This immemorial custom has been held once a year on Passion Sunday going back to the days of the old Constantinian Basilica, a popular annual tradition that is an integral part of the liturgical cycle in the Vatican. When the new basilica was built, Bernini designed a hidden chapel in one of the piers that supports the dome -- it was created to house the relic, accessed from below by a staircase. For the faithful who are present, the occasion is a once-in-a-lifetime experience to see what is believed by many to be the veil of Veronica.
Further, on this day the papal altar is adorned with precious relics from the treasury of St. Peter's. On All Saints Day in November relics are similarly displayed here. Thankfully the tradition of the Lenten Station churches has survived the reforms of the liturgical "renewal." It is interesting to note the image is exposed and shown on a day when all other images of Christ are veiled for Passiontide. A video of the solemn rite of exposition can be seen here, courtesy of Crux Stationalis.
After Vespers the procession leads to the piers pier of the chapel that holds the relic (one of the four massive piers that holds the weight of Michelangelo's dome). The choir sings the Vexilla Regis. After, all eyes are fixed on the loggia as a few canons appear with attendants. Bells ring for several seconds as the relic of the veil is retrieved and exposed momentarily for the blessing, shown on three sides of the loggia for all to see. Today the icon is kept today in a glass box. The bells ring again as it is reposed.
Moments before, this prayer is prayed aloud (the original version was composed by Pope Innocent III in 1208). The prayer was always sung in Latin, until the present Pontificate (today it is sung in Italian). Below is a translation courtesy of our good friend Mr. Gregory DiPippo.
Deus, qui nobis signatis lumine vultus tui imaginem tuam relinquere voluisti: per passionem et crucem tuam tribue nobis, quaesumus; ut sicut nunc in terris per speculum et in aenigmate ipsam veneramur, ita facie ad faciem venientem judicem te securi videamus. Qui vivis...
God, who didst wish to leave Thy image to us, who are marked with the light of Thy countenance: through Thy passion and Cross grant us, we beseech Thee; that as now upon the earth we venerate it through a glass darkly, so in safety may we see Thee face to face when Thou comest to judge. Who livest...
Devotion to the Holy Face became popular in France in the nineteenth century, emanating from the city of Tours and the efforts of a layman, Leo Dupont. Below is a drawing of the veil made for public devotion, and endorsed in 1905 by Pope St. Pius X. The image has been copied loosely from the Veil of Veronica kept in the Vatican Basilica, as its caption in Latin attests: Vera Effigies Sacri Vultus Domino Nostril Jesu Christi. Quae Romae in Sacrosancta Basilica S. Petri in Vaticano Religiosissimime Asservatur et Colitur.
The images below illustrates the procession and blessing from the loggia. Bernini's four piers are best known for projecting four colossal statues - almost three times life-sized - that decorate them. He also designed shallow niches as relics chapels behind each loggia. The statue under the loggia being discussed here is Veronica by Francesco Mochi, made between 1629 and 1640. Although the story of Veronica is not recorded in the scriptures, it was told by the Crusaders in Jerusalem who included this story in the Via Crucis, the devotion of the Stations of the Cross.
The VIth station is "Veronica Wipes the Face of Jesus." In Jerusalem pilgrims stop here and pray as they walk the Stations. In Jerusalem, a chapel of the Greek Catholics makes the place of the station with the devout episode recorded in a touching mosaic in the little oratory found there.
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| The entrance procession |
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| The blessing from the loggia |
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| Zoomed image of the blessing |
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| Image of the relic |
Images courtesy of Mr. John Egan.
