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                <text>A photograph taken by photographer Ted Hood during the Corpus Christi Mass at Manly, New South Wales, in 1934. The picture shows a group of veiled women kneeling in the crowd. They are (less noticeably) also interspersed with men, and this group most likely represents the Legion of Mary, an association of Catholic laity who make a commitment to serve the Church by encouraging spiritual work and promoting mercy, in imitation of Mary. The Legion of Mary was founded in Dublin in 1921.&#13;
&#13;
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                <text>A photograph taken by photographer Ted Hood of the Corpus Christi Mass held at Manly, New South Wales, in 1934.&#13;
&#13;
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                <text>The Papal Nuncio, Corpus Christi at Manly</text>
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                <text>A photograph taken by photographer Ted Hood of Apostolic Nuncio Philip Bernardini participating in the Corpus Christi Mass at Manly, New South Wales, in 1934.&#13;
&#13;
Corpus Christi is an annual feast day observed by the Catholic Church on the Thursday following Trinity Sunday. It celebrates the Eucharist (or â€˜Blessed Sacramentâ€™) as the blood and body of Christ, and is often followed by a procession. Corpus Christi was established as a feast day in the thirteenth century after revelations by a Belgian nun, Juliana of LiÃ¨ge (St Juliana), that she had experienced repeated visions of Christ and had been instructed to petition for a feast day to celebrate the sacrament. Juliana disclosed her visions to Robert de Thorete, the Bishop of LiÃ¨ge, Hugh of St-Cher and Jacques PantelÃ©on, then the Archdeacon of LiÃ¨ge. Robert de Thorete used his power as a bishop (with the authority to order a feast in his diocese) to convene a synod in 1246 and order the celebration of Corpus Christi to be observed the following year. In 1261, Jacques PantelÃ©on became Pope Urban IV. In 1264 he published a Papal Bull, Transiturus de hoc mundo , in which he ordered the annual celebration of Corpus Christi and the granting of indulgences to the faithful for their attendance at Mass and at the Office. </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>Corpus Christi at Manly</text>
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                <text>A photograph taken by photographer Ted Hood of the crowd gathered at the Corpus Christi Mass in Manly, New South Wales, in 1934. The group of veiled women in white dress most likely represent the Legion of Mary, an association of Catholic laity who make a commitment to serve the Church by encouraging spiritual work and promoting mercy, in imitation of Mary. The Legion of Mary was founded in Dublin in 1921.&#13;
&#13;
Corpus Christi is an annual feast day observed by the Catholic Church on the Thursday following Trinity Sunday. It celebrates the Eucharist (or â€˜Blessed Sacramentâ€™) as the blood and body of Christ, and is often followed by a procession. Corpus Christi was established as a feast day in the thirteenth century after revelations by a Belgian nun, Juliana of LiÃ¨ge (St Juliana), that she had experienced repeated visions of Christ and had been instructed to petition for a feast day to celebrate the sacrament. Juliana disclosed her visions to Robert de Thorete, the Bishop of LiÃ¨ge, Hugh of St-Cher and Jacques PantelÃ©on, then the Archdeacon of LiÃ¨ge. Robert de Thorete used his power as a bishop (with the authority to order a feast in his diocese) to convene a synod in 1246 and order the celebration of Corpus Christi to be observed the following year. In 1261, Jacques PantelÃ©on became Pope Urban IV. In 1264 he published a Papal Bull, Transiturus de hoc mundo , in which he ordered the annual celebration of Corpus Christi and the granting of indulgences to the faithful for their attendance at Mass and at the Office. </text>
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                <text>State Library of New South Wales</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;strong&gt;&lt;/strong&gt;&#13;
&lt;p&gt;&lt;a href="http://www.ngv.vic.gov.au/col/work/4069" target="_blank"&gt;&lt;span style="color: #0000ff; font-family: Calibri; font-size: small;"&gt;http://www.ngv.vic.gov.au/col/work/4069&lt;/span&gt;&lt;/a&gt;&lt;/p&gt;</text>
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          <element elementId="50">
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                <text>Fair Rosamund</text>
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                <text>Arthur Hughes (1832-1915), Eleanor of Aquitaine, fleur-de-lys, flowers, foxgloves, garden, Henry II of England, iris, maze, mistress, poison, Rosamund, secret garden, symbolism, VIC, Victoria, Walter de Clifford, Woodstock</text>
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                <text>This work by English artist Arthur Hughes depicts the twelfth-century figure of Rosamund in the garden that King Henry II of England created for her at his royal residence in Oxfordshire. Rosamund was Henryâ€™s mistress. She was reputedly poisoned in 1176 by Eleanor of Aquitaine, Henry's wife. Eleanor can be seen in the background of the painting discovering the entrance to the secret garden, which was only accessible by way of a maze. As Ted Gott et al suggest,the selection of flowers in the painting add important symbolism - blue foxgloves, a source of poison, line the queenâ€™s path, while purple irises are visible in the foreground. Irises were associated with the Greek Goddess Iris who chaperoned the souls of dead women to the Elysian Fields, and also with the fleur-de-lys, a symbol of the French crown. Eleanor of Aquitaine was the Queen of France from 1137-1152. (See Ted Gott et al, 19th Century Painting and Sculpture in the International Collections of the National Gallery of Victoria, Melbourne, National Gallery of Victoria, 2003, p.78).</text>
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                <text>National Gallery of Victoria</text>
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            <elementTextContainer>
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Hyperlink</text>
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              <text>&lt;span&gt;&lt;a href="http://www.ngv.vic.gov.au/col/work/4068" target="_blank"&gt;&lt;span style="color: #0000ff; font-family: Calibri; font-size: small;"&gt;http://www.ngv.vic.gov.au/col/work/4068&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;</text>
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                <text>La Belle Dame sans merci, by Arthur Hughes</text>
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                <text>Alain Chartier, apparition, armor, armour, Arthur Hughes (1832-1915), Arthurian, ballad, chivalric, chivalry, courtly love, damsel, dream, faery child, fair lady, false promise, infatuation, John Keats, knight, La Belle Dame sans merci, maiden, medieval costume, poem, supernatural, unrequited love, VIC, Victoria</text>
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                <text>&lt;p&gt;This painting by English artist Arthur Hughes was acquired by the National Gallery of Victoria in 1919 with funds from the Felton Bequest. It portrays a scene from&amp;nbsp;the well-known ballad of the same name penned in 1819 by Romantic poet John Keats. The poem is a tale of unrequited love featuring an Arthurian knight and a beautiful woman he meets in the woods. Described by Keats as a &amp;lsquo;faery&amp;rsquo;s child&amp;rsquo;, the woman woos the knight with songs, food&amp;nbsp;and promises of love, before taking him back to her elfin grot and lulling him to sleep. While asleep, however, he dreams of death-pale kings, princes and warriors crying &amp;ldquo;La Belle Dame sans merci/Thee hath in thrall!&amp;rdquo; before waking up alone on a cold hillside. In the painting, the infatuated knight is pictured in the woods shortly after he has met the beautiful woman and lifted her onto his horse. In the background, the apparitions of the pale figures he will later dream of are visible, trying to convey their warning in vain. Keats borrowed the title for his Arthurian ballad from a fifteenth-century courtly love poem by Alain Chartier.&lt;/p&gt;&#13;
&lt;p&gt;For a copy of Keats&amp;rsquo; &lt;em&gt;La Belle Dame sans merci&lt;/em&gt;, see &lt;a href="http://www.poetryfoundation.org/poem/173740" target="_blank"&gt; &lt;span style="color: #0000ff;"&gt;http://www.poetryfoundation.org/poem/173740&lt;/span&gt;&lt;/a&gt;.&lt;/p&gt;</text>
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                <text>National Gallery of Victoria</text>
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                <text>1863</text>
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                <text>Oil on Canvas, 153.7 x 123cm;&#13;
Hyperlink</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://www.youtube.com/watch?v=dTm4337uv0k&amp;amp;feature=youtu.be"&gt;http://www.youtube.com/watch?v=dTm4337uv0k&amp;amp;feature=youtu.be&lt;/a&gt;&lt;/span&gt;</text>
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                <text>Hungry Jacks Chicken Minis advertisement</text>
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                <text>Ad, advertisement, armour, â€˜Eat Righteousâ€™, helmet, Hungry Jacks, Hungry Jacks Chicken Minis, Isle of Shetland, jousting, knight, lance, Scotland, Shetland, Shetland pony, television, tournament, tv, visor.</text>
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                <text>&lt;p&gt;The Hungry Jacks television advertisement for their Chicken Minis burger opens with a jousting tournament on the &amp;lsquo;Isle of Shetland&amp;rsquo;, Scotland. A knight in full armour and helmet with visor rides a Shetland pony and carries a lance. The diminutive size of the Shetland pony adds to the comic aspect of the advertisement. It is part of Hungry Jacks&amp;rsquo; &amp;lsquo;Eat Righteous&amp;rsquo; series of advertisements.&lt;/p&gt;&#13;
For the advertisement see &lt;a href="http://www.youtube.com/watch?v=dTm4337uv0k&amp;amp;feature=youtu.be"&gt;http://www.youtube.com/watch?v=dTm4337uv0k&amp;amp;feature=youtu.be&lt;/a&gt;</text>
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                <text>August 6, 2012</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;p&gt;&lt;a href="http://www.youtube.com/watch?v=OgUr9Cntw4w&amp;amp;feature=relmfu"&gt;http://www.youtube.com/watch?v=OgUr9Cntw4w&amp;amp;feature=relmfu&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;</text>
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                <text>&lt;p&gt;The Hungry Jacks television advertisement for their Whopper burger features a segment in which a man in armour is made a knight (or is &amp;lsquo;knighted&amp;rsquo; according to the advert). The segment shows the accolade, also known as dubbing, during which the kneeling person is tapped on the shoulders with the flat side of a sword. The advert is part of Hungry Jacks&amp;rsquo; &amp;lsquo;Eat Righteous&amp;rsquo; series of advertisements.&lt;/p&gt;&#13;
&lt;p&gt;For the advertisement see&lt;a href="http://www.youtube.com/watch?v=OgUr9Cntw4w&amp;amp;feature=relmfu"&gt; http://www.youtube.com/watch?v=OgUr9Cntw4w&amp;amp;feature=relmfu&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;For another of the advertisements see &lt;a href="http://ausmed.arts.uwa.edu.au/items/show/985" target="_self"&gt;http://ausmed.arts.uwa.edu.au/items/show/985&lt;/a&gt;&lt;/p&gt;</text>
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