Cyril Hawes (1876-1956): &#13;
&#13;
John Cyril Hawes was born in Surrey in 1876 and trained as an architect before being ordained as an Anglican priest in 1903. He converted to Roman Catholicism in 1911 and entered Beda College in Rome in 1913. Two years later, he was ordained as a Catholic priest. While in Rome, Hawes met Bishop William Bernard Kelly from Western Australia and was recruited by him to the Geraldton diocese as a missionary. He was also commissioned to build a Cathedral. Hawes arrived in Geraldton in November 1915 and work began on the Cathedral in June 1916. The nave opened for services in 1918, but a lack of funds stalled completion of the cathedral until 1938. Hawes received the papal title of â€˜monsignorâ€™ in 1937. In 1939, he returned to the Bahamas, where he had worked to repair churches damaged by a hurricane before converting to Catholicism. He built a hermitage on Cat Island, but was sought out to design churches and supervise building on Cat Island, Long Island, and in Nassau. &#13;
&#13;
During his time in Western Australia, Hawes built a number of other, largely Romanesque style, churches in the WA outback. These include the parish church of Our Lady of Mount Carmel, Mullawa (1927), and churches at Morawa (1932), Carnarvon (1934), Northampton and the Utakarra cemetery chapel (1935), and Perenjori (1936), and chapels at Yalgoo, Bluff Point, Nanson and the Melangatta homestead.&#13;
&#13;
For more information on Monsignor John Cyril Hawes, see A. G. Evans, 'Hawes, John Cyril (1876-1956)', Australian Dictionary of Biography, Volume 9, Melbourne University Press, 1983, pp.229-230; John J. Taylor, Between Devotion and Design: The Architecture of John Cyril Hawes 1876-1956, (University of Western Australia Press, Perth, 2001).  </text>
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