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In Christian tradition, besides the Virgin Mary, the most remembered woman, Veronica, is not remembered in the New Testament Gospels. Therefore, its form was preserved only by Christian tradition and an apocryphal document. He is the one who, according to tradition, during the crucifixion on Calvary, came out of the crowd without caring about the guards who accompanied Jesus to the place of destruction, and wiped the blood from the Savior’s face with a cloth. Veronica’s name, which comes from the ancient Greek “vera eikon” or “true image”, is forever intertwined with the silk veil that bears her name and is preserved in the Capuchin Church of Manopello in Italy, which presents a face that matches perfectly with the mysterious Turin. mantle.
Evangelists don’t remember Veronica
The reverence for Veronica really only spread in the Christian community from the thirteenth century, when III. In 1208, Pope Ince introduced the solemn Easter procession with Veronica’s shawl. Italian poet prince Dante Alighieri is famous The new life It also commemorates the fact that pilgrims came to Rome in droves to see the face of Christ on the Holy Shroud of Saint Veronica.
The strong cult of the shawl that conserved the image of Christ was well illustrated, among other things, by the fact that when construction work began on the new St. Peter’s Basilica in 1506, the first stone was laid on the site of the old chapel. guarding Veronica’s shroud.
None of the canonized gospels refer to Veronica,
but an apocryphal record from the 6th century, the Acts of Pilate, identifies with his person the bloodthirsty woman mentioned in the Gospels of Matthew (Matthew 9:20) and Mark (Mark 5:25) and Luke (Lk 8:43). ). .
According to Christian tradition, when Veronica wiped the bloody face of Jesus from the suffering, the Savior left the imprint of her portrait on the canvas, which from the Christian point of view is a calling acheuropoietos, that is to say, a supernatural image of divine origin.
He disappeared from St. Peter’s Basilica and then appeared in Manopello
The history of the 17 x 24 centimeter veil made of bissus (shell silk) is relatively well documented. The handkerchief was moved from Jerusalem to Constantinople in 574 and from there to Rome in 705. An apocryphal document, on the other hand, states that the handkerchief was brought to Rome by Volusianus, the successor of Quintus Poncius Pilatus, a Jewish prosecutor who crucified Jesus.
The so-called teaching of Addai, which originated in the 5th century, states that the cloak was sent to Jericho, the daughter of Agpe, king of Edessa, from Jerusalem,
where, together with the Shroud of Turin, considered the death trap of Christ, it has been preserved for many centuries,
and from there he went to Constantinople and then to Rome. After the reconstruction of St. Peter’s Basilica in Rome, the precious relic was placed in the treasury of the basilica.
In 1616, however, shocking news spread that St. Veronica’s shawl had disappeared from the Vatican treasury. According to some sources, Pope Paul V celebrated it for the last time in 1606. What can be documented with certainty is that the handkerchief was already in the possession of the Capuchins of Manopello in 1646, where it can still be seen in the Church of the Assumption. .
There is no explanation of how the mysterious image could have been formed.
Several people have studied the formation of facial contours with equally strong contours on both sides of the mysterious veil. The Trappist nun Blandin Paschalis Schlöner, an icon painter, studied the relic in minute detail for many years.
He discovered
that the size and character of the face on the handkerchief kept in Manoppello show a 100 percent match
it is believed to be the veil of Christ’s death, and the canvas preserved in the Cathedral of Saint John the Baptist in Turin is covered with a slightly outlined male head. In 1898, with the permission of Casa Saboya, an amateur photographer, Secondo Pia, took photographs of the veil.
When he developed the shots, on the negative of the images, surprisingly, the contours of the head of a bearded man were drawn in 3D. In the 1930s, the traces of the Roman three-pointed whip, the scourge, the crown of thorns and the cardiac puncture of the heart were also identified in the outline of the veil in the recordings, which were repeated with a much better technique.
In 1978, after digital enhancement of facial images by Jesuit historian professor Francis L. Filas, he discovered that the eyes were covered by traces of two bronze provincial medals printed in AD. Between 29 and 31, during the reign of Pontius Pilate, they were beaten in Judea.
Schlöner showed a meticulous comparison of the Shroud of Turin and the “Volto Santo” to match the two portraits. The researcher says that the blood-based contour
it was burned into flax fibers by some unknown high-energy radiation, very similar to neutron discharge.
Others, including the Italian research group ENEA, reached a similar conclusion. According to serological tests, the contours of the face seen on the Manopello cloth are not painted with paint, but with blood from group AB, similar to the Shroud of Turin.
Comparative textile studies suggest that the medieval origin of the veil can be ruled out and that it can be stated with certainty that the textile was woven in the 1st century. All researchers who have been able to examine the shawl in depth agree that the formation of the portrait is inexplicable from current knowledge.
According to the resolution of the Roman Catholic Church, although the question of faith is not based on relics, holy relics can reinforce belief in faith.
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