Two fragments of a screen painted c. 1500 in the parish church of St Michael and All Angels at Hamstall Ridware in Staffordshire are analysed with reference to their imagery, handling and original setting. Although now mounted on a modern reredos, the panels were made for use in the church, and probably formed part of the rood screen. Unusually, they were painted on the interior, east-facing sides of the screen they occupied: this can be established by analysis of the panels’ structure and the extent of the painting. The iconography is unusual in various ways. Notably, one of the panels is devoted to a cycle of images which constitute the seven sheddings of Christ’s blood. While the seven sheddings is a recognised phenomenon of late medieval devotional literature, no other image cycle of the sort is known from England. The implications of this are briefly discussed in relation to Continental evidence, and the sheddings rehearsed using an English version of about the same date as the panels in order to suggest why the parish might have wanted a painted version of the cycle and how it could have been used. The way the artist handled his subject matter is also discussed as an illustration of the fact that aesthetically undistinguished work was perfectly acceptable for solemn imagery at the ritual heart of an imposing church. While this may occasion no surprise, the fact has been very little discussed to date, despite its importance for a holistic grasp of English art of the period.

屏幕的两个片段画c. 1500 在斯塔福德郡 Hamstall Ridware 的 St Michael and All Angels 教区教堂中，参考他们的图像、处理和原始设置进行了分析。虽然现在安装在现代 reredos 上，但这些面板是为教堂使用的，可能构成了圣墙屏风的一部分。不同寻常的是，它们被绘制在它们占据的屏幕的内部朝东侧：这可以通过分析面板的结构和绘画的范围来确定。图像在各种方面都不寻常。值得注意的是，其中一个面板专门用于一组图像，这些图像构成了基督七次流血的图像。虽然七个脱落是中世纪晚期虔诚文学的公认现象，但在英格兰没有其他类似的图像循环。其含义与大陆证据有关，并使用与面板大致相同日期的英文版本进行了排练，以说明为什么教区可能想要该周期的彩绘版本以及它如何可以被使用。艺术家处理主题的方式也被讨论为一个事实，即美学上没有区别的作品对于雄伟教堂的仪式中心的庄严意象是完全可以接受的。虽然这可能并不令人意外，但迄今为止，这一事实几乎没有被讨论过，尽管它对于全面掌握那个时期的英国艺术很重要。棚屋使用与面板大致相同日期的英文版本进行排练，以说明为什么教区可能想要循环的彩绘版本以及如何使用它。艺术家处理主题的方式也被讨论为一个事实，即美学上没有区别的作品对于雄伟教堂的仪式中心的庄严意象是完全可以接受的。虽然这可能并不令人意外，但迄今为止，这一事实几乎没有被讨论过，尽管它对于全面掌握那个时期的英国艺术很重要。棚屋使用与面板大致相同日期的英文版本进行排练，以说明为什么教区可能想要循环的彩绘版本以及如何使用它。艺术家处理主题的方式也被讨论为一个事实，即美学上没有区别的作品对于雄伟教堂的仪式中心的庄严意象是完全可以接受的。虽然这可能并不令人意外，但迄今为止，这一事实几乎没有被讨论过，尽管它对于全面掌握那个时期的英国艺术很重要。