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81-555: According to tradition, the monastery got its name from an acheiropoietos (meaning made without hands ), an icon believed to have been miraculously moved from its original location in Asia Minor by the Virgin Mary in order to save it from destruction due to the Turkish conquest . The monastery soon gained prominence and eventually became the religious center of the region. The monastery

162-828: A Gothic narthex . In 1897 a hoard of early Byzantine silver items was uncovered near the monastery. Known as the Lamboussa Treasure, or First Cyprus Treasure , it comprised a variety of liturgical objects dating from 6th or 7th century, perhaps deliberately hidden during the Arab invasion of Cyprus in 653 AD. The hoard was acquired by the British Museum in 1899. Acheiropoietos Acheiropoieta ( Medieval Greek : αχειροποίητα , 'made without hand'; singular acheiropoieton ) — also called icons made without hands (and variants) — are Christian icons which are said to have come into existence miraculously; not created by

243-533: A Vatican cardinal to a Spanish priest, Mosen Pedro Mena, who took it to Alicante , in southern Spain , where it arrived in 1489, at the same time as a severe drought. Carried in a procession on 17 March by an Alicante priest, Father Villafranca, a tear sprang from the eye of the face of Christ on the veil and rain began to fall. The relic is now housed in the Monastery of the Holy Face ( Monasterio de la Santa Faz ), on

324-470: A document apparently produced in the circle of the Patriarch of Constantinople, which purports to be the record of a (fictitious) Church council of 836, a list of acheiropoieta and icons miraculously protected is given as evidence for divine approval of icons. The acheiropoieta listed are: The nine other miracles listed deal with the maintenance rather than creation of icons, which resist or repair

405-821: A human. Invariably these are images of Jesus or the Virgin Mary . The most notable examples that are credited by tradition among the faithful are, in the Eastern church, the Mandylion, also known as the Image of Edessa , and the Hodegetria , and several Russian icons, and in the West the Shroud of Turin , Veil of Veronica , Our Lady of Guadalupe , and the Manoppello Image . The term is also used of icons that are only regarded as normal human copies of

486-720: A man in pain, and the image became very common throughout Catholic Europe, forming part of the Arma Christi , and with the meeting of Jesus and Veronica becoming one of the Stations of the Cross . According to the Catholic Encyclopedia , the name "Veronica" is a colloquial portmanteau of the Latin word 'vera' , meaning "truth", and Greek 'eikon' , meaning "image"; the Veil of Veronica

567-424: A miraculously created original archetype. Although the most famous acheiropoieta today are mostly icons painted on wood panel, they exist in other media, such as mosaics , painted tile, and cloth. Ernst Kitzinger distinguished two types: "Either they are images believed to have been made by hands other than those of ordinary mortals or else they are claimed to be mechanical, though miraculous, impressions of

648-450: A series of six meticulous copies of the veil in 1617. The outside of the frame is relatively modern, while the inner frame is roughly made and corresponds to the cut-out pattern of earlier copies. The face within is very unclear, more a series of blotches in which only the bare elements of a nose, eyes and mouth can be identified. This argues for the authenticity of the copy as there is clearly no attempt at artistic enhancement. Furthermore,

729-457: A team of specialists, using four different complementary technologies: X-rays, ultraviolet rays, pigment and stratigraphic analysis of the image, certified its well-preserved condition. Official celebration in the religious Catholic calendar: September 14. According to ancient Spanish tradition in the early days of Christianity, James the Great , one of the original Twelve Apostles of Jesus Christ,

810-527: A visit to Rome, making direct reference to the existence of the Veil of Veronica. Shortly after that, in 1207, the cloth became more prominent when it was publicly paraded and displayed by Pope Innocent III , who also granted indulgences to anyone praying before it. This procession, between St Peter's and the Santo Spirito Hospital , became an annual event and on one such occasion in 1300 Pope Boniface VIII , who had it translated to St. Peter's in 1297,

891-604: A wooden board. The similarity of the image with the Veil of Veronica suggests a link between the two traditions. The Holy Face of San Silvestro was kept in Rome's church of San Silvestro until 1870, and is now kept in the Matilda chapel in the Vatican. It is housed in a Baroque frame donated by one Sister Dionora Chiarucci in 1623. The earliest evidence of its existence is 1517, when the nuns were forbidden to exhibit it to avoid competition with

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972-606: Is a legendary relic . The legend is of medieval origin, and only a feature of the Western church ; its connection with any single surviving physical image is slighter still, though a number of images have been associated with it, several probably always meant to be received as copies. The image in the Vatican has a certain priority, if only because of the prestige of the papacy. The nuns of San Silvestro in Capite in Rome were forbidden to exhibit their rival image in 1517 to avoid competition with

1053-627: Is annually exhibited to the people on Good Friday and on the Feast of the Assumption. It is exhibited in a chapel to the side of the Cathedral every Friday from 11.30 a.m. to 1 p.m., when visitors are allowed to kiss the glass that protects the image. Known as the Santo Rostro, it was acquired by Bishop Nicholas de Biedma in the 14th century. Kept in the modest Church of St Bartholomew of The Armenians, Genoa ,

1134-471: Is commemorated by one of the Stations of the Cross . According to legend, Veronica later traveled to Rome to present the cloth to the Roman Emperor Tiberius . Legend has it that it has miraculous properties, being able to quench thirst, restore sight, and sometimes even raise the dead. Recent studies trace the association of the name with the image to the translation of Eastern relics to the West at

1215-457: Is cut an aperture where the face appears; at the lower extreme of the face there are three points which correspond to the shape of the hair and beard. There is an image kept in St. Peter's Basilica purported to be Veronica's veil. This image is stored in the chapel that lies behind the balcony in the southwest pier supporting the dome. In the 19th century, Xavier Barbier de Montault privately viewed

1296-465: Is no reference to the story of Veronica and her veil in the canonical Gospels . The closest written reference is the miracle of Jesus healing the bleeding woman by touching the hem of Jesus' garment; her name is later identified as Veronica by the apocryphal " Acts of Pilate ". The story was later elaborated in the 11th century by adding that Christ gave her a portrait of himself on a cloth, with which she later cured Tiberius. The linking of this with

1377-610: Is thought that the icon was painted in Rome between the 5th and 6th century. Today only slight traces under overpainting remain of the original image of a Christ in Majesty with a crossed halo , in the classic pose of the Teacher holding the Scroll of the Law in his left hand while his right is raised in benediction. Many times restored, the face completely changed when Pope Alexander III (1159–1181) had

1458-707: The Early Middle Ages to have been created by conventional means in New Testament times, often by New Testament figures who, like many monks of the later period, were believed to have practiced as artists. The best known of these, and the most commonly credited in the West, was Saint Luke, who was long believed to have had the Virgin Mary sit for her portrait, but in the East a number of other figures were believed by many to have created images, including narrative ones. Saint Peter

1539-546: The Icon of Christ of Latomos is considered to be the first of its type, depicting an apocalyptic scene that includes imagery from the Book of Ezekiel . The icon is also the first to represent important theological ideas about the apocalypse. Veil of Veronica The Veil of Veronica , or Sudarium ( Latin for sweat-cloth), also known as the Vernicle and often called simply

1620-628: The Lombards . By the ninth century its elaborate procession had become a focus of the Feast of the Assumption . In the Middle Ages the Pope and the seven cardinal-bishops would celebrate masses in the small sanctuary where it was housed, and at times would kiss its feet. Although no longer a specific liturgical object, some Romans still venerate this icon, considering it a last hope in disasters and memorable events in

1701-500: The Manoppello Image is attested to by Father Donato da Bomba in his "Relatione historica" research tracing back to 1640. Studies in the early 2010s revealed noted congruities with the Shroud. In September 2006 Pope Benedict XVI made a private pilgrimage to the shrine, his first as pope, raising it to the status of a Basilica. The Shroud of Turin (or Turin Shroud) is a linen cloth bearing

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1782-658: The Miracle of Latomos , is a Byzantine mosaic of Jesus in the monastery of Latomos (now the Church of Hosios (Holy) David the Dendrite ) in Thessaloniki , Greece , that is an acheiropoieton. The origins of this mosaic icon can be traced back to the late third century AD when Maximian and Diocletian reigned jointly over the Roman Empire . The Icon of Christ of Latomos is one of

1863-686: The Pannonian Avar Siege of Constantinople in 626 , and praised by George Pisida . This image, also called the Uronica, is kept in what was once the pope's private chapel, in a room now known as the Sancta Sanctorum at the top of the Scala Sancta in a surviving part of the old Lateran Palace in Rome. The legend is that this image was begun by Luke the Evangelist and finished by angels. It

1944-501: The Veronica , is a Christian relic consisting of a piece of cloth said to bear an image of the Holy Face of Jesus produced by other than human means (an acheiropoieton , "made without hand"). Various existing images have been claimed to be the original relic, as well as early copies of it; representations of it are also known as vernicles. The story of the image's origin is related to

2025-616: The 1st century, and in their developed form are not found before the lead-up to the Iconoclastic Controversy , but in the 4th century, Eusebius , who disapproved of images, accepted that "the features of His apostles Peter and Paul, and indeed of Christ himself, have been preserved in coloured portraits which I have examined". Many famous images, including the Image of Edessa and Hodegetria, were described in versions of their stories as this type of image. The belief that images presumably of

2106-464: The 6th century at the earliest were authentic products of the 1st century distorted any sense of stylistic anachronism, making it easier for further images to be accepted, just as the belief in acheiropoieta , which must have reflected a divine standard of realism and accuracy, distorted early medieval perceptions of what degree of realism was possible in art, accounting for the praise very frequently given to images for their realism, when to modern eyes

2187-541: The Holy Face of Genoa was given in the 14th century to the Doge Leonardo Montaldo by the Byzantine Emperor John V Palaeologus . The image was studied in detail in 1969 by Colette Dufour Bozzo, who dated the outer frame to the late 14th century, while the inner frame and the image itself are believed to have originated earlier. Bozzo found that the image was imprinted on a cloth that had been pasted onto

2268-519: The Iconoclastic period, towards the end of which an earthquake caused the plaster to fall down, revealing the image (during the reign of Leo V, 813-20). However, this was only a subsidiary miracle, according to the account extant. This says that the mosaic was being constructed secretly, during the 4th century persecution of Galerius , as an image of the Virgin, when it suddenly was transformed overnight into

2349-824: The Mother of God is an acheiropoieton located in the Tomb of Mary in Gethsemane in Jerusalem. The icon is considered by Orthodox Christians to be the patroness of Jerusalem. The commonly-held story regarding the origins of the Panagia Ierosolymitissa is that it miraculously appeared in the year 1870. This story became popular due to a leaflet released by the Greek Orthodox Patriarchate of Jerusalem verifying it. The Icon of Christ of Latomos (or Latomou ), also known as

2430-572: The Vatican Veronica; it is also now in the Vatican. Like the Genoa image, it is painted on panel and therefore is likely to have always been intended to be a copy. The legend says that Veronica from Jerusalem encountered Jesus along the Via Dolorosa on the way to Calvary . When she paused to wipe the sweat (Latin suda ) off his face with her veil, his image was imprinted on the cloth. The event

2511-481: The Vatican and one witness to the sacking states that the Veronica was not found by the looters. Many artists of the time created reproductions of the Veronica, again suggesting its survival, but in 1616, Pope Paul V prohibited the manufacture of further copies unless made by a canon of Saint Peter's Basilica . In 1629, Pope Urban VIII not only prohibited reproductions of the Veronica from being made, but also ordered

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2592-500: The Vatican has provided in recent centuries. There are at least six images in existence which bear a marked resemblance to each other, one which is traditionally claimed to be the original Veil, others direct copies of the first and, in two cases, the Mandylion . Each member of this group is enclosed in an elaborate outer frame with a gilded metal sheet (or riza in Russian) within, in which

2673-574: The Veronica. Like the Genoa image, it is painted on board, and therefore is likely to be a copy. It was exhibited at Germany's Expo 2000 in the pavilion of the Holy See. In 1999, German Jesuit Father Heinnrich Pfeiffer , Professor of Art History at the Pontifical Gregorian University, announced at a press conference in Rome that he had found the Veil in a church of a Capuchin monastery, in

2754-528: The appointed day. It happens often that the worshippers are in danger of their lives, so many are they and so great is the press. Pedro Tafur, Andanças e viajes . After the Sack of Rome in 1527 , some writers recorded that the Veil had been destroyed: Messer Unbano tells the Duchess of Urbino that the Veronica was stolen and passed around the taverns of Rome. Other writers however, testify to its continuing presence in

2835-410: The attacks of assorted pagans, Arabs, Persians, scoffers, madmen, iconoclasts and Jews. This list seems to have had a regional bias, as other then-famous images are not mentioned, such as the Image of Camuliana , later brought to the capital. Another example, and the only one which indisputably still exists, is the mosaic icon of Christ of Latomos in Thessaloniki . This was covered by plaster during

2916-557: The bearing of the cross in the Passion, and the miraculous appearance of the image, was made by Roger d'Argenteuil 's Bible in French in the 13th century, and gained further popularity following the internationally popular work Meditations on the Life of Christ of about 1300. It is also at this point that other depictions of the image change to include a crown of thorns, blood, and the expression of

2997-653: The capital, a veneration which can be compared with that for the other ancient icon of the Salus Populi Romani in Basilica di Santa Maria Maggiore , again in Rome. The former icon used to be taken across Rome annually in procession to "meet" the latter on the Feast of the Assumption. Veronica's Veil, known in Italian as the Volto Santo or Holy Face (but not to be confused with the carved crucifix Volto Santo of Lucca )

3078-482: The church and opened the parcel containing the Veil. At once, he went out of the church, but could not find the pilgrim who had donated it. The Veil was owned by the Leonelli family until 1608. Pancrazio Petrucci, a soldier married to Marzia Leonelli, stole the Veil from his father-in-law's house. A few years later, Marzia sold it for 400 scudi to Doctor Donato Antonio De Fabritiis to pay a ransom demand for her husband, who

3159-437: The church, James returned to Jerusalem with some of his disciples where he became a martyr, beheaded in 44 AD under Herod Agrippa . His disciples allegedly returned his body to Spain. Miraculous painting granted to the monastery - (Fra Frangipane) by Virgin Mother of God together with Saint Catherine and saint Magdalene . The Panagia Ierosolymitissa (All-Holy Lady of Jerusalem; Greek : Παναγία Ιεροσολυμίτισσα) icon of

3240-475: The conservatism of iconographic traditions such as the depiction of Jesus . Beside, and conflated with, the developed legend of the Image of Edessa, was the tale of the Veil of Veronica, whose name was wrongly interpreted in a typical case of popular etymology to mean "true icon" or "true image", the fear of a "false image" remaining strong. A further and larger group of images, sometimes overlapping with acheiropoieta in popular tradition, were believed in

3321-482: The destruction of all existing copies. His edict declared that anyone who had access to a copy must bring it to the Vatican, under penalty of excommunication. In the 17th century the veil was found hidden in a relic chamber built by Bernini into one of the piers supporting the dome of St Peter's. As there is no conclusive evidence that it ever left St Peter's, the possibility exists that it remains there to this day; this would be consistent with such limited information as

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3402-541: The details of its manufacture on account of other peculiarities. This full length image of the Virgin is said to have miraculously been created at the unusually late date of 1531 (for the Western church) in Mexico, where it continues to enjoy an enormous reputation. In 1979 Philip Callahan, (biophysicist, USDA entomologist, NASA consultant) specializing in infrared imaging, was allowed direct access to visually inspect and photograph

3483-525: The face of Christ by contact with the Mandylion . To art historians, it is a Georgian icon of the 6th-7th century. Although it is now little known, having probably been destroyed in the period of Byzantine Iconoclasm , the icon of Christ from Camuliana in Cappadocia was the most famous Greek example, certainly from the time it reached Constantinople in 574, after which it was used as a palladium in battles by Philippikos , Priscus and Heraclius , and in

3564-626: The fact of its being copied from the Vatican copy after the Sack of Rome in 1527 suggests that the original image may have survived that event. It is kept in the Schatzkammer of Sacred and Secular Treasurers of the Habsburg dynasty in the Hofburg Palace , Vienna. The Holy Face of Alicante was acquired by Pope Nicholas V from relatives of the Byzantine Emperor in 1453 . This veil was given by

3645-414: The features are so vaguely drawn, or rather so completely erased, that I needed the best will in the world to see the trace of the eyes or the nose." In 1907, Jesuit art historian Joseph Wilpert was allowed to remove two plates of crystal to inspect the image. He describes only a square fabric of penny hue, yellowed with age, with two large, faint rust-brown stains. He then says the object corresponds to

3726-401: The fifteenth century when the church of Hosios David was converted to an Islamic mosque (during the Ottoman occupation of Thessaloniki). Sometime before the Ottoman occupation and prior to the twelfth century, the mosaic icon was rediscovered by a monk from Lower Egypt . It was again rediscovered in 1921, and the building was reconsecrated to Saint David . Thematically and artistically,

3807-468: The hidden image of a man who appears to have been physically traumatized in a manner consistent with crucifixion . The image is clearly visible as a photographic negative , as was first observed in 1898 on the reverse photographic plate when amateur photographer Secondo Pia was unexpectedly allowed to photograph it. The shroud is kept in the royal chapel of the Cathedral of Saint John the Baptist in Turin , Italy . The Roman Catholic Church has approved

3888-426: The image on the tilma, particularly the upper two-thirds of the image. His findings, with photographs, were published in 1981. This is a tridimensional image of Jesus Christ crucified that comes from the 16th century, and it is attributed to a miraculous event occurred to an Amerindian woman of this South American Andean region, who worked washing clothes for wealthy families of the city of Buga. On October 5, 2006,

3969-514: The image's use in association with the devotion to the Holy Face of Jesus and some believe it to be the very cloth that covered Jesus at burial. However, the shroud's linen has been carbon dated , placing its origin in the 13th or early 14th century CE. On this basis, the shroud is all but proven to be a medieval hoax or forgery , or an icon created as such. Nevertheless, it is the subject of intense debate among some scientists, believers, historians, and writers regarding its authenticity and/or

4050-408: The image. He took numerous infrared photographs of the front of the tilma . Taking notes that were later published, his assistant noted that the original art work was neither cracked nor flaked, while later additions (gold leaf, silver plating the Moon) showed serious signs of wear, if not complete deterioration. Callahan could not explain the excellent state of preservation of the un-retouched areas of

4131-415: The invitation, but promising a future visit by one of his disciples. Along with the letter went a likeness of Jesus. This legend was first recorded in the early fourth century by Eusebius, who said that he had transcribed and translated the actual letter in the Syriac chancery documents of the king of Edessa. Instead, Thaddeus of Edessa , one of the seventy disciples , is said to have come to Edessa, bearing

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4212-402: The lesser-known acheiropoieta ( Greek : αχειροποίητα εικόνα). According to tradition, the Icon of Christ of Latomos was discovered by Princess Flavia Maximiana Theodora , the Christian daughter of Emperor Maximian. She hid it to protect it from potential damage by the pagan, Roman authorities, and it remarkably survived both Byzantine iconoclasm in the eighth century and a period of time in

4293-413: The miracle. There are two main traditions for the iconography of the face depicted on the veil. One tradition (Type I), common in Italian art, shows the face of Christ as full-bearded, in pain, scourged and perhaps crowned with thorns. Another (Type II), common in Russian and Spanish art, shows Christ's face more often in repose, hair extending to shoulder length and a bifurcated beard, often surrounded by

4374-410: The oldest documents, and cites two of them. Nevertheless, the face is still displayed each year on the occasion of the 5th Sunday of Lent, Passion Sunday , in a tradition that dates back to the seventeenth century. Just before vespers, there is a procession within the basilica, accompanied to the Litany of the Saints . A bell rings and three canons carry the heavy frame out on the balcony above

4455-406: The one by Caradaossi (1452–1527) lost during the sack of Rome in 1527. The image itself was last inspected by the Jesuit art historian J. Wilpert in 1907. As early as the reign of Pope Sergius I (687–701) there are records of the image being carried in annual procession at certain feasts, and Pope Stephen II (752–757) carried the image on his shoulders in a procession to counter a threat from

4536-422: The original". The belief in such images became prominent only in the 6th century, by the end of which both the Mandylion and the Image of Camuliana were well known. The pilgrim Antoninus of Piacenza was shown a relic of the Veil of Veronica type in Memphis, Egypt in the 570s. Such images functioned as powerful relics as well as icons, and their images were naturally seen as especially authoritative as to

4617-401: The outskirts of Alicante, in a chapel built in 1611 and decorated between 1677 and 1680 by the sculptor José Vilanova, the gilder Pere Joan Valero and the painter Juan Conchillos . The chapel is decorated with paintings depicting the miraculous termination of the drought, local personalities associated with the founding of the chapel and religious themes of judgment and salvation. The monastery

4698-408: The papacy of Pope John VII (705-708), as a chapel known as the Veronica chapel was built during his reign. It would appear, however, that the Veil of Veronica was in place by 1011 when a scribe was identified as keeper of the cloth. Firm records of the Veil begin only in 1199, when two pilgrims, Gerald de Barri ( Giraldus Cambrensis ) and Gervase of Tilbury , made two accounts at different times of

4779-440: The pillar she was standing on. She gave him the pillar as a symbol and a wooden image of herself. James was also instructed to build a chapel on the spot where she left the pillar. It is generally believed that Mary would have appeared to James through bilocation, as she was still living either in Ephesus or Jerusalem at the time of this event. She is believed to have died three to fifteen years after Jesus' death. After establishing

4860-411: The premises. Some years later, in about 1760, Petermann, a German traveler who visited the monastery in 1851, recalled that ninety years before his time Turkish raiders from Karaman had looted and burnt the monastery. By the nineteenth century, the number of monks had been reduced further, and by the twentieth the monastery counted no resident monks. Following independence, Greek soldiers were billeted in

4941-510: The present image of Christ. According to Christian legend, the image of Edessa, (known to the Eastern Orthodox Church as the Mandylion , a Medieval Greek word not applied in any other context), was a holy relic consisting of a square or rectangle of cloth upon which a miraculous image of the face of Jesus was imprinted — the first icon ("image"). According to legend, Abgar V wrote to Jesus, asking him to come cure him of an illness. Abgar received an answering letter from Jesus, declining

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5022-419: The present one, painted on silk, placed over the original. Innocent III (1189–1216) covered the rest of the holy icon with an embossed silver riza , but other later embellishments completely covered its surface. It has also been cleaned during the recent restoration. The doors protecting the icon, also in embossed silver, are of the 15th century. It has a baldachin in metal and gilded wood over it, replacing

5103-575: The residential buildings of the monastery and after the Turkish invasion of Cyprus in 1974, the monastery became a military encampment and barracks for the Turkish Army . The complex continues to be closed to the public. The Monastery was built in the 11th century on the foundations of a ruined 6th-century Christian church. Through the centuries, constant rebuilding has given the complex different architectural styles from different time periods, including early Christian , Byzantine , Lusignan , Gothic and Frankish . The present structure has two domes and

5184-405: The right hand is a pillar as high as a small tower, and in it is the holy Veronica. When it is to be exhibited an opening is made in the roof of the church and a wooden chest or cradle is let down, in which are two clerics, and when they have descended, the chest or cradle is drawn up, and they, with the greatest reverence, take out the Veronica and show it to the people, who make concourse there upon

5265-406: The sixth Station of the Cross , wherein Saint Veronica , encountering Jesus along the Via Dolorosa to Calvary , wipes the blood and sweat from his face with her veil. According to some versions, St. Veronica later traveled to Rome to present the cloth to the Roman Emperor Tiberius . The veil has been said to quench thirst, cure blindness, and even raise the dead. The first written evidence of

5346-428: The small village of Manoppello, Italy , where it had been since 1660. Professor Pfeiffer had, in fact, been promoting this image for many years before. It is known as the Manoppello Image . According to local tradition, an anonymous pilgrim arrived in 1508 with the cloth inside a wrapped package. The pilgrim gave it to Dr. Giacomo Antonio Leonelli, who was sitting on a bench in front of the church. The doctor went into

5427-414: The statue of St. Veronica holding the veil. From this limited view no image is discernible and it is only possible to see the shape of the inner frame. In the Hofburg Palace in Vienna there is a copy of the Veronica, identified by the signature of P. Strozzi in the right hand corner of the inner frame. He was the secretary of Pope Paul V , and a man referred to by Vatican notary Jacopo Grimaldi as making

5508-454: The story is from the Middle Ages , and during the 14th century, the veil became a central icon in the Western Church . In the words of art historian Neil Macgregor , "From [the 14th Century] on, wherever the Roman Church went, the Veronica would go with it." The act of Saint Veronica wiping the face of Jesus with her veil is celebrated in the sixth Station of the Cross in many Anglican , Catholic , and Western Orthodox churches. There

5589-445: The surviving corpus has little of this. The standard depictions of both the features of the leading New Testament figures, and the iconography of key narrative scenes, seemed to have their authenticity confirmed by images believed to have been created either by direct witnesses or those able to hear the accounts of witnesses, or alternatively God himself or his angels. Such icons were seen as powerful arguments against iconoclasm . In

5670-409: The time of the Crusades. In 1999, German Jesuit Father Heinrich Pfeiffer  [ de ] , Professor of Art History at the Pontifical Gregorian University, announced at a press conference in Rome that he had found the Veil in a church of the Capuchin monastery, in the small village of Manoppello, Italy , where it had been in the custody of the Capuchin Friars since 1660. The image, known as

5751-425: The true appearance of the subject. Like other icon types believed to be painted from the live subject, such as the Hodegetria (thought to have been painted by Luke the Evangelist ), they therefore acted as important references for other images in the tradition. They therefore were copied on an enormous scale, and the belief that such images existed, and authenticated certain facial types, played an important role in

5832-533: The veil. His account is presented by Adolphe Napoléon Didron in Volume 23 of Annales Archéologiques . He confers, "Unfortunately, by one of these too frequent customs in Italy, a metal blade covers the interior and leaves only the figure, from which it draws the contours. To these contours, frankly accused, we suspect long hair that falls on the shoulders, and a short beard that turns into two little-supplied wicks. The rest of

5913-515: The words of Jesus, by the virtues of which the king was miraculously healed. The first record of the existence of a physical image in the ancient city of Edessa (now Şanlıurfa ) was in Evagrius Scholasticus , writing about 600, who reports a portrait of Christ, of divine origin ( θεότευκτος ), which effected the miraculous aid in the defence of Edessa against the Persians in 544. The image

5994-505: Was extensively restored between 2003 and 2006, together with the Cathedral of Saint Nicholas and the Basilica of St Mary in the city centre. The three buildings housed an exhibition in 2006 about the relic, titled 'The Face of Eternity'. The cathedral of Jaén has a copy of the Veronica which probably dates from the 14th century, and originated in Siena. It is kept in a shrine by the high altar and

6075-451: Was inspired to proclaim the first Jubilee in 1300. During this Jubilee the Veronica was publicly displayed and became one of the "Mirabilia Urbis" ("Wonders of the City") for the pilgrims who visited Rome. For the next two hundred years, the Veil, retained at Old St Peter's, was regarded as the most precious of all Christian relics; there Pedro Tafur , a Spanish visitor in 1436, noted: On

6156-762: Was moved to Constantinople in the 10th century. The cloth disappeared from Constantinople during the Fourth Crusade [Sack of Constantinople] in 1204, reappearing as a relic in King Louis IX of France 's Sainte-Chapelle in Paris . It finally disappeared in the French Revolution . The Ancha icon in Georgia is reputed to be the Keramidion , another acheiropoieta recorded from an early period, miraculously imprinted with

6237-608: Was preaching the Gospel in what was then the pagan land of Caesaraugusta (now Zaragoza), in the Roman province of Hispania . He was disheartened with his mission, having made only a few converts. While he was praying by the banks of the Ebro River with some of his disciples, Mary miraculously appeared before him atop a pillar accompanied by angels. Mary assured James that the people would eventually be converted and their faith would be as strong as

6318-621: Was said to have "illustrated his own account of the Transfiguration ", Luke to have illustrated an entire Gospel Book , and the late 7th century Frankish pilgrim Arculf reported seeing in the Holy Land a cloth woven or embroidered by the Virgin herself with figures of Jesus and the apostles. The apostles were also said to have been very active as patrons, commissioning cycles in illuminated manuscripts and fresco in their churches. Such beliefs clearly projected contemporary practices back to

6399-524: Was the headquarters of the Bishop of Lambousa, one of the 15 Bishops on the island until 1222. According to legend, the shroud of Joseph of Arimathea was once held in the monastery and was taken to Turin , Italy , in 1452 where it remains today and is now known as the Shroud of Turin . In 1735 the Russian Monk Vasily Barsky visited the monastery and noted that there were nine to ten monks on

6480-607: Was then a prisoner in Chieti. The Veil was given by De Fabritiis to the Capuchins, who still hold it today. This history was documented by Father Donato da Bomba in his Relatione historica following research started in 1640. On the Via Dolorosa in Jerusalem there is a small chapel, known as the Chapel of the Holy Face. Traditionally, this is regarded as the home of Saint Veronica and site of

6561-464: Was therefore largely regarded in medieval times as "the true image", and the truthful representation of Jesus, preceding the Shroud of Turin . That there was a physical image venerated as the Veil of Veronica and displayed in Rome from the 14th century on is clear, but the provenance of this image is uncertain. It has often been assumed that the Veil of Veronica was present in the Old St Peter's in

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