Bibliografias temáticas / Church of St. Mary the Virgin (Cottingham)

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Literatura científica selecionada sobre o tema "Church of St. Mary the Virgin (Cottingham)"

Autor: Grafiati
Publicado: 25 de julho de 2024
Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Church of St. Mary the Virgin (Cottingham)"

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Tadic, Milutin, e Aleksandar Petrovic. "Mathematical-geographical intention in orienting mediaeval churches of the Serbian monastery Gradac". Glasnik Srpskog geografskog drustva 91, n.º 4 (2011): 141–58. http://dx.doi.org/10.2298/gsgd1104141t.

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The subject of the paper is an exact analysis of the orientation of the Serbian monastery churches: the Church of the Virgin Mary (13th century), St. Nicholas' Church (13th century), and an early Christian church (6th century). The paper determines the azimuth of parallel axes in churches, and then the aberrations of those axes from the equinoctial east are interpreted. Under assumption that the axes were directed towards the rising sun, it was surmised that the early Christian church's patron saint could be St. John the Baptist, that the Church of the Virgin Mary was founded on Annunciation day to which it is dedicated, and that St. Nicholas' Church is oriented in accordance with the rule (?toward the sunrise?) even though its axis deviates from the equinoctial east by 41? degrees.
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Guzewicz, Wojciech. "Kościoły i parafie diecezji ełckiej (cz. 15)". Civitas et Lex 41, n.º 1 (2 de abril de 2024): 7–20. http://dx.doi.org/10.31648/cetl.9393.

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The article presents the church centers in Monkinie (Our Lady of the Angels), Nowa Wieś Ełcka (St. Joseph the Craftsman), Okartowo (Immaculate Heart of the Blessed Virgin Mary) and two in Olecko (Blessed Virgin Mary Queen of Poland and Exaltation of the Holy Cross).
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Guzewicz, Wojciech. "Kościoły i parafie diecezji ełckiej (cz. 9)". Civitas et Lex 39, n.º 3 (22 de agosto de 2023): 7–19. http://dx.doi.org/10.31648/cetl.8902.

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GRANSDEN, ANTONIA. "The Cult of St Mary at Beodericisworth and then in Bury St Edmunds Abbey to c. 1150". Journal of Ecclesiastical History 55, n.º 4 (outubro de 2004): 627–53. http://dx.doi.org/10.1017/s0022046904001472.

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This paper argues that the earliest church at Beodericisworth, the later Bury St Edmunds, was dedicated to the Virgin Mary. Probably in the reign of Athelstan, the (supposed) body of St Edmund, king and martyr, was translated into this church. The cult of St Edmund burgeoned and before the end of the eleventh century St Edmund's shrine had become one of England's foremost pilgrim centres and attracted the wealth which helped pay for the great Romanesque church built to house it. Nevertheless, a wide variety of sources, both written and visual, demonstrate that the cult of St Mary retained much vitality, becoming the pre-eminent secondary cult in Bury St Edmunds, one especially fostered by Abbot Anselm (1121–48). Finally, similar examples are cited of other churches where dedications to saints like St Mary, who enjoyed widespread veneration, were replaced by those of saints of more local fame but whose (supposed) bodies those churches possessed.
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Horáková, Tereza. "Krev, slzy a bolest – Imaginace a emocionalita na příkladu polychromovaných barokních plastik ze svatých schodů". AUC PHILOSOPHICA ET HISTORICA 2021, n.º 1 (23 de junho de 2023): 261–75. http://dx.doi.org/10.14712/24647055.2023.14.

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What is the difference between the pain of Christ and the Virgin Mary? How is pain reflected in sculptures of the Baroque period in Bohemia and Moravia? And how did contemporary pious spectators react to these impulses? Baroque spirituality of the 18th century, particularly the theme of pain, will be demonstrated on the phenomenon of sculpture of the Holy Stairs. These chapels can be found in churches or cloisters, and they are subject to specific liturgy and space arrangements where we can find a particular representation of Christ, as well as the Virgin Mary and St. John the Baptist. Different types of pain and their representation in the sculpture of that time are illustrated on several examples of Holy Stairs, including the stairs at the Church of the Assumption of the Virgin Mary and St. Charles the Great in Prague.
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Markovic, Miodrag. "Neglected data about the year of construction of the church of the virgin in Studenica". Zograf, n.º 46 (2022): 33–56. http://dx.doi.org/10.2298/zog2246033m.

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The text deals with two mutually close, late sources that have not been used so far in considering the chronology of the construction of the katholikon of the Studenica monastery: the inscriptions on two copper engravings depicting the main church of the ?Great Lavra of St. Simeon? made in Moscow in 1758. Those inscriptions state, among other things, that Stefan Nemanja built the Church of the Assumption of the Virgin Mary in 1194/1195.
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Śliwiński, Daniel. "Niepokalana Wszechpośredniczka Łask jako tytuł Bazyliki Mniejszej w Niepokalanowie". Łódzkie Studia Teologiczne 32, n.º 4 (19 de janeiro de 2024): 53–68. http://dx.doi.org/10.52097/lst.2023.4.53-68.

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The idea of Virgin Mary as Mediatrix of All Graces has been present in the Church for centuries. This title was understood in different ways and many efforts were made to defend this Virgin Mary’s privilege. At the turn of the 19th and 20th centuries the title appeared in the teaching of popes. It is not surprising that Saint Maximilian, the great worshiper of Our Lady the Immaculate also called Her Mediatrix of All Graces. Initially teaching the traditional science relating to that title and then creating a new way of proving that privilege.Beginning the construction of the church, mentions St. Maximilian, that it is in honor of Mary Immaculate. Even after his death and after returning to the work on the basilica, interrupted by the Second World War, there was no mention of the title of Mediatrix of All Graces. On the basis of the archives, it can be concluded that only a few months before the consecration, probably thanks to the efforts of monastic father Vitalis Jaskiewicz, it was decided that the church would be called the Mediatrix of All Graces. In recent years the Apostolic See confirmed the rank of the ceremony in Niepokalanów on the 7 th of May and indicated that on that day the form of the Blessed Virgin Mary Mother and Mediatrix of all Graces should be used.
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Тимофеева, Т. П. "REFECTORY CHURCH OF THE MONASTERY OF THE VIRGIN MARY IN VLADIMIR". Archaeology of Vladimir-Suzdal land, n.º 12 (25 de dezembro de 2022): 140–54. http://dx.doi.org/10.25681/iaras.2022.978-5-94375-387-9.140-154.

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В древнем Рождественском монастыре г. Владимира, где покоились мощи св. князя Александра Невского, существовала шатровая трапезная церковь – большое двухэтажное каменное здание, перестроенное в середине XIX в. Датировать трапезную церковь до сих пор не удавалось. Во Вкладной книге монастыря указано, что трапезная церковь построена «по иноке Алексие» (в его память). Считается, что князь Александр Невский был пострижен в монахи под именем Алексия. Автор предположил, что во Вкладной книге так могли назвать Александра Невского. Это подтверждается рядом грамот XVI в. Во Вкладной книге есть запись о вкладе царем Иваном IV очень крупной суммы денег «по опальным людям», причем вместо 1582 г. ошибочно указан 1552 г. Автор предпринял попытку доказать, что шатровая церковь с трапезным комплексом могла быть построена в память св. Александра Невского на вклад Ивана IV в 1580-е гг., при архимандрите Ионе (Думине). In the old Monastery of the Nativity of the Virgin Mary in Vladimir, where the relics of St Alexander Nevsky, Prince of Vladimir, rested, there was a tent-shaped refectory – a large twostory stone church, rebuilt in the middle of the 19th century. It has not yet been possible to date the refectory church. It was indicated in the Contribution Book of the monastery that the refectory church was built «for the monk Alexius» (in his memory). It is believed that Prince Alexander Nevsky was tonsured a monk under the name Alexius. The author suggested that Alexander Nevsky could be called so in the Contribution Book. This supposition was confirmed by a number of charters dating back to the 16th century. There was an entry in the Contribution Book about the donation of a very large amount of money «for disgraced people» by Tsar Ivan IV, and instead of 1582 it was erroneously indicated 1552. The author attempted to prove that the tent-shaped church with a refectory complex could be built in memory of St Alexander Nevsky, on the contribution of Ivan IV, in the 1580s, under Archimandrite Jonah (Dumin).
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Chojnacki, Stanislaw. "Notes on a Lesser-known Marian Iconography in 13th and 14th century Ethiopian Painting". Aethiopica 5 (8 de maio de 2013): 42–66. http://dx.doi.org/10.15460/aethiopica.5.1.445.

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In this article the early evolution of iconic iconography of the Virgin Mary in Ethiopia is discussed. One particular image is postulated to exist on a painted manbar at Lālibalā. The figure of the Child Mary depicted together with her mother, St. Anne, in the wall painting at the Gannata Māryām Church can also be considered iconic. In the late 14th century and the first decades of the 15th century, three specific groupings of depictions of the Virgin Mary, all clearly having iconic characteristics, have come to light: the Orant Virgin, the seated Hodegetria and the enthroned Virgin holding the Child in her lap. These three forms are characterised by the inclusion of the Archangels Michael and Gabriel, who are shown sheltering her with their outstretched wings. They are depicted holding crosses, while in a particular group of miniatures they extend their hands towards Mary in a gesture of supplication. This Orant form appears to be exceptional, and exists only in 14th century. The Hodegetria type evolved into numerous variants depending on the position of the Child, on Mary's left or right arm. The form of the Enthroned Virgin holding the Child in her lap, faded away in the early 15th century.
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Płotkowiak, Maciej. "Concept And Its Implementation During The Reconstruction Of The Church Of Blessed Virgin Mary In Chojna". Civil And Environmental Engineering Reports 19, n.º 4 (1 de dezembro de 2015): 87–98. http://dx.doi.org/10.1515/ceer-2015-0055.

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Abstract St. Mary's parish church in Chojna was erected at the turn of XIV and XVc. in a shape of three aisles, hall church without transept, completed from the west with a single tower and from the east with polygonal presbytery with an ambulatory attached. The convergence of characteristic structural and decorative features with employed ones in medieval churches being attributed to Hinrich Brunsberg's fabric resulted in such a way, that also authorship of St. Mary in Chojna was assigned to this legendary architect and master builder of late Middle Ages period. The church was destroyed by fire during WWII in February 1945 and since then had remained as an open ruin. In 1997 reconstruction procedure of the church was begun under the leadership of the author and it still continues. This text consists of the sum of experiences connected with confronting design ideas and solutions with their executions on the site during construction works.
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Teses / dissertações sobre o assunto "Church of St. Mary the Virgin (Cottingham)"

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Morgan, Laura Bonnie Colleen. "Class and congregation : social relations in two St. John's, Newfoundland, Anglican parishes, 1877-1909 /". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq23163.pdf.

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Šleichrtová, Andrea. "Sochařství krásného slohu ve Vratislavi". Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-404718.

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This thesis is divided into two main parts. The First cultural-historical part is dedicated to introduction of cultural-historical context between Bohemian kingdom and Silesia. Historical development of Silesia and its joining into the union of Lands of Bohemian crown is also shortly discussed. The second art-historical chapter in first part brings the resume of literature dedicated to phenomenon of beautiful style. The second part brings resume of literature dedicated particularly to the Silesian centre of beautiful style. And the last part of this chapter consists of a catalogue of chosen works of beautiful style from Wroclaw. Those are Pietà of St. Elisabeth in Wroclaw, Pietà of Virgin Mary on Sand church in Wroclaw, Man of sorrows from Goldsmith's altar, Pietà from St. Stanislaw and Wenzel church in Sweidnitz, Pietà from St. Matthew church. For each of these works a detailed formal analysis is made and existing research outputs are summarized. As a conclusion of researches mentioned above an attempt is made to improve accuracy of dating and to answer some questions related to those works of art.
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Livros sobre o assunto "Church of St. Mary the Virgin (Cottingham)"

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Society, Buckinghamshire Family History. Beachampton: St. Mary the Virgin. Aylesbury: Buckinghamshire Family History Society, 2009.

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Society, Buckinghamshire Family History. Stoke Mandeville: St Mary the Virgin. Aylesbury, Bucks: Buckinghamshire Family History Society, 2009.

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Hatley, VictorA. Church of St. Mary the Virgin Whiston Northamptonshire. 2a ed. Northampton: Speedprint(printer), 1988.

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Society, Berkshire Family History, ed. Monumental inscriptions St. Mary the Virgin church Greenham, Berkshire. Reading: Berkshire Family History Society, 1986.

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Society, Staffordshire Parish Registers, ed. Aldridge St. Mary the Virgin parish registers, 1771-1900. Staffordshire, England: Staffordshire Parish Registers Society, 2010.

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England) Priory Church of St. Mary the Virgin (Tutbury. Tutbury, St. Mary parish register. [Newcastle-under-Lyme]: Staffordshire Parish Registers Society, 2011.

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Society, Northamptonshire Family History, ed. Memorial inscriptions at The Church of St. Mary the Virgin, Wilby. [Northamptonshire?]: Northamptonshire Family History Society, 1999.

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Lowes, Richard. The Church of St. Mary the Virgin, Shincliffe: A commemorative history. [Shincliffe]: Shincliffe Parochial Church Council, 2001.

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Miller, Lawrence. Great Warley church and Art nouveau. Shenfield: Pied Piper Bookshop, 1993.

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Cholerton, Peter. The Church of St. Mary the Virgin, Chaddesden: A guide and history. Chaddesden: St. Mary's Parochial Church Council, 1997.

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Capítulos de livros sobre o assunto "Church of St. Mary the Virgin (Cottingham)"

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Studničková, Milada. "Archbishop Jan of Jenstein and a New Iconography of the Visitation of St Elizabeth to the Virgin Mary: Mystic Vision and its Visualization as an Instrument of Church Policy". In Image, Memory and Devotion, 113–20. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.sga-eb.1.100577.

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White, Norman. "Philosophate: St Mary’s Hall, 1870-1873". In Hopkins, 188–202. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198120995.003.0016.

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Abstract Hopkins’s two years as a novice ended on Thursday 8 September 1870. At the close of an eight-day retreat, four out of the original seven novices, Thomas McMullin, Charles Wilcock, Frederick Hopkins, and Gerard Hopkins, took their vows. It was two years since their first full day in the Society: 8 September was the day each year dedicated by the Church to the Nativity of the Blessed Virgin Mary.
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Kamińska, Monika. "Igołomia i Wawrzeńczyce – dwa kościoły przy Wielkiej Drodze / Igołomia and Wawrzeńczyce – two churches by the Great Road". In Kartki z dziejów igołomskiego powiśla, 175–203. Wydawnictwo i Pracownia Archeologiczna PROFIL-ARCHEO, 2020. http://dx.doi.org/10.33547/igolomia2020.10.

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The parish churches in Igołomia and Wawrzeńczyce were founded in the Middle Ages. Their current appearance is the result of centuries of change. Wawrzeńczyce was an ecclesial property – first of Wrocław Premonstratens, and then, until the end of the 18th century, of Kraków bishops. The Church of St. Mary Magdalene was funded by the Bishop Iwo Odrowąż. In 1393 it was visited by the royal couple Jadwiga of Poland and Władysław Jagiełło. In the 17th century the temple suffered from the Swedish Invasion, and then a fire. The church was also damaged during World War I in 1914. The current furnishing of the church was created to a large extent after World War II. Igołomia was once partly owned by the Benedictines of Tyniec, and partly belonged to the Collegiate Church of St. Florian in Kleparz in Kraków. The first mention of the parish church of the Nativity of the Blessed Virgin Mary comes from the first quarter of the fourteenth century. In 1384, a brick church was erected in place of a wooden one. The history of the Igołomia church is known only from the second half of the 18th century, as it was renovated and enlarged in 1869. The destruction after World War I initiated interior renovation work, continuing until the 1920s.
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Kamińska, Monika. "Igołomia i Wawrzeńczyce – dwa kościoły przy Wielkiej Drodze / Igołomia and Wawrzeńczyce – two churches by the Great Road". In Kartki z dziejów igołomskiego powiśla, 217–44. 2a ed. Wydawnictwo i Pracownia Archeologiczna Profil-Archeo, 2021. http://dx.doi.org/10.33547/igolomia2021.12.

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The parish churches in Igołomia and Wawrzeńczyce were founded in the Middle Ages. Their current appearance is the result of centuries of change. Wawrzeńczyce was an ecclesial property – first of Wrocław Premonstratens, and then, until the end of the 18th century, of Kraków bishops. The Church of St. Mary Magdalene was funded by the Bishop Iwo Odrowąż. In 1393 it was visited by the royal couple Jadwiga of Poland and Władysław Jagiełło. In the 17th century the temple suffered from the Swedish Invasion, and then a fire. The church was also damaged during World War I in 1914. The current furnishing of the church was created to a large extent after World War II. Igołomia was once partly owned by the Benedictines of Tyniec, and partly belonged to the Collegiate Church of St. Florian in Kleparz in Kraków. The first mention of the parish church of the Nativity of the Blessed Virgin Mary comes from the first quarter of the fourteenth century. In 1384, a brick church was erected in place of a wooden one. The history of the Igołomia church is known only from the second half of the 18th century, as it was renovated and enlarged in 1869. The destruction after World War I initiated interior renovation work, continuing until the 1920s.
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Pavićević, Aleksandra. "Travelling through the Battle Fields. The Cult of the Bogorodica in Serbian Tradition and Contemporary Times". In Traces of the Virgin Mary in Post-Communist Europe. Institute of Ethnology and Social Anthropology, Slovak Academy of Sciences, VEDA, Publishing House of the Slovak Academy of Sciences, 2020. http://dx.doi.org/10.31577/2019.9788022417822.234-249.

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The chapter deals with the role of the Virgin Mary in the nation- state building process in Serbia. The beginning of the process of religious revival in Serbia coincided with the beginning of the social, economic and political crisis in the former Socialistic Federative Republic of Yugoslavia, which took place at the beginning of the 1990s. There was an urgent need to find new collective identity, since the earlier had been reduced to rubble. At the individual level, this process primarily implied increased participation in rites within the life cycle of an individual (baptism, wedding, and funeral), followed by popularisation of the practice of celebrating family's patron saint days and, only in the end and on the smallest scale, by an increase in the number of believers taking an active part in regular church services. On the collective level, the traditional closeness of the Serbian Orthodox Church and Serb people and the state was the basic paradigm of such restructuring. The attempt to establish continuity with the tradition of the medieval Serb state, which implied active participation of the Church in both social and political matters, as well as the grafting of this relationship in the secular state and civil society in Serbia at the end of the second millennium, turned out to be a multi-tiered issue (Jevtić 1997). At mass celebrations, as well as at revolutionary street protest rallies (which were plentiful in the capital during the last dozen years or so) and at celebrations of the town's patron saint days and various festivities, the image of the ‘Bogorodica’ [Gr. ‘Theotokos’, i.e. The Mother of God]; appears. Leading the processional walks of the towns, it emerges as a symbol which manages to mobilise the nation with its fullness and multi-layered meaning. The main thesis of the chapter is to explain the historical roots of her cult and her embeddedness in the national history and identity in Serbia. The cult of the ‘Bogorodica’ has always had greater importance on the macro than on the micro level. This is corroborated by the fact that a relatively small number of families celebrated some of the ‘Bogorodica’ holidays as their Patron St Day, while a large number of monasteries and churches, as well as village Patron St Days were dedicated to one of them (Grujić 1985: 436). On the other hand, some authors believe that, with the acceptance of Christianity, it was the cult of the ‘Bogorodica’ which was the most developed among the Serb population, because her main and most widely recognisable epithet Baba, connected to giving birth, was directly associated with the powerful female pagan divinities such as the Great Mother, Grandmother etc. (Petrović 2001: 55; Čajkanović 1994a: 339). In the folk perception, the ‘Presveta Bogorodica’ [The Most Holy Mother of God] is unambiguously connected to the phenomenon and process of birth-giving and, that is why, barren women most frequently addressed the ‘Bogorodica’ for assistance. The observance of the image of the ‘Bogorodica’ was specifically connected with the so-called miracle icons, that is, her paintings linked to some miraculous event, either locally or generally. This was most frequently related to the icons which were famous for discharging myrrh, as well as icons which would ‘cry’ in certain situations, as well as those that changed the place of residence in a miraculous manner. The use of icons in wars, either those of conquest or defensive, appears to be a widely spread practice in the Orthodox world. It was noted that Serb noblemen carried standards with images of various saints to wars, and that the cities were frequently placed under the protection of certain icons. The author shows how, travelling through towns and battlefields, throughout the decades and centuries, the ‘Bogorodica’ appeared through its holy image at the end of the second millennium as the protectress, advocate, Pointer of the Way and foster mother of those who were, possibly more than ever, in need of miracles and waymarks.
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"Anna Ley, Née Norman (before 1620-1 641)". In Early Modern Women Poets (1520-1700), editado por Jane Stevenson Peter Davidson, Meg Bateman, Kate Chedgzoy e Julie Saunders, 257. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198184263.003.0091.

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Abstract Anna ley was daughter of Thomas Norman of Dorset, a graduate of St Alban Hall, Oxford, where he was registered as ‘pleb’ raTher than ‘gent’, and his wife Anne. She married a clergyman, Roger Ley, The curate of The church of St Leonard’s Shoreditch, where John Squire was Rector. Squire was one of The most controversial figures in The Church: he was accused of asserting that papists were The King’s best subjects, of writing himself ‘priest’ and despising The appellations ‘minister’ and ‘pastor’, and of upholding priestly excommunication; he decorated his church with ‘Pictures of The Virgin Mary, of Christ, and his 12 Apostles at his last supper in Glasse’. Squire’s parishoners went so far as to raise a petition against him: ‘hee hath peremptorily said, that none shall come hear to Preach, but himselfe or his Curate, so long as hee hath anything to doe in The place’ (London, British Library, Thomason Tracts Er37.2 (21) ).
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Sullivan, Ceri. "Building". In George Herbert and the Business of Practical Piety, 67–99. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780198906841.003.0003.

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Abstract In celebrations of sacred space, architecture and furnishings create a cognitive niche which transports the worshipper into the realm of the numinous. Herbert’s churches likewise help him worship God—but in a very different register. Herbert needed to know concrete details about contemporary construction for his lengthy and expensive repairs of St Mary the Virgin (Leighton Bromswold), St Peter’s (Fugglestone), St Andrew’s (Bemerton), and Bemerton Rectory. Other authors can relish the feelings produced by entering finely modelled and sensitively lit churches; Herbert has to think about paving, glass, pulleys, and cement. They can allow themselves to be lost to the world; he has to be present to the construction work around him. Poems such as ‘Church-monuments’, ‘Coloss. 3.3’, and ‘Love-joy’ register Herbert’s attempts to turn physical architecture into a form of godly choice architecture.
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Antowska-Gorączniak, Olga. "Archaeological research of the Gothic Church of the Blessed Virgin Mary on the island of Ostrów Tumski, Poznań". In Treasures of Time: Research of the Faculty of Archaeology of Adam Mickiewicz University in Poznań, 398–417. Adam Mickiewicz University Poznan, 2021. http://dx.doi.org/10.14746/wa.2021.24.978-83-946591-9-6.

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Between 1999 and 2015 an archaeological research of the interior and the immediate vicinity of the Church of the Blessed Virgin Mary on the island of Ostrów Tumski in Poznań was con- ducted. This hall church, whose consecration took place in 1448, is part of the architecture style connected with the workshops of Master Builder Hinrich Brunsberg. Interestingly, the traceries of the study church windows correspond to similar elements from the churches in Brandenburg and Chojna (Brunsberg’s work). But the fragments of Gothic pinnacles from the gable (according to written sources) were probably built by Lorek from Kościan. Also, the tracery decoration at the western portal of the Poznań cathedral, which was discovered during the post-war renovation works, confirms the presence of a similar façade decoration of the Poznań cathedral to that in Brandenburg. What is more, a fleuron found in the church of the Church of the Blessed Virgin Mary on the island of Ostrów Tumski is analogous to the same decorative element of the town hall in Tangermünde. This suggests that the workshops associated with that master builder, most probably participated in the rebuilding of the Poznań cathedral at the turn of the century (XIV/XV) and in the designing of the St Mary’s Church, which was completed after Brunsberg’s death. The archaeological research included the cemetery that was operational from the 2 nd half of the 15 th century to the end of the 18 th century, during which time, the deceased were buried inside the church. It was also where remains of several brick tombs/crypts were discovered. The youngest burial is an ossuary found in the middle of the nave, which contains bones moved there from the cathedral in 1784-1785. The brick and stone wall enclosing the cemetery was built in 1465-1466. Originally, the church and the cemetery were situated on a small hill, the slopes of which were reinforced.
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Gray, Douglas. "Bodies, Souls, and Minds". In Later Medieval English Literature, 45–93. Oxford University PressOxford, 2008. http://dx.doi.org/10.1093/oso/9780198122180.003.0002.

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Abstract Disease, as well as violence and war, was a continuing threat to life (and leaves traces in the literature as well). Visitations of the plague, though not as disastrous as that of 1348, continued. Suggested remedies are usually religious or magical, but the advice included burning herbs (because of the belief that corrupt air was a cause), shutting the windows against the south, as well as the wearing of amulets, the ringing of church bells, or praying to ‘plague saints’ (St Sebastian, who, having been martyred by being shot with arrows, could ward off the darts of the pestilence, or the more recent St Roche (born c.1295 in Montpellier), who had nursed victims in Italy, and become infected himself) or to the Virgin Mary, who is sometimes depicted protecting the faithful from the arrows of the plague with her mantle.
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Haigh, Christopher. "Prologue". In English Reformations, 1–11. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198221630.003.0001.

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Abstract ROGER MARTYN lived at Long Melford in Suffolk through much of the sixteenth century. He died there in 1615, aged 88. Towards the end of his long residence he wrote a brief description of ‘the state of Melford church and of Our Lady’s chapel at the east end, as I, Roger Martyn, did know it’. It is a nostalgic evocation of village religion, as remembered from his childhood in the 1530s. The church’s interior had been dominated by the great rood or crucifix, standing high in the rood-loft between nave and chancel, and flanked by images of the Virgin Mary and St John the Evangelist. On the front of the loft, facing the congregation, the twelve apostles were painted, and the roof above was decorated with gilded stars. Beyond the rood was the high altar; to the left of it was a large statue representing the Trinity, patron of the church; to the right were images of saints. Above the high altar stood a gilded carving of Christ’s passion, closed behind painted doors except on high feast days. In the aisle was the Jesus chapel, maintained by the Martyn family; on its altar was a crucifix with the two thieves, to the left an image of Christ, and to the right a pieta, an image of the Virgin bearing her crucified son.
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Trabalhos de conferências sobre o assunto "Church of St. Mary the Virgin (Cottingham)"

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Štěpánek, Pavel. "Tasting the milk of celestial knowledge. Note about the rhetoric of the portrayal of the sacred in Alonso Cano’s painting The Lactation of St. Bernard (1653–1657) from the National Gallery in Prague". In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-20.

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This is an attempt of interpretation of a picture that draws from mystical tradition. It is about the comprehension of a topic in a painting by the Spanish artist Alonso Cano (1601–1667, Granada), from the National Gallery in Prague (O 14 690) Lactatio S. Bernardi – presenting the miracle of lactation, in which the Virgin Mary is squirting milk from her breast into the mouth of St. Bernard of Clairvaux (a historically very famous saint and major representative of the Cistercian Order). Traces of iconography lead up to the Coptic Church, where the typology of the milking Virgin was probably first originated (Galacto Trofusa in Greek or Maria lactans in Latin). The starting point is perhaps the portrayal of the virgin goddess Isis milking her son Horus. In many cultures, milk symbolises physical and spiritual food (e.g. the Milky Way evoking the ancient myth about spurted divine milk). On the other hand, milking is also present in the Old Testament as the image of special blessing; it is a symbol of eternal beatitude and wisdom. The dream/vision of her milk is then – apart from the rest – a sign of abundance, fertility, love, and fullness. The lactation of St. Bernard is an allegory of the penetration of the divine science in the soul. Thanks to this act the saint receives God’s guide, which he can then discharge into his writings.
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