Who was Veronica? Tracking down one of the most beloved figures from Christ's Passion

Christ heals the woman with a flow of blood as depicted in the
Catacombs of Marcellinus and Peter in Rome, 4th century AD.

One of the more enigmatic figures from early Christian history is Saint Veronica—the woman known to Catholics from the Sixth Station of the Cross, who is said to have wiped the face of Jesus while He carried His cross on the road to Calvary. There is a memorable and beautifully presented sequence of scenes featuring Veronica in Mel Gibson's Passion of the Christ. But nowhere is the woman or the incident described mentioned in Sacred Scripture. 

To learn about Veronica, we must turn to extra-biblical sources. The first mention of a woman named Veronica associated with Our Lord may be found in an apocryphal work known alternately as the Acts of Pilate or the Gospel of Nicodemus. The scholarly consensus is that this work does not come from Apostolic times, but was written during the Patristic period sometime after the middle of the 4th century AD. Even so, it is considered a suitably ancient work and it likely includes traditions held by the community of the very early Church. The work records the names of several otherwise unnamed minor personages mentioned in the Gospels, such as the centurion at the crucifixion (Longinus) and the two thieves crucified along with Jesus (Dismas and Gesmas). Also named is the woman whom Jesus healed of a hemorrhage of blood in Matthew 9:20-22:

There was found there also a woman named Veronica [or Bernice], and she said: Twelve years I was in an issue of blood, and I only touched the edge of his garment, and directly I was cured. [Acts of Pilate, Chapter 7]

This is important because it connects Veronica with another, more reliable ancient source: The Ecclesiastical History of Eusebius. In this work, we find the following fascinating passage:

Since I have mentioned this city [Caesarea Philippi] I do not think it proper to omit an account which is worthy of record for posterity. For they say that the woman with an issue of blood, who, as we learn from the sacred Gospel, received from our Savior deliverance from her affliction, came from this place, and that her house is shown in the city, and that remarkable memorials of the kindness of the Savior to her remain there.

For there stands upon an elevated stone, by the gates of her house, a brazen image of a woman kneeling, with her hands stretched out, as if she were praying. Opposite this is another upright image of a man, made of the same material, clothed decently in a double cloak, and extending his hand toward the woman. At his feet, beside the statue itself, is a certain strange plant, which climbs up to the hem of the brazen cloak, and is a remedy for all kinds of diseases.

They say that this statue is an image of Jesus. It has remained to our day, so that we ourselves also saw it when we were staying in the city.

Nor is it strange that those of the Gentiles who, of old, were benefited by our Saviour, should have done such things, since we have learned also that the likenesses of his apostles Paul and Peter, and of Christ himself, are preserved in paintings, the ancients being accustomed, as it is likely, according to a habit of the Gentiles, to pay this kind of honor indiscriminately to those regarded by them as deliverers. [Ecclesiastical History of Eusebius Pamphilus, Book VI, Chapter 18]

Recall that Eusebius was writing in the early 4th century AD. There is so much packed into the above passage that it will probably require a post of its own at some point.

The Chronicle of John Malalas (written in the late 6th century), elaborates on this episode, relating that Veronica petitioned Herod (probably Phillip the Tetrarch also known as Herod Phillip II) for permission to raise a statue to Jesus. Incredibly, Herod not only agreed but ordered her to set up a larger statue than she had first proposed:

King Herod, hearing this prayer of hers, was surprised at the marvel. And fearing the mysterious healing, he said: “this healing, O woman, is worth a larger statue. Go then and set up whatever statue you wish, praising with zeal him who had healed you.” And straightway Veronica, who was formerly bleeding, set up in the midst of her city Paneas a bronze statue to the Lord our God Jesus Christ, of hammered bronze mixed with a small portion of gold and silver. That image stands to this day in the city of Paneas, having been carried many years ago from the place where it had stood in the midst of the town to a holy church. I found in that city of Paneas a memorandum about it by a certain Bassus, a former Jew become a Christian, with the life of all the former reigning kings in the territory of Judaea. [Chronicle of John Malalas, 10.239]

Malalas's notice here is important for two reasons. First, he connects Veronica's name with the woman healed of a flow of blood in the late 6th century, demonstrating that he was familiar with the Acts of Pilate or another ancient source with the same information. Second, he's writing in the Greek east, not the Latin west where Veronica's name and role would become more legendary in the Middle Ages.

While it is not impossible that this Veronica also wiped the face of Our Lord during his passion, I was unable to locate any early records corroborating this event. The earliest sources mentioning it seem to be from the high Middle Ages. It is interesting to note, however, that the name of Veronica is associated with one of the earliest recorded images of Christ, apparently commissioned by a saintly woman who saw Our Lord in the flesh.

As for the mysterious artifact known as the Veil of Veronica, that will have to be the subject of a future post.