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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;This photograph shows banners advertising the &amp;lsquo;Love and Devotions: from Persia and beyond&amp;rsquo; exhibition at the State Library of Victoria. The banners form an image taken from a Persian manuscript. The exhibition features Persian manuscripts from the thirteenth to eighteenth centuries, along with manuscripts from Europe, Ottoman Turkey, and Mughal India. The majority of manuscripts on display are from the Bodleian Libraries of the University of Oxford.&lt;/p&gt;&#13;
&lt;p&gt;Such exhibitions are a rare opportunity for Australians to interact with real artefacts from the medieval period. Along with modern appropriations they often help to form people&amp;rsquo;s perceptions of the medieval era.&lt;/p&gt;&#13;
For more on the exhibition see &lt;a href="http://www.slv.vic.gov.au/event/love-and-devotion-persia-and-beyond" target="_blank"&gt;http://www.slv.vic.gov.au/event/love-and-devotion-persia-and-beyond&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>A view of a traceried gothic window at Scotâ€™s Church on Collins Street in central Melbourne. Above the window, an arcade of lancet arches lines the gable. A number of other slender lancet windows and examples of decorative blind tracery are visible.&#13;
&#13;
Scotâ€™s Church was built in a decorated Gothic Revival style to the design of architectural firm Reed &amp; Barnes. It is constructed from Barrabool Hills freestone with sandstone dressings sourced from New Zealand. The current Scotâ€™s Church building was completed in 1874 and replaced an older church that had operated from the site since 1841. The site was granted to the Church of Scotland in 1839, and transferred to the Presbyterian Church of Victoria upon its formation in 1859 (when the Church of Scotland, the United Presbyterian Church and the Free Church united). Other characteristic neo-gothic features of Scotâ€™s Church include its 120ft spire, which for a number of years was the highest point in Melbourneâ€™s townscape, its decorative quoins, buttresses, and pinnacles. The church also boasts a number of stained glass windows by well-known artists such as Ferguson &amp; Urie of Melbourne, Van der poorten of Brussels and F.X. Zettler of Munich.</text>
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                <text>A view of a traceried gothic window at Scotâ€™s Church on Collins Street in central Melbourne. Above the window, an arcade of lancet arches lines the gable. A number of other slender lancet windows and examples of decorative blind tracery are visible.&#13;
&#13;
Scotâ€™s Church was built in a decorated Gothic Revival style to the design of architectural firm Reed &amp; Barnes. It is constructed from Barrabool Hills freestone with sandstone dressings sourced from New Zealand. The current Scotâ€™s Church building was completed in 1874 and replaced an older church that had operated from the site since 1841. The site was granted to the Church of Scotland in 1839, and transferred to the Presbyterian Church of Victoria upon its formation in 1859 (when the Church of Scotland, the United Presbyterian Church and the Free Church united). Other characteristic neo-gothic features of Scotâ€™s Church include its 120ft spire, which for a number of years was the highest point in Melbourneâ€™s townscape, its decorative quoins, buttresses, and pinnacles. The church also boasts a number of stained glass windows by well-known artists such as Ferguson &amp; Urie of Melbourne, Van der poorten of Brussels and F.X. Zettler of Munich.</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>A view of Flinders Street Station, located at the intersection of Flinders Street and Swanston Street in Melbourne&amp;rsquo;s CBD. Flinders Street station was designed by architects James Fawcett and HCP Ashworth, who won a competition to re-design the station in 1899. Building commenced in 1900 and was completed in 1910. The architecture is often described as "Edwardian Free Style", which suggests a design featuring an eclectic mix of different architectural elements without favouring any particular style from the past (see Richard Apperly, Robert Irving, Peter Reynolds, &lt;em&gt;A Pictorial Guide to Identifying Australian Architecture: Styles and Terms from 1788 to the Present&lt;/em&gt;, North Ryde, Angus &amp;amp; Robertson, 1989, p.139). However, the station architects described their design as &amp;ldquo;French Renaissance in a free manner&amp;rdquo;, which suggests rather that they did start with a particular Renaissance style in mind, into which they incorporated a number of other elements and influences, such as Art Nouveau (See the Victorian Heritage Database report at: &lt;a href="http://vhd.heritage.vic.gov.au/#detail_places;752" target="_self"&gt;http://vhd.heritage.vic.gov.au/#detail_places;752&lt;/a&gt;). The exterior of the station is constructed in red brick with yellow pressed cement decoration, while the interior also has a number of pressed metal features. A large dome, reminiscent of Brunelleschi&amp;rsquo;s fifteenth-century addition to The Duomo in Florence, adorns the roof of the station and is flanked on either side by a smaller cupola.</text>
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                <text>&lt;p&gt;The current Government House of Tasmania, the third in Hobart, was designed by the Director of Public Works William Porden Kay and built between 1855 and 1857 in the Gothic Revival style. Governor Henry Fox Young took up residence on January 2, 1858. The building is located in the Queen&amp;rsquo;s Domain and features bas-relief sculpture, gargoyles, and tracery on the windows. Its most prominent Gothic features are found at the main entrance (as seen in the photograph), including a square clock tower topped by crenelated turrets, and a second tower with crenellation. The photograph was taking during a reception for the 7&lt;sup&gt;th&lt;/sup&gt; Biennial International Conference of the Australian and New Zealand Association for Medieval and Early Modern Studies.&lt;/p&gt;&#13;
&lt;p&gt;For the website see &lt;a href="http://www.govhouse.tas.gov.au/government-house/history"&gt;http://www.govhouse.tas.gov.au/government-house/history&lt;/a&gt;&lt;/p&gt;</text>
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        <name>church building</name>
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        <name>Evander McIver</name>
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        <name>gothic architecture</name>
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      <tag tagId="72">
        <name>Gothic Revival</name>
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      <tag tagId="1077">
        <name>lancet arch</name>
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      <tag tagId="1115">
        <name>lancet window</name>
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      <tag tagId="71">
        <name>neo-Gothic</name>
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      <tag tagId="1083">
        <name>Presbyterian Church</name>
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      <tag tagId="1087">
        <name>spire</name>
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      <tag tagId="270">
        <name>tower</name>
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      <tag tagId="1094">
        <name>tracery</name>
      </tag>
      <tag tagId="2984">
        <name>Vic</name>
      </tag>
      <tag tagId="890">
        <name>Victoria</name>
      </tag>
      <tag tagId="2822">
        <name>Victorian Gothic</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
