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While most Renaissance and Baroque engravings, etchings, and woodcuts were printed on paper, some extraordinary impressions were produced on silk or linen. A taste for the silver and gold thread of tapestries informed appreciation for shiny silk satin weaves in particular. Contact relics provided a devotional inspiration for the most evocative of these prints on fabric. The most famous contact relics were the Veronica (also known as the Sudarium, Vera Icon, or vernicle) and the Shroud of Turin, which were two distinct relics created, respectively, from direct contact with Christ’s face and with his entire body. These initially plain lengths of cloth were said to have been used to wipe Christ’s sweat-drenched face as he carried his cross on the way to Calvary (the Veronica) and to wind his body in afterward (the Shroud), leaving traces of his form behind. These relics’ first miracle was the ability to transfer their own image and even their power of replication onto other surfaces, thus creating an acheiropoietos, an image made without human hands, a process akin to the art of printmaking itself.1

Printing the Body of Christ on Fabric