Vexilla Regis
Vexilla Regis prodeunt
The central theological paradox of 'Vexilla Regis' is the cross as royal triumph — 'Regnavit a ligno Deus' (God has reigned from the wood). The instruments of execution become the throne of the King of kings. This is Luther's theology of the cross in concentrated form: God revealing himself sub contraria specie, under the form of the opposite. The cross that looks like defeat is precisely the location of God's greatest power and glory. For Lutheran Holy Week planning, this is essential material.
History & Background
Venantius Fortunatus (c.530-609) composed 'Vexilla Regis' in 569 for the arrival of a relic of the True Cross at the convent of Poitiers, sent by the Empress Justina to Queen Radegund. Composed as a processional for that occasion, it rapidly became the great hymn of Holy Week and Passiontide. Fortunatus was one of the last Latin poets of classical antiquity and one of the first of the medieval period — 'Vexilla Regis' marks the beginning of Latin hymnody as a distinctly Christian art form.
Hymnal Appearances
- The Hymnal 1982 — 162
Bulletin Note
Venantius Fortunatus (c.530-609) composed this for the Convent of Poitiers; it has been sung at Vespers throughout Holy Week for fifteen centuries.
Preaching Connection
The royal banners that go before a conquering king are not usually made of wood and nails — but Christ's cross is both his instrument of execution and his throne, the place where God's power is most fully and paradoxically revealed.
Themes
cross passion Holy Week Good Friday royal imagery victory paradox Lent