Abstract
This article locates the Passion piety of the Jacobean poet, Aemilia Lanyer, within the context of early-seventeenth-century English Protestant devotion, to present a fresh perspective on her 1611 composition, Salve Deus Rex Judaeorum. A close exploration of the remarkable resurgence of visual and affecting reflection on the crucifixion of Christ within the broader contemporary religious landscape reveals that Lanyer's theology is far less radical than has been frequently asserted. Whilst maintaining that Salve Deus is a uniquely woman-centred text, this article advances an argument for a more nuanced impact of gender on its precise formulations.
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