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This sculpture is a good example of the Baroque attitude to art, of its striving to represent feelings and passions by movement and action.
The agitated figure seems about to burst out of its niche in order to present the viewer with the miraculous imprint of Christ's countenance. The eighteenth-century critic Giovanni Battista Passeri famously objected to Veronica's movement, which seemed contradictory to the static nature of statuary, but praised the extraordinary carving of the drapery and the cloth on which Christ's face was imprinted.
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