P
patrick457
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Gerald writes in very much the same vein as Gervase, in that he speaks about the three ‘authentic’ images of Jesus (Speculum ecclesiae, chap. 6):
[Gerald reports on the five basilicas of the patriarchate in Rome and] the two icons iconiis] of the Redeemer, the Uronica and the Veronica, one of which is to be found in the Lateran and the other in St. Peter’s. [After Christ’s Ascension, St. Luke was asked by Mary to paint an image of her son, which with her help was authenticated and approved in its physical details.] Thus he produced two or three, one of which is kept in Rome … in the Sancta Sanctorum. It is said that when the pope once dared to look at it, he lost his sight at that very instant. From then on, the image was covered entirely in gold and silver, except for the right knee, from which healing oil issues. This image is called Uronica, that is, the genuine essentialis].
Another image in Rome is called the Veronica after a matron of that name. [Once, when the Lord was coming out of the temple, this woman lifted] her robe peplum] and pressed it to his face. On it he left his image as an imprint. This image is likewise held in honor reverentia], except through the veils hanging in front of it nisi per velorum quae ante dependent, interpositionem]. … And some say that Veronica is a play on words vocabula alludentes], meaning the true icon veram iconiam] or the true image imaginem veram].
Now I shall deal with the vultus Lucanus [the *Volto Santo in Lucca] that was not painted but carved in wood with pious skill by Nicodemus. Four bishps … who were sent to Constantinople for relics … brought back this image together with an ampoule and the blood that flowed from the icon crucified by a Jew de iconia a Judaeo crucifixa].
Gerald’s version of the story is the closest to the one we have now: he identifies the Veronica as being Veronica’s peplum (originally denoting a tunic; also a veil-like sort of cloth), which she pressed to the face of Jesus as He was going out of the Temple. (There is no indication that it was during the Passion.) Unlike Gervase, Gerald distinguishes between this miraculously-formed portrait with the Lateran icon, which he dubs Uronica.
In 1207, the “sudarium” was publicly paraded and displayed by Pope Innocent III between St Peter’s and the Santo Spirito Hospital, who also granted indulgences to anyone praying before it. This is what the anonymous Gesta Innocentii III Papae (an account of the pope’s life) says about it:
At the said hospital, Innocent III inaugurated a solemn station Mass on the first Sunday after the octave of the Epiphany. The Christian populace gathered there to see and venerate the sudarium of the Lord, which which was carried by a procession from St. Peter’s to that place, singing hymns and psalms by torchlight. They also want to hear the sermon preached there by the Roman pontiff on the works of compassion and the remission of sins.
We, Honorius III (1216-27), decree that the likeness of Christ at St. Peter’s … shall be carried to the said hospital … in reverence, in a specially made reliquary of gold, silver, and jewels. There, in the presence of the pope, it shall be shown to the faithful according to their expectation.
Matthew Paris in his Chronica Majora (after 1245) relates a story about how when the procession was over, the Veronica miraculously turned and stood on its head upside-down. Taking it for a bad omen, the disturbed pope composed a special prayer with the indulgence attached.
On the Veronica and its authentication autenticatione]. As was customary, Pope Innocent … led the image effigiem] in procession from St. Peter’s to the hospital of Sto. Spirito. When the procession was over and people wanted to put the image back in its place, it turned round of its own accord se per se girabat], so that it stood on its head with the forehead below and the beard at the top. The pope was shocked, taking it as a bad omen triste presagium] and on the brothers’ advice wanted to make amends to God. He therefore composed an elegant prayer in honor of the image, to which he added a psalm with a number of verses [probably Ps. 4:7], and granted a ten days’ indulgence to all who said the prayer. … Many have commended the prayer and everything connected to it cum pertinenciis] for memorization memorie commendarunt] and, to arouse more devotion in themselves, have illustrated it as follows picturis effigiarunt hoc modo].
The name “Veronica” is derived from a woman of that name, at whose request Christ printed his face on the cloth. One should make the sign of the cross and say signans se igitur homo dicat]: The light of your countenance, O Lord, has appeared to us signatum]; [after Ps. 4:7. There follow Ps. 85:16; 26:18, 104:4, and 79:20 and the prayer said to have been composed by Innocent]. Lord, you have left behind for us, who are marked signatis] by the light of your face, the image imprinted on the cloth of Veronica sudario impressam imaginem] as your memento memoriale]. Grant, for the sake of your Passion and the cross, that we, as we now adore and venerate this on earth in a mirror and parable per speculum et in enigmate], shall one day see you face to face facie ad faciem] as judge on the good side securi].
Another image in Rome is called the Veronica after a matron of that name. [Once, when the Lord was coming out of the temple, this woman lifted] her robe peplum] and pressed it to his face. On it he left his image as an imprint. This image is likewise held in honor reverentia], except through the veils hanging in front of it nisi per velorum quae ante dependent, interpositionem]. … And some say that Veronica is a play on words vocabula alludentes], meaning the true icon veram iconiam] or the true image imaginem veram].
Now I shall deal with the vultus Lucanus [the *Volto Santo in Lucca] that was not painted but carved in wood with pious skill by Nicodemus. Four bishps … who were sent to Constantinople for relics … brought back this image together with an ampoule and the blood that flowed from the icon crucified by a Jew de iconia a Judaeo crucifixa].
Gerald’s version of the story is the closest to the one we have now: he identifies the Veronica as being Veronica’s peplum (originally denoting a tunic; also a veil-like sort of cloth), which she pressed to the face of Jesus as He was going out of the Temple. (There is no indication that it was during the Passion.) Unlike Gervase, Gerald distinguishes between this miraculously-formed portrait with the Lateran icon, which he dubs Uronica.
In 1207, the “sudarium” was publicly paraded and displayed by Pope Innocent III between St Peter’s and the Santo Spirito Hospital, who also granted indulgences to anyone praying before it. This is what the anonymous Gesta Innocentii III Papae (an account of the pope’s life) says about it:
At the said hospital, Innocent III inaugurated a solemn station Mass on the first Sunday after the octave of the Epiphany. The Christian populace gathered there to see and venerate the sudarium of the Lord, which which was carried by a procession from St. Peter’s to that place, singing hymns and psalms by torchlight. They also want to hear the sermon preached there by the Roman pontiff on the works of compassion and the remission of sins.
We, Honorius III (1216-27), decree that the likeness of Christ at St. Peter’s … shall be carried to the said hospital … in reverence, in a specially made reliquary of gold, silver, and jewels. There, in the presence of the pope, it shall be shown to the faithful according to their expectation.
Matthew Paris in his Chronica Majora (after 1245) relates a story about how when the procession was over, the Veronica miraculously turned and stood on its head upside-down. Taking it for a bad omen, the disturbed pope composed a special prayer with the indulgence attached.
On the Veronica and its authentication autenticatione]. As was customary, Pope Innocent … led the image effigiem] in procession from St. Peter’s to the hospital of Sto. Spirito. When the procession was over and people wanted to put the image back in its place, it turned round of its own accord se per se girabat], so that it stood on its head with the forehead below and the beard at the top. The pope was shocked, taking it as a bad omen triste presagium] and on the brothers’ advice wanted to make amends to God. He therefore composed an elegant prayer in honor of the image, to which he added a psalm with a number of verses [probably Ps. 4:7], and granted a ten days’ indulgence to all who said the prayer. … Many have commended the prayer and everything connected to it cum pertinenciis] for memorization memorie commendarunt] and, to arouse more devotion in themselves, have illustrated it as follows picturis effigiarunt hoc modo].
The name “Veronica” is derived from a woman of that name, at whose request Christ printed his face on the cloth. One should make the sign of the cross and say signans se igitur homo dicat]: The light of your countenance, O Lord, has appeared to us signatum]; [after Ps. 4:7. There follow Ps. 85:16; 26:18, 104:4, and 79:20 and the prayer said to have been composed by Innocent]. Lord, you have left behind for us, who are marked signatis] by the light of your face, the image imprinted on the cloth of Veronica sudario impressam imaginem] as your memento memoriale]. Grant, for the sake of your Passion and the cross, that we, as we now adore and venerate this on earth in a mirror and parable per speculum et in enigmate], shall one day see you face to face facie ad faciem] as judge on the good side securi].
We may not know for sure what really happened (or whether something even happened at all) 2000 years ago but I do think that Roger d’Argenteuil et al. had really hit something big.
