Nine Worthies

Statues of the Nine Worthies on the Schöne Brunnen (beautiful fountain) in Nuremberg (1385–1396). Visible on the fountain, from left to right are: Judah Maccabee, David (with harp), Julius Caesar, Alexander. The figure in the left foreground, St Mark, with his lion, is part of another group

David, in Livro do Armeiro-Mor (fl 1^v), a Portuguese armorial from 1509. The book opens with ten full-page illustrations of the Nine Worthies and Bertrand du Guesclin.

Lucas van Leyden's depiction of the three Old Testament kings as exotic contemporaries, in an engraving of c. 1520 depicting the Worthies in three sections

The Three Good Pagans: Hector, Alexander the Great, Julius Caesar, from the woodcut series by Hans Burgkmair, 1519.

Nine Worthies (Alcalá de Henares, 1585).

They were first described in the early fourteenth century, by Jacques de Longuyon in his Voeux du Paon (1312).[2] Their selection, as Johan Huizinga pointed out, betrays a close connection with the romance genre of chivalry. Neatly divided into a triad of triads, these men were considered to be paragons of chivalry within their particular traditions, whether Pagan, Jewish, or Christian. Longuyon's choices soon became a common theme in the literature and art of the Middle Ages and earned a permanent place in the popular consciousness. The medieval "craving for symmetry"[3] engendered female equivalents, the neuf preuses, who were sometimes added, though the women chosen varied. Eustache Deschamps selected "a group of rather bizarre heroines"[3] selected from fiction and history, among them Penthesilea, Tomyris, Semiramis. Literature and suites of tapestry featured the full complement of eighteen, whose allegorical figures preceded King Henry VI of England in his triumphal royal entry to Paris, 1431.[3] A "tenth worthy"[4] was added by Deschamps, in the figure of Bertrand du Guesclin, the Breton knight to whom France owed recovery from the battles of Crécy (1346) and Poitiers (1356). Francis I of France still occasionally paraded himself at court dressed in the "antique mode" to identify himself also as one of the Neuf Preux.[3]

The 1459 Ingeram Codex presents the coat of arms of the Nine Worthies among a larger list of attributed arms of exemplary individuals, as the three "better Jews", "best pagans" and "best Christians" alongside the arms attributed to three heroes of King David (glossed as "the first coats of arms"), the Three Magi, the "three mildest princes", the "three worst tyrants" (Nebuchadnezzar, Antiochos Epiphanes and Nero), "three patient ones" (Alphonse the Wise, Job and Saint Eustachius), "three anointed kings" (France, Denmark and Hungary) and "three noble dynasties" (Louis XI of France, called "Louis the Prudent" as Dauphin, Ladislaus I of Hungary, and Otto III, Duke of Brunswick-Lüneburg of the House of Welf).

The Nine Worthies comprise a triad of triads as follows:

In the late fourteenth century, Lady Worthies began to accompany the Nine Worthies, though usually not individualized and shown as anonymous Amazon-styled warriors. In later years, nine of the "Most Illustrious Ladies of All Ages and Nations" were chosen from scripture, history and legend to be placed alongside their male counterparts, though the choices for the Lady Worthies were not usually standardized and often varied by region, author and artist.

Penthesilea as one of the Lady Worthies

Eustache Deschamps added neuf preuses (women) to the list of neuf preux , including Penthesilea, Tomyris, and Semiramis. Together with their male counterparts, they precede Henry VI as he enters Paris in 1431, and figure in Le Jouvencel (1466). The list of preuses was however less fixed, and not always structured in pagan, Jewish and Christian triads. Thomas III of Saluzzo[10] has: Deiphille, Synoppe, Hippolyte, Menalyppe, Semiramis, Lampetho, Thamarys, Teuta, Penthésilée.

A very fine set of Siennese fifteenth century panel paintings, attributed to the Master of the Griselda Legend and others, now incomplete and widely dispersed, showed male and female worthies - the remaining paintings were reunited in a 2007 exhibition at the National Gallery, London.[11]

In the German Renaissance, Hans Burgkmair made a set of six woodcuts, each showing three of the "Eighteen Worthies". In addition to the usual males, his prints showed the Pagan Lucretia, Veturia and Virginia, the Jewish Esther, Judith and Yael, and the Christian Saints Helena, Bridget of Sweden and Elizabeth of Hungary. Burgkmair was in touch with Augsburg Renaissance Humanist circles, who may have helped choose the group. Apart from Veturia, mother of Coriolanus, who tried to save Rome from defeat by her son, the other pagan two were examples of chastity, responsible for no heroic acts except their defence of their own virtue. In contrast, two of the Jewish women, Judith and Jael, are known for their personal assassination of leaders opposed to Israel. Judith carries a sword in one hand and Holofernes's severed head in the other, and Jael carries the mallet with which she hammered a peg in the head of Sisera. The "Power of Women" and female violence was an interest of German artists at the time, and Lucas van Leyden, Albrecht Altdorfer and others made prints of Jael in the act.[12]

The Christian trio of saints, all very popular in Germany at the time, are all women who had been married - Bridget became an abbess as a widow. In addition, like three of the male worthies, Elizabeth of Hungary was an ancestor of Burgkmair's patron Maximilian I, Holy Roman Emperor, and Helena was a Roman Empress. Unlike the other two groups, who all face each other, apparently in conversation, these three all look down, and may illustrate the female virtue of silence.[13] Burgkmair's conception was not very widely followed.

Nine Worthies of London is a book by Richard Johnson, written in 1592, which borrows the theme from the Nine Worthies. The book is subtitled Explaining the Honourable Excise of Armes, the Vertues of the Valiant, and the Memorable Attempts of Magnanimous Minds; Pleasaunt for Gentlemen, not unseemly for Magistrates, and most profitable for Prentises, celebrated the rise of nine famous Londoners through society from the ranks of apprentices or commoners.

The nine were Sir William Walworth, Sir Henry Pritchard, Sir Thomas White, Sir William Sevenoke, Sir John Hawkwood, Sir John Bonham, Christopher Croker, Sir Henry Maleverer of Cornhill, and Sir Hugh Calverley.

The term "Nine Worthies" was later used to refer to nine of the privy councillors of William III: Devonshire, Dorset, Monmouth, Edward Russell, Carmarthen, Pembroke, Nottingham, Marlborough, and Lowther.

• Iconography of Charlemagne
• Seven Champions of Christendom
• Virtuous pagan

• Media related to Nine Worthies at Wikimedia Commons
• "The Nine Worthies" presented by Heraldica.org.