into heaven. The messengers of Tiberius, however, ascertained that a certain Veronica possessed a portrait of Christ, impressed by the Saviour Himself on a linen handkerchief, and preserved by her with reverence. Veronica was persuaded by them to come to Rome, and the sight of the sacred image restored the emperor to health. Pilate was then sentenced by him to death, for having unjustly crucified our Lord." It is hardly necessary to say that there is no foundation of truth for this addition to the original story. How far the first part of the story is true it is impossible to decide. It is by no means improbable that a pious woman may have wiped the face of Christ.
Mabillon, the learned Benedictine, propounded the theory that each early portrait of Christ was called, in barbarous jargon, a mixture of Latin and Greek, vera icon, true image; and that later, a fable was invented to account for the introduction of these representations into Europe, and the name given to the image was transferred to the person who was supposed to have brought it to the West. This explanation has been generally adopted. "By the name of Veronica," says Baillet, "nothing more was signified than the true image —vera icon of the Saviour painted on a handkerchief or piece of linen called the Holy Sudarium, because, ordinarily, only the head of the Saviour from before was represented on it, that is, the face and hair. Nothing further was meant at Rome, where was to be seen, dating from the 12th century, in the Church of S. Peter, one of these Veronicas, before which lamps were kept burning day and night."13
But the legend itself seems to be an importation, not a fabrication, as Mabillon suggested. For Constantine Porphyrogeneta (d. 959), in whose reign the sacred Abgarus portrait of Christ was brought to Constantinople, relates the following story of that portrait: – "As Christ was on His way to Calvary, bearing His cross, the blood and sweat streaming from His brow obscured His eyes. Then taking from one of His disciples a piece of linen, He wiped His face, and left thereon His sacred portrait. S. Thomas preserved the towel till after the Ascension, when he gave the miraculous picture to Thaddæus, who bore it to Edessa. There he lodged with a Jew named Tobias. He began to work miracles in the name of Christ. Abgarus, king of Edessa, hearing of his works, sent for him. As Thaddæus entered the chamber of the sick king, he elevated above his head the sacred picture, and at the same time, such a blaze of light shot from his face, that Abgarus could not endure the splendour, and, forgetful of his sickness, leaped out of bed. Then he took the linen, covered his head and limbs with it, and was forthwith made whole."
How it was that this venerable picture passed into the hands of the Emperor of Constantinople we learn from the Arabic historian, El Matzin.14 He says that in the year 331 of Hegira, that is a. d. 953 – which is a mistake for 944 – the Greeks besieged the city of Edessa, then in the hands of the Saracens, and demanded the surrender of the holy picture and the accompanying letters of Abgarus and the Saviour, in exchange for the captives they had made. The treasured relics were handed over to the Christians, and were brought to Byzantium, where they were placed in a befitting shrine in the church of the Eternal Wisdom. What became of the picture when Constantinople fell into the hands of the Mussulmans is uncertain. The Venetians claimed to have brought it to Rome, and to have presented it to the Church of S. Sylvester. The Genoese, on the other hand, lay claim to the possession of the sacred portrait, and say that it was brought by Leonard de Montalto, in 1384, to their city, and by him presented to the Armenian Church of S. Bartholomew, where it is still preserved and exhibited once a year.
We shall briefly notice such other portraits of Christ as claim to be authentic, whether in colour or in writing. Of the former, that said to have been painted by S. Luke is the most interesting. The Greek monk Michael, in his life of his master, Theodore of the Studium, relates that S. Luke painted a beautiful likeness of our Saviour. This assertion was readily adopted by later writers. Among others, Simeon Metaphrastes (fl. 936) repeats it, and S. Thomas Aquinas (d. 1274) refers to the picture as existing in the Chapel of the Santa Scala, in the Lateran, at Rome.
Another sacred painting of Christ by S. Luke is in the possession of the Benedictines of Vallombrosa. This portrait is certainly of very great antiquity, and is in tempora on a panel of cypress wood. The features are strongly emphasized, the face long, the eyes large and bright, with eyelids drooping, and arched brows.
Another sacred picture is that given by S. Peter to the Senator Pudens, which is exhibited on Easter Day, in the monastery of S. Praxedes. The story goes that it was sketched by S. Peter for the daughters of Pudens, one evening at supper, on the napkin of Praxedes.
It will be remembered that when Christ was laid in the tomb, His body was wrapped in fine linen, and a linen napkin was on his face. These relics are said to be preserved at Besançon and Turin. The Turin linen shows the bloodstained outline of the Saviour's body; that at Besançon is marked with the ointments. The features are impressed on the napkin, and are of the Byzantine type.
A crucifix, by Nicodemus, is exhibited in the cathedral of Lucca. Another portrait is the Nazaræum, which is certainly of considerable antiquity, and is probably the earliest extant copy of the famous Edessa picture. It is in the Latin convent at Nazareth. This picture is engraved in Abraham Norow's travels in Palestine. (S. Petersburg, 1844).
Let us now turn to the literary sketches of the portrait of our Lord which have descended to us.
S. Jerome, (d. 420), says that in the face and eyes of Christ there was something heavenly, so that from their glory and majesty the hidden Godhead flashed forth. S. John of Damascus, (d. about 760), in his letter to the Emperor Theophilus, says, "Christ was tall and stately, had brows uniting over the nose, beautiful eyes, a large nose, curled hair, and a black beard. His hair was a gold-brown, like wheat, resembling that of his mother, and his head was bowed somewhat forward."
The next, and more precise account is that of the apocryphal letter of Lentulus, (who is supposed to have lived at the time of Christ, and to have been about the person of Pilate, to the Roman senate,) which is said to have been extracted from the Roman annals by a certain Eutropius. This first appears in the writings of S. Anselm, (d. 1107). "He is a man of tall stature, comely, having a venerable countenance, which those beholding must love or fear. His hair is waving and curled, rolling to his shoulders, having a parting in the middle of the head, after the manner of the Nazarenes, a brow smooth and serene, a face without wrinkle or blemish of any kind, rendered beautiful by a moderate colour. There is no fault to be found with the nose and mouth; he has a full and red beard, the colour of his locks, not long, but forked, and eyes bright and changeable." Another version of this letter adds that the hair was the colour of the hazel-nut, the eyes greyish-blue, and full of light. "His hands and arms are beautiful. He is terrible in reprehension, but mild and full of love in instruction; cheerful, but with steadfast earnestness. No one ever saw Him laugh, but often has He been seen to weep. Precise and modest in his speech, he is in all perfect, and the fairest of the sons of men."
But the most precise and complete account is that of Nicephorus Callistus, (fl. 1330). His description is as follows: – "He was beautiful in body, his height seven complete spans, his hair was yellowish, not bushy, and at the ends somewhat curled. His eyebrows were black, only a little arched, and without break; his eyes were hazel, of that description called bright-eyed, not dim, in no way misformed, not wandering. His nose was prominent, his beard reddish, not profuse, but the hair of his head was abundant, for never had razor or hand of man shorn it. His neck was somewhat bent, so that he did not walk perfectly upright; the colour of his face was a yellow-brown, like ripe wheat; his face was not round, nor pointed, but, like his mother's, a little drooping, and slightly blushing. His very countenance indicated a man of intelligence, with manners grave, calm, and removed from anger. In all things, he was like his most pure mother."
And this is the account of S. Mary given by Nicephorus: – "Mary was in everything modest and earnest; she spake little, and then only about necessaries; she was very courteous, and rendered to all honour and respect. She was of middle stature, though some assert her to have been somewhat taller. She spake to all with an engaging frankness, without laughing, without embarrassment, and especially
"Vie des Saints" Tom. ix. p. 22.
Elmasini 'Hist. Sarac.' Lugd. Batav. 1625, p. 267.
