Capital with Angels Holding the Veil of Saint Veronica, with a Column
Made in Veneto (?), Italy
Limestone with traces of polychromy
Overall: 73 7/8 x 20 3/16 x 20 3/16 in. (187.6 x 51.3 x 51.3 cm)
capital: 15 3/8 x 20 1/4 x 20 1/4 in. (39.1 x 51.4 x 51.4 cm)
shaft: 43 1/2 x 15 in. (110.5 x 38.1 cm)
base: 15 x 20 3/16 in. (38.1 x 51.2 cm)
Purchase, Gifts of Irwin Untermyer, J. Pierpont Morgan and Marcus T. Reynolds, by exchange; Bequests of George D. Pratt, Susan Dwight Bliss and Henry Victor Burgy, by exchange; and Rogers and Frederick C. Hewitt Funds, 1981
The face portrayed on Veronica’s veil was the Vera Icon (true portrait of Christ). According to legend, when Veronica wiped Jesus’ face as he was led to Calvary, his image was miraculously imprinted on the cloth, which was eventually taken to Saint Peter’s in Rome. Such images were intended to inspire meditation through visual identification with Christ’s likeness.
[ Antonio Carrer, Venice (ca. 1920)]; Charles van der Heyden, Rotterdam, The Netherlands (sold 1981)
The Metropolitan Museum of Art. "One Hundred Eleventh Annual Report of the Trustees for the Fiscal Year July 1, 1980, through June 30, 1981." Annual Report of the Trustees of the Metropolitan Museum of Art 111 (1981). p. 42.
The Metropolitan Museum of Art. Notable Acquisitions, 1980-1981 (Metropolitan Museum of Art) (1981). pp. 27-28.
Wixom, William D., ed. Mirror of the Medieval World. New York: The Metropolitan Museum of Art, 1999. no. 146, pp. 126–28.
Little, Charles T., ed. Set in Stone: The Face in Medieval Sculpture. New York, New Haven, and London: The Metropolitan Museum of Art, 2006. no. 57, pp. 135-137.