The map has been interpreted from a
topographical and
encyclopedic perspective, but more recent approaches have attempted to see the map as a work of art, that conveys meanings through symbolism and associations. Interpretations of the Hereford Mappa Mundi are difficult, because the original context and purpose are lost. However, it is known that it formed the central panel of a
triptych, a drawing of which is held by the British Library. The left panel depicted the angel Gabriel, and the right the Virgin annunciate. This gives the map particular associations with the cult of the Virgin Mary, which was very prominent in Christian worship at the time, and highly developed at Hereford. There is an emerging consensus that the map played a role in promoting the cult of
Thomas de Cantilupe, who was later accepted as a
Saint by the
Holy See. This is partly based on examination of features of the cathedral and conjecture about the original placement of the triptych. There is however disagreement about the timing of its installation, whether shortly before or somewhat after 1290. The map needs therefore to be understood as an object used within that cult, as a didactic and religious object, that would have been looked at by an international audience, some of whom would be able to read the Latin or French inscriptions. It is likely that guides, whether highly educated and literate, or less so, would help ensure those looking at the map were able to interpret the figures in the correct manner. Guides could have included the cathedral canons, for example. The map itself shows some evidence that it was used this way, for instance, Hereford has nearly disappeared from it, presumably from repeated touching; and one of the map's main inscriptions states: "Let all who have this history — or who shall hear, or read, or see it — pray to Jesus in his divinity."
Placement and Cantilupe cult Dan Terkla places the map in the north transept's east wall next to de Cantilupe's shrine. Among the evidence he cites are masonry remains that can be observed at the proposed site of the triptych, including a set of eight square stone inserts, placed to block holes potentially used for wooden or stone supports (corbels) for the display. This would align with the stained glass windows above. The supports match the length of the opened triptych panels at about 3 meters wide, with a small overhang. He contends that the triptych would have fitted neatly, aligning with other features and presenting the map's key features at an appropriate height, with Jerusalem at 129 cm and the Last Judgement at 215 cm. There are however potential objections to this theory; the dimensions cited by Terkla may underestimate the size of the triptych, and in any case, it would be very unusual for a decorative object to be placed so near a shrine. Another theory from Thomas de Wesselow places the triptych on another wall on the south aisle of the choir adjacent to de Cantilupe's tomb. This wall is recorded as having metal hooks which could have acted as supports for the triptych. Aligned wooden fittings on the back of the surviving central section of the triptych give credence to this view.
Thomas de Cantilupe and his beliefs If the Hereford Mappa Mundi was in fact designed for the
Thomas de Cantilupe cult, then it may be expected to have reflected his interests, and align with other features of Hereford Cathedral that can be associated with his cult. The map within its triptych would have formed a central focus for pilgrims seeking divine intervention from Cantilupe. The map would be expected to reflect central concerns and beliefs or teachings of Cantilupe. Cantilupe was "an inveterate enemy of the Jews", and his demands that they be expelled from England were cited in the evidence presented for his canonization. Other evidence for his holiness included refraining from the company of women, regarding them as a source of temptation. Cantilupe's views depicted on the map may include his aversion to Jews and his misogyny. In Debra Strickland's view, the map reflects a
post-Expulsion narrative, conflating the Exodus of the Bible with the contemporary expulsion, and as outlined below, setting out why Christians should believe that Jews are deserving of such punishment.
Authorship and patronage The production of the map is likely to have involved the patronage of up to four men, Thomas de Cantilupe, Richard of Haldingham, Richard de Bello and
Richard Swinefield, the Bishop of Worcester after Cantilupe. Richard of Haldingham, who died in 1278, may have been a senior relative of de Bello, and appears to be credited on the map as the designer (who "made and laid it out"). Richard de Bello's career from the later 1280 and 90s is linked to Swinefield's patronage in Lincoln, where Swinefield was briefly treasurer. Finally, of course, in creating the map for the Cantilupe cult, it was a sign of Swinefield's gratitude to his benefactor. However, these possible links remain speculative, and it is equally possible that Richard of Haldingham and Swinefield knew each other directly, even assuming that the Haldingham that died in 1278 was the original drafter identified on the map. There is possible evidence of female patronage contributing to the map's production, in the single well-dressed, arisocratic female figure among the elect drawn on the top left handside of the map, and in the drawing of the modestly dressed and therefore piously presented handmaiden offering the Virgin Mary a crown. It was long believed that the mappa mundi was created, not in Hereford, but in
Lincoln because the city of Lincoln was drawn in considerable detail and was represented by a cathedral (accurately) located on a hill near a river. Hereford, on the other hand, was represented only by a cathedral, a seeming afterthought drawn by a different hand when compared with other features of the map. However, more recent research on the origin of the wood in the frame suggests it may in fact have been created in or around Hereford.
Presentation of Jews and the Exodus itinerary Strickland has attempted to interpret the map's images of medieval Jewry and associated bible stories to understand what it may have been trying to convey about Jews and Judaism. She notes that this was a particular concern in England, where the Jews were expelled in 1290, and also of Hereford cathedral and its leadership, who had been in conflict with the local Jewish population. The Exodus cycle is particularly prominent, indicating unusual significance, as it is not found on other similar medieval religious maps. presented as a
Mahun, or Saracen devil Some of the images are clearly derogatory and anti-semitic. For instance, within the Exodus cycle, a prominent scene depicts the worship of the
Golden Calf. However, the Golden Calf is depicted as a devil defacating coins onto its altar. The devil is labelled "
Mahu(n)", a name for imaginary idols believed to be worshipped by Muslims, building an association with figures elsewhere on the map negatively representing
Saracens. The scene also depicts Christian crosses as present on the altar. This arguably moves the image into a depiction of
host desecration, but at a minimum places the Jews in a position of mocking Christians. The four men labelled "Judaei" worshipping the devil hold a blank scroll, a symbol used to denote the association of Jews with scrolls containing the Word of God, yet in the view of Christians, having an inability to understand and accept it. Overall, the Golden Calf scene, by labelling Israelites as "Jews", associating them with the mockery of Christians and with conceptions of Muslims or Saracens of the period through the "Mahun" figure, connects the Exodus story with contemporary Jews. on the Hereford Mappa Mundi The Moses figure can also be interpreted negatively. He is depicted with
yellow horns, near red coloured seas and as already noted, is close to another devil. The red and yellow colour combination is well known from other derogatory depictions of Jews, and can be read as reinforcing negative stereotypes of Jews. A coffin with a Christian cross placed next to Moses may represent Joseph's bones being taken back to Israel, but could also represent the contemporary death of the Old Law, God's rejection of the Jews, and the replacement of the Mosaic law by the Christian message. It may recall Jesus' comparison in Matthew 23.27 of the scribes and Pharisees to whitened tombs. Lastly, Moses is placed in proximity to dragons patrolling the entrance to hell, through a diagonal alignment. and the "entire visual field is enframed, patrolled, and occupied by males". She contrasts this with the female figures, which she believes depict aspects of the prevailing misogynistic depiction of women as fundamentally proud, disobedient and lustful. The Virgin Mary stands in medieval thinking as the role model for women, as virginal and free from sin, and therefore complements rather than subverts this depiction. Some twenty figures that represent women, of which the most important represents the
Virgin Mary, positioned at the top of the map at the
Last Judgement, where she bares her breasts in an act of supplication. Other figures include a handmaiden presenting Mary with a crown, and a siren near Jerusalem bearing a mirror. The wife of Lot gazes towards Sodom and Gomorrah, and Noah's wife stands beside him. There are also a prominent female Epiphagus, a Psyllian, and a further twenty other non-human females. The Tower of Babel symbolised pride as God cast it down for attempting to reach heaven. In general, women were associated with the related sins of vanity, gluttony, and avarice. Religious teachings recognised the necessity of marriage and reproductive sex, but emphasised virginity as the preferable state. The four women who stand around the tower were those depicted in contemporary Christian morality as having specific failings related to pride. The women and female figures together depict pride, disobedience and sexual misconduct, fulfilling the map's didactic role, in reinforcing "misogynisitic ideologies" and the social control of women. == Contents ==