Eastern Orthodox and Byzantine Catholic Churches as the Intercession of the Theotokos. Few other objects are said to have been touched or given by Mary during apparitions, notably a 1531 image printed on a tilma, known as Our Lady of Guadalupe, belonging to Juan Diego. Places Places where Mary is believed to have lived include the Basilica della Santa Casa in Loreto, Marche, and the House of the Virgin Mary in Ephesus. Her burial place is believed by Eastern Christians to be the Tomb of the Virgin Mary in Jerusalem. The belief that Mary's house was in Ephesus is recent, as it was claimed in the 19th century based on the visions of Anne Catherine Emmerich, an Augustinian nun in Germany. It has since been named as the House of the Virgin Mary by Roman Catholic pilgrims who consider it the place where Mary lived until her assumption. The Gospel of John states that Mary went to live with the Disciple whom Jesus loved, traditionally identified as John the Evangelist. Irenaeus and Eusebius of Caesarea wrote in their histories that John later went to Ephesus, which may provide the basis for the early belief that Mary also lived in Ephesus with John. The apparition of Our Lady of the Pillar in the first century was believed to be a bilocation, as it occurred in Spain while Mary was living in Ephesus or Jerusalem. The pillar on which she was standing during the apparition is believed to be kept in the Cathedral-Basilica of Our Lady of the Pillar in Zaragoza and is therefore venerated as a relics, as it was in physical contact with Mary. In arts Iconography In paintings, Mary is traditionally portrayed in blue. This tradition can trace its origin to the Byzantine Empire, from AD, where blue was "the colour of an empress". A more practical explanation for the use of this colour is that in Medieval and Renaissance Europe, the blue pigment was derived from the rock lapis lazuli, a stone of greater value than gold, which was imported from Afghanistan. Beyond a painter's retainer, patrons were expected to purchase any gold or lapis lazuli to be used in the painting. Hence, it was an expression of devotion and glorification to swathe the Virgin in gowns of blue. Transformations in visual depictions of Mary from the 13th to 15th centuries mirror her "social" standing within the Church