S. Nicholas of the Studium, Ab. C. at Constantinople, a. d. 868.
S. Probatius, P. at Nogent.
S. Rembert, B. of Hamburg and Bremen, a. d. 888.
S. Gilbert of Sempringham, Ab. in England, a. d. 1189.
S. Andrew Corsini, B. C. of Fiesoli, a. d. 1373.
S. Jeanne de Valois, Q. of France, a. d. 1505.
S. Joseph of Leonissa, C. in Italy, a. d. 1612.
S. John de Britto, S.J., M. at Madura, a. d. 1693.
[Ferrarius in his Catalogue of the Saints. Some give March 25th as the anniversary of the Crucifixion, and as therefore the most appropriate day for the commemoration of the act, which has made Veronica famous. The festival of S. Veronica with special office, found its way into the Ambrosian Missal printed in 1555 and 1560, but it was expunged by the judicious S. Charles Borromeo.]
ON the 8th December, 1854, when the Eternal City was crowded with bishops, assembled to promulgate the dogma of the Immaculate Conception, Pius IX., at the expressed and urgent desire of the prelates, allowed the sacred relics of the passion of Christ to be exhibited in the chapel of the Blessed Sacrament at S. Peter's. In the midst, over the altar, between burning tapers, loomed the veil of S. Veronica, impressed with the sacred lineaments of the Saviour. None but bishops were permitted to enter the chapel, all others looked through a grating, and to them, from the depth of the chapel, the portrait was wholly undistinguishable. One inferior ecclesiastic alone, by especial favour, was suffered to enter, accompanying a prelate. This was M. Barbier de Montault, canon of the basilica of Anagni; and he took advantage of the opportunity to scrutinize closely the miraculous portrait. He has fortunately communicated to the world the result of his examination. His words are full of interest: – "The Holy Face is enclosed in a frame of silver, partially gilt, and square, of a severe character and little adorned. The simplicity of the bordering gives prominence to the interior of the picture, which is protected by a thin plate of crystal. Unfortunately, a sheet of metal covers the field, and only leaves apparent the figure by indicating its outline. By this outline one is led to conjecture flowing hair reaching to the shoulders, and a short beard, bifurcated, and small. The other features are so vaguely indicated, or so completely effaced, that it requires the liveliest imagination in the world to perceive traces of eyes or nose. In short, one does not see the material of the substance, because of the useless intervention of a metal plate, and the place of the impression exhibits only a blackish surface, not giving any evidence of human features."12
The legend of the origin of this portrait is as follows: A holy woman, named Bernice, or, as it has been Latinized, Veronica, lived on the way to Calvary. As Christ was on the road bearing the cross, He fell near her door, and she, moved with compassion, went to Him, and gently wiped the sweat from His face with her veil or napkin. Then the impression of the sacred countenance remained on the veil. Marianus Scotus, the historian (d. 1086), tells the rest of the story thus: "The emperor Tiberius was afflicted with leprosy. Hearing of the miracles of Our Lord, he sent to Jerusalem for Him. But Christ was already crucified, and had risen and was ascended into heaven. The messengers of Tiberius, however, ascertained that a certain Veronica possessed a portrait of Christ, impressed by the Saviour Himself on a linen handkerchief, and preserved by her with reverence. Veronica was persuaded by them to come to Rome, and the sight of the sacred image restored the emperor to health. Pilate was then sentenced by him to death, for having unjustly crucified our Lord." It is hardly necessary to say that there is no foundation of truth for this addition to the original story. How far the first part of the story is true it is impossible to decide. It is by no means improbable that a pious woman may have wiped the face of Christ.
Mabillon, the learned Benedictine, propounded the theory that each early portrait of Christ was called, in barbarous jargon, a mixture of Latin and Greek, vera icon, true image; and that later, a fable was invented to account for the introduction of these representations into Europe, and the name given to the image was transferred to the person who was supposed to have brought it to the West. This explanation has been generally adopted. "By the name of Veronica," says Baillet, "nothing more was signified than the true image —vera icon of the Saviour painted on a handkerchief or piece of linen called the Holy Sudarium, because, ordinarily, only the head of the Saviour from before was represented on it, that is, the face and hair. Nothing further was meant at Rome, where was to be seen, dating from the 12th century, in the Church of S. Peter, one of these Veronicas, before which lamps were kept burning day and night."13
But the legend itself seems to be an importation, not a fabrication, as Mabillon suggested. For Constantine Porphyrogeneta (d. 959), in whose reign the sacred Abgarus portrait of Christ was brought to Constantinople, relates the following story of that portrait: – "As Christ was on His way to Calvary, bearing His cross, the blood and sweat streaming from His brow obscured His eyes. Then taking from one of His disciples a piece of linen, He wiped His face, and left thereon His sacred portrait. S. Thomas preserved the towel till after the Ascension, when he gave the miraculous picture to Thaddæus, who bore it to Edessa. There he lodged with a Jew named Tobias. He began to work miracles in the name of Christ. Abgarus, king of Edessa, hearing of his works, sent for him. As Thaddæus entered the chamber of the sick king, he elevated above his head the sacred picture, and at the same time, such a blaze of light shot from his face, that Abgarus could not endure the splendour, and, forgetful of his sickness, leaped out of bed. Then he took the linen, covered his head and limbs with it, and was forthwith made whole."
How it was that this venerable picture passed into the hands of the Emperor of Constantinople we learn from the Arabic historian, El Matzin.14 He says that in the year 331 of Hegira, that is a. d. 953 – which is a mistake for 944 – the Greeks besieged the city of Edessa, then in the hands of the Saracens, and demanded the surrender of the holy picture and the accompanying letters of Abgarus and the Saviour, in exchange for the captives they had made. The treasured relics were handed over to the Christians, and were brought to Byzantium, where they were placed in a befitting shrine in the church of the Eternal Wisdom. What became of the picture when Constantinople fell into the hands of the Mussulmans is uncertain. The Venetians claimed to have brought it to Rome, and to have presented it to the Church of S. Sylvester. The Genoese, on the other hand, lay claim to the possession of the sacred portrait, and say that it was brought by Leonard de Montalto, in 1384, to their city, and by him presented to the Armenian Church of S. Bartholomew, where it is still preserved and exhibited once a year.
We shall briefly notice such other portraits of Christ as claim to be authentic, whether in colour or in writing. Of the former, that said to have been painted by S. Luke is the most interesting. The Greek monk Michael, in his life of his master, Theodore of the Studium, relates that S. Luke painted a beautiful likeness of our Saviour. This assertion was readily adopted by later writers. Among others, Simeon Metaphrastes (fl. 936) repeats it, and S. Thomas Aquinas (d. 1274) refers to the picture as existing in the Chapel of the Santa Scala, in the Lateran, at Rome.
Another sacred painting of Christ by S. Luke is in the possession of the Benedictines of Vallombrosa. This portrait is certainly of very great antiquity, and is in tempora on a panel of cypress wood. The features are strongly emphasized, the face long, the eyes large and bright, with eyelids drooping, and arched brows.
Another sacred picture is that given by S. Peter to the Senator Pudens, which is exhibited on Easter Day, in the monastery of S. Praxedes. The story goes that it was sketched by S. Peter for the daughters of Pudens, one evening at supper, on the napkin of Praxedes.
It will be remembered that when Christ was laid in the tomb, His body was wrapped in fine linen, and a linen napkin was on his face. These relics are said to be preserved at Besançon and Turin. The Turin linen shows the bloodstained outline of the Saviour's body; that at Besançon is marked with the ointments. The features are impressed on the napkin, and are of the Byzantine type.
A crucifix, by Nicodemus, is exhibited in the cathedral of Lucca. Another portrait is the Nazaræum,