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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>Dimensions of sash: 148.00 cm (Height), 14.00 cm (Length)</text>
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              <text>&lt;a href="http://museumvictoria.com.au/collections/themes/2772/irish-national-foresters"&gt;http://museumvictoria.com.au/collections/themes/2772/irish-national-foresters&lt;/a&gt;</text>
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                <text>Irish National Foresters' Regalia</text>
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                <text>regalia, Irish National Foresters Organisation, nationalist, nationalism, Irish, Ireland, sash, friendly society, friendly societies, fraternities, fraternity, clover</text>
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                <text>&lt;p&gt;The Irish National Foresters Organisation is a mutual aid society, which was established to help members in distress and the relatives of members who are deceased. It began in 1877 as a breakaway from the Order of Foresters, which was originally set up in England by medieval serfs. As they were not permitted to meet openly, their meetings were gathered in dense forest and they took names associated with forestry and applied them to their leaders (e.g. Chief Ranger, Assistant Chief Ranger, Woodward and Beadle).&lt;/p&gt;&#13;
&lt;p&gt;The I.N.F grew rapidly and soon became the largest friendly society in Ireland. It is non-sectarian, non-political and is not divided by class. The ideas of the society are exemplified in the Chief Ranger's address given at the new members initiation ceremony: 'be a true member to members in distress...remembering that...the time may come when you may acquire their assistance and sympathy in return' and 'do not forget dear old-Ireland; teach...those under your care to cherish the memory of her heroes and heroines, her patriots and soldiers...and those who have left behind them so many beautiful and lasting memorials of love of country.' Although it spread throughout the world the I.N.F. retained close-links with Ireland and was a strong supporter of Irish nationalism. To the extent that the constitution of the I.N.F. called for 'government for Ireland by the Irish people in accordance with Irish ideas and Irish aspirations.'&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="http://museumvictoria.com.au/collections/items/250056/sash-irish-national-foresters-after-1877"&gt;http://museumvictoria.com.au/collections/items/250056/sash-irish-national-foresters-after-1877&lt;/a&gt;&lt;/p&gt;</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://www.ironfest.net/index.php"&gt;http://www.ironfest.net/index.php&lt;/a&gt;</text>
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                <text>Armour, arts festival, blacksmith, costume, festival, helmet, jousting, Kingdom of Ironfest, knight, Lithgow, living history, New South Wales, NSW, performance, plate armour, re-enactment, replica, shield, sword, website.</text>
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                <text>&lt;p&gt;Billed as &amp;lsquo;An Arts Festival with a Metal Edge&amp;rsquo; Ironfest is an annual festival held in the New South Wales city of Lithgow. The festival involves artists and blacksmith working with metal, as well as historical re-enactors, musicians, and performers. The re-enactors include those who focus on the medieval period, and the entertainment for the Ironfest 2013 includes jousting. The main page for Ironfest includes a photograph of nine knights wearing plate armour and helmets and carrying shields and swords. The festival began in 2010 and&amp;nbsp;is held at the Kingdom of Ironfest (the Lithgow Showground).&lt;/p&gt;&#13;
&lt;p&gt;For their website see http://www.ironfest.net/index.php&lt;/p&gt;</text>
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                <text>2012</text>
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                <text>Copyright Â© Ironfest 2012</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>One of three photographs of a house in East Devonport built in the Gothic Revival architectural style. Gothic features of the house include the arched windows and steeped pitch of the roof. This photograph shows one of the gothic-style windows, which is accentuated by the roofline and surrounding decoration. Gothic architecture was the dominant style in much of Europe from the twelfth to sixteenth centuries. For Jack climbing a beanstalk see other entry. </text>
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                <text>Dorey, Margaret</text>
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                <text>3 December 2011</text>
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                <text>James Boagâ€™s St George beer</text>
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                <text>Alcohol, beer, Boagâ€™s Brewery, crusade, dragon, label, logo, James Boagâ€™s, Launceston, St George, sword, Tas, Tasmania.</text>
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                <text>&lt;p&gt;The Launceston, Tasmania, brewing company James Boag has a &amp;lsquo;St George&amp;rsquo; beer. The bottle&amp;rsquo;s label features St George on a horse and carrying a sword trampling a dragon underfoot. This was one of the original logos of the brewery and has been used since 1883. The Boag&amp;rsquo;s website states that St George symbolises &amp;lsquo;strength, honour and courage&amp;rsquo;. Although the mounted figure depicts a more historic St George, who was a Roman soldier, than most other images, the tale of St George fighting a dragon is thought to have been brought to Western Europe by crusaders returning from the Holy Lands in the eleventh century.&lt;/p&gt;&#13;
&lt;p&gt;More information about the beer can be found at &lt;a href="http://www.classicblonde.com.au/#/brands/stgeorge/regular/background/"&gt;http://www.classicblonde.com.au/#/brands/stgeorge/regular/background/&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;</text>
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                <text>James Boag Brewery</text>
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                <text>2009</text>
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                <text>James Boag Brewery</text>
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                <text>Weblink</text>
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        <name>Crusade</name>
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        <name>James Boagâ€™s</name>
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        <name>Launceston</name>
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        <name>logo</name>
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        <name>St George</name>
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        <name>Tas</name>
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                <name>Bit Depth</name>
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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>Jeanne dâ€™Arc, State Library of Victoria, Melbourne.</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>armour, banner, banners, battles, battle, Bernard Hall, bronze, Charles VII (r., Charles de Ponthieu (1403-1461), DomrÃ©my, Emmanuel FrÃ©miet (1824-1910), equestrian, execution, Felton Bequest, fleur-de-lys, Jeanne dâ€™Arc, Joan of Arc (1412-1431), La Pucelle, legend, maid of OrlÃ©ans, Melbourne, National Gallery of Victoria, oriflamme, OrlÃ©ans, Paris, pennant, Place des Pyramides, sculpture, State Library of Victoria, statue, Victoria, war, war-banner, war-horse, war horse, war banner</text>
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                <text>&lt;p&gt;Image of the Jeanne d&amp;rsquo;Arc bronze statue at the State Library of  Victoria in Melbourne. The statue is the work of French sculptor  Emmanuel Fr&amp;eacute;miet, and is a cast of the 1899 version of his Jeanne d&amp;rsquo;Arc  which stands in the Place des Pyramides in Paris. Purchased in 1906 by  Bernard Hall, the Director of the National Gallery of Victoria, with  funds from the Felton Bequest, it was installed at the entrance to the  State Library of Victoria on 4 February 1907. The sculpture depicts the  young Joan of Arc astride a war-horse, dressed in her body-armour and  raising an oriflamme banner.&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="text-decoration: underline;"&gt;About Joan of Arc:&lt;/span&gt;&lt;br /&gt; Joan of Arc was born in 1412 in the French village of Domr&amp;eacute;my. From the  age of about 12, Joan had visions of saints and heard heavenly voices  that increasingly urged her to fight for France during the Hundred  Years&amp;rsquo; War. She travelled to the court of Charles De Ponthieu, the  Orl&amp;eacute;anist claimant to the throne, where she was provided with a suit of  armour and her distinctive banner depicting a golden fleur-de-lys. She  secured a decisive military victory to rescue the city of Orl&amp;eacute;ans from  the Earl of Salisbury&amp;rsquo;s English army in 1429, and was present at the  coronation of Charles VII. However, in May the following year Joan was  captured by Burgundian forces at Compi&amp;egrave;gne, and was handed over to the  English. She was tried at Rouen on charges of witchcraft and heresy, and  was condemned to death. On 30 May 1431, she was executed. Two and a  half decades later, the case was appealed and her conviction was  overturned. She was beatified in 1909 and canonised as a saint in 1920.&lt;/p&gt;&#13;
&lt;p&gt;For more information about this statue and its background, see Ted Gott,  &amp;lsquo;An Iron Maiden for Melbourne &amp;ndash; The History and Context of Emmanuel  Fr&amp;eacute;miet&amp;rsquo;s 1906 Cast of Jeanne d&amp;rsquo;Arc&amp;rsquo;, The La Trobe Journal, vol.81,  Autumn 2008, pp.53-68: &lt;a href="http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-81/t1-g-t5.html" target="_blank"&gt;http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-81/t1-g-t5.html&lt;/a&gt;.&lt;/p&gt;</text>
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                <text>McEwan, Joanne</text>
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            <name>Date</name>
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                <text>27 April 2011</text>
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                <text>No Copyright</text>
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