Smith frequently cites Maria Luddy's work on prostitution and rescue in his study of the Magdalens
Her proper name, Magdalen
, is itself an incarceration, something she is locked into from birth.
As evident from commercial catch records and tag returns, 4T plaice, with the exception of some immature fish that remain in the shoals year round, migrate from summer feeding grounds on the Magdalen
Shallows to deeper waters of the Laurentian Channel in winter (Powles, 1965).
wore the coarse brown dress of the Carmelites and a black veil that gave them a distinctive appearance.
In "Mary Magdalens
blush" she is depicted in the throes of repentance, while in "Marie Magdalens
complaint at Christs death" she is in danger of succumbing to despair at the sight of Christ crucified.
In her new book, Artemisia Gentileschi Around 1622, Garrard has appli ed this premise to three problematic works: two paintings of the Magdalen
(one in Seville Cathedral, and the other, until recently, in a French private collection) and one of Susanna and the Elders (in the Burghley House collection).
Pentientiaries, capable by the end of the century of 'graduating' 7000 magdalens
a year, brought devout upper-class women into unprecedentedly intimate contact with working-class women of the streets.
The analogy between Clarissa and the magdalens
Van Sant implies does not extend far, however.
London patent theaters are seen as housing the sexual threat being played out in the streets of Paris (see "Essay on the Drama" (1819) in The Miscellaneous Works of Sir Walter Scott |Edinburgh: Adam and Charles Black, 1881~, 6:392-93); trade in prostitution is considered to be indispensable to the survival of the patent theaters, whose recently enlarged auditoriums must be filled in some way (see Dewey Ganzel, "Patent Wrongs and Patent Theaters: Drama and the Law in the Early Nineteenth Century," PMLA 76 |1961~: 384-96; Eric Trudgill, Madonnas and Magdalens
|New York: Holmes and Meier, 1976~, 108-9).
What Badir comes to argue in this first chapter--that the idea of the sacred in early modern art begins to overshadow the medieval notion of the sacred embodied in the art--she teases out by turning her attention to the work of several English Catholic writers, most importantly, Robert Southwell, whose Marie Magdalens
Funeral Teares, is published in 1591.
He favoured using the Magdalens
run by the churches for 'fallen women' for this purpose, and proposed that they be paid a per capita subsidy for the purpose.
Elizabeth Anne Holmes, daughter of Mr and Mrs Holmes of Oldfield Road, Chapelfields, Coventry and Kevin Wears, son of Mr and Mrs Wears of Coronation Road, Hillfields, Coventry, at St Mary Magdalens