“The Icon of Easter”

“This veil over the large linen has a liveliness, as if wind were blowing into it. And under its right edge we can still see parts of the pattern of the shroud through the fabric. Making the veil completely transparent has obviously overwhelmed the capacity of the author of this almost childlike drawing.”

— Paul Badde from “The Icon of Easter – Forensic Evidence from the Resurrection of the Son of God,” referring to the Sudarium Veil depicted in the ancient “Codex Pray” drawing.https://de.catholicnewsagency.com/article/ikone-der-dna-des-gottessohnes-1312
Paul Badde pondering the Holy Veil of Manoppello Photo: Alan Holdren

Ever since one of the premier art historians in the world, Fr. Heinrich Pfeiffer, S.J., told Paul Badde that the Veronica Veil had been found in a small Capuchin church in the Abruzzi Mountains in Italy, Paul, himself an art historian, has been searching through centuries of art for the forensic evidence to verify this earth-shaking claim. Why earth-shaking? Because the burial cloths of Christ, such as the Shroud of Turin and the Oviedo, not only contain the DNA of Jesus Christ in His Sacred Blood, and witness to the horrible torture He endured in His Passion, but one of those cloths, though without a trace of blood or paint, bears witness to the power of the Resurrection — it is the transparent veil that covered the Holy Face of Jesus.

Around 1410, Master Joan Mates depicted the Lamentation and Entombment of Christ, Joseph of Arimathea places a veil over Jesus Face, National Museum of Catalonia, Barcelona

“There are no witnesses to the act of Christ’s resurrection from the dead. But the apostles were able to secure cloths and evidence with DNA from Him.”–Paul Badde, Vatican Magazin – The Icon of Easter

Cover Vatican Magazine “God’s DNA”

Paul Badde has uncovered many works of art, and other evidence as well, which support this astounding claim. But his trained eyes have noticed crucial details previously passed over by many art historians. He has written a remarkable piece for Vatican Magazine highlighting an “extremely important link for the history of the authenticity” of both the Shroud of Turin and the Holy Veil of Manoppello, Italy — the ancient “Codex Pray” of Hungary. The Codex Pray dates to about 1192 at the latest.

The “Codex Pray” drawing tells the story, in a simple yet clever way, of the Resurrection of Jesus. It has been the earliest artwork found which shows the Shroud of Turin, indicated by the artist’s attempt to draw the herringbone weave pattern that is a particular feature of the Shroud that scholars say dates to the first century. And although faulty carbon dating in 1988 claimed the Shroud was a medieval forgery dating back to between 1260-1380, the Codex Pray was made 133 years before that. As Paul Badde points out in his article that the Codex was made in the 1100’s – and the Shroud of Turin hadn’t been seen in public before it “appeared in Lirey in Champagne in 1355.” If that were not remarkable enough, there is another cloth in the drawing — a transparent one — and this is the one being pointed out to the three women at the tomb by an angel. “He is not here; He has risen, just as He said.” (Mt. 28:6)

“In the Codex Pray in Budapest, the shrouds (burial cloths) of Christ from the zero hour of Christianity appear for the first time around the year 1180 almost realistically in this drawing.” – Paul Badde

“The most significant detail of this depiction is, however, often overlooked in the many debates about the burial cloths of Christ. In this representation of the Codex Pray from Budapest, the extremely important link for the history of the authenticity of the Shroud of Turin is that the angel doesn’t point to the big, long linen but to the transparent sudarium. which like no other “image” allows us to gaze into the paschal mystery of the paschal hour.”

–Paul Badde, “Icon of Easter”

“Transparency is the key.”

— Paul Badde
Transparent Veil of Manoppello, Photo: Paul Badde/EWTN

The delicate sudarium veil that covered the Face of Jesus in the tomb was transparent, and light enough to move “as if wind were blowing into it,” as the artist of the Codex attempts to show. In 1511, when Martin Luther went to see the greatest relic in Rome known as “the Veronica” or “True Icon,” he testified to this fact when he gave a rather incredulous description of what he saw in a letter to a friend:

“It is simply a square black board on which a transparent piece of cloth hangs and above this is another veil.  There poor Jena Hans cannot have seen anything more than a piece of transparent cloth that covers a black board. This is the Veronica which is shown.” 

–Martin Luther

Although Martin Luther’s purpose in pointing out the transparency of the cloth in his the letter was to debunk the relic of the Veronica, he actually affirms the most extraordinary characteristic of the veil — it is transparent, and yet, seen in certain light, the proto-image of the Face of Jesus, as it has been recognized throughout history, is revealed.

Veil of Manoppello,photo: Paul Badde/EWTN

This veil…was transparent and enigmatic as the resurrection itself, at the heart of our faith.”

–Paul Badde
Miraculous Transparent Veil of the”Holy Face of Manoppello” in Italy Photo:Paul Badde/EWTN
Hand viewed through the miraculous Veil of Manoppello. Photo: Paul Badde/EWTN

The full translation of the German article may be read below:

The Icon of Easter – Forensic evidence from the Resurrection of the Son of God by Paul Badde

The Flemish painter Juan de Flandes painted around 1498 “The Resurrection of Christ and three women at the grave.” Palacio Real de Madrid. “The angel points to the key relic that was known to thousands of pilgrims to Rome during the artist’s lifetime…”

The icon of the resurrection — the napkin (or sudarium) from the tomb of Christ — is essentially transparent. as we were able to marvel at again three years ago on the booklet that Pope Francis prepared in 2019 for the participants in the liturgy of his Easter Mass at St. Peter’s Basilica which displayed a panel from 1498 by Juan de Flandes, depicting the moment when “ Mary Magdalene, Mary, the mother of James, and Salome “came to the tomb”, as Mark says. “They saw a young man sitting on the right side, clothed in a white robe; they were very amazed. But he said to them: Don’t be amazed! You are looking for Jesus of Nazareth, who was crucified. He is risen; he is not here. Behold, the place where they laid him. ” The Flemish painter in Spain incorrectly depicted the empty tomb as an open sarcophagus, which demonstrates that he had never been to Jerusalem. On the other hand, he obviously knew Rome and was familiar with its treasures, as shown here. Because over the edge of this sarcophagus hangs very realistically a transparent veil to which the angel points –the sudarium — the key relic of the Lord that was known to thousands of pilgrims to Rome during the artist’s lifetime and ever since Pope Innocent VIII had first carried this veil barefoot on a Sunday in January 1208 from Peter’s Basilica to the nearby hospital church of Santo Spirito. This veil, too, was transparent and enigmatic like the resurrection itself, at the heart of our faith.

Pope Francis’ Easter liturgy booklet 2018
Omnis Terra Procession of Pope Innocent III in 1208 carrying “the Veronica” Face of Christ (from “Liber Regulae Sancti Spiritus in Saxia” manuscript 1350)

Because the essence of Christianity is neither the cathedral of Cologne nor St. Peter’s Basilica, but only the resurrection of Christ from the kingdom of the dead to Life in the land of the living, however impossible it may seem. But without the belief in precisely this impossibility, our whole faith would be filth, says Paul. Then we could leave the church immediately with the multitudes of all the others who have left without even having to ask as Peter did: “Lord, where should we go?” Because first of all Christ would no longer be our Lord and secondly we would already know where we wanted to escape to with the money from the church assessment we no longer pay, no matter that it is impossible to find a place or a society of people without abuse and without lies, fraud, crime, and violence.

If, on the other hand, Christ has truly risen from the dead, then anything is possible. Then the church will wake up again from the death zone of abuse and flourish again, in Cologne, throughout  Germany and everywhere. Nevertheless, many theologians over the past centuries have tried to minimize the offensive nature of the challenge to believe in the resurrection of Christ by using scriptural tricks and to make it more compatible with the spirit of the age (“zeitgeist”). These kind of “glass bead games” however were never possible for icon writers or visual artists as long as they were serious about the core of their beliefs.

“There are no witnesses to the act of Christ’s Resurrection from the dead. But the apostles were able to secure cloths and evidence with the DNA from Him.”

–Paul Badde, The Icon of Easter

Theologians and artists share a common problem, however: there were no witnesses to the act of Christ’s resurrection from the dead. None of the evangelists were there. All four only report what it looked like in Jesus’ tomb after the resurrection. Matthew tells of an “angel” in a snow-white robe who says to three women in the burial chamber: “He is not here”. It is similar with Mark. Luke speaks of “two men in shining robes”. And with John we learn how Peter and the “disciple whom Jesus loved” looked into the tomb of Christ early in the morning. – There is only one thing that none of the four evangelists say: that the tomb was empty. Obviously, it wasn’t. Jesus was no longer there. But there were cloths at the scene of which the poet Wipo (+ 1048) spoke in his Easter sequence “Victimae paschali laudes”, Mary had seen two “angelic witnesses”, namely the “napkin and linen cloths” (Latin: sudarium et vestes). These witnesses and forensic traces of evidence have, thank God, been preserved uncorrupted  and materially, with the DNA of the Son of God.

First there is the sacred Sudarium from Rome, which is now in Manoppello, and then there is the Holy Shroud, the world-famous linen in Turin. We encounter both fabrics for the first time in the testimony of John, who described Easter morning in this way: “Then Simon Peter, who had followed him, arrived and went into the tomb (which was a cave hewn in the rock). He saw the linen cloths lying there and the napkin (Greek: soudarion) that had been lying on Jesus’ head; but it was not with the linen cloths but rolled up in a place by itself. Then the other disciple, who had come to the tomb first, also went in; he saw and believed.” – That is the key passage in this gospel, which, however, only becomes plausible when read in conjunction with the specific cloths that John mentions here.

The “Holy Shroud” or the Shroud of Turin is only rarely shown and yet has been researched as has no other textile in the world, by a genuine and separate science, Sindonology, which in the last century has focused on this linen cloth with the dimensions of 14 feet 3 inches by 3 feet 7 inches (436cm by 110 cm) and which captures the panorama and the torture of the flagellation, the crowning of thorns and the crucifixion of Christ in an inexplicable way, as in a detailed script, as well as the subsequent piercing of his heart and the extinction of his last spark of life by means of a lance. This cloth contains blood and water.

The burial cloths of Jesus, Moscow, 15th Century

The sudarium, on the other hand, is a very delicate veil that was kept in Rome for centuries and then for a long time in Manoppello, where it was locked away until 1923, in similar fashion to the shroud in Turin. Nevertheless, for almost a century, unlike the situation of the Shroud in Turin, every pilgrim to Manoppello has been able to observe and study the sudarium at close quarters every day from morning to evening above the main altar as never before. At certain times and in certain light it shows the face of Christ with open eyes and healed wounds.

Yet when unshadowed, the veil reveals, above all, complete transparency as its inner characteristic – as if Easter were the festival of transparency towards heaven and God’s eternity in another world. A good hundred years before Juan de Flandes, the Catalan painter Joan Mates (1370 – 1431) masterfully expressed this characteristic of the napkin of Christ in his panel of the “Lamentation of Christ”, where we see Nicodemus, who after Jesus’ deposition from the cross is putting a transparent fabric over His face. The model for this depiction here can only have been the Roman “Sudarium” of the Popes from St. Peter’s Basilica, the “true icon”, which has also been called “Veronica” there since the Middle Ages. Countless images in the history of art attest to this Easter transparency.  One of the key witnesses to this mystery, moreover, is Dr. Martin Luther, who saw the veil on his trip to Rome in 1511 and who still sneered in 1545 that the “Lord’s face in his little sweat cloth”, which was regularly shown and displayed at Saint Peter’s, was nothing but „ein klaret lin“ in other words: Doctor Luther had only seen a “transparent linen” here.

The large shroud, which is by no means transparent, appeared for the first time in Lirey in Champagne in 1355 and was only brought through the efforts of St. Charles Borromeo from Chambéry in Savoy to Turin in 1578, 233 years later, which began the process of western Christendom gradually getting to know it.  Previously, the Shroud had been the most precious part of the treasures of the emperor of Byzantium remaining more or less a rumor for the pilgrims of Europe until 1578. 

An image- document in the Széchényi library of the National Museum of Budapest dates back to 1192 (at the latest), and for decades has become something of a new founding document for all shroud researchers and their highly complex science. It is a small colored drawing on parchment in a codex measuring 9.5 inches by 5.9 inches, which also highlights the resurrection of Christ from the dead – and the burial of the crucified Lord. Above we therefore see Jesus dead, lying with a peaceful face, on a sheet that has been rolled out on a stone. His eyes and mouth are closed, with a sparse beard and long hair parted in the middle which hide his ears and frame his face. At the head of Jesus stands Joseph of Arimathea, the councilor of the Sanhedrin, at the feet of the Lord stands John. Both grasp the cloth with which the body was removed from the cross, while Nicodemus empties a bottle with precious spices over the body, as we read in the Gospel of John (19:39). The stone slab underneath is reminiscent of the so-called “anointing stone” from the Jerusalem Church of the Holy Sepulcher, which has long been venerated as the most important relic of the Pantocrator Church of Constantinople. Three striking details are unique in this representation. First, the body of Jesus is naked. Second, he keeps his hands crossed over the pubic area, his right hand over the left. Third, both hands only show four fingers and no thumb. So Jesus is depicted here as a real victim of an ancient, real, and concrete crucifixion, in which the nails were driven through the roots of his wrists (and not the palms of the hands). During this torture, the thumbs cramped inward into the palms of the hands due to the injury to the median nerve. And for this representation there is only a single “picture” in the vast array of pictures throughout History, which must have served as an exemplar and model. This is the Shroud of Christ in Turin which shows these significant details, but long before this linen even had appeared in Europe!

The Codex Pray of Budapest, Hungary 1150-1192

And this drawing from the library of Budapest was also made at least 133 years before the date assigned to the Shroud, resulting from a sensational radiocarbon investigation in 1988, according to which the shroud was supposed to have been woven between 1260 and 1390. This drawing from Budapest, which documents its evidence as if with a photo proof, dates from 1192 at the latest. For in 1150, on the occasion of an arranged wedding in Constantinople, the ambassador of Hungary was received by Manuel II Komnenos, and the Emperor of Byzantium showed him and his delegation the hidden treasures of his Blachern Chapel. In the process, the Shroud of Christ must have impressed itself in detail on one of the participants of the Hungarian delegation. Below the entombment we see – as centuries later with Juan de Flandes – three women come to the grave at the right, where an angel on the left with an outstretched right forefinger indicates the resurrection of Christ on this first Easter morning. Between the angel and the women we see a large, folded sheet of fabric, which is covered on the inside with Greek crosses and on the outside with zigzag lines, which are interpreted in research as an attempt to draw the herringbone pattern of the shroud. Four small holes depict four very old fire damage holes that can still be found in the “Holy Shroud” today.   But above this shroud, under the angel’s finger, we see another folded little cloth, as if blowing, or as “rolled up, next to it, in a special place”, which had been lying on the face of the dead Jesus, as we came to know by the gospel of John.

This veil over the large linen has a liveliness, as if wind were blowing into it. And under its right edge we can still see parts of the pattern of the shroud through the fabric. Making the veil completely transparent has obviously overwhelmed the capacity of the author of this almost childlike drawing. Nevertheless, in contrast to the large shroud, the sudarium appears as animated as the stole of the angel next to it. And in any case, we encounter the two cloths together in an almost realistic way for the first time in the picture, from the zero hour of Christianity. And both without “pictures”, without a body image and without a face, at least to our eyes.

The most significant detail of this depiction is, however, often overlooked in many debates about the burial cloths of Christ. In this representation in the Codex Pray from Budapest, the extremely important link for the history of the authenticity  of the shroud of Turin the angel doesn’t point to the big, long linen but to the transparent sudarium which like no other “image” allows us to gaze into the paschal mystery of the paschal hour.

Holy Face Veil of Manoppello, photo: Patricia Enk

The Resurrection – “The Cloth That Covered His Head”

Re-posting this from April 2020: “The Cloth That Covered His Head” About three of several burial cloths of Christ: the Shroud of Turin, the Cloth of Oviedo, and the precious byssus veil that was believed to cover the Face of Christ in the tomb – known as “Il Volto Santo” – The Holy Face of Manoppello. Possibly the very reason that St. John “Saw and believed.”

Holy Veil of Manoppello said to be the image of the Resurrected Christ
Photo: Paul Badde/EWTN

The Disciples Peter and John Running to the Sepulchre on the Morning of the Resurrection, Eugene Burnand, 1898

So Peter and the other disciple went out and came to the tomb.
They both ran, but the other disciple ran faster than Peter
and arrived at the tomb first;
he bent down and saw the burial cloths there, but did not go in.
When Simon Peter arrived after him,
he went into the tomb and saw the burial cloths there,
and the cloth that had covered his head,
not with the burial cloths but rolled up in a separate place.
Then the other disciple also went in,
the one who had arrived at the tomb first,
and he saw and believed.
For they did not yet understand the Scripture
that he had to rise from the dead.  (John 20: 1-9)

At the time of Jesus, the Jewish law required several “cloths” to be used for burial, and as many as six for someone who had died a violent death. Christian tradition has preserved six cloths as relics that are associated with the burial of Jesus – 1.) The Shroud of Turin, 2.) the Sudarium of Oviedo in Spain, 3.) The Sudarium Veil of Manoppello, 4.) The Sudarium of Kornelimunster in Germany, 5.) The SindonMunda of Aachen, Germany, 6.) The Cap of Cahors in France.

Three  of the cloths in particular stand out as extraordinary “witnesses” to the Passion, Death, and Resurrection of Jesus, and together they bear a powerful testimony to the truth of the Gospels. Each one bearing an imprint or image of the Face of Jesus. They are: The Sudarium of Oviedo, The Shroud of Turin, and the Sudarium Veil of Manoppello. The remarkable relationship between these three “cloths” leave little doubt that each came in contact with the face of the same man at the time of burial.

Sudarium of Oviedo

 The Sudarium of Oviedo directly touched Jesus’s head following His Crucifixion. Blood was considered sacred to the Jews, so this cloth was used to soak up the Precious Blood of Jesus, by wrapping it around Jesus’s Head, as He was taken down from the Cross. The largest bloodstains are from the nose, other stains are from the eyes and other parts of the face.  There is also an imprint on the sudarium of the hand of the person who held this cloth to Jesus’s Face to staunch the flow of blood. It takes one’s breath away to see that the bloodstains on the Sudarium of Oviedo, when overlaid with the Face on the Shroud of Turin and the Sudarium Veil of Manoppello, correspond perfectly. The blood type is AB, the same as on the Shroud of Turin.

Face on the Shroud of Turin by photographer Secondo Pia, 1898

“He went into the tomb and saw the burial cloths there”

The Shroud of Turin; the sindone, or linen burial shroud, was believed to have been used to wrap the entire body of Christ. It is the most famous and studied of the three cloths. The faint but visible imprint on the Shroud of Turin gives witness to the violent torture of a man as described in the Passion and Death of Jesus in the Scripture. The world was amazed when Secondo Pia first photographed the Face on the Shroud in 1898; the negative of the photo incredibly became visible as a positive image. The Shroud of Turin caused an entire branch of science to be dedicated to its research called Sindonology. 

The Sudarium Veil of the Face of Christ, Photo: Patricia Enk

 The Sudarium Veil of Manoppello, Italy, is perhaps the least known of the three burial “cloths.” The Veil bears the image of the living Face of Jesus. This “miracle of light,” “not made by human hands,” was protected and hidden in an isolated church in the Abbruzzi Mountains for centuries. It is believed to be the “cloth” that covered the Face of Jesus in death, showing traces of the Passion: Bruises, swelling, wounds from the Crown of Thorns, and plucked beard.  But, it is also believed to have recorded in light the Face of Jesus at the moment of His Resurrection. No, this is not a contradiction. Yes, the image changes. It shows suffering, but it also shows life!

“The cloth that had covered his head”

Funeral of Pope St. John Paul II, Archbishop Dziwisz covers the pope’s face with a veil.

An explanation about the tradition of a face cloth for burial may be helpful in understanding its profound significance:  In the funeral rites for priests in some Eastern churches, the veil which was used to cover the chalice and paten were placed on the face of the deceased priest. (The cloth used to cover the chalice and paten had a particular liturgical symbolism linked to the Face of Christ as well.) It was done as a symbol of both the strength and protection of God, and also of the tomb of Christ–an expression of belief in the Resurrection. In Jewish burial custom, a deceased priest’s face would be anointed with oil and then covered with a white cloth, and would have been done for Jesus.

When Pope St. John Paul II was being laid in his coffin, Archbishops Marini and Stanley Dziwisz had the honor of placing a white silk veil over the face of the pope. Poignantly, the choir sang the words from Psalm 42, “My soul thirsts for God, the living God; when will I come and see the Face of the Lord?” Many wondered about the action of covering the pope’s face with a veil because this was the first time it had been done, but was at the request of Pope John Paul II, who had dedicated the millennium to the Face of Christ.

Byssus “Pinna Nobilis” fit for a King! Photo: Paul Badde/EWTN

The cloth that would cover the Face of Christ would have to be made of a material fit for a King, a High Priest, and a God. Byssus, mentioned in the Bible forty times, also known as “sea-silk,” is more rare and precious than gold and it has an exceedingly fine texture which can be woven. Made from the long tough silky filaments of Pinna Nobilis mollusks that anchor them to the seabed, it is strong enough to resist the extreme hydrodynamic forces of the sea. Byssus has a shimmering, iridescent quality which reflects light. It is extremely delicate, yet strong at the same time. It resists water, weak acids, bases, ethers, and alcohols. Byssus cannot be painted, as it does not retain pigments, it can only be dyed; and then, only purple.  It can also last for more than 2000 years.

Kurt Cardinal Koch contemplates the Veil “not made by human hands” of Manoppello. Sheer and delicate, yet the Face is visible. Photo: Paul Badde/EWTN

The Sudarium Veil of Manoppello is also made of rare, precious, byssus silk.  The skill needed to weave a byssus veil as fine as the Veil of the Holy Face of Manoppello is exceedingly great.  Chiara Vigo, known as “the last woman who weaves byssus,” has said that neither she nor anyone alive today could duplicate the gossamer-thin veil, which is sheer enough to read a newspaper through.  The weave is so delicate, she says, that only the nimble fingers of a very skillful child could weave something so fine.

Miraculous Holy Face Veil Photo: Paul Badde (see “Manoppello Image” tab)

It is only through light that this shimmering image of the Face of Jesus may be seen, and at times appears as a “living image” as though it were reflected in a mirror, at other times the image completely disappears.  Although no camera can adequately capture the image, thanks to the many amazing photos of journalist Paul Badde, the changes that occur when viewing the veil may be better appreciated.  (Click here for more photos, and information about Paul Badde’s books and videos about the Holy Face.)

Servant of God Padre Domenico da Cese (1915-1978) before the Veil of Manoppello

While the Face on the Shroud of Turin clearly shows the Face of Jesus in death with eyes closed, the Sudariam of Manoppello has eyes open–bearing witness to the Resurrection. That was the ardent belief of the former Rector of the Basilica Shrine of the Holy Face, Servant of God Padre Domenico da Cese.  

There are many physiological reasons too for believing that the Face Cloth captures the first breath of the Resurrection. Sr. Blandina Paschalis Schlomer, who shares that belief, has provided meticulous research about the Veil in her book JESUS CHRIST, The Lamb and the Beautiful Shepherd, The Encounter with the Veil of Manoppello.  Sr. Blandina together with Fr. Fr. Heinrich Pfeiffer, S.J., Professor at the Pontifical Gregorian University in Rome, have each demonstrated that the Holy Face on the Veil of Manoppello is the proto-image of the earliest icons, and other works of art depicting the Face of Jesus.

As the first rays of light entered the tomb, John and Peter, upon entering, “saw and believed.”               Sudarium Veil of Manoppello, Photo: Paul Badde/EWTN

“…and he saw and believed. For they did not yet understand the Scripture that he had to rise from the dead.”  

Pope Benedict XVI, who came as a pilgrim to Manoppello on September 1, 2006, Fr. Heinrich Pfeiffer, S.J., Paul Badde, and Sr. Blandina Schlomer

What did St. John see in the tomb that would cause him to believe? A cloth of blood, such as the Oviedo? The Shroud of Turin? It is a miraculous image, but shows the Face of a dead man. A third witness was needed in order for the disciple to believe. It could only have been evidence of something as astounding as the Resurrection; proof that Jesus was alive!

It is human nature to want to see things for ourselves. Many pilgrims, humble and great, have felt called to make the journey to visit the miraculous relic. If it is God’s handiwork, and I believe that is true, then one can only wonder at its existence, and gaze in silent contemplation, giving thanks for this tremendous gift of God… so we too may “see and believe.”

“We cannot stop at the image of the Crucified One; He is the Risen One!” –Pope St. John Paul II

Holy Face of Jesus of Manoppello (photo: Paul Badde/EWTN)

“”While we too seek other signs, other wonders, we do not realize that He is the real sign, God made flesh; He is the greatest miracle of the universe:  all the love of God hidden in a human heart, in a human face.”  ~ Pope Emeritus Benedict XVI

Pope Benedict XVI gazes at the Veil of the Holy Face in Manoppello, Photo:Paul Badde/EWTN

“Show us, O Lord, we pray you, Your Face ever new; that mirror, mystery-laden, of God’s infinite mercy. Grant that we may contemplate it with the eyes of our mind and our hearts: the Son’s Face, radiance of the Father’s glory and the imprint of His Nature (cf. Hb 1:3), the human Face of God that has burst into history to reveal the horizons of eternity. The silent Face of Jesus, suffering and risen, when loved and accepted, changes our hearts and lives. “Your Face, Lord, do I seek, do not hide Your Face from me.” (Ps. 27:8ff) How many times through the centuries and millennia has resounded the ardent invocation of the Psalmist among the faithful! Lord, with faith, we too repeat the same invocation: “Man of suffering, as one from whom other hide their faces.” (Is. 53:3) Do not hide your Face from us!”  (Portion of a prayer in honor of the Holy Face of Manoppello by Pope Benedict XVI)

Happy Easter!

Jesus Christ has truly risen indeed! Alleluia! Alleluia! Alleluia!

The byssus Veil of Manoppello, which is thought to be one of the burial cloths of Jesus, photo: Paul Badde/EWTN

Prayer to the Holy Face for the liberation from the coronavirus

 
Lord Jesus, Savior of the world, hope that will never disappoint us, have mercy on us and deliver us from all evil! Please overcome the scourge of this virus which is spreading, heal the sick, preserve the healthy, support those who work for the health of all. Show us your face of mercy and save us in your great love. We ask you through the intercession of Mary, Your Mother and ours, who faithfully accompanies us. You who live and reign forever and ever. Amen.

+ Bruno Forte
Archbishop of Chieti – Vasto (Italy)
+++
 

To learn more about the history of the Holy Face of Manoppello, click here to read “Four Stories, One Face.”

Or watch this wonderful video below, “The Human Face of God.”

And a recent Vaticano episode:

“The Cloth That Covered His Head”

Holy Veil of Manoppello said to be the image of the Resurrected Christ
Photo: Paul Badde/EWTN

Alleluia! Alleluia! Alleluia!

The Disciples Peter and John Running to the Sepulchre on the Morning of the Resurrection, Eugene Burnand, 1898

So Peter and the other disciple went out and came to the tomb.
They both ran, but the other disciple ran faster than Peter
and arrived at the tomb first;
he bent down and saw the burial cloths there, but did not go in.
When Simon Peter arrived after him,
he went into the tomb and saw the burial cloths there,
and the cloth that had covered his head,
not with the burial cloths but rolled up in a separate place.
Then the other disciple also went in,
the one who had arrived at the tomb first,
and he saw and believed.
For they did not yet understand the Scripture
that he had to rise from the dead.  (John 20: 1-9)

At the time of Jesus, the Jewish law required several “cloths” to be used for burial, and as many as six for someone who had died a violent death. Christian tradition has preserved six cloths as relics that are associated with the burial of Jesus – 1.) The Shroud of Turin, 2.) the Sudarium of Oviedo in Spain, 3.) The Sudarium Veil of Manoppello, 4.) The Sudarium of Kornelimunster in Germany, 5.) The SindonMunda of Aachen, Germany, 6.) The Cap of Cahors in France.

Three  of the cloths in particular stand out as extraordinary “witnesses” to the Passion, Death, and Resurrection of Jesus, and together they bear a powerful testimony to the truth of the Gospels. Each one bearing an imprint or image of the Face of Jesus. They are: The Sudarium of Oviedo, The Shroud of Turin, and the Sudarium Veil of Manoppello. The remarkable relationship between these three “cloths” leave little doubt that each came in contact with the face of the same man at the time of burial.

Sudarium of Oviedo

 The Sudarium of Oviedo directly touched Jesus’s head following His Crucifixion. Blood was considered sacred to the Jews, so this cloth was used to soak up the Precious Blood of Jesus, by wrapping it around Jesus’s Head, as He was taken down from the Cross. The largest bloodstains are from the nose, other stains are from the eyes and other parts of the face.  There is also an imprint on the sudarium of the hand of the person who held this cloth to Jesus’s Face to staunch the flow of blood. It takes one’s breath away to see that the bloodstains on the Sudarium of Oviedo, when overlaid with the Face on the Shroud of Turin and the Sudarium Veil of Manoppello, correspond perfectly. The blood type is AB, the same as on the Shroud of Turin.

Face on the Shroud of Turin by photographer Secondo Pia, 1898

“He went into the tomb and saw the burial cloths there”

The Shroud of Turin; the sindone, or linen burial shroud, was believed to have been used to wrap the entire body of Christ. It is the most famous and studied of the three cloths. The faint but visible imprint on the Shroud of Turin gives witness to the violent torture of a man as described in the Passion and Death of Jesus in the Scripture. The world was amazed when Secondo Pia first photographed the Face on the Shroud in 1898; the negative of the photo incredibly became visible as a positive image. The Shroud of Turin caused an entire branch of science to be dedicated to its research called Sindonology. The most recent research was Atomic resolution studies that detected new biological evidences on the Shroud of Turin — the results of which are stunning.

The Sudarium Veil of the Face of Christ, Photo: Patricia Enk

 The Sudarium Veil of Manoppello, Italy, is perhaps the least known of the three burial “cloths.” The Veil bears the image of the living Face of Jesus. This “miracle of light,” “not made by human hands,” was protected and hidden in an isolated church in the Abbruzzi Mountains for centuries. It is believed to be the “cloth” that covered the Face of Jesus in death, showing traces of the Passion: Bruises, swelling, wounds from the Crown of Thorns, and plucked beard.  But, it is also believed to have recorded in light the Face of Jesus at the moment of His Resurrection. No, this is not a contradiction. Yes, the image changes. It shows suffering, but it also shows life!

“The cloth that had covered his head”

Funeral of Pope St. John Paul II, Archbishop Dziwisz covers the pope’s face with a veil.

An explanation about the tradition of a face cloth for burial may be helpful in understanding its profound significance:  In the funeral rites for priests in some Eastern churches, the veil which was used to cover the chalice and paten were placed on the face of the deceased priest. (The cloth used to cover the chalice and paten had a particular liturgical symbolism linked to the Face of Christ as well.) It was done as a symbol of both the strength and protection of God, and also of the tomb of Christ–an expression of belief in the Resurrection. In Jewish burial custom, a deceased priest’s face would be anointed with oil and then covered with a white cloth, and would have been done for Jesus.

When Pope St. John Paul II was being laid in his coffin, Archbishops Marini and Stanley Dziwisz had the honor of placing a white silk veil over the face of the pope. Poignantly, the choir sang the words from Psalm 42, “My soul thirsts for God, the living God; when will I come and see the Face of the Lord?” Many wondered about the action of covering the pope’s face with a veil because this was the first time it had been done, but was at the request of Pope John Paul II, who had dedicated the millennium to the Face of Christ.

Byssus “Pinna Nobilis” fit for a King! Photo: Paul Badde/EWTN

The cloth that would cover the Face of Christ would have to be made of a material fit for a King, a High Priest, and a God. Byssus, mentioned in the Bible forty times, also known as “sea-silk,” is more rare and precious than gold and it has an exceedingly fine texture which can be woven. Made from the long tough silky filaments of Pinna Nobilis mollusks that anchor them to the seabed, it is strong enough to resist the extreme hydrodynamic forces of the sea. Byssus has a shimmering, iridescent quality which reflects light. It is extremely delicate, yet strong at the same time. It resists water, weak acids, bases, ethers, and alcohols. Byssus cannot be painted, as it does not retain pigments, it can only be dyed; and then, only purple.  It can also last for more than 2000 years.

Kurt Cardinal Koch contemplates the Veil “not made by human hands” of Manoppello. Sheer and delicate, yet the Face is visible. Photo: Paul Badde/EWTN

The Sudarium Veil of Manoppello is also made of rare, precious, byssus silk.  The skill needed to weave a byssus veil as fine as the Veil of the Holy Face of Manoppello is exceedingly great.  Chiara Vigo, known as “the last woman who weaves byssus,” has said that neither she nor anyone alive today could duplicate the gossamer-thin veil, which is sheer enough to read a newspaper through.  The weave is so delicate, she says, that only the nimble fingers of a very skillful child could weave something so fine.

Miraculous Holy Face Veil Photo: Paul Badde (see “Manoppello Image” tab)

It is only through light that this shimmering image of the Face of Jesus may be seen, and at times appears as a “living image” as though it were reflected in a mirror, at other times the image completely disappears.  Although no camera can adequately capture the image, thanks to the many amazing photos of journalist Paul Badde, the changes that occur when viewing the veil may be better appreciated.  (Click here for more photos, and information about Paul Badde’s books and videos about the Holy Face.)

Servant of God Padre Domenico da Cese (1915-1978) before the Veil of Manoppello

While the Face on the Shroud of Turin clearly shows the Face of Jesus in death with eyes closed, the Sudariam of Manoppello has eyes open–bearing witness to the Resurrection. That was the ardent belief of the former Rector of the Basilica Shrine of the Holy Face, Servant of God Padre Domenico da Cese.  

There are many physiological reasons too for believing that the Face Cloth captures the first breath of the Resurrection. Sr. Blandina Paschalis Schlomer, who shares that belief, has provided meticulous research about the Veil in her book JESUS CHRIST, The Lamb and the Beautiful Shepherd, The Encounter with the Veil of Manoppello.  Sr. Blandina together with Fr. Fr. Heinrich Pfeiffer, S.J., Professor at the Pontifical Gregorian University in Rome, have each demonstrated that the Holy Face on the Veil of Manoppello is the proto-image of the earliest icons, and other works of art depicting the Face of Jesus.

As the first rays of light entered the tomb, John and Peter, upon entering, “saw and believed.”               Sudarium Veil of Manoppello, Photo: Paul Badde/EWTN

 

“…and he saw and believed. For they did not yet understand the Scripture that he had to rise from the dead.”  

Pope Benedict XVI, who came as a pilgrim to Manoppello on September 1, 2006, Fr. Heinrich Pfeiffer, S.J., Paul Badde, and Sr. Blandina Schlomer

What did St. John see in the tomb that would cause him to believe? A cloth of blood, such as the Oviedo? The Shroud of Turin? It is a miraculous image, but shows the Face of a dead man. A third witness was needed in order for the disciple to believe. It could only have been evidence of something as astounding as the Resurrection; proof that Jesus was alive!

It is human nature to want to see things for ourselves. Many pilgrims, humble and great, have felt called to make the journey to visit the miraculous relic. If it is God’s handiwork, and I believe that is true, then one can only wonder at its existence, and gaze in silent contemplation, giving thanks for this tremendous gift of God… so we too may “see and believe.”

“We cannot stop at the image of the Crucified One; He is the Risen One!” –Pope St. John Paul II

Holy Face of Jesus of Manoppello (photo: Paul Badde/EWTN)

“”While we too seek other signs, other wonders, we do not realize that He is the real sign, God made flesh; He is the greatest miracle of the universe:  all the love of God hidden in a human heart, in a human face.”  ~ Pope Emeritus Benedict XVI

Pope Benedict XVI gazes at the Veil of the Holy Face in Manoppello, Photo:Paul Badde/EWTN

“Show us, O Lord, we pray you, Your Face ever new; that mirror, mystery-laden, of God’s infinite mercy. Grant that we may contemplate it with the eyes of our mind and our hearts: the Son’s Face, radiance of the Father’s glory and the imprint of His Nature (cf. Hb 1:3), the human Face of God that has burst into history to reveal the horizons of eternity. The silent Face of Jesus, suffering and risen, when loved and accepted, changes our hearts and lives. “Your Face, Lord, do I seek, do not hide Your Face from me.” (Ps. 27:8ff) How many times through the centuries and millennia has resounded the ardent invocation of the Psalmist among the faithful! Lord, with faith, we too repeat the same invocation: “Man of suffering, as one from whom other hide their faces.” (Is. 53:3) Do not hide your Face from us!”  (Portion of a prayer in honor of the Holy Face of Manoppello by Pope Benedict XVI)

Happy Easter!

Jesus Christ has truly risen indeed! Alleluia! Alleluia! Alleluia!

The byssus Veil of Manoppello, which is thought to be one of the burial cloths of Jesus, photo: Paul Badde/EWTN

Prayer to the Holy Face for the liberation from the coronavirus

Lord Jesus, Savior of the world, hope that will never disappoint us, have mercy on us and deliver us from all evil! Please overcome the scourge of this virus which is spreading, heal the sick, preserve the healthy, support those who work for the health of all. Show us your face of mercy and save us in your great love. We ask you through the intercession of Mary, Your Mother and ours, who faithfully accompanies us. You who live and reign forever and ever. Amen.

+ Bruno Forte
Archbishop of Chieti – Vasto (Italy)
+++

To learn more about the history of the Holy Face of Manoppello, click here to read “Four Stories, One Face.”

Or watch this wonderful video below, “The Human Face of God.”

And a recent Vaticano episode:

 

 

 

See and Believe – The Witnesses to the Resurrection

The Disciples Peter and John Running to the Sepulchre on the Morning of the Resurrection, Eugene Burnand, 1898

So Peter and the other disciple went out and came to the tomb.
They both ran, but the other disciple ran faster than Peter
and arrived at the tomb first;
he bent down and saw the burial cloths there, but did not go in.
When Simon Peter arrived after him,
he went into the tomb and saw the burial cloths there,
and the cloth that had covered his head,
not with the burial cloths but rolled up in a separate place.
Then the other disciple also went in,
the one who had arrived at the tomb first,
and he saw and believed.
For they did not yet understand the Scripture
that he had to rise from the dead.  (John 20: 1-9)

It is a scripture tradition that a fact must be established by the evidence of two or three witnesses; but are there witnesses to the Resurrection of Jesus?  The answer is in the “cloths” found in Christ’s tomb which caused the disciple to “see and believe.”

At the time of Jesus, the Jewish law required several “cloths” to be used for burial, and as many as six for someone who had died a violent death. Christian tradition has preserved six cloths as relics that are associated with the burial of Jesus – 1.) The Shroud of Turin, 2.) the Sudarium of Oviedo in Spain, 3.) The Sudarium Veil of Manoppello, 4.) The Sudarium of Kornelimunster in Germany, 5.) The SindonMunda of Aachen, Germany, 6.) The Cap of Cahors in France. Three  of the cloths in particular stand out as extraordinary “witnesses” to the Passion, Death, and Resurrection of Jesus, and together they bear a powerful testimony to the truth. They are: The Sudarium of Oviedo, The Shroud of Turin, and the Sudarium Veil of Manoppello. The remarkable relationship between these three “cloths” leave little doubt that each came in contact with the same man at the time of burial.

Sudarium of Oviedo

First Witness – The Sudarium of Oviedo directly touched Jesus’s head following His Crucifixion. Blood was considered sacred to the Jews, so this cloth was used to soak up the Precious Blood of Jesus, by wrapping it around Jesus’s Head, as He was taken down from the Cross. The largest bloodstains are from the nose, other stains are from the eyes and other parts of the face.  There is also an imprint on the sudarium of the hand of the person who held this cloth to Jesus’s Face to staunch the flow of blood. It takes one’s breath away to see that the bloodstains on the Sudarium of Oviedo, when overlaid with the Face on the Shroud of Turin and the Sudarium Veil of Manoppello, correspond perfectly. The blood type is AB, the same as on the Shroud of Turin.

Face on the Shroud of Turin by photographer Secondo Pia, 1898

“He went into the tomb and saw the burial cloths there”

Second Witness – The Shroud of Turin; the sindone, or linen burial shroud, was believed to have been used to wrap the entire body of Christ. It is the most famous and studied of the three cloths. The faint but visible imprint on the Shroud of Turin gives witness to the violent torture of a man as described in the Passion and Death of Jesus in the Scripture. The world was amazed when Secondo Pia first photographed the Face on the Shroud in 1898; the negative of the photo incredibly became visible as a positive image. The Shroud of Turin caused an entire branch of science to be dedicated to its research called Sindonology. The most recent research was Atomic resolution studies that detected new biological evidences on the Shroud of Turin — the results of which are absolutely stunning.

Holy Face of Manoppello, photo: Patricia Enk

Third Witness –  The Sudarium Veil of Manoppello, Italy, is perhaps the least known of the three burial “cloths.” The Veil bearing a miraculous image of the Face of Jesus, “not made by human hands,” was protected and hidden in an isolated church in the Abbruzzi Mountains for centuries. It seems, however, in recent years that Divine Providence has intervened to bring this third witness to light. It is believed not only to be the “cloth” that covered the Face of Jesus in death, but is also said to bear the image of the Face of Jesus at the moment of the Resurrection.

“The cloth that had covered his head”

Funeral of Pope St. John Paul II, Archbishop Dziwisz covers the pope’s face with a veil.

An explanation about the tradition of a face cloth for burial may be helpful in understanding its profound significance.  In the funeral rites for priests in some Eastern churches, the veil which was used to cover the chalice and paten were placed on the face of the deceased priest. (The cloth used to cover the chalice and paten had a particular liturgical symbolism linked to the Face of Christ as well.) It was done as a symbol of both the strength and protection of God, and also of the tomb of Christ–an expression of belief in the Resurrection. In Jewish burial custom, a deceased priest’s face would be anointed with oil and then covered with a white cloth, and would have been done for Jesus.

When Pope St. John Paul II was being laid in his coffin, Archbishops Marini and Stanley Dziwisz had the honor of placing a white silk veil over the face of the pope. Poignantly, the choir sang the words from Psalm 42, “My soul thirsts for God, the living God; when will I come and see the Face of the Lord?” Many wondered about the action of covering the pope’s face with a veil because this was the first time it had been done, but was at the request of Pope John Paul II, who had dedicated the millennium to the Face of Christ.

Byssus “Pinna Nobilis” fit for a King! Photo: Paul Badde/EWTN

The cloth that would cover the Face of Christ would have to be made of a material fit for a King, a High Priest, and a God. Byssus, mentioned in the Bible forty times, also known as “sea-silk,” is more rare and precious than gold and it has an exceedingly fine texture which can be woven. Made from the long tough silky filaments of Pinna Nobilis mollusks that anchor them to the seabed, it is strong enough to resist the extreme hydrodynamic forces of the sea. Byssus has a shimmering, iridescent quality which reflects light. It is extremely delicate, yet strong at the same time. It resists water, weak acids, bases, ethers, and alcohols. Byssus cannot be painted, as it does not retain pigments, it can only be dyed; and then, only purple.  It can also last for more than 2000 years.

Kurt Cardinal Koch contemplates the Veil “not made by human hands” of Manoppello. Sheer and delicate, yet the Face is visible. Photo: Paul Badde/EWTN

The Sudarium Veil of Manoppello is also made of rare, precious, byssus silk.  The skill needed to weave a byssus veil as fine as the Veil of the Holy Face of Manoppello is exceedingly great.  Chiara Vigo, known as “the last woman who weaves byssus,” has said that neither she nor anyone alive today could duplicate the gossamer-thin veil, which is sheer enough to read a newspaper through.  The weave is so delicate, she says, that only the nimble fingers of a very skillful child could weave something so fine.

Miraculous Holy Face Veil Photo: Paul Badde (see “Manoppello Image” tab)

It is only through light that this shimmering image of the Face of Jesus may be seen, and at times appears as a “living image” as though it were reflected in a mirror, at other times the image completely disappears.  Although no camera can adequately capture the image, thanks to the many amazing photos of journalist Paul Badde, the changes that occur when viewing the veil may be better appreciated.  (Click here for more photos, and information about Paul Badde’s books and videos about the Holy Face.)

Servant of God Padre Domenico da Cese (1915-1978) before the Veil of Manoppello

While the Face on the Shroud of Turin clearly shows the Face of Jesus in death with eyes closed, the Sudariam of Manoppello has eyes open–bearing witness to the Resurrection. That was the ardent belief of the former Rector of the Basilica Shrine of the Holy Face, Servant of God Padre Domenico da Cese. There are many physiological reasons too for believing that the Face Cloth captures the first breath of the Resurrection. Sr. Blandina Paschalis Schlomer, who shares that belief, has provided meticulous research about the Veil in her book JESUS CHRIST, The Lamb and the Beautiful Shepherd, The Encounter with the Veil of Manoppello.  Sr. Blandina together with Fr. Fr. Heinrich Pfeiffer, S.J., Professor at the Pontifical Gregorian University in Rome, have each demonstrated that the Holy Face on the Veil of Manoppello is the proto-image of the earliest icons, and other works of art depicting the Face of Jesus.

“…and he saw and believed. For they did not yet understand the Scripture that he had to rise from the dead.”  

Pope Benedict XVI, who came as a pilgrim to Manoppello on September 1, 2006, Fr. Heinrich Pfeiffer, S.J., Paul Badde, and Sr. Blandina Schlomer

What did St. John see in the tomb that would cause him to believe? A cloth of blood, such as the Oviedo? The Shroud of Turin? It is a miraculous image, but shows the Face of a dead man. A third witness was needed in order for the disciple to believe. It could only have been evidence of something as astounding as the Resurrection; proof that Jesus was alive!

It is human nature to want to see things for ourselves. Many pilgrims, humble and great, have felt called to make the journey to visit the miraculous relic. If it is God’s handiwork, and I believe that is true, then one can only wonder at its existence, and gaze in silent contemplation, giving thanks for this tremendous gift of God… so we too may “see and believe.”

“We cannot stop at the image of the Crucified One; He is the Risen One!” –Pope St. John Paul II

Holy Face of Jesus of Manoppello (photo: Paul Badde/EWTN)

Pope Benedict XVI gazes at the Veil of the Holy Face in Manoppello, Photo:Paul Badde/EWTN

 

 

“Jesus Wants to be Seen”

“Finding the Face of Jesus” a photographic restoration by Kathy Falls of the Shroud of Turin (with permission)

Kathy Falls, a Secular Carmelite from the Michigan Upper Peninsula, is a multi-talented woman; a singer, musician, writer, artist, and photo-restoration expert. Thirty-five years ago a growing desire was planted in her heart to share the Face of Christ seen on the Shroud of Turin, and to use her talents to make the face more visible to others.  Kathy received permission to enhance the original famous photograph, which was taken in 1978 from Barrie Schwartz, the official documenting photographer and leading expert for the Shroud of Turin Research Project. Using computer technology, as well as dyes and pencils, Kathy enhanced and re-touched the image, which has won a blue ribbon from the Professional Photographers of Michigan. The inspiring  image entitled “Finding the Face of Jesus”  will be recognized at the Professional Photographers of America’s International Print Competion, which will be held from January 14-16 in Nashville, Tennessee.

Kathy Falls, with her photographic restoration of the Face of Christ

Studying the Face on the Shroud of Turin these many years has led Kathy Falls to a deep devotion to the Face of Jesus.  The writings of the “Little Flower,” St. Therese of the Child Jesus and the Holy Face, also inspired Kathy in her work and increased her devotion. Kathy says, St. Therese “reeled me in.”  Carmelite spirituality is contemplative and what could be a more perfect subject to contemplate than the Face of Jesus? Kathy says, “You can imagine sitting in front of him for years, looking at His Face. A lot of people don’t take time to do that, to really meditate and look at what He suffered for us.” Kathy has not signed the work, which is obviously a labor of love, wishing only that His Face be seen and hearts transformed by gazing upon His Face.  She says simply, “Jesus wants to be seen!”  

Click here for more about Kathy Falls story and her work by The Michigan Catholic.

 

St. Therese of the Child Jesus and the Holy Face

"Jesus, Your ineffable image is the star which guides my steps. Ah, You know, Your sweet Face is for me Heaven on earth. My love discovers the charms of Your Face adorned with tears. I smile through my own tears when I contemplate your sorrows."
“Jesus, Your ineffable image is the star which guides my steps. Ah, You know, Your sweet Face is for me Heaven on earth.”

 

Prayers for Sinners
By St. Therese of The Child Jesus and The Holy Face

Eternal Father, since Thou hast given me for my inheritance the adorable Face of Thy Divine Son, I offer that Face to Thee, and I beg Thee, in exchange for this coin of infinite value, to forget the ingratitude of souls dedicated to Thee, and to pardon all poor sinners.

Drawing of The Shroud of Turin by Sr. Genevieve of the Holy Face (Celine Martin, the sister of St. Therese)
Drawing of The Shroud of Turin by Sr. Genevieve of the Holy Face (Celine Martin, the sister of St. Therese)

O Jesus, Who in Thy bitter Passion didst become “the most abject of men, a man of sorrows, “ I venerate Thy Sacred Face whereon once there did shine the beauty and sweetness of the Godhead; but now it has become for me as if it were the face of a leper! Nevertheless, under those disfigured features, I recognize Thy infinite Love and I am consumed with the desire to love Thee and make Thee loved by all men. The tears which well up abundantly in Thy sacred eyes appear to me as so many precious pearls that I love to gather up, in order to purchase souls of poor sinners by means of their infinite value.

img_6399
St. Therese – Feast day Oct. 1st

O Jesus, Whose adorable Face ravishes my heart, I implore Thee to fix deep within me Thy Divine Image and to set me on fire with Thy Love, that I may be found worthy to come to the contemplation of Thy glorious Face in Heaven. Amen.

St. Therese Icon by Patricia Enk
St. Therese Icon by Patricia Enk

For information on The Mass of the Roses in honor of St. Therese please click here or here.

Father, through Saint Therese, help us to trust with a childlike disposition in your mercy and love.  Saint Therese, remember your promise to do good on earth.  Shower down roses on us and hear our prayers.  Amen. 

Saint Therese’s Canticle to the Holy Face

Devotion-sideJesus, Your ineffable image
Is the star which guides my steps.
Ah, You know, Your sweet Face
Is for me Heaven on earth.
My love discovers the charms
Of Your Face adorned with tears.
I smile through my own tears
When I contemplate Your sorrows.

Oh! To console You I want
To live unknown on earth!
Your beauty, which You know how to veil,
Discloses for me all its mystery.
I would like to fly away to You!

Your Face is my only homeland.
It’s my Kingdom of love.
It’s my cheerful meadow.
Each day, my sweet sun.
It’s the Lily of the Valley
Whose mysterious perfume
Consoles my exiled soul,
Making it taste the peace of Heaven.

It’s my Rest, my Sweetness
And my melodious Lyre
Your Face, O my Sweet Savior,
Is the Divine Bouquet of Myrrh
I want to keep on my heart!

Your Face is my only wealth.
I ask for nothing more.
Hiding myself in it unceasingly,
I will resemble You, Jesus
Leave in me, the Divine Impress
Of Your features filled with sweetness,
And soon I’ll become holy.
I shall draw hearts to You.

So that I may gather
A beautiful golden harvest,
Deign to set me aflame with Your Fire.
With Your adorned mouth,
Give me soon the Eternal Kiss!

In Heaven and on Earth

The Mass of St. Gregory I by Robert Campin 15th Century
The Mass of St. Gregory I by Robert Campin 15th Century

The book of Revelation of St. John unveils for its reader the beauty of the liturgy of the Mass.  “A throne stood in heaven, with one seated on the throne:” “The Lord God.” (Rev. 4:2)  It then shows the Lamb (Jesus Christ), “standing, as though it had been slain” (Rev. 5:6): Christ crucified and risen, the one high priest of the true sanctuary, the same one “who offers and is offered, who gives and is given.” (St. John Chrysostom) All in heaven and on Earth who take part in the service of the praise of God participate in the eternal liturgy whenever we celebrate the mystery of salvation.  The sacramental celebration is woven with signs and symbols which are rich in meaning.  “God speaks to man through visible creation.  The material cosmos is so presented to man’s intelligence that he can read there traces of its Creator.” (CCC 1147) “…these perceptible realities can become means of expressing the action of God who sanctifies men, and the action of men who offer worship to God.” (CCC 1148)

We may not know or appreciate the meaning of these “signs and symbols” in the liturgy, but they are there all the same.  For example, We may give little thought to the meaning of a simple action by the priest or deacon of handling or folding the altar linen or the corporal, but a German theologian, Klaus Berger,  has recently made a stunning discovery which shines a bright light on the deep symbolism contained in this humble action.  Mr. Berger, while doing research for an extensive commentary on Revelation by St. John, uncovered the surprising connection between the altar linens prescribed for the liturgy and the burial cloths of Christ mentioned in the Gospels.  Mr. Berger then shared his amazing discovery, which reveals the key liturgical role of the cloths, with Paul Badde, who has written extensively on the sudaria or burial cloths of Jesus (The True Icon).  Paul has written a truly fascinating article about the discovery for Catholic News Agency (German) The translation may be found on Raymond Frost’s Manoppello blogspot (click here for full article in English).

In the article Paul Badde explains the theological connection between the burial cloths which touched the Body and Blood of Jesus and the altar cloth and corporal, the white linen napkin on which are placed the vessels containing the Body and Blood of Christ during Mass. The corporal, which was to be made of pure linen, could only be touched reverently by the priest with his thumb and forefinger in the old rite.

Detail of Mass of St. Gregory I
Detail of Mass of St. Gregory I

The connection between these altar cloths used in the liturgy and the sudarium, or burial cloths of Jesus (Shroud of Turin and Veil of Manoppello) says Paul Badde, can be understood in reference to  a vision of Pope Gregory I during a Mass when Jesus, appeared as the Man of Sorrows during the Consecration of the Eucharist, reflecting the true Presence of Christ.  Pope St. Gregory the Great, “The Father of Christian Worship,” is renown for his exceptional efforts is revising the liturgy of his day.

The cloths used in the liturgy are rich in symbol and meaning which can aid us in our devotion. During the Mass we may not see Christ with our bodily eyes, but He is present. Knowing our weakness, in His infinite mercy He has left us His image to contemplate on the Shroud of Turin and the Veil of Manoppello  so that we may call them to mind when gazing with faith on the simple linen cloths used in the Mass.  The images make manifest the “cloud of witnesses” (Heb. 12:1) mentioned in St. John’s Revelation: The Heavenly powers, all creation, the servants of the Old and New Covenants the new People of God especially the martyrs “slain for the word of God,” and the all-holy Mother of God (the Woman clothed with the sun with the moon at her feet), The Bride of the Lamb, and finally “a great multitude which no one could number, from every nation, from all tribes, and peoples and tongues.” (Rev.7:9)

Face of Jesus on veil by Michael Wolgemut, teacher of Albrecht Durer. The “Veil of Veronica” in artwork before 1the early 1500’s resemble the “Il Volto Santo” of Manoppello.

Holy Face on The Shroud of Turin
Holy Face on The Shroud of Turin

“Illiterate men can contemplate in the lines of an image what they cannot learn by means of the written word.” – Pope St. Gregory the Great

“The beauty of the images moves me to contemplation, as a meadow delights the eyes and subtly infuses the soul with the glory of God.”–St. John Damascene

The Veil of Manoppello, photo by Paul Badde
The Veil of Manoppello, photo by Paul Badde

 

 

The Trinity and the Face of Christ

The importance of Devotion to the Holy Face has been underscored by our last three Popes: St. Pope John Paul II, Pope Benedict and Pope Francis.  But, it was to a hidden, cloistered Carmelite nun in the mid-1800’s that Our Lord first entrusted what He called “The Most Beautiful Work Under the Sun!” It was the impetus for the resurgence of a forgotten devotion that has ultimately resulted in the dedication of the millennium to The Holy Face by St. Pope John Paul II and the emphasis on Jesus Christ, the Face of the Father’s Mercy by Pope Francis for the Jubilee Year of Mercy.  Through the Merciful Face of Christ we may be reconciled with the Father, so that the Holy Spirit may restore God’s image in our souls.

Discalced Carmelite Nun Sr. Marie St. Pierre holding "The Golden Arrow" The three circles representing the Holy Trinity
Discalced Carmelite Nun Sr. Marie St. Pierre holding “The Golden Arrow” The three circles representing the Holy Trinity

Sr. Marie St. Pierre, is best known for Devotion to the Holy Face and “The Golden Arrow” (prayer below) a prayer of reparation for blasphemy–sins against the Face of God. She had many interior visions regarding the Holy Face and the work of reparation, including a sublime conception of the The Holy Trinity and the Holy Face which she tried to express in these words she received from Our Lord:

"Holy Face of Tours"
“Holy Face of Tours”

“Remember, O my soul, the instruction which thy celestial Spouse has given thee today on His adorable Face!  Remember that this Divine Head represents the Father who is from all eternity, that the mouth of this Holy Face is a figure of the Divine Word, engendered by the Father, and that the eyes of this mysterious Face represent the reciprocal love of the Father and the Son; for these eyes have but one and the same light, the same knowledge, producing the same love, which is the Holy Spirit.  In his beautiful silken hair  contemplate the infinitude of the adorable perfections of the Most Holy Trinity in this majestic head, the most precious portion of the Sacred Humanity of thy Saviour; contemplate the image of the unity of God.  This, then, is the adorable and mysterious Face of the Saviour, which blasphemers have the temerity to cover with opprobrium: thus they renew the sufferings of His Passion, by attacking the Divinity of which it is the image.” 

Our Lord told Sr. Marie St. Pierre that she could comfort and console Him by her praises, then He added:

“According to the diligence you will manifest in repairing my image disfigured by blasphemers, so will I have the same care in repairing your soul which has been disfigured by sin.  I will imprint thereon my image, and I will render it as beautiful as when it came forth from the baptismal font… Oh! could you but behold the beauty of My Face!–But your eyes are yet too weak.” 

The beautiful Holy Face of Manoppello photo: Paul Badde
The beautiful Holy Face of Manoppello
photo: Paul Badde

Below are two beautiful prayers of Sr. Marie St. Pierre “The Golden Arrow” praising the Holy Name, which is reparation for blasphemy and also a prayer to ask Our Lord to “reproduce the image of God in our souls.”

THE GOLDEN ARROW

MAY the most holy, most sacred, most adorable, most incomprehensible and ineffable Name of God, be forever praised, blessed, adored, loved and glorified, in heaven, on earth, and in the hells, by all the creatures of God, and by the Sacred Heart of Our Lord Jesus Christ in the most Holy Sacrament of the Altar. Amen.

Prayer to ask Our Lord to Reproduce the Image of God in Our Souls

I salute You! I adore You and I love you, Oh adorable face of my beloved Jesus, as the noble stamp of The Divinity! Completely surrendering my soul to You, I most humbly beg You to stamp this seal upon us all, so the image of God may once more be reproduced in our souls. Amen.

“By My Holy Face you will work marvels!” –Our Lord to Sr. Marie St. Pierre

Holy Face on The Shroud of Turin
Holy Face on The Shroud of Turin

 

 

 

Feast of the Holy Face of Jesus – Act of Consecration to The Holy Face

                                                           Act of Consecration
“Jesus Christ is the Face of the Father’s Mercy.  These words might well sum up the mystery of the Christian faith.” –Pope Francis

Jesus Christ the Alpha and the Omega
Jesus Christ the Alpha and the Omega
“Christ’s response, “Whoever has seen me, has seen the Father, “lead us into the heart of Christological faith.”  — Pope Benedict XVI

O Lord Jesus, we believe most firmly in You, we love You.  You are the Eternal Son of God and the Son Incarnate of the Blessed Virgin Mary.  You are the Lord and Absolute Ruler of all creation.  We acknowledge You, therefore, as the Universal Sovereign of all creatures.  You are the Lord and Supreme Ruler of all mankind, and we, in acknowledging this Your dominion, consecrate ourselves to You now and forever.  Loving Jesus, we place our family under the protection of Your Holy Face, and of Your Virgin Mother Mary most sorrowful.  We promise to be faithful to You for the rest of our lives and to observe with fidelity Your Holy Commandments.  We will never deny before men, You and Your Divine rights over us and all mankind.  Grant us the grace to never sin again; nevertheless, should we fail, O Divine Saviour, have mercy on us and restore us to Your grace.  Radiate Your Divine Countenance upon us and bless us now and forever.  Embrace us at the hour of our death in Your Kingdom for all eternity, through the intercession of Your Blessed Mother, of all Your Saints who behold You in Heaven, and the just who glorify You on earth.  O Jesus, be mindful of us forever and never forsake us; protect our family.  O Mother of Sorrows, by the eternal glory which you enjoy in Heaven, through the merits of your bitter anguish in the Sacred Passion of your Beloved Son, our Lord Jesus Christ, obtain for us the grace that the Precious Blood shed by Jesus for the redemption of our souls, be not shed for us in vain.  We love you, O Mary.  Embrace us and bless us, O Mother.  Protect us in life and in death.  Amen. 

Glory to the Father, and to the Son, and to the Holy Spirit.  As it was in the beginning, is now, and will be forever.  Amen.

"Holy Face of Tours"
“Holy Face of Tours”

Our Lord told Sr. Marie St. Pierre that the image of His Holy Face is like a Divine stamp, which if applied to souls, through prayer, has the power of imprinting anew within them the Image of God.

Shroud of Turin
Shroud of Turin

Prayer to reproduce the Image of God in our souls

I salute You!  I adore you and I love you, O adorable face of my beloved Jesus, as the noble stamp of the Divinity!  Completely surrendering my soul to You, I most humbly beg You to stamp this seal upon us all, so the image of God may once more be reproduced in our souls.  Amen.

Holy Face of Manoppello photo: Paul Badde
Holy Face of Manoppello
photo: Paul Badde

“All of us, with unveiled faces, seeing the glory of the Lord as though reflected in a mirror, are being transformed into the same image.” (2Cor 3:18)

“Show us, O Lord, we pray you, Your Face ever new; that mirror, mystery-laden, of God’s infinite mercy.  Grant that we may contemplate it with the eyes of our mind and our hearts: the Son’s Face, radiance of the Father’s glory and the imprint of His Nature, the human Face of God that has burst into history to reveal the horizons of eternity.  The silent Face of Jesus, suffering and risen, when loved and accepted, changes our hearts and lives.  “Your Face, Lord do I seek, do not hide Your Face from me.” (Ps. 27:8) –Portion of prayer of Pope Benedict XVI in honor of his pilgrimage to the shrine of the Holy Face of Manoppello

“It is the Church’s task to reflect the light of Christ in every historical period, to make His Face shine before the generations of the new millennium.  Our witness, however, would be hopelessly inadequate if we ourselves had not first contemplated His FACE!”  –St. Pope John Paul II

Prayer of Pope Francis for the Jubilee Year of Mercy

Pope Francis adoring The Eucharistic Face of Christ
Pope Francis adoring The Eucharistic Face of Christ    

Lord Jesus Christ, You have taught us to be merciful like the heavenly Father, and have told us that whoever sees you sees Him. Show us your Face and we will be saved. Your loving gaze freed Zacchaeus and Matthew from being enslaved by money; the adulteress and Magdalene from seeking happiness only in created things; made Peter weep after his betrayal, and assured Paradise to the repentant thief. Let us hear, as if addressed to each one of us, the words that you spoke to the Samaritan woman: “If you knew the gift of God!” You are the visible Face of the invisible Father, of the God who manifests his power above all by forgiveness and mercy: let the Church be your visible Face in the world, its Lord risen and glorified. You willed that your ministers would also be clothed in weakness in order that they may feel compassion for those in ignorance and error: let everyone who approaches them feel sought after, loved, and forgiven by God. Send your Spirit and consecrate every one of us with its anointing, so that the Jubilee of Mercy may be a year of grace from the Lord, and your Church, with renewed enthusiasm, may bring good news to the poor, proclaim liberty to captives and the oppressed, and restore sight to the blind. We ask this through the intercession of Mary, Mother of Mercy, you who live and reign with the Father and the Holy Spirit for ever and ever. Amen.

Feast of The Holy FaceMay the Lord bless and keep you; may He make His Face shine upon and be merciful to you; may He turn His Countenance toward you and grant you His PEACE! (Num 6:22-27)

 

Signs and Wonders

Miraculous Image of Our Lady of Guadalupe "I am your merciful Mother."
Miraculous Image of Our Lady of Guadalupe
“I am your merciful Mother.”

Why does God work signs and wonders?  There can only be one answer: His Merciful Love.  Our Creator knows our human weakness.  Our faith may be weak, or we may have no faith at all.  We experience things and come to knowledge through our senses, so God grants us signs that we can see, hear, smell and touch signs of His goodness.  The Old Testament is filled with signs and wonders that God granted to all mankind to reveal His Presence and show His power and might.  But what could be more miraculous than the New Testament miracle that a virgin should be with child and bear a son? That God should become a tiny infant in the womb or that bread and wine should become the Body and Blood of Christ? Through these unimaginable signs God shows Himself to be not only all-powerful, but also all-good, all-humble, all-merciful, all-LOVE!

Signs and wonders do not end with the New Testament, but are on going.  They continue today.  For instance, in 1531, Our Lady appeared as a virgin with child to a humble Juan Diego and left an image of herself on his tilma as a sign for all peoples of her maternal love and of the merciful love of God.  The wondrous image was “painted” not by brush and paint, but by the hands of Our Lady herself as she gently arranged miraculous Castillian roses in Juan Diego’s tilma as a proof for his Bishop that a church should be built at the site of her appearance.  The image of Our Lady of Guadalupe speaks volumes to people of all times. As she told Juan Diego, “I am your merciful Mother, the Mother of all who live in this land and all of mankind.  I hear the weeping and sorrows of those who love me, cry to me, and have confidence in me, and I will give them consolation and relief.”

Sheer Veil of the Holy Face of Manoppello Photo: Paul Badde
Sheer Veil of the Holy Face of Manoppello
Photo: Paul Badde

To enumerate the many scientific studies done on the miraculous images of the tilma of Our Lady of Guadalupe, or the Shroud of Turin, or the Holy Veil of Manoppello may demonstrate to those who need proof that they are indeed miracles.  But faith is still required for belief and some, in spite of the facts or reliable testimony, may still have doubts or sadly choose not to believe.

Perhaps we have trouble believing miracles because at heart we have trouble believing that God loves us and that He would stoop down from Heaven to show that love in some tangible way. Proof or not, the gifts of the Love and Mercy of God are still there so that we may “see and believe.”  God has given us these wondrous signs and they should not be taken for granted!  He is communicating something to each individual through these signs.  Let us pray for ourselves and for unbelievers, “Lord, help us in our unbelief.”

What greater sign of His Love than the bread and wine become His Body and Blood?
What greater sign of His Love than that the bread and wine become His Body and Blood?

************

(Below is a re-post from 12/2014 for the Feast of Our Lady of Guadalupe)

Look Closely – Our Lady of Guadalupe “Not made by Human Hands”

IMG_0678
Miraculous image of Our Lady of Guadalupe

The miraculous image of Our Lady of Guadalupe, the Shroud of Turin, and “Il Volto Santo,” the veil of Manoppello all have something in common.  They are all Acheiropoieta, a Greek word meaning: “made without hand.”  They are said to have come into existence miraculously, not created by a human painter.

image-16
The Holy Face on the Shroud of Turin

The extensive research that has been done on these three images, and the results are astounding.  Although I have not been to Mexico to view the miraculous tilma of Our Lady, I have seen both the Holy Shroud of Turin and the Veil of Manoppello in person.  Studying them has been my own personal passion.

Being an artist, (and near-sighted) I tend to look at things more closely.  I study each little detail, shape, line, form, color, and  value. I may spend hundreds of hours studying while I work.  I can’t help but know every little nuance by the time I am done painting.  Sr. Blandina Paschalis Schloemer, a Trappist nun from Germany, is also an artist, a painter of icons.  Icon painting is very exact when it is done in the traditional manner.  Sr. Schloemer began to notice striking similarities between ancient icons and images of the Face of Christ, and the images on the Shroud of Turin and the Veil of Manoppello.  With the permission of her order the research has become her life’s work as well as part of her vocation.

IMG_0172
Pope Benedict meets Sr. Blandina at the Sanctuary Basilica for the Holy Face of Manoppello

Her research indicates that both images on the Shroud of Turin and the Manoppello Image are of the same man.  I agree with her, wholeheartedly, although it is not at first glance apparent.   There are also many similarities between these two images  of Jesus’ Face and the image of Our Lady of Guadalupe.  First, all are on a cloth.  The image of Our Lady of Guadalupe is on cactus fiber, which should have disintegrated hundreds of years ago according to scientists. The Shroud of Turin is on linen and the Manoppello Image is on woven sea-silk, called byssus.

DSC08115
Our Lady of Guadalupe, pilgrim image beside the Veronica Altar, at St. Peter’s Basilica in Rome. Photo: Paul Badde, author of The Face of God: The Rediscovery of the True Face of Jesus, Ignatius Press.

Byssus  is more rare and more precious than gold.  Mentioned in the Bible, byssus, has a shimmering, iridescent quality which reflects light. Byssus is extremely delicate, yet strong at the same time. It  resists water, weak acids, bases, ethers or alcohols. It can’t be painted, as it does not retain pigments, it can only be dyed; and then, only purple.  Did I mention that it can last for more than 2000 years?

DSC06317
The veil of Manoppello, woven with byssus, is so sheer that you can read through it. Photo: Paul Badde

Another similarity between the Guadalupe image and the Manoppello image is the changeability of the images.  Pilgrims  have related how the image of Our Lady on the tilma appears to change in color, brightness and depth.  Scientists can’t explain how the Guadalupe image appears on the tilma, it is not painted… it is “just there.”  The Shroud of Turin has been described similarly. The veil of Manoppello, or “Il Volto Santo” as it is also known,  is even more incredible, if that can be possible, because in addition to the image being on a veil so sheer that it can be read through, it also changes in detail, color,  and shape.  It even disappears… entirely. It is called a “living image” and so it is.  No two people will see it in the same way.  No single person will see it in the same way twice.

image-1
“Il Volto Santo of Manoppello”

Julian of Norwich, the English mystic of the 14th century,  mentions changeability as a characteristic of the Veil of Veronica in Rome, “the diverse changing of color and countenance, sometime more comfortably life-like, sometime more rueful and death-like.” The Veil of Veronica, it is now believed, was most likely stolen a hundred years later, during the sack of Rome.  But, Julian of Norwichs’ description of the Veil of Veronica certainly fits “Il Volto Santo” of Manoppello.

But, there is more.  There is something about the faces… if you study the faces in particular, especially  the eyes, as one opthamalogist did. On the eyes of Our Lady of Guadalupe, you will notice that something.  Similar research has been done on the eyes of “Il Volto Santo.”  There are delicate, natural, details in all three images that cannot be accomplished without the aid of paint or brush, on a rough, cactus cloth, or on a linen burial shroud or on gossamer-thin sea-silk.  If you have an opportunity, look closely.  Yes, there is something about the faces, and it is something supernatural.  They are not made by human hands, but by the Hand of God.

“O Blessed Virgin Mary, Our Lady of Guadalupe,

By your presence you made the desert bloom with flowers

may your love transform us into the image of Your Son, Jesus Christ.  Amen.”