A
friar of ours, Father Donatus of Bomba, started some researches
in 1640 and wrote a “Relatione historica” at present kept in the
Provincial Archives of the Capuchins in the convent of St. Clara in
L’Aquila. Both the deed of gift and the report were certified in
1646 by public reading, according the Capuchins’ will, by a notary
in the Town All. This report relates that the Veil was taken to
Manoppello by a stranger in 1506 and consigned to a notable of the
place, Doctor Giacomo Antonio Leonelli, who was sitting on a pew in
front of the church. They tell that the Doctor went into
the church and opened the parcel containing the Veil. At once he
went out of the church but he did not find the disappeared bearer of
the packet. The Veil was for nearly one century inherited
by the Leonelli till it was assigned as wedding-present for a female
member of the family, Marzia Leonelli, but not really given.
In 1608, Marzia’s husband, Pancrazio Petrucci, a soldier, stole
the Veil in his father-in-law’s house.
A few years later, Marzia sold it for 4 scudi to Doctor Donato
Antonio
De Fabritiis to release her husband, prisoner in Chieti. The Veil
was given by the De Fabritiis to
the Capuchins.
This is the content of the “Relatione historica”.
But if we read it carefully, we can notice that it consists of
two parts:
the beginning more narrative and the central part with reliable
historical dates.
From start it arouses the impression to be a whole magnificent
construction.
There
is a list of all the governors of the year 1506, when it seems that
a stranger took the Veil in a parcel to Manoppello. The
story, narrated in a lively description, has something fantastic:
the unknown man gave the parcel to a villager and then left the
stage and nobody traced him. It seems that Marzia Leonelli sold the
Veil in 1618 but neither this date is certain historically.
According to the first hand-written version of the ”Relatione”
the Veil was sold in 1620. The above-mentioned date 1618 is in the
version assigned to the Minister General of the Order of the
Capuchins.
The first version was kept in the Sanctuary of Holy Face of
Manoppello, while that one assigned to the Minister General is,
together with a copy written by the same hand, in the archives of
the Abruzzi region in L’Aquila. The only event we
must consider historically verified is that Marzia Leonelli sold the
Veil to Doctor Donato Antonio De Fabritiis from about 1618 to 1620.
The date 1608 in the
manuscript of the Abruzzi region is in the margin, written by
another hand.
At this point let’s leave the territory of Manoppello and let’s
go to Rome to compare the dates.
The
first date 1506 and the government of Pope Julius II, mentioned in
the “relatione historica” coincide with the plane of demolition
of the crumbling
St. Peter’s basilica and the plane to replace it with a new, more
grandiose edifice. Its demolition really began in 1507.
The second date 1608 written only in the margin of the manuscript
kept in the archives of the Abruzzi region, coincides exactly with
the demolition of the second part of the Vatican Cathedral, included
the Chapel, built under Pope Johannes VII in the year 705, where was
preserved the Veil of Veronica or, as it was called in Rome, the “Veronica”.
This
demolition could have been a right occasion for the loss of the
precious roman Relic.
And now let’s see what had happened a short time before, i. e. the
third event mentioned in the “relatione historica”: the sale of
the Veil with the image of Christ at Manoppello in about 1618/20.
In 1620 the Imperial Court of Vienna demanded to the Pope Paulus V a
copy
of the Veronica for queen Maria Costanza of Poland.
Although there were until then lots of copyists of the roman Relic,
the so-called “pictores Veronicae”, in that occasion
a canon of St. Peter’s, named Strozzi, was charged with the
copy and then further copies were forbidden.
We
must deduce that the “pictores Veronicae” lost their job at
least from this time. The papal bull dated 7-X-1616 told that only
the canons of St. Peter’s could execute copies of the Veronica.
During the pontificate of Gregorius XV exceptionally were made two
copies more and soon after to realize copies from the copies was
forbidden on pain of excommunication. Their common peculiarity is
the representation of the image with closed eyes. These copies
not at all coincide with the old representations of the roman
Veronica. One of this justified copies is still now in the sacristy
of the church dedicated to Jesus in Rome: it is so ugly that nobody
can imagine it is really a duplicate of a thing all the pilgrims
wanted to see.
This
copy is only a new creation, a perfect mess made up by a remembrance
of the Veronica, by the shape of Mandilion, kept in that time in St.
Silvester’s in Rome and by the knowledge of the Shroud of Turin
thanks to a copy that was the same size as the original and was in
the church of the Sudario since the end of the sixteenth century.
In the same year (1618) a thin Veil with a more beautiful figure
corresponding in all the features to the roman Veronica was sold in
a small town of Abruzzi and this coincidence makes the events in
Rome more extraordinary.
Our attention increases when we learn that the following Pope
Urbanus VIII not only prohibited all the copies of the Veronica, but
also ordered the destruction of the extant copies made in the last
years.
During his pontificate was written the “relatione historica”
started from about 1640 and finished, after the death of Pope
Urbanus VIII, with the notarial reading and authentication.
Becomes more and more substantial the supposition that the Veil was
stolen in the times of Pope Paulus V and taken to Manoppello.
It is not verified if the soldier, prisoner in Chieti, husband of
the woman who sold the Veil with the image of Christ in 1618
to doctor De Fabritiis, is the same thief who stole the sacred Relic
in Rome. In a second time Pope Urbanus VIII maybe was informed about
this disappearance of the Veronica; only in this way we
can understand his measures.
We become more and more suspicious considering that in Rome there
were lots of painters
making copies of the Veronica and that the Pope ordered to destroy
all the ones that could be found.
In 1618 the archivist and canon of St. Peter’s, Jacopo Grimaldi,
listed all the things, carried to the archives, that before were in
St. Peter’s in the Vatican City; among other things also the Relic
of the Veronica and he wrote that the glasses were broken, probably
through inattention of the guardians.
This reliquary of the Jubilee of the year 350 is still kept and can
be admired in St. Peter’s treasure.
From all these dates, observations and events we arrive to an
interesting
conclusion, i. e. that the Veil, the Veronica, was lost and
violently taken off his reliquary.
Such being the case, let us read again the passage of the “relatione
historica”
describing the criminal action of the soldier of Manoppello:”
He went into Leonelli’s house and took the Holy Image of great
value as portion of inheritance”.
In
reality this passage is referring to the archives of St. Peter’s
or
even
to the chapel of the “Veronica” instead of Leonelli’s house. In
the course of a work always there are the best opportunities to
steal valuables.
The
“relatione historica” expressly affirms that the violent action
of Pancrazio Petrucci, Marzia’s husband, damaged the Veil:”
He seized it with arrogance and fury as the soldiers use to do in
such occasions and he did not fold back it with the due diligence
and devotion for a very miraculous and divine thing but, wrinkled
and badly enveloped, he took it home where he kept it a lot of years
with not much care and estimation.(rel. hist. Arch. d. Prov. Cap. p.
17s.).
Such
a description of the object in bad condition can be easily
understood as the result of the violent action when the Relic of the
Veronica was broken.
If we observe carefully the Veil, we can notice that a bit of glass
remained stuck on the Veil: this means that it was necessary to
break the glass to remove the image, so a little fragment of glass
remained on the lower edge.
The same archivist is the author of “Opusculum de sacrosancto
Veronicae Sudario” written in the same year 1618, if the date was
not falsified later on. The last three roman numbers
probably could have been added or at least the last two because they
are written in the margin while the other numbers are on the title
page of the manuscript that is now kept in the archives of
St. Peter’s Canons.
So
probably MDCCXV was changed in MDCCXVIII. On the same title page
there is Grimaldi’s free-hand drawing, showing the Veil in its
Reliquary not yet broken: it coincides exactly with the Holy Face of
Manoppello in the open eyes looking a little obliquely towards the
sky, in the wavy hair, in the two sides of the beard, in the open
mouth, in the shape of the Face.
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