The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1921-03-20
MnenlOsynes
Pictures
"The Handkerchief of ST. Veronica"
Gabriel Max.

"The Handkerchief Of ST. Veronica"
Gabriel Max.
That the artistic spirit of the last
four years is far more religious than
it was during the prosperous years
of the nineteenth century, no will de-
ny. Witness the growing popularity
of the work of Munich's famous ar
tist, Gabriel Max, for all his work is
stepped with refined spiritualism. But
when Max painted his great picture
called est. Veronica's Handkerchief"
all the world wondered. They journey
ed to Prague to see 1t; then they shiv-
cred and went on their way. They did
not hang photographs of this painting
on their sitting room walls. In which
they were partly wise; for this is no
drawing room picture. It belongs in a
mans holy of holes. It should have
a place in that closet where once in a
while he withdraws to commune with
himself-perhaps to pray.
The story of the Handkerchief of
st. Veronica is a lovely one. and the
relic itself is exhibited in st. Peter s
on certain great festivals of the Cath
Ole church. I saw it one Easter. We
all hurried up the nave toward the
dome. Then a priest appeared upon
the balcony above the statue of ST.
Veronica. He held out the sacred relic.
OF course the height at which it was
shown was so great that no one could
see distinctly, but my eyes, enchanted
with the memory of that great paint
ing In Prague. beheld again the tor
tured face of the Crucified.
The legend relates how st. Veronica
followed our Lord on His way to Cal
vary. Seeing him stumble because His
beloved eyes were blinded by the blood
and sweat. she took the kerchief from
her neck and pressed it timidly to his
eyes. Only those eyes blessed her;
then the maddening mob pushed Him
on that cruel way. Later, when she
had time to look at her handkerchief,
behold, it retained the impression of
His face.
That is the old, old story; and this
is Gabriel Max's picture. A worn and
very old napkin is tackled by four
rusty thumb nails against the wall;
the warp of the linen has given IN
many places; for behold it is very,
drawn the face of the Crucified, and
he has rendered his conception of the
face of the dead Christ with such SIM
pie, yet magnificent power. that, gaz-
ing steadfastly upon it the dead eyes
seem to open, the features become mo-
bile. and the lips say once again,
Forgive them, for they know not
what they do,''
This is not simple emotionalisrn, for
by his painters technique Max has
drawn these features in such a way
that as the observer recedes from it,
if he is watching intently, the closed
lids appear to move, the eyes roll up
and meet you squarely, but with what
tender accusation in their glance! The
effect on the observer Is startling. No
one having once been impressed with
this strange and life-like vision, vii!
ever forget the unspoken message 81
those mystic eyes.
For this death mask on an old hand
kerchief repeats the age old accusa-
ton. and sthis is what it says: Behold
I am with you always-even unto the
end of this world / am with you now !;
do you understand? That is my cruci-
fixion. What are three hours on Call
vary outside Jerusalem to me? The
soul of any greta man could surmount
that But / have been continually
crucified for two thousand years And
that two is nothing. Gladly do take