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Five piercing wounds Jesus Christ suffered during the crucifixion

In Catholic tradition, the Five Holy Wounds, also known as the Five Sacred Wounds or the Five Precious Wounds, are the five piercing wounds that Jesus Christ suffered during his crucifixion. The wounds have been the focus of particular devotions, especially in the late Middle Ages, and have often been reflected in church music and art.

The five wounds comprised 1) the nail hole in his right hand, 2) the nail hole in his left hand, 3) the nail hole in his right foot, 4) the nail hole in his left foot, 5) the wound to his torso from the piercing of the spear. The wounds around the head from the crown of thorns and the lash marks from the flagellation do not qualify as they did not occur on the cross. Two of the wounds were through either his hands or his wrists, where nails were inserted to fix Jesus to the cross beam of the cross on which he was crucified. According to forensic expert Frederick T. Zugibe, the most plausible region for the nail entry site in the case of Jesus is the upper part of the palm angled toward the wrist since this area can easily support the weight of the body, assures no bones are broken, marks the location where most people believed it to be, accounts for where most of the stigmatists have displayed their wounds and it is where artists through the centuries have designated it. This position would result in apparent lengthening of the fingers of the hand because of compression. Two were through the feet where the nail(s) passed through both to the vertical beam. The final wound was in the side of Jesus' chest, where, according to the New Testament, his body was pierced by the Lance of Longinus in order to be sure that he was dead. The Gospel of John states that blood and water poured out of this wound (John 19:34 (KJV)). Although the Gospels do not specify on which side he was wounded, it was conventionally shown in art as being on Jesus's proper right side, though some depictions, notably a number by Rubens, show it on the proper left. The examination of the wounds by "Doubting Thomas" the Apostle, reported only in the Gospel of John at John 20:24–29, was the focus of much commentary and often depicted in art, where the subject has the formal name of the Incredulity of Thomas.

According to the accounts of his crucifixion in the Christian gospels, in the course of his Passion, Jesus suffered various wounds, such as those from the crown of thorns and from the scourging at the pillar. Medieval popular piety focused upon the five wounds associated directly with Christ's crucifixion: the nail wounds on his hands and feet and the wound from the Holy Lance which pierced his side. The revival of religious life and the zealous activity of Bernard of Clairvaux and Francis of Assisi in the 12th and 13th centuries, together with the enthusiasm of the Crusaders returning from the Holy Land, gave a rise in devotion to the Passion of Jesus Christ. Many medieval prayers in honour of the Holy Wounds, including some attributed to Clare of Assisi, have been preserved. Mechtilde and Gertrude of Helfta were devoted to the Holy Wounds, the latter reciting daily a prayer in honour of the 5466 wounds, which, according to a medieval tradition, were inflicted on Jesus during his Passion. In the fourteenth century it was customary in southern Germany to recite fifteen Pater Nosters each day (which thus amounted to 5,475 in the course of a year) in memory of the Holy Wounds. There was, in the medieval Missals, a special Mass in honour of Christ's wounds, known as the Golden Mass. During its celebration five candles were always lit and it was popularly held that if anyone should say or hear it on five consecutive days they would never suffer the pains of hellfire. Liguori wrote the devotional as a meditation on the five piercing wounds that Christ suffered during his crucifixion.

The First Thursdays Devotion, also called the Act of Reparation to the Wounds of Jesus and to the Holy Eucharist, had its origin in the apparitions of Christ at Balazar, Portugal, reported by Alexandrina Maria da Costa in the 20th century.

As early as 1139 Afonso I of Portugal put the emblem of the Five Holy Wounds on his coat of arms as king of Portugal. The Cross of Jerusalem, or "Crusaders' Cross", remembers the Five Holy Wounds through its five crosses. The Holy Wounds have been used as a symbol of Christianity. Participants in the Crusades would often wear the Jerusalem cross, an emblem representing the Holy Wounds; a version is still in use today in the flag of Georgia. The "Five Wounds" was the emblem of the "Pilgrimage of Grace", a northern English rebellion in response to Henry VIII's Dissolution of the Monasteries. Prior to its modern association with the occult, the pentagram was used as a symbol for the Holy Wounds. The pentagram plays an important symbolic role in the 14th century English poem Sir Gawain and the Green Knight, in which the symbol decorates the shield of the hero, Gawain. The unnamed poet credits the symbol's origin to King Solomon, and explains that each of the five interconnected points represents a virtue tied to a group of five: Gawain is perfect in his five senses and five fingers, faithful to the Five Wounds of Christ, takes courage from the five joys that Mary had of Jesus, and exemplifies the five virtues of knighthood. When consecrating an altar a number of Christian churches anoint it in five places, indicative of the Five Holy Wounds. Eastern Orthodox churches will sometimes have five domes on them, symbolizing the Five Holy Wounds, along with the alternate symbolism of Christ and the Four Evangelists.

The medieval poem Salve mundi salutare (also known as the Rhythmica oratio) was formerly ascribed to Bonaventure or Bernard of Clairvaux, but now is thought more likely to have been written by the Cistercian abbot Arnulf of Leuven (d. 1250). A lengthy meditation upon the Passion of Christ, it is composed of seven parts, each pertaining to one of the members of Christ's crucified body. Popular in the 17th century, it was arranged as a cycle of seven cantatas in 1680 by Dieterich Buxtehude. His 1680 Membra Jesu Nostri is divided into seven parts, each addressed to a different member of Christ's crucified body: feet, knees, hands, side, breast, heart, and head framed by selected Old Testament verses containing prefigurements. The cantata has come down to us more widely known as the hymn O Sacred Head Surrounded named for the closing stanza of a poem addressed to Christ's head which begins "Salve caput cruentatum." Translated by Lutheran hymnist Paul Gerhardt, Johann Sebastian Bach arranged the melody and used five stanzas of the hymn in his "St Matthew Passion". Franz Liszt included an arrangement of this hymn at the sixth station, Saint Veronica wipes the Holy Face, in his Via crucis (Stations of the Cross).

In art the subject of Doubting Thomas, or the Incredulity of Saint Thomas, has been common since at least the early 6th century, when it appears in the mosaics at the Basilica of Sant'Apollinare Nuovo in Ravenna, and on the Monza ampullae. Among the most famous examples are the sculpted pair of Christ and St. Thomas by Andrea del Verrocchio (1467–1483) for the Orsanmichele in Florence and The Incredulity of Saint Thomas by Caravaggio, now in Potsdam. In the later Middle Ages Jesus with one side of his robe pulled back, displaying the wound in his side and his other four wounds (called the ostentatio vulnerum, "display of the wounds"), was taken from images with the Doubting Thomas and turned into a pose adopted by Jesus alone, who often places his own fingers into the wound in his side. This form became a common feature of single iconic figures of Jesus and subjects such as the Last Judgement (where Bamberg Cathedral has an early example of about 1235), Christ in Majesty, the Man of Sorrows and Christ with the Arma Christi, and was used to emphasize Christ's suffering as well as the fact of his Resurrection. Devotional art focused on the side wound was also widespread; some books of prayers from late medieval Germany, for instance, would display the side wound surrounded by text specifying its exact dimensions.