The earliest version of the story is found in the 8th-century biography of Gregory by
Paul the Deacon, and was repeated in the 9th-century one by
John the Deacon. In this version, the Pope was saying Mass when a woman present started to laugh at the time of the
Communion, saying to a companion that she could not believe the bread was Christ, as she herself had baked it. Gregory prayed for a sign, and
the host turned into a bleeding finger. This story is retained in the popular 13th century compilation the
Golden Legend, but other versions conflate the legend with other stories and the finger is changed into a visionary appearance of the whole of Christ on the altar, and the doubter becomes one of the
deacons. The story was hardly seen in art until the
Jubilee Year of 1350, when pilgrims to Rome saw a Byzantine
icon, the
Imago Pietatis, in the
basilica of
Santa Croce in Gerusalemme, which was claimed to have been made at the time of the vision as a true representation. In this the figure of Christ was typical of the Byzantine forerunners of the
Man of Sorrows, at half-length, with crossed hands and a head slumped sideways to the viewer's left. According to
Gertrud Schiller and the German scholars she cites, this has now been lost, but is known from many copies, including the small Byzantine
micromosaic icon of about 1300 now in Santa Croce. This image seems to have had, perhaps initially only for the Jubilee, a Papal
indulgence of 14,000 years granted for prayers said in its presence. This form of the image, converted to a more standard Western
Man of Sorrows, rising from the tabernacle on the altar, shown as a tomb-like box, with the
Arma Christi around him, became standard across Europe, and very popular, especially north of the Alps, as an
altarpiece, in
miniatures in
illuminated manuscripts, and other media. The strong connection of the image with indulgences was also maintained, and largely escaped from any Papal control. There was another Jubilee year in 1500, and the years on either side of this perhaps show the height of popularity of the image. It often appeared in
books of hours, usually at the start of the
Hours of the Cross or
Penitential Psalms. The
iconography is one of a number of examples where detached
andachtsbilder images such as the
Man of Sorrows intended for intense personal meditation, are worked back into monumental compositions for prominent display. The deacon is invariably shown, and in larger compositions there is often a crowd of cardinals, attendants and worshippers, often with a
donor portrait included. Sometimes the
chalice on the altar is being filled with blood pouring from the wound in Christ's side. The head tilted to the left of the mosaic in Rome is typically retained in modified form. Sometimes Christ is full-length, and he may appear to be stepping forward onto the altar in later versions. Frequently the
Instruments of the Passion are shown on the altar. There were several
prints that were often copied by artists, notably ten different
engravings of the subject by
Israhel van Meckenem and a
woodcut by
Albrecht Dürer of 1511. Many of these included printed indulgences, usually unauthorised. The oldest dated
Aztec feather painting is a
Mass of 1539 (see gallery) following one of the van Meckenem indulgence prints (not the one illustrated). The print illustrated began with a "bootlegged" indulgence of 20,000 years, but in a later
state the plate has been altered to increase it to 45,000 years. With the
Protestant Reformation, an image that asserted both divine approval of the
Papacy and the doctrine of the
Real Presence was attractive to Catholics, and the iconography continued to be used. ==Gallery==