Short answers, pulled from the story.
Medievalism is a system of belief and practice inspired by the Middle Ages of Europe, expressed in areas such as architecture, literature, music, art, philosophy, and popular culture. Medieval studies is the scholarly examination of the historical medieval period itself, while medievalism studies how later eras have imagined, used, and reimagined that period.
The Latin phrase media tempestas, meaning 'middle time', first appears in a document from 1469. The term medium aevum is first recorded in 1604, and the Anglicised form 'Medieval' does not appear until the nineteenth century.
The Gothic Revival was an architectural movement that began in England in the 1740s, seeking to revive medieval forms as a contrast to classical styles. Key figures included Augustus Welby Pugin, who produced cathedrals at Birmingham and Southwark and worked on the British Houses of Parliament; Viollet-le-Duc in France, who restored Carcassonne and Notre-Dame; and Ralph Adams Cram in America, whose most ambitious project was the Cathedral of St. John the Divine in New York.
The Pre-Raphaelite Brotherhood, founded in 1848 by William Holman Hunt, John Everett Millais, and Dante Gabriel Rossetti, rejected the academic tradition stemming from Raphael and Michelangelo and looked instead to the abundant detail and intense colours of Quattrocento Italian and Flemish art. Their influence directly inspired the Arts and Crafts movement, spearheaded by William Morris, which reached its height between about 1880 and 1910.
The Italian medievalist Umberto Eco first popularised the term neo-medievalism in his 1973 essay 'Dreaming of the Middle Ages'. The term was later applied to international relations by Hedley Bull in 1977, who argued that the rise of non-state actors was moving society toward a neo-medieval condition that challenged national sovereignty.
In Past and Present (1843), Carlyle contrasted the medieval monastery with the modern workhouse, calling for a 'Chivalry of Labour' based on cooperation rather than economic competition. Ruskin built on this in works including The Stones of Venice (1851-1853) and Unto This Last (1860), arguing that medieval craft values offered a corrective to the mechanistic sterility of industrial modernity.