Paul Badde has written another fine article, “Veronica’s Heart or The True Canvas of God” which first appeared in the Italian Monthly Tempi. In the article Paul explores the roots of Pope St. John Paul II’s deep devotion to the Holy Face of Jesus, which led to his dedicating the millennium to the Face of Christ, as well as the connection to the rediscovery of the Veil of Manoppello, Italy — believed to be “the Veronica” or the true image of the Face of Christ.
The fact that Pope St. John Paul II and both his successors Pope Benedict XVI and Pope Francis strongly emphasized devotion to the Face of Christ is something that should cause every Christian to ask themselves “why?” What is its importance for the Church, and for each individual to seek the “true Face of Christ?” Raymond Frost, who writes the Holy Face of Manoppello Blog has translated Paul’s article into English. It is certainly worth a read… click here to read…
Since ancient times processions have been a reminder that our Christian life is a constant movement toward God and our eternal home. A procession is a type of pilgrimage and expression of piety that flows from the liturgy. Solemn processions can be quite beautiful–accompanied by hymns, prayers, and lit candles– flower girls dropping roses petals, lines of freshly scrubbed altar servers, Knights of Columbus in plumed hats and capes, bearing their swords (the envy of every little boy), priests accompanying the Eucharist or precious relics, acolytes surrounded by clouds of incense, and the faithful holding their rosaries trying to keep their place as they walk slowly behind. But make no mistake, a procession is not a pretty parade. There is power in procession that terrifies the infernal foe and makes all of hell tremble.
Fr. Frederick W. Faber in his treatise on the Blessed Sacrament wrote:
“We process toward our heavenly home in the company of God. Procession is the function of faith, which burns in our hearts and beams in our faces, and makes our voices tremulous with emotion as our ‘Lauda Sion’ bids defiance to an unbelieving world.”
The world is not only unbelieving but publicly blasphemes God to His Face, and it is for this reason that He must be honored publicly. Whether it is within the confines of a church or through the city streets, the procession is a public function of faith, hope, and love. It is an antidote to the poison disseminated by our culture which falsely asserts that religion is “private” and not something to be brought up in polite society or in the public square. By solemn procession the Church loudly proclaims to all the world that Jesus is Lord!
On the occasion of the first “Omnis Terra” procession in 1208, Pope Innocent III wrote this beautiful prayer of devotion to the Veil of Holy Face of Jesus:
“O God, who has marked us with the light of Thy Face as your memorial, and at the request of Veronica, left us Thy Image imprinted on the sudarium; grant we pray, that by your passion and death, to adore, venerate and honor you, in mystery and as through a mirror on earth, so that we might be able to certainly see you, face to face, when you come as our judge.”
This year, on “Omnis Terra” Sunday, January 15, 2017, history will be made once again at the Basilica Sanctuary of the Holy Face in Manoppello, Italy. A third solemn annual procession will be introduced–in addition to the two solemn processions already observed in May (commemorating the arrival of the Holy Veil to Manoppello), and the solemn procession in August (on the Feast of the Transfiguration). (Details may be found here on the Holy Face of Manoppello blogspot)
The addition of a third procession of the Holy Face at the Shrine of Manoppello is not only Trinitarian, it is a deeply significant and public witness of honor paid by the faithful to His Holy Face and thus also to the Holy Name of Jesus! May all of hell tremble at the sight of His Holy Face!
A Hymn composed by Pope Innocent III from the year 1216:
“Sancte Salve Facies”
Hail Holy Face of Our Redeemer on which shines the appearance of divine splendor impressed upon a little cloth of snowy radiance and given to Veronica as a standard of love.
Hail beauty of the ages, mirror of the saints, which the spirits of the heavens desire to see. Cleanse us from every stain of sin and guide us to the fellowship of the blessed.
Hail our glory amidst this hard life, so fragile and unstable, quickly passing away. Point us, O happy figure, to the heavenly homeland to see the Face that is Christ indeed.
Hail, O sudarium, noble encased jewel, both our solace and the memorial of Him who assumed a little mortal body–our true joy and ultimate good!
*The precious miniature manuscript “Liber Regulae Sancti Spiritus in Saxia,” was published around 1350 and is preserved in the State Archives in Rome. The illustration at the bottom of the first page of the Liber is one of the oldest illustrations of “the Veronica,” which depicts Pope Innocent III with “the Veronica” in his right hand and the Rule granted to the brothers of the hospital in his left. Prior to the Jubilee of 2000, the French medievalist Jacques Le Goff wrote, “Over the centuries Rome was enriched with notable relics. One in particular acquired an exceptional prestige: the sudarium of Christ known and revered by the name of “the Veronica.” The circumstances by which the image first came to Rome is a mystery but was mentioned for the first time under Pope John VII (705-707)
In the crowd walking towards the place of Agony–did you open up a gap at some point or were you opening it from the beginning? And since when? You tell me, Veronica. Your name was born in the very instant in which your heart became an effigy: the effigy of truth. Your name was born from what you gazed upon. –Karol Woytyla
The Veronica–Although historians are still uncertain as to how the veil came to Rome, there is an interesting fresco in the grottoes beneath St. Peter’s Basilica. The fresco, commissioned ca. 1608 by Paul V in the area near the tomb of St. Peter, was to preserve the memory of monuments of the old Basilica that had been demolished 12 years earlier. Among the frescoes is the Oratory (dated ca. 708) of Pope John VII. It protected the sacellum or small shrine containing the Holy Veil, which by some accounts, brought by John VII to Rome from Constantinople.
The inscription reads: SACALLVM SS. SVDARII VERONIC(ae), ET DEIP(arae) VIRG(inis) A IONNE VII—“The oratory of the Holy Sudarium Veronica and of the Virgin Mother of God, built by John VII” (Scholars dispute whether the shrine was actually built by John VII or much later by Celestinus III–which is another mystery–why would one pope build a shrine, then credit it to another pope?)
(The Latin word “Veronic” in the inscription means “True Image” and the word “sudarium” is Latin for “sweat cloth.” “Sudarium” is specifically used to refer to the two cloths that are associated with the Passion of Jesus: One is known as the “Oviedo,” which bears no image, but was used to soak up blood from Jesus’s Face after His death on the Cross; and the second is known as the “Veronica Veil.” The Shroud of Turin is known as the “Sindone”or burial cloth.)
“The Veronica” was the name given to the veil itself, but several legends sprang up about a woman named Veronica (who was sometimes associated with the woman Berenice, the bleeding woman, who touches the hem of Jesus’s garment in the Gospel). The oldest legend, tells a tale much like the Legend of Edessa—the Cura Sanitatis Tiberii, in which a woman named Veronica, having painted a portrait of the Lord, was summoned from Jerusalem to Rome by the Emperor Tiberius, who was cured of leprosy by touching the sacred image. Then there is a version that tells of Veronica wiping sweat from the Face of Jesus, written in 1191 called Joseph d’ Arimathie by Robert de Boron. The stories are many and varied, but the legend that most people are familiar with today is traced to a version by Roger d’Argenteuil in the 1300’s–it is that of Veronica, which is associated with the sixth station of the Cross–the compassionate woman, wiping the Face of Jesus on the way to Calvary with a cloth, upon which He leaves an image of His Face. The big question is– did a woman, later named for the holy Veronica Veil, exist? The Catholic Encyclopedia deftly answers the delicate question: “These pious traditions cannot be documented, but there is no reason why the belief that such an act of compassion did occur should not find expression in the veneration paid to one called Veronica.”
It was Pope Innocent III who brought the Holy Veil out of hiding, by instituting a procession with the Veronica on the Sunday after the Octave of the Epiphany, which was dedicated to the Wedding at Cana. The procession traveled from St. Peter’s Church to Spirito Santo Hospital in Rome. Alms were given along the way (3 denarii) to the poor, which was enough to buy milk, bread, and wine. (This procession was reenacted for the first time in many centuries in Rome on January 17, 2016. Details here.) Soon after Innocent III’s procession, the Veronica Veil became the most famous relic in Rome. Pilgrims flocked to see the Veronica and artists created many reproductions for the pilgrims. During next four centuries, the ordinary pilgrims included saints and other notable persons who saw the Holy Face for themselves and recorded their experience.
Dante, who came to Rome as a pilgrim and saw the Veronica Veil himself, later wrote in Paradiso of the Divine Comedy of“A pilgrim from Croatia, far indeed, comes to set his gaze on our Veronica, and cannot fulfill so long a hunger for that food. But while the relic’s shown he says, in thought, ‘And did you look like this, was this your face, O Jesus Christ my Lord and very God?'” (Canto 31,103-106)
The appearance of the Face on the Veil had mysterious, changeable attributes recorded in art and writing: The veil was described as sheer, almost transparent, and luminous. While the face of Jesus was sometimes suffering or serene, in color it was “dark,” “bright,” “bluish,” “black” or “golden”…or even vanished completely.
St.Gertrude the Great described the Veronica in 1289, explaining that both the darkness and brightness of the Veronica was related to the Passion and Resurrection of Jesus as well as the fact that Christ was both human and divine. St. Julian of Norwich wrote of the Holy Veil in Rome, “which He hath portrayed with His own blessed Face when He was in His hard Passion, with steadfast will going to His death, and often changing of color…diverse changing of color and countenance, sometime more comfortably and life-like, sometime more ruefully and death-like.”
Even Martin Luther gave a rather incredulous description of the Veronica, which he saw (or rather, didn’t see) on a visit to Rome in 1511: “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.”
In 1506, Pope Julius II (the pope who harangued Michaelangelo to complete the Sistine Chapel) began the great renovation of St. Peter’s Basilica including the construction of a magnificent Veronica pillar, which was to contain the precious Veil. In 1527, Rome was sacked by the mercenary troops of Charles the V; within eight days homes, palaces, and churches were looted, pillaged, and destroyed, including the Vatican. (Sack of Rome) As in all times of crisis, the rumors flew…it was feared that the Veronica had been stolen. “A letter written to the Duchess of Urbino by her representative, Urban, dated May 21, 1527, reads, Holy relics have been thrown out onto the streets. The Veronica has been stolen and passed around in taverns from person to person without a word of protest‘”… (To be continued in “Four Stories – One Face, Pt. 4)
(The 14th century reliquary frame, built to display the miraculous veil. The frame was likely broken and the rock crystal cracked during the Sack of Rome in 1527. The crystal is the largest known example of rock crystal in the world.)