They bound the hands and feet and placed the sudarium, the handkerchief, about his face.

In heraldry, the sudarium is often still depicted when crosiers occur on coats of arms.

The city lends its name to the sudarium of Oviedo a religious relic revered there since the 9th century.

More popular is the theory that the stole originated from a kind of liturgical napkin called an orarium (cf. orarion) very similar to the sudarium.

The municipality's arms might be described thus: Azure two bishop's croziers in saltire, each with a sudarium fringed Or.

Houses the Arca Santa chest reliquary of the Sudarium of Oviedo.

The Sudarium (Latin for sweat cloth) is claimed to be the cloth wrapped around the head of Jesus Christ after he died.

Avinoam Danin (see below) concurred with this analysis, adding that the pollen grains in the Sudarium match those of the shroud.

Of particular note is his engraving Sudarium of Saint Veronica (1649), created from a single spiralling line that starts at the tip of Jesus's nose.

Tradition holds that the Sudarion was a turban, and that it later found its way to Oviedo in Spain, becoming the Sudarium of Oviedo.

There is often a prominent cushion, and a cloth variously interpreted as Christ's mantle (especially when of imperial purple) or a sudarium may cover or sit on the throne.

In 2011 With David Richards, Foglia co-authored the 2011 suspense novel trilogy The Sudarium Trilogy.

Pope Alexander VII decreed in 1659 that the crosiers of abbots include a sudarium or veil, but this is not customary in English heraldry.

Two pollen grains of this species were also found on another ancient fabric, called the Sudarium of Oviedo, which many believe to be the burial face cloth of Jesus.

Sudarium Christi The Face of Christ online audio visual featuring texts by sudarium expert Sr.

Skeptics criticize the polarized image overlay technique of Guscin and suggest that pollen from Jerusalem could have followed any number of paths to find its way to the sudarium.

It was called the sudarium, which translates from Latin to English as "sweat cloth", and was used to wipe the sweat from the neck and face in hot weather.

The napkin/cloth in Greek is a soudarium, from the Latin sudarium, literally a "sweat rag", a piece of cloth used to wipe the sweat from one's brow.

Angel with the Sudarium (Veronica's Veil) (Cosimo Fancelli, Respice faciem Christi tui)[1].

One innovation was self-portraiture: at least 12 drawn or painted self-portraits survive; he even used his own image to represent Christ in some prints, notably his "Sudarium of St. Veronica."

Different Greek terms are used in the Eastern Orthodox churches, but in the Roman Catholic and other Western churches, the term "sudarium" has been used for several textile objects:

As the sudarium has grown more elaborate, bishops no longer hold it between their hand and the crosier, but place their hand under it as they grasp the crosier, so that it is visible.

The Sudarium of Oviedo, or Shroud of Oviedo, also cloth of Oviedo, is a bloodstained cloth kept in the Arca Santa for which the chapel was built.

The Sudarium of Oviedo is a bloodstained cloth, measuring c. 84 x 53 cm, kept in the Cámara Santa of the Cathedral of San Salvador, Oviedo, Spain.

However, some of those who accept the Shroud as authentic claim that many of the stains on the Sudarium match those on the head portion of the Shroud, but skeptics dispute this.

Today, several images claim to be the Veil of Veronica.

I have bought many veils of Veronica, magnificent works that would take your breath away.

There have been claims that the cloth is the Veil of Veronica.

This piece of cloth became known as the Veil of Veronica.

Look at the veil of Veronica!

Below the four animal figures is a plaster relief of the Veil of Veronica.

It houses, with other artworks, a depiction of the Veil of Veronica.

The similarity of the image with the Veil of Veronica suggests a link between the two traditions.

It has also been credited with inspiring the great increase in depictions of the Veil of Veronica from the late 14th century.

The Veil of Veronica was accompanied by a narrative about the Passion of Jesus.

Veil of Veronica portraits inspired the Vera Icon:

The strong shadows and the sculptural treatment of the head make this one of the most distinguishable representations on the Veil of Veronica.

Some of the frescos, depicting the Veil of Veronica, were made by the so-called Tierp group or master.

The Veil of Veronica, in either form, is a possibility; the face of Christ at the top in a circular setting often represents this.

Tradition identifies her with the woman who was healed of a bleeding discharge in the Gospel (see also: Veil of Veronica).

The Passion, (Veil of Veronica).

Among the furnishings, the altarpiece executed in 1496 with a depiction of the Veil of Veronica on the predella deserves to be mentioned.

It is different from the likeness of Jesus on the Veil of Veronica, although the veil image had earlier been used in devotions.

Hence devotions to the Holy Face prior to that year relied on earlier images, based on paintings of the Veil of Veronica.

It was called "Veronica's Veil", in reference to the Veil of Veronica, and one of the stations of the cross.

At this time various legends were developed to attempt to validate the styles of depiction, e.g. the image of Edessa and later the Veil of Veronica.

So Lestat, the brat Prince, had gone to Heaven and Hell and brought back disbelief, horror and the Veil of Veronica!

Various legends developed which were believed to authenticate the historical accuracy of the standard depiction, such as the image of Edessa and later the Veil of Veronica.

Its popularity in medieval and modern times is based mainly on the importance in Christianity of Saint Veronica and her Veil of Veronica.

The pilgrim Antoninus of Piacenza was shown a relic of the Veil of Veronica type in Memphis, Egypt in the 570s.