The other features are so vaguely indicated, or so completely effaced, that it requires the liveliest imagination in the world to perceive traces of eyes or nose. In short, one does not see the material of the substance, because of the useless intervention of a metal plate, and the place of the impression exhibits only a blackish surface, not giving any evidence of human features."[12] The legend of the origin of this portrait is as follows: A holy woman, named Bernice, or, as it has been Latinized, Veronica, lived on the way to Calvary. As Christ was on the road bearing the cross, He fell near her door, and she, moved with compassion, went to Him, and gently wiped the sweat from His face with her veil or napkin. Then the impression of the sacred countenance remained on the veil. Marianus Scotus, the historian (d. 1086), tells the rest of the story thus: "The emperor Tiberius was afflicted with leprosy. Hearing of the miracles of Our Lord, he sent to Jerusalem for Him. But Christ was already crucified, and had risen and was ascended into heaven. The messengers of Tiberius, however, ascertained that a certain Veronica possessed a portrait of Christ, impressed by the Saviour Himself on a linen handkerchief, and preserved by her with reverence. Veronica was persuaded by them to come to Rome, and the sight of the sacred image restored the emperor to health. Pilate was then sentenced by him to death, for having unjustly crucified our Lord." It is hardly necessary to say that there is no foundation of truth for this addition to the original story. How far the first part of the story is true it is impossible to decide. It is by no means improbable that a pious woman may have wiped the face of Christ. Mabillon, the learned Benedictine, propounded the theory that each early portrait of Christ was called, in barbarous jargon, a mixture of Latin and Greek, _vera icon_, true image; and that later, a fable was invented to account for the introduction of these representations into Europe, and the name given to the image was transferred to the person who was supposed to have brought it to the West. This explanation has been generally adopted. "By the name of Veronica," says Baillet, "nothing more was signified than the true image--_vera icon_ of the Saviour painted on a handkerchief or piece of linen called the Holy Sudarium, because, ordinarily, only the head of the Saviour from before was represented on it, that is, the face and hair. Nothing further was meant at Rome, where was to be seen, dating from the 12th century, in the Church of S. Peter, one of these Veronicas, before which lamps were kept burning day and night."[13]