Herodot., lib. ii., p. 36,—
“Qui grege linigero circumdatus et grege calvo,
Plangentis populi currit derisor Anubis.”
Juvenal, vi. 532.
It appears that a kerchief with the likeness of the face of Jesus Christ imprinted on it, and covered with blood and sweat, was kept in a church at Rome in the eleventh century, for it is mentioned in the brief of Pope Sergius IV., dated 1011. We do not know what tales respecting this relic were related at that time, but it appears that copies of it called Veronies, i.e., a corruption of verum icon, “the true image,” were sold; and no doubt this appellation gave rise to the legend of Sancta Veronica who wiped the face of Christ with her kerchief as he was going to Calvary. There are many versions of this legend, as for instance that it was this woman whom Christ had cured of the bloody issue, whilst again it is maintained that she was no less a person than Berenice, niece to King Herod. It is also related that after the dispersion of the apostles, St Veronica went in company with Mary Magdalene, Martha, and Lazarus, to Marseilles, where she wrought many miracles with her kerchief. The Emperor Tiberius heard of these miracles, and having fallen ill, he summoned Veronica to Rome. She cured him in a moment, and was rewarded with great honours and rich presents. The remainder of her life was spent at Rome in company with St Peter and St Paul, and she bequeathed the miraculous kerchief to Pope St Clement. It must, however, be observed, that this legend has not obtained the official approbation of the Roman Catholic Church, though St Veronica is acknowledged and has a place in the calendar for the 21st of February; and it is said she suffered martyrdom in France. With regard to the large sudaries or sheets upon which the whole body of Jesus Christ is impressed, and the absurdity of which Calvin has so clearly exposed, the most celebrated of these is that at Turin. Its history is curious, inasmuch as it shows that the efforts of enlightened and pious prelates to prevent idolatrous practices invading their churches proved unavailing against that general tendency to worship visible objects, so strongly implanted in corrupt human nature, that even in this enlightened age we are continually witnessing such manifestation of its revival as may be compared only to that of the dark period of the middle ages. The most striking instances undoubtedly are those of the holy coat of Treves, and the relics of St Theodosia, which have been recently installed at Amiens, with great pomp, and in the presence of the most eminent prelates of the Roman Catholic Church, who seem now to be as anxious to promote this kind of fetishism, as some of their predecessors were formerly to repress the same abuse. But let us return to our immediate subject—the holy sudarium of Turin. It is a long linen sheet, upon which is painted in a reddish colour a double likeness of a human body, i.e., as seen from before and from behind, quite naked with the exception of a broad scarf encircling the loins. It is pretended that this relic was saved by a Christian at the taking of Jerusalem by Titus, and it was preserved for many centuries by the faithful.
In 640 it was brought back to Palestine, from whence it was transferred to Europe by the Crusaders. It was taken by a French knight named Geoffroi de Charny, who presented it to the collegiate church of a place called Liré, which belonged to him, and which is situated about three leagues from the town of Troyes, in Champagne; the donor declaring, on that occasion, that this holy sheet was taken by him from the infidels, and that it had delivered him in a miraculous manner from a prison dungeon into which he had been cast by the English.
The canons of that church, seeing at once the great profits to be derived from such a relic, lost no time in exhibiting it, and their church was soon crowded with devotees. The bishop of Troyes, Henri de Poitiers, finding however no proofs of the authenticity of this relic, prohibited it to be shown as an object of worship, and it remained unheeded for twenty-four years.
The sons of Geoffroi de Charny, about the year 1388, obtained permission from the Papal legate to restore this relic of their father's to the church of Liré, and the canon exposed it in front of the pulpit, surrounding it with lighted tapers, but the bishop of Troyes, Peter d'Arcy, prohibited this exhibition under pain of excommunication. They afterwards obtained from the king, Charles VI., an authorization to worship the holy sudarium in the church of Liré. The bishop upon this repaired to court, and represented to the king that the worship of the pretended sheet of Jesus Christ was nothing less than downright idolatry, and he argued so effectually that Charles revoked the permission by an edict of the 21st August 1389.
Geoffroi de Charny's sons then appealed to Pope Clemens VII., who was residing at Avignon, and he granted permission for the holy sudarium to be exhibited. The bishop of Troyes sent a memorial to the Pope, explaining the importance attached to this so-called holy relic. Clemens did not, however, prohibit the sudarium to be shown, but he forbade its being exhibited as the real sudary of Jesus Christ. The canons of Liré, therefore, put aside their sudary, but it reappeared in other places, and after being shown about in various churches and convents it remained at Chambery in 1432, where nobody dared to impugn its reality. From that time its fame increased, and Francis I., king of France, went a pilgrimage on foot, the whole way from Lyons to Chambery, in order to worship this linen cloth. In 1578 St Charles Borromeo having announced his intention of going on foot to Chambery to adore the holy sudary, the Duke of Savoy, wishing to spare this high-born saint the trouble of so long a pilgrimage, commanded the relic to be brought to Turin, where it has since remained, and where the miracles performed by it and the solemn worship paid to it, may be considered as a proof that its authenticity is no longer doubted.
There are about six holy sudaries preserved in other churches, besides the pieces shown elsewhere.