The Richard Orareo Collection stands among the three largest Shroud-related collections in the world, remarkable for both its breadth and its depth. For 530 years, the Shroud of Turin was in the care of the House of Savoy (1453–1983), one of Europe’s most powerful dynasties. This long custodianship gave rise to a flourishing of art, devotion, and scholarship surrounding the relic. Many of the rarest and most significant works in the Orareo Collection trace their origin to this Savoyard context, when kings, queens, and dukes commissioned engravings, paintings, and devotional copies to spread the image and witness of the Shroud across Christendom. In preserving these works, the collection not only safeguards art history but also captures the cultural, political, and devotional importance of the Shroud during a pivotal era in European history. Among its treasures are artifacts that embody this legacy of faith and artistry. The 1516 Lier miniature, commissioned by Emperor Maximilian I, represents one of the earliest painted copies of the Shroud, created in a time when the relic itself was rarely accessible to ordinary pilgrims. Noted engraver Giovanni Testa produced a detailed engraving in 1578 to commemorate the Shroud’s arrival in Turin for veneration by St. Charles Borromeo, then the Cardinal Archbishop of Milan.
The collection also holds Antonio Tempesta’s 1613 copperplate engraving, a Baroque masterpiece tableaux that helped carry the Shroud’s image throughout Europe during the height of the Savoy’s patronage. Together with devotional medals, engravings by Martin Engelbrecht, illuminated manuscripts, and numerous artifacts shaped by centuries of devotion, the Orareo Collection forms a living archive of how the Shroud inspired both the faithful and the powerful. It remains a rare and invaluable witness to the past, when the Shroud was not only a relic of faith but also a centerpiece of dynastic identity, artistic patronage, and Christian imagination.
This incredible collection, curated by Very Rev. Peter B. Mangum, JCL and Cheryl H. White, Ph.D., serves uniquely as a living tether that fosters greater understanding of the Shroud’s role in the human story.
A copperplate engraving by Giovanni Testa, commemorating the Ostension of the Shroud that took place October 12-14, 1578 in honor of the visit of Cardinal Charles Borromeo who came on pilgrimage on foot from Milan to Turin. It is reported that the exposition lasted three days in which there was continuous prayer, day and night interrupted only by the exhortations of the bishops and some pilgrims. It is also narrated that St. Charles himself preached three times, as did the Archbishop of Turin three times exhorting the faithful. The influx of pilgrims was extremely large involving at one and the same time the royals, their court, artisan guilds, and peasants from the countryside and from the farmland. The title of the artwork, given on two levels in capital letters, reads,“Il Verissimo Ritratto del Santiss. o Sudario/ Del Nostro Salvatore Giesu Christo”, “The Very True Portrait of the Holy Shroud/ Of Our Savior Giesu Christo”. The image depicts eleven bishops displaying the Shroud, with (St.) Charles Borromeo, Cardinal Archbishop of Milan, in the center. St. Charles Borromeo visit was the occasion that marked an important moment in the history of the Shroud: its transfer from Chambery to Turin, where it still remains today.
Although the Shroud is depicted there are many inconsistencies with the original: the well-delineated-edged image shows Jesus with his feet spread apart, his right arm crossed over the left (while on the Shroud the left is over the right), all five fingers of both hands are seen, a loincloth is painted, the crown of thorns is drawn in circular detail, the Chambery burns are depicted in a decorative manner rather than corresponding to the original, and there are decorative elements between the front and back images. The four L-shaped holes are missing. It is therefore inferred that the intent was more for devotional use..
Giovanni Testa produced several such devotional and commemorative engravings under the patronage of the House of Savoy. There are a few
generations of Testa engravers to be found in art history. The works of the Testa family engravers appear in many of the world’s major museums of
fine art, including the Metropolitan Museum of Art, the U.K. Royal Collection Trust, and the Victoria and Albert Museum.
Painted devotional copy on cloth of the original “Lier Shroud”, from 1516. The depiction of the Shroud with enhanced detail painted in gray-brown and brown-red hues make it easy to see. Visible are the four unique symmetrical “burn holes” present on the cloth prior to the 1532 fire in Chambery. On the cloth are: at the top, in the center, the date “1516”; at the bottom two other inscriptions, one in Latin and the other in German. The central inscription, in Latin, narrates the deposition and burial of Jesus:
“Examinu Christi pius in qua corpus Jesu
A cruce depositum inuoluerat ipse Joseph
Sindonis hoc vere: saltem est pars tertia Sindon
(Quippe hoc ter maior corpore Jesus erat)
Huius que mortis lector te instigat acerbe
Qua pro te misero plasmate sponte tulit.”
“This is true: This Shroud (copy of the) is only one-third of the Shroud in which the pious Joseph wrapped the dead body of Christ laid down from
the cross. (In fact, Jesus body was three times larger.) May this shroud (copy of the), O reader, remind you what a bitter death he freely accepted
for you, O miserable creature.”
Along the bottom edge, on a single line, an inscription in German (Old Nuremberg dialect), followed by a monogram of uncertain interpretation. In contemporary German: “Der Sohn Gottes, Jesus Christus, unser Erlöser, ist nach seinem bitteren Tod in ein reines Tuch gelegt und begraben worden, auf welchem er aus göttlicher Kraft dieser Gestalt gleich seine menschliche Form hinterlassen hat. Dieses heilige Tuch wird alle Jahre am nächsten Tag nach Invero Crucis zu Kamerach in Savoyen gezeigt und mit Verehrung auch beim Wirken von Wunderzeichen gesehen”, “The Son of God, Jesus Christ, our Savior, after His sorrowful death, was laid down and buried in a clean cloth, on which He left by divine power His human form like in this image. This holy cloth is displayed every year, on the day after the finding of the Cross, in Chambery in Savoy and is also viewed with reverence as it works miraculous signs.”
The original is preserved in Lier, Belgium, and is a copy of the Shroud commissioned during its stay in Chambery, Savoy. Maximilian I, emperor of the Holy Roman Empire, as ancient documents attest, wanted several copies made. Although the commissioned artist is not known, many art historians have speculated this reproduction may be the work of Albrecht Durer or Cranach the Elder. The artwork is significant because it testifies to the presence of burns on the Shroud prior to the 1532 fire and the making of the copy before that date. Several artists made smaller copies of the original, such as this one, presumably for devotional
purposes.
A stone bas-relief depicting the deposition of Jesus and enshrouding in the presence of the Virgin Mary, St John, Joseph of Arimathea, Nicodemus and Mary Magdalene. A late medieval date (between the eleventh and the thirteenth century) is possible. This artifact lacks context but appears to have been taken from a wall or support structure of a building. While the historical provenance is unknown, the engraving in the Ghe’ez language at the top suggests its origin in Ethiopia. In fact, Ghe’ez is an almost extinct Semitic language spoken in the Ethiopian Empire until the 14th century. It is currently used in the liturgy, in Ethiopia and Eritrea, by the Catholic Church and Orthodox. In the craftsmanship it is interesting that Jesus is depicted with his hands folded across the lower abdomen, as seen also on the Shroud of Turin.
Text of the inscription: ዘከመ ገነዝዎ ለዕግዚዕነ።
Transliteration: ZEKEME GHENEZWO LE’EGZI’ENE.
Translation: “(the way) with which they wrapped (the body of) Our Lord.”
Devotional cloth embroidered with floral motifs and with sequin accents framing the central image depicting the entrance of St. Charles Borromeo to Cigliano (province of Vercelli) “alla sera delli 8 di Ottobre 1578”, “on the evening of October 8th, 1578”, as specified by the inscription. The dating
must be post-1610 as the devotional piece refers to Cardinal Borromeo as
Saint. The probable origin date is eighteenth century.
The inscription is not entirely legible but it is possible to understand the words tomorrow (domani) and Turin (Torino). So, the devotional cloth depicts St. Charles passing through Cigliano and as a pilgrim to Turin. In fact, Luigi Fossati writes in his writing “San Carlo a Piedi da Milano a Torino per venerare la Sacra Sindone”, “St. Charles on Foot from Milan to Turin to Venerate the Holy Shroud”, that on October 8, 1578, the Vercelli-Cigliano route was the third station of Cardinal Borromeo’s journey to Turin. Fossati writes: “This third day was the most exhausting because of the poor state of the roads and the greater length of the stage, so much so that they all arrived at Cigliano in a pitiful condition; but the worst affected was Borromeo, to whom, in addition to the rest, the feet swelled and so he could no longer stand, but he brilliantly resolved the situation by going without fail to bed without tasting anything. And it must well be said that his physical constitution was firm if the following morning, with an advance on the schedule as if he wanted to make up for the hours of the previous evening, he rose all full of life and, having devoutly fulfilled every practice of piety, set out for Turin before dawn, amidst the lights that broke through the heavy mists.”
Painting on cloth. The Shroud image shows details of the wounds and testifies to the parallel scorch marks caused by the fire in Chambery on the night of December 3-4, 1532. This painting can be dated to the mid-18th century and is preserved in the collection in its original frame, with the original heavy leaded glass. Many painted copies are known to exist, mostly of similar size, which were placed in contact with the original and venerated in other locations.
Copper engraving by Giovanni Testa dating the sixteenth century. This prolific artist made several engravings for devotional purpose preserved in this collection.
The scene depicts the deposition of Jesus from the Cross, with Our Lady, Joseph of Arimathea and Nicodemus. In the central setting of the deposition the long cloth, on which the figures welcome the Lord’s lifeless body, is put in evidence. Around the Cross, surmounted by the Title, the instruments of the Passion, the nails, the spear, the Crown of thorns, and the sponge are portrayed.
In the background is a view of Jerusalem. At the sides: on the left, the empty tomb with the two angels at either end of where Jesus’ body was
placed, according to the narrative of John’s Gospel; on the right, Jesus’ encounter with the Magdalene.
In the center, below the Calvary scene, the Shroud is displayed supported by St. Peter depicted with the keys of the Kingdom and St. John,
venerated by the Virgin Mary and Mary Magdalene.
The inscription at the top reads:“Il verissimo ritratto del Santissimo Sudario di N.S. Giesu Christo”; “The very true portrait of the Most Holy Shroud of Our Lord Jesus Christ”. At the bottom the inscription reads:
“Oratione della Santa Sindone: Onnipotente sempiterno Iddio, il quale in
memoria della Passione dell’unigenito tuo figliolo, ci hai lasciato la Santa
Sindone con la Sua espressa imagine da esser adorata in terra ti
preghiamo a farci gratia che per virtù della medesima Sacra Sindone
meritiamo di contemplare la tua faccia in Cielo. Amen”.
“Prayer of the Holy Shroud: Almighty everlasting God, who in memory of
the Passion of your only-begotten Son, have left us the Holy Shroud with
His express image to be adored on earth, we beseech you to give us
grace that by virtue of the same Holy Shroud we may merit to contemplate
your face in Heaven. Amen.”
In the lower part the indication of the typography: “in Torino presso Giovanni Testa Con privilegio di S.A.R. ”; “in Turin by Giovanni Testa with privilege of HRH”.
Interesting original engraving signed by German artist Martin Engelbrecht.
The date is not given but, presumably, it dates circa 1750.
The Shroud is potrayed in the middle of the lower edge, under the baldachin which served for the public ostensions, supported by three bishops. Behind them are depicted Carlo Emanuele III with the princes of the Royal House of Savoy. In the center of the print is the image of the Virgin Consolata, patron saint of Turin, venerated and invoked for more than a thousand years, especially in difficult times of war or famine; at the upper edge, in the middle, appears the title “L’Image/ Miraculeuse /de Notre Dame de la/ Consola/à Turin”, “The Miraculous Image of Our Lady of the Consolation in Turin”.
Along the left and right sides are arranged eight episodes illustrating the
“Miracle of the Blind Man of Briançon”. It is the story of the young nobleman and blind from birth, Jean Ravais, who following a dream in which the Virgin appeared to him in a vision asking him to find one of her paintings that had been lost under the ruins of a church in Turin, set out and journeyed and, on June 20, 1104, miraculously regained his sight and found the sacred image of Our Lady inside the Church of St. Andrew.
The miracle, gave rise to the devotion of Our Lady of Consolation and gave
origin to the sanctuary dedicated to her.
Along the bottom edge, on the left, appears the inscription “C. Priv S.C.
Maj.” short for: “Cum Privilegio Sacrae Caesareae Majestatis.” On the right appears the engraver’s name: “Martin Engelbrecht excud. A.V.”
The shrine of the Blessed Virgin “Our Lady of Consolation” or “Consolata” is considered the most important shrine in the city and Archdiocese of Turin, as well as a true masterpiece of Piedmontese Baroque. Some of the most distinguished names in architecture contributed to its construction,
such as Guarino Guarini, Filippo Juvarra and Carlo Ceppi.
Color engraving, artist and date unknown.
The image unfolds in various levels: in Heaven the Risen Christ in His
Glory, with Our Lady and St. John the Baptist on either side; on the ground
on the left is St. Paul, identified by the sword of his martyrdom; on the right is St. Catherine of Alexandria with a palm branch and the wheel with
which she was supposed to suffer martyrdom.
In fact, it is said that the cogwheel destined to her, did not touch her, and
Emperor Maxentius then ordered that Catherine be beheaded, which is
why, in the engraving, the Saint is juxtaposed with St. Paul. Between Heaven and Earth, the Shroud displayed across the sky recalls martyrdom as union with Christ and His Salvific Passion.
This work emphasizes the spiritual union of the Holy Cloth with the Resurrection, the saints and the martyrs.
Unlock your true strength
A copperplate engraving by Giovanni Testa, commemorating the Ostension of the Shroud that took place October 12-14, 1578 in honor of the visit of Cardinal Charles Borromeo who came on pilgrimage on foot from Milan to Turin. It is reported that the exposition lasted three days in which there was continuous prayer, day and night interrupted only by the exhortations of the bishops and some pilgrims. It is also narrated that St. Charles himself preached three times, as did the Archbishop of Turin three times exhorting the faithful. The influx of pilgrims was extremely large involving at one and the same time the royals, their court, artisan guilds, and peasants from the countryside and from the farmland. The title of the artwork, given on two levels in capital letters, reads,“Il Verissimo Ritratto del Santiss. o Sudario/ Del Nostro Salvatore Giesu Christo”, “The Very True Portrait of the Holy Shroud/ Of Our Savior Giesu Christo”. The image depicts eleven bishops displaying the Shroud, with (St.) Charles Borromeo, Cardinal Archbishop of Milan, in the center. St. Charles Borromeo visit was the occasion that marked an important moment in the history of the Shroud: its transfer from Chambery to Turin, where it still remains today.
Although the Shroud is depicted there are many inconsistencies with the
original: the well-delineated-edged image shows Jesus with his feet spread apart, his right arm crossed over the left (while on the Shroud the left is over the right), all five fingers of both hands are seen, a loincloth is painted, the crown of thorns is drawn in circular detail, the Chambery burns are depicted in a decorative manner rather than corresponding to the original,
and there are decorative elements between the front and back images. The four L-shaped holes are missing. It is therefore inferred that the intent was more for devotional use..
Giovanni Testa produced several such devotional and commemorative engravings under the patronage of the House of Savoy. There are a few
generations of Testa engravers to be found in art history. The works of the Testa family engravers appear in many of the world’s major museums of
fine art, including the Metropolitan Museum of Art, the U.K. Royal
Collection Trust, and the Victoria and Albert Museum.
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Feel free to contact us for questions and presentation opportunities.
If interested in scheduling a presentation and/or exhibition of collection pieces for a seminary, school group, museum, or other organization, please contact Dr. Cheryl White at cwhite@sjbcathedral.org.
