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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>A photograph of the Oakburn building on the Elphin campus of Scotch Oakburn College in Launceston, Tasmania. The building was begun in 1861 by the landowner, Eliza Thompson. In 1886 it became part of the Methodist Ladies College, later Oakburn College, which was amalgamated with Scotch College for boys in 1979 to form Scotch Oakburn College. For many years the building has functioned as the boarding house. The Oakburn building, particularly its central tower, is in Romanesque style, featuring semi-circular arches and blind arches.</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>One of three photographs of domestic roof-top adornments (although the house is now a medical practice) in Lyttleton Street, East Launceston. This one features one of the most popular and enduring images of the medieval period, the winged dragon. Situated on the edge of the roof and looking down towards the street, it is possible that the dragon was in part inspired by the gargoyles that adorn many medieval gothic churches. </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>One of three photographs of domestic roof-top adornments in Lyttleton Street, East Launceston. The ornament on this roof creates a sea serpent effect, with its body coiling along the roof line and its head raised to look over the roof. Also known as a sea dragon, sea serpents, while appearing in classical literature, are particularly prevalent in Scandinavian culture. In Norse (Viking) mythology, the Midgard or World Sea Serpent, JÃ¶rmungandr, lives in the ocean that surrounds the world and is so large that it can encircle the world and grasp its own tail. A number of stone carvings exist in Scandinavia and northern England from the early medieval period showing the god Thor fishing for JÃ¶rmungandr. </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>One of three photographs of domestic roof-top adornments in Lyttleton Street, East Launceston. This one features a cat. Situated on the edge of the roof over-looking the street, it is possible that the cat was in part inspired by the gargoyles that adorn many medieval gothic churches. Although a cat may not seem particularly medieval, especially in comparison to the dragon and sea serpent on other Lyttleton Street roofs, domesticated animals were sometimes portrayed as gargoyles on medieval churches. For example, the fifteenth-century gothic Notre Dame church in Noyers-sur-Serein, Burgundy, France, includes a gargoyle in the shape of a dog.  </text>
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          <element elementId="42">
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                <text>One of two photographs of the Pilgrim Uniting Church in Launceston. The church was designed by Melbourne firm Crouch and Wilson and was built in 1866-1868 as a Methodist church. The brick church is in the Gothic style with stucco decorations, arched windows, a prominent tower topped by a spire, and a large traceried window. It became part of the Uniting Church in 1977.</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>This photograph shows a sign above the Viking Furniture shop in Mount Compass in the Adelaide Hills region of South Australia. The sign depicts a Viking dragon ship, or longship, made of wood, featuring a dragon head and tail, mast, and shields along the side of the ship. Unfortunately the shop is empty so no report can be made of the Viking furniture.&#13;
&#13;
One of the most famous dragon ships was the late tenth-century Ormen Lange (Long Serpent) of the Norwegian king Olaf Tryggvason. </text>
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                <text>Artis Zalups</text>
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