Silver gilt reliquary lid embossed with the veil of Veronica. Germany, mid to late 14th century.

Silver gilt roundel embossed in the centre with the veil of Veronica, supported by two angels with a wide border of embossed foliage. The underside is strengthened with a cross-shaped piece of metal.

This piece is remarkable for the fine and expressive quality of the embossing. It is comparable to the Ecce Homo medallion on a late Gothic silver book-binding in the Reichenau treasury.

Saints and Symbols
Like most religions, Christianity has a rich language of images and symbols. This iconography would have been clearly understood in the past but it may be less familiar to modern eyes.

Though often decorative, the symbols used on religious metalwork also refer to the function and significance of the objects. The contemplation of religious motifs can draw believers into a deeper understanding of their faith. Complex theological themes can be represented in a visual form. A chalice, for example, might be adorned with the tools used in the Crucifixion (the 'Instruments of the Passion') to direct the viewer's mind towards Christ's sacrifice and his death on the cross.

The use of images has caused controversy throughout Christian history. While supporters held that imagery glorified God and helped believers understand their faith better, critics attacked its use as superstition and idolatry.

Saints
Christians venerate saints as men and women who, through the holiness of their lives, became especially close to God. The saints include martyrs who suffered and died for their faith as well as great teachers and preachers. Their lives provide an example and inspiration for the faithful. Roman Catholics also believe that saints can intercede on their behalf with God. In Christian iconography, saints are usually depicted with a distinctive object or 'attribute' associated with their martyrdom or works. For example, St Bartholomew, who was skinned alive, holds a flaying knife, and St George is shown with a dragon.

This reliquary lid shows a napkin impressed with the face of Christ. According to tradition, Saint Veronica gave Christ a cloth or veil to wipe his face on his journey to be crucified. The image which miraculously appeared was venerated as a true likeness of Christ. It was particularly important to medieval Christians as a reproduction retained the miraculous powers of the original. It was therefore often found in prints and on church metalwork. The inscription on the roundel reads 'Sca facies dei salve' (Save us O sacred face of God) and may refer to a contemporary prayer said before images of the veil of Veronica. The reliquary may originally have contained some object related to St Veronica.

2547-1856