Passiontide

The statues and cross on this altar are veiled for the two weeks of Passiontide.

In western Christian liturgical practice, the last two weeks before Easter were commonly known as “Passiontide.” The statues and crosses would be veiled. Some think this dates from a time when Lent was itself only two weeks long and that the images were therefore veiled for all of Lent. Some think that as Lent became longer–finally becoming the 40-day fast it is now–that the statues and crosses were veiled for all of Lent. Practices varied a great deal across western Europe. In some places the crosses were covered on Ash Wednesday; in others on the first Sunday of Lent. In England it was customary on the first Monday of Lent to cover up all the crucifixes, images of every kind, the reliquaries, and even the cup with the Blessed Sacrament. In other places, veils were still only used during the two weeks of Passiontide itself.

Why cover the cross and other images? Scholars suggest that at the time when veiling was introduced, the image of Christ on the Cross was still that of Christ Triumphant: his eyes are open, he is calm, and he is robed as a king or priest. He is ruling the world from the throne of the Cross, as many iturgical hymns say. The image of Christ on the Cross as the Man of Sorrows (his body twisted in agony, his eyes often closed in death, the pain and agony of Crucifixion on full display) did not become popular until much later. The veils were thus used to hide the triumphant images of Christ as the faithful were preparing to celebrate that triumph. (The saints are likewise images of Christ triumphant in the lives of believers and would therefore be covered as well during the time of preparing to celebrate Christ’s triumph over Death.) By the time the image of the Man of Sorrows on the Cross–which would be appropriate for veneration during the preparation for Easter–became popular, the veils had become too entrenched in popular custom and so the images of Christ on the Cross continue to be covered.

Even in the Orthodox world, the two weeks before Easter are distinct liturgical periods: the Week of Palms which leads up to Palm Sunday and the Passion Week which culminates in Good Friday-Holy Saturday-Pascha (Easter). But the images are not veiled in Orthodox churches.

A beautiful example of Christ Triumphant on the Cross from 13th century Pisa–currently in the collection of the Cleveland Museum of Art–can be seen here.

Veronica and the Shroud

Veronica holding her veil, by Hans Memling (c. 1470)

Veronica holding her veil, by Hans Memling (c. 1470)

According to legend, a woman named Veronica (who is commemorated on July 12) was among the crowds lining the streets of Jerusalem as Jesus carried the cross on his way to be crucified on Golgotha. Feeling pity for him, she stepped forward and wiped the sweat and blood from his face with her veil. Later that evening, she is said to have discovered the image of Christ’s face imprinted on her veil.

Many people think this story is a variation on the story of the Shroud of Turin, said to be the shroud in which Jesus was buried. It was also said to have been imprinted with the image of Jesus’ body in the moment just before his Resurrection. Because of the way the Shroud was traditionally folded when put on display, only the face was visible. This resulted in an image much like the one reputed to have been imprinted on Veronica’s veil. Many also point out that the woman’s name, “Veronica,” is in fact Latin for “true image” or “true/authentic icon” and is more a statement about the cloth than about her historical identity.

The story of the Icon-Made-Without-Hands is also about a Byzantine cloth on which Jesus himself imprinted his face to send to the king of Edessa so that the ailing king might be healed. Again, this “true icon” is said by many to be another version of the same story and that all 3 versions are probably based on the historical kernel that there was indeed a cloth image of Jesus that was venerated by the Church during its early centuries as an authentic, miraculous reproduction of Christ that was thought to work miracles.

This textile image plays an important role in two books that I highly recommend:

The Fifth Gospel by Ian Caldwell is a thriller set in the Vatican in which a long-lost gospel text, a contentious relic [i.e. the Shroud of Turin], and a dying pope’s final wish converge to send two brothers—both Vatican priests—on an intellectual quest to untangle Christianity’s greatest historical mystery.

Death Masks by Jim Butcher is one of his EXCELLENT Harry Dresden series in which Harry, Chicago’s only practising professional wizard, is caught in a duel with the Red Court of Vampires’ champion, who must kill Harry to end the war between vampires and wizards …Professional hit men using Harry for target practice …The missing Shroud of Turin …A handless and headless corpse the Chicago police need identified …

Both are excellent summertime reading — especially in connection with July 12, the feast of Veronica and her veil!