Veil of Veronica
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| - | [[Image:Le Ministère de la Marine by Charles Meryon.jpg|right|thumb|200px|''[[Le Ministère de la Marine]]'' ([[1865]]-[[1866]]) is a print by [[French etcher]] [[Charles Méryon]] depicting the [[marine]] ministry "attacked" by a charging flock of [[fantastic creature]]s. | + | [[Image:Veronica's Veil (Francisco de Zurbarán, Bilbao).jpg|thumb|right|200px|''[[Veil of Veronica]]'' by [[Francisco de Zurbarán]], [[Bilbao Fine Arts Museum]], see [[Veronica's Veil (Francisco de Zurbarán) |...]]]] |
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| - | [[Image:Jacques Fabian Gautier d'Agoty back.jpg|right|thumb|200px|"The Flayed Angel", [[anatomical]] drawing ([[1746]]) from "Myologie Complette En Couleur Et Grandeur Naturelle," by [[Jacques Fabian Gautier d'Agoty]]]] | + | |
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| - | :This article discusses the technique of engraving for printmaking, one of the earliest techniques in the [[mass culture|democratization]] of [[visual culture]]. | + | '''The Veil of Veronica''', or '''Sudarium''' (Latin for sweat-cloth), often called simply "The Veronica" and known in Italian as the '''Volto Santo''' or ''Holy Face'' (but not to be confused with the carved [[crucifix]] [[Holy Face of Lucca]]) is a [[Catholic relic]], which, according to legend, bears the [[likeness]] of the [[Face of Jesus]] not made by human hand (i.e. an [[Acheiropoieta]]). |
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| - | In the European [[Middle Ages]] [[goldsmith]]s used engraving to decorate and inscribe metalwork. It is thought that they began to [[printmaking|print impressions]] of their designs to record them. From this grew the engraving of copper printing plates to produce artistic images on paper, known as [[old master print]]s in Germany in the 1430s. Italy soon followed. Many early engravers came from a goldsmithing background and the new technique largely replaced [[woodblock printing]]. The first and greatest period of the engraving was from about 1470 to 1530, with such masters as [[Martin Schongauer]] and [[Albrecht Dürer]]. | + | |
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| - | Thereafter engraving tended to lose ground to [[etching]], which was a much easier technique for the artist to learn. But many prints combined the two techniques - although [[Rembrandt]]'s prints are generally all called etchings for convenience, many of them have some burin or drypoint work, and some have nothing else. By the nineteenth century, most engraving was for commercial illustration. | + | |
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| - | Before the advent of [[photography]], engraving was used to reproduce other forms of [[art]], for example [[painting]]s. Engravings continued to be common in newspapers and many books into the early [[20th century]], as they were long cheaper to use in printing than photographic images. Engraving has also always been used as a method of original artistic expression. | + | |
| - | Traditionally, engravers created darker areas by making an area of many very thin parallel lines (called ''hatching''). When two sets of parallel line ''hatchings'' intersected each other for higher density, the resultant pattern was known as ''[[crosshatching]]''. [[Claude Mellan]] is well-known for his technique of using parallel lines of varying thickness. One notable example is his ''[[Veil of Veronica|Sudarium of Saint Veronica]]'' (1649), an engraving of the face of Jesus from a single spiralling line that starts at the tip Jesus's nose. | + | The most recent version of the legend recounts that [[Saint Veronica|Veronica]] from [[Jerusalem]] encountered [[Jesus]] along the [[Via Dolorosa]] on the way to [[Calvary]]. When she paused to wipe the [[sweat]] (Latin ''suda'') off his face with her [[veil]], his image was [[imprint]]ed on the [[cloth]]. The event is commemorated by one of the [[Stations of the Cross]]. According to some versions, Veronica later traveled to Rome to present the cloth to the Roman Emperor [[Tiberius]] and the veil possesses [[miraculous]] properties, being able to quench thirst, cure blindness, and sometimes even [[raise the dead]]. |
| - | ==Noted engravers== | + | |
| - | Prints (see also [[List of Printmakers]]): | + | The story is not recorded in its present form until the Middle Ages and for this reason, is unlikely to be historical. Rather, its origins are more likely to be found in the story of the image of Jesus associated with the Eastern Church known as the [[Mandylion]], coupled with the desire of the faithful be able to see the face of their Redeemer. During the fourteenth century it became a central icon in the Western Church – in the words of Art Curator [[Neil MacGregor]] – “From [the 14th Century] on, wherever the Roman Church went, the Veronica would go with it. |
| - | * [[Jacopo de' Barbari]] (active 1500-1515) | + | |
| - | * [[Theodore de Bry]] (1528-1598) | + | |
| - | * [[William Blake]] (1757-1827) | + | |
| - | * [[Giulio Campagnola]] (active c.1505-1515) | + | |
| - | * [[Gustave Doré]] (1832–1883) | + | |
| - | * [[Albrecht Dürer]] (1471–1528) | + | |
| - | * [[Master ES]] (active c.1450-1470) | + | |
| - | * [[Maso Finiguerra]] (1426-1464) | + | |
| - | * [[Hendrick Goltzius]] (c.1558-1617) | + | |
| - | * [[Francisco de Goya]] (1746-1828) | + | |
| - | * [[Stanley William Hayter]] (1901-1988) | + | |
| - | * [[William Hogarth]] (1697–1764) | + | |
| - | * [[Helen Hyde]] (1868-1919) | + | |
| - | * [[Lucas van Leyden]] (1494-1533) | + | |
| - | * [[Andrea Mantegna]] (c.1431-1506) | + | |
| - | * [[Claude Mellan]] (1598-1688) | + | |
| - | * [[Israhel van Meckenem]] (c.1445-1501) | + | |
| - | * [[Matthäus Merian]] (1593-1650) | + | |
| - | * [[José Guadalupe Posada]] (1852-1913) | + | |
| - | * [[Jan Saenredam]] (1565-1607) | + | |
| - | * [[Martin Schöngauer]] (c.1450-1491) | + | |
| - | * [[John Sturt]] (1658-1730) | + | |
| - | * [[Maerten de Vos]] (1532-1603) | + | |
| - | * [[Anthonie Wierix]] (1552-1624) | + | |
| - | * [[Hieronymus Wierix]] (1553-1619) | + | |
| - | Of [[gem]]s: | + | |
| - | *Theodorus of Samos,[[Polycrates]]' gem-engraver | + | |
| - | *Pyrgoteles, [[Alexander the Great|Alexander]]'s gem-engraver | + | |
| - | Of guns: | + | == Representative art == |
| - | * [[A. B. Bradshaw (Firearm Engraver)]] | + | |
| - | * [[Thierry Duguet]] | + | |
| - | * [[Geoffroy Gournet]] | + | |
| - | * [[Ken Hunt (engraver)]] | + | |
| - | * [[Harry Kell]] | + | |
| - | * [[Harry Morris]] (sometimes Henry Morris) | + | |
| - | * [[Jack Sumner]] | + | |
| - | * [[Sam Alfano]] | + | |
| - | Of coins: | + | There are two main traditions for the iconography of the face depicted on the veil. One tradition (Type I), common in Italian art, shows the face of Christ as full-bearded, in pain, scourged and perhaps crowned with thorns. Another (Type II), common in Russian and Spanish art, shows Christ's face more often in repose, hair extending to shoulder length and a bifurcated beard, often surrounded by a halo quartered in a cross. Another (Type III), common in the Philippines shows Christ's face three times with hair down to the shoulder and with the Crown of Thorns. |
| - | * [[Thomas Hugh Paget]] | + | |
| - | Of postage stamps: | + | ;Type I: |
| - | * [[Czesław Słania]] | + | * ''Veronica's Veil'' Domenico Fetti, circa 1620. |
| + | * ''Holy Face'' Giambono, fifteenth century. Civic Museum, Pavia, Italy. | ||
| + | * ''Holy Face Held by Two Angels'' Juan Sánchez Cotan, 1620-1625. Monastery of Cartuja, Granada. | ||
| + | * ''Holy Face'' Domenikos Theotokopoulos (El Greco). Convent of Capuchin Nuns, Toledo. | ||
| + | * ''[[Veronica's Veil (Francisco de Zurbarán)]]'' [[Francisco de Zurbarán]], seventeenth century. Parish Church of St Peter, Seville. | ||
| + | ;Type II: | ||
| + | * ''Head of Christ on the Sudarium'' Claude Mellan, 1649. | ||
| + | * ''Diptych of Saint Veronica with Christ and the Virgin Mary'' Bernardo Martorelli, fifteenth century. Museum of Mallorca. | ||
| + | * ''Holy Face'', anonymous, early 17th century. Tretyakov Gallery, Moscow. | ||
| + | * ''Holy Face'' Simon Ushakov, 1678. Tretyakov Gallery, Moscow. | ||
| + | * ''Miracle of the Tear'' Juan Conchillos, 1680. Lady Chapel of the Monastery of the Holy Face, Alicante. | ||
| + | * ''Miracle of the Three faces'' Juan de Miranda, 1767. Alicante Ayuntamiento. | ||
| + | * ''Saint Veronica'' Antonio Castillo Lastrucci, 1946. Basilica of St Mary, Alicante. | ||
| + | ==See also== | ||
| + | *[[Shroud of Turin]] | ||
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The Veil of Veronica, or Sudarium (Latin for sweat-cloth), often called simply "The Veronica" and known in Italian as the Volto Santo or Holy Face (but not to be confused with the carved crucifix Holy Face of Lucca) is a Catholic relic, which, according to legend, bears the likeness of the Face of Jesus not made by human hand (i.e. an Acheiropoieta).
The most recent version of the legend recounts that Veronica from Jerusalem encountered Jesus along the Via Dolorosa on the way to Calvary. When she paused to wipe the sweat (Latin suda) off his face with her veil, his image was imprinted on the cloth. The event is commemorated by one of the Stations of the Cross. According to some versions, Veronica later traveled to Rome to present the cloth to the Roman Emperor Tiberius and the veil possesses miraculous properties, being able to quench thirst, cure blindness, and sometimes even raise the dead.
The story is not recorded in its present form until the Middle Ages and for this reason, is unlikely to be historical. Rather, its origins are more likely to be found in the story of the image of Jesus associated with the Eastern Church known as the Mandylion, coupled with the desire of the faithful be able to see the face of their Redeemer. During the fourteenth century it became a central icon in the Western Church – in the words of Art Curator Neil MacGregor – “From [the 14th Century] on, wherever the Roman Church went, the Veronica would go with it.
[edit]
Representative art
There are two main traditions for the iconography of the face depicted on the veil. One tradition (Type I), common in Italian art, shows the face of Christ as full-bearded, in pain, scourged and perhaps crowned with thorns. Another (Type II), common in Russian and Spanish art, shows Christ's face more often in repose, hair extending to shoulder length and a bifurcated beard, often surrounded by a halo quartered in a cross. Another (Type III), common in the Philippines shows Christ's face three times with hair down to the shoulder and with the Crown of Thorns.
- Type I
- Veronica's Veil Domenico Fetti, circa 1620.
- Holy Face Giambono, fifteenth century. Civic Museum, Pavia, Italy.
- Holy Face Held by Two Angels Juan Sánchez Cotan, 1620-1625. Monastery of Cartuja, Granada.
- Holy Face Domenikos Theotokopoulos (El Greco). Convent of Capuchin Nuns, Toledo.
- Veronica's Veil (Francisco de Zurbarán) Francisco de Zurbarán, seventeenth century. Parish Church of St Peter, Seville.
- Type II
- Head of Christ on the Sudarium Claude Mellan, 1649.
- Diptych of Saint Veronica with Christ and the Virgin Mary Bernardo Martorelli, fifteenth century. Museum of Mallorca.
- Holy Face, anonymous, early 17th century. Tretyakov Gallery, Moscow.
- Holy Face Simon Ushakov, 1678. Tretyakov Gallery, Moscow.
- Miracle of the Tear Juan Conchillos, 1680. Lady Chapel of the Monastery of the Holy Face, Alicante.
- Miracle of the Three faces Juan de Miranda, 1767. Alicante Ayuntamiento.
- Saint Veronica Antonio Castillo Lastrucci, 1946. Basilica of St Mary, Alicante.
[edit]
See also
Unless indicated otherwise, the text in this article is either based on Wikipedia article "Veil of Veronica" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.
