Notes

• [1]
  This study was conducted within the framework of the Research Project “La imagen del Santo Rostro en la provincia de Jaén. Estudio y construcción de un catálogo virtual” (“The Image of the Holy Face in the Province of Jaén: Study and Construction of a Virtual Catalogue”). Diputación Provincial de Jaén-IEG, 2023/24 and the “Arquitecto Vandelvira” Research Group HUM-573.
• [2]
  Hamburger 1998, p. 231.
• [3]
  Zumthor 1994, p. 333. The quotation is from St Isidore, Etymologies, XIX, 1–2.
• [4]
  Freedberg 1992, p. 195.
• [5]
  Freedberg 1992, p. 53.
• [6]
  On this subject, see Pereda 2014.
• [7]
  Ximenes 1628, p. 48–51.
• [8]
  Sarzeaud 2023. In its hieratic appearance and the dark glaze that envelops it, the Mandylion, an older image than the Veronica, reflects the divine nature of Christ through the mystical air emanating from this iconic vision. By contrast, the more recent image of the Veronica, linked to the Passion, appeals more to the human nature of the Son of God in its manifestation of pain imprinted on the cloth (fig. 29). In short, from a theological perspective, the dialectic of “darkness” and “light”, which we may consider when confronted with the two images, refers to the idea of Christian freedom presented by St Paul in the Second Epistle to the Corinthians, contrasted with the “veil” that Moses put over his face, a metaphor alluding to the reading of the Old Testament, which “in Christ is taken away” (2 Cor. 3.12–15). “For God, who said, ‘Let light shine out of darkness’, made his light shine in our hearts to give us the light of the knowledge of God’s glory displayed in the face of Christ” (2 Cor. 4.6).
• [9]
  Salmerón 1603. This theory is discussed by Francisco de Rus Puerta and Juan de Acuña del Adarve, among others. Curiously enough, in relation to the Jaén relic, Francisco de Rus Puerta also includes information on the portrait that Christ sent to King Abgar, although he identifies it with the one in San Silvestro in Capite in Rome and emphasises that it cannot be the one in Jaén (Rus 1634, p. 277 and 284v). However, it is Juan de Acuña del Adarve who offers a more solid and extensive argument and refutes Ximenes Patón: Acuña 1637, p. 270 ff., and particularly 233v.–235v. For a general survey of the subject, see Wolf 1993 and 2000. Also Pfeiffer 1984 and 2012 and Martínez 2012.
• [10]
  Acuña 1637, p. 334v.
• [11]
  Behind the gift and the time when it seems to have been given lie many other factors and matters of interest, for we cannot lose sight of the fact that Gregory XI left Avignon and returned to Rome in 1377. On the arrival of the relic in Jaén, see Acuña 1637, p. 220v–221v. This historian confirmed what had already been argued in the time of Bishop Sancho Dávila (1600–1615), when Nicolás de Biedma was painted, in the episcopology in the Bishop’s Palace, praying in front of the Veronica, although the legend indicated that it had been given to him by the antipope Clement VI, something that Acuña took pains to correct. Nevertheless, there is no documentary certainty of this fact and Martínez Rojas recalls that in Biedma’s will – which donated all his property to the cathedral – no mention is made of the relic. Martínez 2012, p. 14–17.
• [12]
  Acuña 1637, p. 228–229.
• [13]
  Acuña, 1637, p. 253–254.
• [14]
  González 2023, p. 62.
• [15]
  Dávila 1613.
• [16]
  Acuña 1637, p. 236v.
• [17]
  Palma 1887, p. 178–211.
• [18]
  Palma 1887, p. 276.
• [19]
  It enabled it precisely to argue that the relic was authentic and to emphasise the role that pontifical concessions played in the development of the cathedral building: Acuña 1637, p. 242–248. For this section we have drawn particularly on Martínez 1999.
• [20]
  Martínez Rojas found it in the Archivo General de Simancas, Consejo y Juntas de Hacienda, leg. 95, 229–233; see Martínez 1999.
• [21]
  Specifically for those who took part in the construction of the cathedral because of “the need it has for its works and buildings and adornments. Especially to make and build a place and building where the Holy Veronica can be put and be greatly venerated and be kept clean and safe. […] It grants and confers special grace to any person and their unmarried sons and daughters that give a silver real or its true value, becoming members of the confraternity of the Most Holy Veronica of Our Lord Jesus Christ which exists and is located in the said cathedral […]”.
• [22]
  From medieval times confraternities of buildings and works were created with the aim of obtaining funding for building projects and their members were offered pardons and indulgences as benefactors of the cathedral; see Teijeira 2022.
• [23]
  Archivo Histórico Diocesano de Jaén (AHDJ), Capitular, Acuerdo Capitular, 20 March 1766. On the authorised copies, see Cazabán 1929, p. 25–27.
• [24]
  AHDJ, Capitular, Acuerdo Capitular, 24 May 1694. On the devotional gift, see Serrano 2015.
• [25]
  Santos 2022, p. 363–369.
• [26]
  AHDJ, Capitular, Acuerdo Capitular, 9 October 1736. “Proposal of the Archdeacon of Baeza”.
• [27]
  AHDJ, Capitular, Acuerdo Capitular, 6 August 1782.
• [28]
  AHDJ, Capitular, Acuerdo Capitular, 27 April 1730.
• [29]
  We are grateful to Dr René Jesús Payo Hernanz for this information.
• [30]
  An issue that we will examine in greater depth in future studies and that is noted in Burke and Cherry 1997, p. 1294–1295.
• [31]
  The one in Baeza was incorporated into one of the reliquary altarpieces in the Tabernacle Chapel in 1662.
• [32]
  To which could be added the one preserved in the shrine of Nuestra Señora de la Paz in Ronda (IAPH [Andalusian Institute of Historical Heritage] digital guide, code 012908400220044.0000).
• [33]
  The one in the Concepción Franciscana is on glass (IAPH digital guide, code: 012305000290105. 0000) and there is also a freer interpretation (IAPH digital guide, code: 012305000290147.0000). In the Convent of Santa Teresa two are preserved. One, the older, also on glass, belonged to the magistrate Luis Coello de Bilches and entered at the time of the foundation, while the second has been identified as the one donated by the chaplain, Pedro Gómez de San Juan, in 1713; see Eisman 2008, p. 434–435.
• [34]
  And also in the rest of Europe: Catalogo Generale dei Beni Culturali (0900746209) and https://www.dorotheum.com/en/l/1238206/
• [35]
  The ones in the Concepción Franciscana: IAPH digital guide: codes 012305000290033.0000 and 012305000290008.0000. In the Discalced Carmelites there is a notable example identified with the one donated by Eufrasio López de Rojas, architect of the cathedral, who was closely linked to this convent: Eisman 2008, p. 432–433. Baeza Cathedral also has one in its museum. To these should be added the one recently gifted to Jaén Cathedral.
• [36]
  AHDJ, Capitular, Acuerdo Capitular, 28 February 1694.
• [37]
  Serrano and Justo 2022. The Veronica preserved in the Calvary altarpiece in the church of Santa Rosa de Viterbo in Santiago de Querétaro (Mexico) must also have arrived in the first half of the eighteenth century. Like so many other copies, it is on glass and bears the following inscription: “v[erdade]^ro tra[sum]^pto del rostro divino de n[uestro] s[eñor] jesuxr[is]to / q[ue] se ve[ne]ra en la s[an]^ta iglesia cathedr^al de jaén / sacado de sv orig [ina]^l y tocado a tan s[an]^ta rel[iqui]^a”; see Gila 1994.
• [38]
  Other indianos contributed to the construction of Jaén Cathedral and expressed their devotion to the Holy Face, such as Captain Juan de Quesada, who left the value of five hundred fanegas of wheat and two hundred of barley, AHDJ, Capitular, Acuerdo Capitular, 6 October 1671.
• [39]
  Patronato of the chancel held on 13 June 1713 before Francisco del Campal, Secretary to the Chapter. Chaplaincy of Pedro Pablo López de los Arcos, Ibros, AHDJ, Capellanías, caja 18-3-11, fol. 122r.
• [40]
  Letter from Pedro Pablo López de los Arcos, AHDJ, Correspondencia, 1719, unfoliated, ref. in Del Arco 1995, p. 164.
• [41]
  Noteworthy in this connection is the “Sermon / preached on the afternoon of the first Friday in / Lent in the Cathedral of La Puebla. With the / first verse of the Psalm Miserere is preached the first of the six / sermons that on the afternoons of the first six Fridays of each / Lent are preached in this Cathedral, which are commonly / called Veronicas, because on those afternoons / an Image of the Face of Christ is placed on the high altar; but that / most beautiful image is not a copy of the image of that Sovereign / Face, bloodstained and covered with saliva and sweat, that was imprinted on the cloth / of the pious woman Veronica or Berenice, but of the most beautiful / Face of Jesus himself before his Passion: and it could / only be called a Veronica in that from this program Veronica / comes this anagram Vera Icon”, by Juan Anselmo del Moral y Castillo. See Medina 1908, p. 306 and 614. Chaplaincy of Pedro Pablo López de los Arcos, Ibros, AHDJ, Capellanías, caja 18-3-11, unfoliated.
• [42]
  Lafaye 1995, p. 126.
• [43]
  Perhaps the local painter Marcos de Aquino, according to Lafaye 1995, p. 261.
• [44]
  Trens 1947, p. 55.
• [45]
  Especially following the painting by Martin de Vos (1532–1603), St John Writing the Apocalypse, commissioned by the Archbishop and Viceroy of Mexico, Pedro Moya de Contreras (1573–1591), for the metropolitan cathedral (Galera and Serrano, in press).
• [46]
  Balbuena 1927, p. 93.
• [47]
  Balbuena 1927, p. 97.
• [48]
  A modern edition: Mendiola 2016.
• [49]
  Vargas 1956 (cited by Lafaye 1995, p. 247).
• [50]
  Lafaye 1995, p. 107.
• [51]
  In 1928 she was declared patron of Extremadura and of the Hispanic world, and the Monastery of Guadalupe, in the town of the same name in Cáceres, was declared a World Heritage Site by UNESCO in 1993.
• [52]
  González 1959, p. xiii. On the dissemination of the image in Spain, see also Barea 2006 and 2007 and Montes 2008. On the one preserved in the church of San Ildefonso in Jaén see Ortega 1990.
• [53]
  Lafaye 1995, p. 297.
• [54]
  Lafaye 1995, p. 59.
• [55]
  For example, in 1738 anonymous donations were received in Jaén Cathedral from Mexico, intended for the cult of the treasured relic (Palma 1887, p. 269)
• [56]
  Montes 2008 and 2011.