209: The Life and Repentance of Mary Magdalen

2011 ◽  
Author(s):  
Lewis Wager ◽  
British Drama 1533–1642: A Catalogue
Keyword(s):  
Mary Magdalen

Sigismund Suevus (1526–1596)

2021 ◽  
pp. 153-174
Author(s):  
Martin Christ
Keyword(s):  
Shared Spaces ◽  
Mary Magdalen ◽  
Daily Interactions ◽  
Spiritual Pilgrimage ◽  
The Church

The sixth chapter focuses on the continual presence of Catholics and the shared use of formerly Catholic spaces. Sigismund Suevus (1526–1596), a Lutheran preacher from Lauban, engaged in a conflict with the nuns of the Order of Mary Magdalen in Lauban. As town preacher, he denounced the conversion of one of Lauban’s mayors to Catholicism, but he continued to share a church with the nuns and any remaining Catholics. These shared spaces challenge our understanding of confessional markers, as Lutherans continued to have side altars or images of saints in their part of the church. Moreover, the nuns were linked to the Lutheran preachers through daily interactions. Although Suevus rejected Catholicism in his sermons, he also reinterpreted Catholic space in Reformation terms, especially the Holy Sepulchre in Görlitz, a reproduction of the Holy Sepulchre in Jerusalem. He advocated a spiritual pilgrimage to this space and used objects connected to travel as allegories of Lutheranism.

Frinton Church, Essex, S. Mary Magdalen

1952 ◽  
Vol 197 (24) ◽  
pp. 520-521
Author(s):  
L. H. Chambers
Keyword(s):  
Mary Magdalen

Frithegod of Canterbury's Maundy Thursday hymn

2005 ◽  
Vol 34 ◽  
pp. 219-236 ◽  
Author(s):  
Rosalind C. Love
Keyword(s):  
Seventeenth Century ◽  
Twelfth Century ◽  
Trinity College ◽  
Tenth Century ◽  
Mary Magdalen ◽  
English Manuscript ◽  
Cult Of Mary

In his Catalogus of British writers, John Bale's account of the tenth-century scholar, Frithegod, includes incipits for two hymns, of which the first, on Mary Magdalen (‘Dum pietas multimoda’), was long thought lost. In fact it is not lost, but has simply become uncoupled from its author's name, and is transmitted anonymously in three manuscripts of French origin, and in some Spanish liturgical books, whence it was first printed in 1897. Frithegod's authorship is suggested by Patrick Young's seventeenth-century catalogue of Salisbury Cathedral manuscripts. Young noticed two ‘carmina Frethogodi’ at the end of what is now Dublin, Trinity College 174 (a late eleventh- or early twelfth-century Salisbury legendary), giving the incipit of the first as 'Dum pietas multimoda’. After Young had catalogued TCD 174, the page with the hymns must have become detached, and cannot now be traced. Frithegod may have composed the hymn while still at Canterbury, and then perhaps took a copy back to his native Auvergne, given that it ended up in an English manuscript but also circulated in France. Although the circumstances of composition are beyond recovery, I suggest that the hymn was originally intended not for the cult of Mary Magdalen (it was used thus in France), but rather to accompany the penitential rituals of Maundy Thursday. The article includes a text and translation of the hymn.

Praedatrix Praeda Fit Ipsa Suae: Mary Magdalen, Federico Borromeo And Henry Constable's Spirituall Sonnettes

1987 ◽  
Vol 18 (3) ◽  
pp. 227-236
Author(s):  
Frank Salmon
Keyword(s):  
Seventeenth Century ◽  
Early Years ◽  
British Library ◽  
Roman Catholicism ◽  
Mary Magdalen

THERE EXISTS, in Harleian MS. 7553 of the British Library, a set of seventeenSpiritual1 Sonnettes to the honour of God and hys Sayntes by H. C..In his 1812 edition of the manuscript, Thomas Park attributed these poems to the Elizabethan courtier-poet and later recusant Henry Constable on the grounds of the ‘regular Italian structure, and the sainted names of those addressed’.’ Three years later, in hisHeliconia,Park substantiated his attribution by reference to Constable's known Roman Catholicism and to a recantation found at the end of his secular sonnet cycleDianain Dyce MS. 44: ‘When I had ended this last sonet and found that such vayne poems as I had by idle houres writ did amounte iust to the climatericall number 63, me thought it was high tyme for my follie to die and to employe the remnant of my wit to other calmer thoughts lesse sweet and lesse bitter’. The Dyce manuscript-like the Harleian-is not in Constable's own hand, and one scholar has recently thrown doubt on the authenticity of the recantation. Nevertheless, theSpirituall Sonnetteshave without question continued to be considered as Constable's following Park's broad biographical and stylistic outline. The Harleian manuscript appears to date from the early years of the seventeenth century, and this has been assumed to be the likely date of composition for the sonnets as well.

XVI. Copy of an Original Instrument dated 25 Nov. 1449, concerning the Church-yard of St. Mary Magdalen in Milk Street, London. Exhibited to the Society of Antiquaries by Thomas Loggen, Esq.

Archaeologia ◽  
1800 ◽  
Vol 13 ◽  
pp. 199-200
Author(s):  
Thomas Loggen
Keyword(s):  
Mary Magdalen ◽  
The Church

In Dei nomine amen. Per hoc presens publicum instrumentum cunclis appareat evidenter quod anno ab incarnacione dominica millmo ccccmo nonagesimo nono indictione tercia pontificatus vero sanctissimi patris et Domini nostri Domini Alexandri divina providentia pape sexti anno octavo mensis vero Novembris die vicesima quinta in quodam mesuagio five taberna vocat' le Egle situat in Westchepa civitatis London in mei que notarii publici subscripti et testium infrâ script' presentia personaliter constitutus honorabilis et providus vir magister Robertus Sheffeld clericus filius ut asseruit Edmundi Sheffeld quondam de parochia omnium sanctorum in Honylane dicte civitatis London comorantis apud le hole Bulle ibidem sponte et ex fuo mero motu atque certa scientia ac libera et spontanea fua voluntate nullo errore duclius nulloque vi metu dolo feu fraude coaclus non deceptus non feduclus nee aliqua alia finistra machinatione ut asseruit circumvent'—fed ex animo deliberat' ac in rei veritatis testimon' deposuit confessatus fuit dixit et publice fatebatur certa verba Anglicana fequencia feu alia eis consimilia scilicet:

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