This present study was suggested by the project Veronica Route, whose aim is to build an online catalogue of the artistic and literary works concerning the Roman “Veronica”, i.e. the medieval relic preserved in St. Peter’s Basilica in Rome.
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From Copies to an Original: The Contribution of Statistical Methods
by Amanda Murphy, Felicita Mornata, Raffaella Zardoni. Despite the almost infinite number of existing copies, the exact appearance of the medieval veronica– the sudarium kept in Rome imprinted with the face of Christ – is not known. This paper illustrates an attempt to find the ‘true icon’, creating a sort of identikit by means of the statistical processing of 4500 works, with analysis of the concentration of the copies and their characteristics, together with multivariate analysis tools.
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The Veil of Veronica: From Concealment to Revelation
by Mary-Catharine Carroll* Department of Theology, Saint Paul University Ottawa, Ontario, Canada The Veil of Veronica (called the Veronica) belongs to the tradition of miraculous images on cloth that claim to be made from the imprint of Christ’s face. Called Volto santo, or Holy Face, they include the Holy Face of Manoppello, the Holy Face…
Read MoreThe Face of the Other: The Veronica and the Spread of its Cult in Europe
Abstract Issues surrounding the cult of the Veronica, the cloth imprinted with the face of Christ, have been the object of numerous works of research. Reflecting on recent findings (please see the Convivium Supplement 2018, edited by A. Murphy, H.L. Kessler, M. Petoletti, E. Duffy and G. Milanese ), and undertaking new research paths,…
Read MoreThe Mass Proper of the Holy Face and of Saint Veronica in Medieval Liturgical Sources before the Tridentine Reform
Uwe Michael Lang (London) Abstract The liturgical veneration the Roman Veronica is first attested in a manuscript of the Capitular Archives of St Peter’s in the Vatican, which contains material dating from the 13th to the 15th century and includes a set of Mass orations with a “Collecta ad faciem Christi”. In the later Middle…
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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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Images of the Veronica in Religious Books of the Laity: Their Provenance and Meaning
Hanneke Van Asperen (Nijmegen) Abstract Manuscripts for lay devotion, often books of hours, sometimes contain small images of the Veronica that were added to the book after its production, probably by the book owner at the time. Attachment to the book did not always guarantee survival of the fragile pictures. Occasionally, the images are still…
Read More“Datum Avenioni” Avignon Papacy and the Custody of the Veronica
Chiara Di Fruscia (Rome) Abstract Starting with Pope Innocent III and throughout the 15th century, Catholic popes have enriched the symbolism related to the Holy Face of Christ by associating themselves to the expression vicarius-Christi. Such a conception clearly entails all sorts of ideological and political implications, therefore, we cannot consider the Veronica as the…
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Veronica Conference 