Another sacred painting of Christ by S. Luke is in the possession of the Benedictines of Vallombrosa. This portrait is certainly of very great antiquity, and is in tempora on a panel of cypress wood. The features are strongly emphasized, the face long, the eyes large and bright, with eyelids drooping, and arched brows. Another sacred picture is that given by S. Peter to the Senator Pudens, which is exhibited on Easter Day, in the monastery of S. Praxedes. The story goes that it was sketched by S. Peter for the daughters of Pudens, one evening at supper, on the napkin of Praxedes. It will be remembered that when Christ was laid in the tomb, His body was wrapped in fine linen, and a linen napkin was on his face. These relics are said to be preserved at Besançon and Turin. The Turin linen shows the bloodstained outline of the Saviour's body; that at Besançon is marked with the ointments. The features are impressed on the napkin, and are of the Byzantine type. A crucifix, by Nicodemus, is exhibited in the cathedral of Lucca. Another portrait is the Nazaræum, which is certainly of considerable antiquity, and is probably the earliest extant copy of the famous Edessa picture. It is in the Latin convent at Nazareth. This picture is engraved in Abraham Norow's travels in Palestine. (S. Petersburg, 1844). Let us now turn to the literary sketches of the portrait of our Lord which have descended to us. S. Jerome, (d. 420), says that in the face and eyes of Christ there was something heavenly, so that from their glory and majesty the hidden Godhead flashed forth. S. John of Damascus, (d. about 760), in his letter to the Emperor Theophilus, says, "Christ was tall and stately, had brows uniting over the nose, beautiful eyes, a large nose, curled hair, and a black beard. His hair was a gold-brown, like wheat, resembling that of his mother, and his head was bowed somewhat forward."