carved in the round, is contrary to Byzantine norms. Life-size crucified Christs were more common in Germany from the late eleventh century, following the Gero Cross of Cologne Cathedral of about 970, which seems to have been the prototype. The long robe may be a Byzantine influence, although many Western examples also exist, in Ottonian illuminated manuscripts and other media. The belt of the Holy Face is unprecedented in a Crucifixion from either East or West. In Lucca, an annual candlelit procession, the Luminara, is devoted to the Holy Face on 13 September, the eve of religious celebrations on the following day. The procession, which today no longer includes the sculpture as in the past, walks to the cathedral from the Basilica of San Frediano, where a fresco cycle commemorates the legend of Nicodemus' sculpting the image from cedar of Lebanon, during which, having completed all but the face, Nicodemus slept, awaking to find the Holy Face completed by an angel. In Eastern Christianity, similar legends accrue round icons said to be acheiropoieta, "not made by human hands". Discovered in a cave in the Holy Land by "Bishop Gualfredo", who was guided by a revelatory dream, the image was carried first to the Tuscan port of Luni in a boat without sails or crew. But the men of Luni, when they tried to board the boat, found that it retreated miraculously from their grasp. Warned by an angel in a revelatory dream that the Holy Face had arrived in Luni, Johannes, bishop of Lucca, with his clerics and a great crowd of Lucchesi, arrived at Luni, bade a stop to the attempts to retrieve the boat and, by calling upon God, found that the ship came miraculously to Johannes and opened to him its gangplank. When the people saw the Holy Face they wept tears of joy and cried Gloria in excelsis. Once ashore, the legend brings the image to Lucca in a cart pulled by oxen with no driver, in a further miraculous demonstration of the "rightness" of its possession by the city of Lucca, and having been deposited in the church of San Frediano, it is miraculously translated to the church of San Martino, which was interpreted as the rationale for choosing this church as the cathedral. Thus the possession of the image by Lucca rather than Luni, and its location in its rightful church, were both justified