Quaesivi vultum tuum

Guido Milanese (Università Cattolica del Sacro Cuore, Milano, Brescia) Abstract The Introit Tibi dixit, unspectacularly placed during the second week of Lent, has been treated with much more consideration in the new liturgical calendars, where it has been moved to the preceding Sunday, and also to the Feast of the Transfiguration on the 6th of…

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Innocent III and Veronica’s Veil: Papal PR or Eucharistic Icon?

Rebecca Rist (University of Reading) Abstract This paper will examine the cult of the sudarium known as Veronica’s Veil which was created in 1208 by Pope Innocent III (1198-1216), became an important focus of pilgrimage to Rome during the thirteenth century and for the Jubilee Year of 1300, and was to continue as an inspirational…

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signatis… vultus tui: (re)impressing the Veronica in the Middle Ages

Aden Kumler (University of Chicago) Abstract Originating as an impressed image, in the later Middle Ages the Veronica was itself disseminated in the form of “secondary” impressions realized by means of a range of incised forms: not only seal matrices, but also rings, moulds, coin dies, and the presses employed in the making of eucharistic…

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‘Veronica’ images in England c.1240-c.1280

Nigel Morgan (University of Cambridge) Abstract It has long been well-known that Matthew Paris, Benedictine monk of St Albans and chronicler, made two drawings of what he considered to be the image of the Veronica Head of Christ (Cambridge, Corpus Christi College 16 and 26). One of these is accompanied by prayers. The earliest date…

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De sacrosanto sudario Veronicae by Giacomo Grimaldi. First investigation

Federico Gallo (Biblioteca Ambrosiana, Milano) Abstract Giacomo Grimaldi (Bologna 1568 – Rome 1623) spent his whole life as a cleric in the Basilica of St Peter’s in the Vatican, to which he devoted all his work. An indefaticable researcher, without being notably erudite or innovative, he compiled numerous compilations of great worth from the archives,…

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The iconography of the Veronica: an assessment of chronologically and geographically ordered data

Raffaella Zardoni – Emanuela Bossi – Amanda Murphy (Milan) Abstract Evidence for the presence of the veronica in Europe between the 13th and 16th centuries is quite exceptional. From the 14th century onwards, “wherever the Roman Church went, the Veronica would go with it” (MacGregor, 2000). The existence of “innumerable copies” of the relic (Sturgis,…

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The Roman Veronica and the Holy Face of Lucca: parallelisms and tangencies in the formation of both traditions

Raffaele Savigni (Università di Bologna) Abstract There are various points of contact between the cult of the Holy Face of Lucca (which is documented from the end of the 11th century but only becomes a consolidated tradition in the early 1200s) and that of the Veronica. Although the former is a wooden statue (despite being…

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The iconography of the Veronica in the Lombardy area during the 14th century

Stefano Candiani (Università Cattolica del Sacro Cuore) Abstract The paper contributes to knowledge of the iconography of the Veronica in the figurative arts  in 14th century Lombardy, with special emphasis on images from illuminated manuscripts and depictions found in the Ambrosian diocese. The starting point is a miniature from a little known Ambrosian Book of…

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‘True Image’? Versions of the Veronica in Medieval England

Barry Windeatt (University of Cambridge) Abstract Taking its starting point from Julian of Norwich’s knowledgeable reference to the nature of ‘the holy Vernicle of Rome’ when interpreting her enigmatic second revelation, this paper charts the development of the Veronica in English writing and visual culture from before the Norman Conquest to the later Middle Ages. …

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The Literary Warp and Artistic Weft of Veronica’s Cloth

Herbert L. Kessler (Baltimore & Brno) A painting in the Louvre attributed to Jacquemart de Hesdin seems entirely natural in its inclusion of St. Veronica; stationed at the far left of the Way to Calvary, Veronica presents the portrait imprinted directly onto the cloth she used to wipe Christ’s face. So essential that even Mel…

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