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The Wars of the Roses Hoard: A late Medieval gold iconographic ring depicting The Holy Trinity, c...
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Description
The Wars of the Roses Hoard: A late Medieval gold iconographic ring depicting The Holy Trinity, circa 1470-1480, the flat sub-rectangular bezel carrying the incised design of the figure of Christ on the cross, wearing a loin cloth, his arms raised, beneath the bearded head of God the Father, between radiating markings symbolising the Holy Spirit in the form of a dove’s wings, the figures within an engraved line border; to each shoulder six incised droplets, representing drops of blood from Christ’s wounds, arranged three over two over one, with traces of black enamel, ring size L. £4,000-£5,000
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The focus of Christian devotion underwent a tonal shift during the Medieval period, from a focus on the Triumphant Christ - a battle-brave warrior, towards the suffering Christ and a focus on the pain he endured in order to reconcile human souls to God. This affective piety was influential on the newly founded religious orders, such as the Franciscans, who focused on the humanity of Christ and also reflected a new focus on pastoral care by the Church. As a result of this shift, one of the most common devotions of the late Medieval period was to Christ’s wounds. In Medieval art and iconography this devotion is seen in the images depicting Christ’s wounds and droplets of his blood (such as in this iconographic ring).
Jasmine Jones interprets The Commandment, a treatise written by Richard Rolle, a 14th century hermit: “Prayerful pondering of the wounds will call tears to spring in the heart, kindling the fire of the Holy Spirit therein. This fire of love will burn so brightly that the soul will be purged of sin making is as pure as gold refined by the furnace.”
Literature: Jones, Jasmine, ‘Three Christological Devotions, Part 1: Wounds’, in Introducing Medieval Christianity, 1st July 2020.
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The focus of Christian devotion underwent a tonal shift during the Medieval period, from a focus on the Triumphant Christ - a battle-brave warrior, towards the suffering Christ and a focus on the pain he endured in order to reconcile human souls to God. This affective piety was influential on the newly founded religious orders, such as the Franciscans, who focused on the humanity of Christ and also reflected a new focus on pastoral care by the Church. As a result of this shift, one of the most common devotions of the late Medieval period was to Christ’s wounds. In Medieval art and iconography this devotion is seen in the images depicting Christ’s wounds and droplets of his blood (such as in this iconographic ring).
Jasmine Jones interprets The Commandment, a treatise written by Richard Rolle, a 14th century hermit: “Prayerful pondering of the wounds will call tears to spring in the heart, kindling the fire of the Holy Spirit therein. This fire of love will burn so brightly that the soul will be purged of sin making is as pure as gold refined by the furnace.”
Literature: Jones, Jasmine, ‘Three Christological Devotions, Part 1: Wounds’, in Introducing Medieval Christianity, 1st July 2020.
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The Wars of the Roses Hoard: A late Medieval gold iconographic ring depicting The Holy Trinity, circa 1470-1480, the flat sub-rectangular bezel carrying the incised design of the figure of Christ on the cross, wearing a loin cloth, his arms raised, beneath the bearded head of God the Father, between radiating markings symbolising the Holy Spirit in the form of a dove’s wings, the figures within an engraved line border; to each shoulder six incised droplets, representing drops of blood from Christ’s wounds, arranged three over two over one, with traces of black enamel, ring size L. £4,000-£5,000
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The focus of Christian devotion underwent a tonal shift during the Medieval period, from a focus on the Triumphant Christ - a battle-brave warrior, towards the suffering Christ and a focus on the pain he endured in order to reconcile human souls to God. This affective piety was influential on the newly founded religious orders, such as the Franciscans, who focused on the humanity of Christ and also reflected a new focus on pastoral care by the Church. As a result of this shift, one of the most common devotions of the late Medieval period was to Christ’s wounds. In Medieval art and iconography this devotion is seen in the images depicting Christ’s wounds and droplets of his blood (such as in this iconographic ring).
Jasmine Jones interprets The Commandment, a treatise written by Richard Rolle, a 14th century hermit: “Prayerful pondering of the wounds will call tears to spring in the heart, kindling the fire of the Holy Spirit therein. This fire of love will burn so brightly that the soul will be purged of sin making is as pure as gold refined by the furnace.”
Literature: Jones, Jasmine, ‘Three Christological Devotions, Part 1: Wounds’, in Introducing Medieval Christianity, 1st July 2020.
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The focus of Christian devotion underwent a tonal shift during the Medieval period, from a focus on the Triumphant Christ - a battle-brave warrior, towards the suffering Christ and a focus on the pain he endured in order to reconcile human souls to God. This affective piety was influential on the newly founded religious orders, such as the Franciscans, who focused on the humanity of Christ and also reflected a new focus on pastoral care by the Church. As a result of this shift, one of the most common devotions of the late Medieval period was to Christ’s wounds. In Medieval art and iconography this devotion is seen in the images depicting Christ’s wounds and droplets of his blood (such as in this iconographic ring).
Jasmine Jones interprets The Commandment, a treatise written by Richard Rolle, a 14th century hermit: “Prayerful pondering of the wounds will call tears to spring in the heart, kindling the fire of the Holy Spirit therein. This fire of love will burn so brightly that the soul will be purged of sin making is as pure as gold refined by the furnace.”
Literature: Jones, Jasmine, ‘Three Christological Devotions, Part 1: Wounds’, in Introducing Medieval Christianity, 1st July 2020.
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