For those who may be unfamiliar with “Il Volto Santo,” it is a precious relic veil considered to be an “Acheiropoieta” — meaning that its existence is supernatural — made by the Hand of God. The sheer veil, in a miraculous way, bears an image that is seemingly “written in light” of the Holy Face of Jesus Christ. This extraordinary relic has been the subject of intense study and renewed devotion at the dawn of this new millennium dedicated by Pope St. John Paul II to the Holy Face of Jesus Christ.

Antonio Bini, who was also invited to make a presentation on the important research on the Holy Veil by Fr. Heinrich Pfeiffer (1939-2021), has graciously provided a summary of a conference:

“The Metaphysics of the Image. The Abundance of Interpenetration, or on the Synesthetic Value of the Work.”

Antonio Bini writes: The relic veil of the Holy Face of Manoppello was the main focus of the conference, as it [The Holy Face of Manoppello] is considered “the source and root of the representations contained in tradition and an element of intellectual and supernatural conquests of Christian art,” as Prof. Lukas Murzyn, dean of the Faculty of Art and head of the Art and Metaphysics Study Group, explained in his introduction.

The Group, which operates at the Institute of Painting and Artistic Education of the Faculty of Fine Arts of the University of the National Commission for Education in Krakow (UKEN), promoted the conference held on May 2nd and 3rd, 2025, in Manoppello, Italy, having conducted research for several years on the changes in contemporary iconography, operating in the field of visual anthropology, the history of the philosophy of art, both in the field of experimental artistic activities and in that of the language of visual arts.

The speakers were welcomed in the conference room of the Casa del Pellegrino by the Rector of the Sanctuary, Padre Antonio Gentili and by the Mayor of Manoppello, Giorgio De Luca.

The conference was intended to respond to the question of what remains today of those roots [of representations of the Holy Face], how they are understood and what the metaphysics of the image can open up today.

 From the “Relatione Historic, 1640, a description of the Face by Padre Donato da Bomba: “He has a rather long, well-proportioned face, with a venerable and majestic look. His hair, or locks are long with thin twisted curls–in particular at the top of the forehead about fifty hairs wind into a little corkscrew, distinct from each other and well arranged. His left cheek is swollen and bigger than the other because of a strong blow across the cheek.  The lips are very swollen.  His teeth show.  It seems the Holy Face is made of living flesh, but flesh that is afflicted, emaciated, sad, sorrowful, pale and covered in bruises around the eyes and on the forehead. The eyes of Christ are similar to those of a dove…He is serene and tranquil.” 

Historical-religious themes were also developed, with the intervention of Padre Ceslao Gedacz OfmCap, who recalled some important figures in the history of the Holy Face belonging to the Capuchin order, such as Padre Donato da Bomba, who was responsible for drafting the Relatione Historic (1640), following the donation of the veil to the Capuchins. Padre Fillipo da Tussio, author of the first essay on the Holy Face published in 1875, and then Padre Domenico da Cese, the first to convincingly spread the divine nature of the sacred image. There were also references to some scientific tests and the findings of two commissions of doctors; the first composed of Germans and Austrians, the second of Italian doctors, who worked at the Sanctuary in 2011 and 2012, which Padre Ceslao himself followed, being part of the community of religious men of Manoppello at that time.

These researches were recently published in the essay by Sr. Blandina Paschalis Schloemer, with the title “Sali al tramonto”(2025), her first book published in Italian after various essays published in Austria, Germany, Poland, and France. The German iconographer was present at the proceedings.

Sr. Monika Gutowska of the Ancelle dei Santissimo Sangue in Manoppello, summarized her experience of welcoming and contact with many pilgrims, presenting several cases, including non-believers, of people who have seen their lives transformed, but also the desire of many devotees to return to the Sanctuary several times a year, from Italy and abroad, for a deep need to periodically encounter again that Holy Face, whose reproductions are present in many Polish homes. [And many others, as well, around the world!]

Among those present was also Padre Carmine Cucinelli, former rector of the Sanctuary, involved in recent years in enthronements of the Holy Face in Poland, and also in the Sanctuary of Krakow dedicated to Pope St. John Paul II.

During the conference, the documentary film “The Face of Jesus” (Oblique Jezusa) directed by Jaroslaw Redziak was screened for the first time in Italy, with references to the Shroud of Turin and the painting of the Divine Mercy image of St. Faustina Kowalska, with extensive insights into the Holy Face thanks to the significant testimonies of the writer and journalist Paul Badde, Sr. Petra-Maria Steiner, Sr. Blandina Schlomer and Prof. Zbigniew Treppa of the University of Gdansk. [The Face of Jesus Official trailer may be seen here, and also information about the June 3rd release in the United States.]

In addition to the aforementioned Prof. Lukas Murzyn, the following speakers then gave presentations: Sebastian Stankiewicz, Rafal Slewski, Kazimierz Piotrowski, Bernadeta Stano, Anna Grabczewska, Agnieszka Daca, Jacek Pasieczny and Stanisław Wójcicki from the Study Group of the Uken University of Krakow.

We summarize the papers presented, whose simultaneous translation was edited by Agnieszka Kiedzik, from the University of Warsaw. The same papers may be the subject of further study in the publication of the proceedings, which will be edited by Sebastian Stankiewicz, with the title “Beautiful God: The Veil of Manoppello and the Iconography of the Incarnation,” with reference to a theological reflection on the “Beautiful God” present in the Middle Ages, expressed by Cardinal Joseph Ratzinger during a conference held at the Pontifical Urbaniana University in Rome, later taken up by Pope Benedict XVI.

“Being struck and overcome by the beauty of Christ is more real, more profound knowledge than mere rational deduction…We must rediscover this form of knowledge; it is a pressing need of our time.” ~ Excerpt from “The Feeling of Things, the Contemplation of Beauty” by Card. Joseph Ratzinger

The Group’s commitment also led to the creation of a portal — https://diafanitas.uken.cracow.pl — which collects experiences and initiatives on the study of the transparency of bodies crossed by light in a Christian dimension.

Various interpretative readings of the Holy Face have been developed, with the assumption that “whoever has come into contact with the Veil of Manoppello attests to its uniqueness and mystery.”

For representatives of the art sciences, many questions remain open: the origin of the image and history, the relationship between the relic and image, the role of the Veil of Manoppello in the creation of iconographic models in Christian art and in the evolution of ways of representation in Western Culture, the role of the veil among other representations considered acheiropoieta or formal similarities with the images of Christ depicted in the art of old masters; for example Dirk Bouts, Leonardo Da Vinci and Albrecht Durer, among others, and in the Eastern tradition. For contemporary art scholars, philosophers, theologians and anthropologists, the encounter with the Holy Face raises questions such as the relationship between sensual beauty and transcendent beauty, the idea of transparency and lights, the Christian sources of the idea and concept of a person, the meaning of the gaze and the encounter, the presence and contemporary reception of religious themes in art and sacred art and the importance of metaphysical references in contemporary art.

In my [Antonio Bini’s] presentation, I recalled the studies of Fr. Heinrich Pfeiffer (1939-2021), former professor of Christian history at the Gregorian University in Rome, who identified the Holy Face [of Manoppello] with the Veronica (vera icon), on the the occasion of the International Conference of the Institute for Research on the Face of Christ, chaired by Cardinal Fiorenzo Angelini, and then during a press conference held in Rome on May 31, 1999, on the eve of the Great Jubilee of 2000, which spread knowledge of the Abruzzo Sanctuary [of the Holy Face in Manoppello] throughout the world. Some sequences of that press conference with the interview of the German scholar, on Italian and foreign television, were repurposed in a video that the organizers wanted to show at the opening of the proceedings.

Fr. Pfeiffer’s position was then an isolated one, long contested, more or less openly. But his theses were later shared by Pope Benedict XVI, who visited the Shrine on September 1, 2006, composing a prayer that he dedicated to the “human face of God who entered history to reveal the horizons of eternity.”

Also under the pontificate of Pope Benedict XVI, a statement from the Holy See on July 11, 2011 reported that the “Veronica disappeared from St. Peter’s following the Sack of Rome in 1527.” This circumstance was confirmed by the (then) director of the Vatican Museums, Prof. Antonio Paolucci (Former Minister of Culture of the Italian Government), in an interview with the Bologna newspaper Il Resto del Carlino on August 11, 2011.

The admission [of the Director of the Vatican Museums] put an end to almost five centuries of silence that had fueled doubts and uncertainties for a long time, also through works of disinformation carried out also through modifications of the same original image, through reproductions that presented a “Veronica” with eyes closed. In this regard, the Veronica Route Project was started in recent years by a group of Milanese scholars, which led to a collective search, still ongoing, of 6200 ancient depictions of the true icon of Christ (Veronicas) with the eyes open, collected in a multimedia catalogue.

And yet, on April 6, an article published on the Vatican News website reported the presence of the “Veronica” in St. Peter’s (or, a copy of it, a black background. No image is seen.), while the Holy Face [of Manoppello] is indicated as a “shroud,” [A burial face-cloth] reiterating its acheiropoieta nature [As supernatural–made by the Hand of God]. Evidently, the writer was unaware of the painful path that led to the admissions [of the Director of the Vatican Museums] of 2011. Fr. Pfeiffer would still be busy arguing his reasons.

Finally, during the conference, the exhibition of artist-teachers and students entitled “Face to Face” was presented, delicately entering the space of the Sanctuary, to offer a unique forum for interdisciplinary dialogue.

“At the basis of the concept of the exhibition,” declared the curator, Prof. Stanisla Wojcicki, “is the face-to-face encounter with the image of the Veil [Of the Holy Face of Manoppello], treated by scholars as a prototype of other representations of Christ. We would like our works to be considered a votive offering, something that we leave here to express gratitude, for the fact that we were able to meet in this place–particularly important to us.”

“Not matter but image,” a work by Jacek Pasieczny, was exhibited in the Basilica as part of the “Face to Face” exhibition. The author described the work as “reflections of light, with the author” through the “use of glass of a particular color recalling golden byssus.” [of which the Holy Veil is believed to be woven.] The artist specified that it is not a copy of the original, but an attempt to paint a picture with light.

At the end of the conference we asked for an overall assessment from Don Arturo Alcántara Arcos, professor of spiritual theology and collaborator of the Soumaya Museum in Mexico City, also in Manoppello for the occasion, who stated: “It is particularly interesting to consider multidisciplinary points of view from a secular university. Here one can appreciate the different areas in which theology can be present, both directly and indirectly. The Uken of Krakow, inspired by the National Commission for Education established in the eighteenth century by the Polish King Poniatowski, open doors to a new dialogue between theology and the different artistic and aesthetic disciplines of our days in the contemplation of the Face of the Lord.” From what emerged during the conference and on the basis of the same conclusions of Prof. Lukas Murzyn, the belief that the Holy Face can also represent today the reference to the contemporaneity of Christ for art appears to be shared. An analytical perspective that the professors of the University of Krakow — the first to organize a similar event in Manoppello — intended to offer the art world.

Grazie Mille! Antonio Bini for this beautiful summary of the Conference on the Metaphysics of the Image!

One last thought from the beloved Cardinal Ratzinger — and later — Pope Benedict XVI:

“The encounter with the beautiful can become the wound of the arrow that strikes the heart and in this way opens our eyes…” “Inner perception must free itself from the impression of the merely sensible, and in prayer and ascetical effort acquire a new and deeper capacity to see, to perform the passage from what is merely external to the profundity of reality, in such a way the artist can see what the senses as such do not see, and what actually appears in what can be perceived: the splendor of the glory of God, the “glory of God shining on the face of Christ.” (11 For 4,6). –“The Feeling of Things, the Contemplation of Beauty” by Card. Joseph Ratzinger