The brochure carried the Divine Mercy image on the cover.

The first Mass during which the Divine Mercy image was displayed was on April 28, 1935, the Sunday after Easter.

Faustina and Sopocko directed an artist to paint the first Divine Mercy image, based on Faustina's reported vision of Jesus.

The Divine Mercy image is a depiction of Jesus based on the devotion initiated by Saint Faustina Kowalska.

Since 1931 Faustina had been trying (without success) to find someone to paint the Divine Mercy image until Sopocko became her confessor in the middle of 1933.

The veneration of the Divine Mercy image also takes place in conjunction with the Divine Mercy Chaplet and Novena.

The original Divine Mercy image was painted by Eugene Kazimierowski in Vilnius, Lithuania under St. Faustina's direction.

The chaplet may also be said without beads, usually by counting prayers on the fingertips, and may be accompanied by the veneration of the Divine Mercy image.

His episcopal motto is Jesu in te confido (Jesus, I trust in You) taken from the Divine Mercy image.

Sopocko managed to obtained permission to place the Divine Mercy image within the Gate of Dawn church in Vilnius as he celebrated the Mass that Sunday.

A very popular 20th century depiction among Roman Catholics is the Divine Mercy image, following its approval by Pope John Paul II in April 2000.

Hyła painted the Divine Mercy image for the convent in Kraków, Poland, as a votive offering for having survived World War II.

The devotion places emphasis on the veneration of the Divine Mercy image which Faustina reported as a vision of Jesus while she was in her cell in the convent.

Faustina told Sopocko about the Divine Mercy image and in January 1934 Sopocko introduced her to the artist Eugene Kazimierowski, who was also a professor at the university.

Another 20th century depiction of Jesus, namely the Divine Mercy image is based on Faustina Kowalska's reported vision, which she described in her diary as a pattern that was then painted by artists.

The Vatican biography of Faustina states that the veneration of the Divine Mercy image is part of the second component of her message, namely "entreating God's mercy for the whole world".

The pamphlet included the chaplet, novena and the litany of Divine Mercy and the Divine Mercy image appeared on the cover, with the signature, "Jesus I Trust in You".

The Divine Mercy image is often carried in processions on Divine Mercy Sunday, and is placed in a location in the church so that it can be venerated by those who attended the Mass.

Faustina wrote (Notebook 1, item 49) that Jesus told her that he wanted the Divine Mercy image to be "solemnly blessed" on the first Sunday after Easter; and that Sunday was to be the Feast of Mercy.

Jałbrzykowski gave Sopocko permission to display the Divine Mercy image for the first time ever during a Mass on April 28, 1935, the second Sunday of Easter - the feast that is now officially called Divine Mercy Sunday.

Praying before the Divine Mercy image (with the signature "Jesus I trust in you") is not only encouraged in Catholic devotions, but is mentioned as a partial condition for some of the indulgences associated with Divine Mercy Sunday.

In her diary Faustina wrote that Jesus specified three o'clock each afternoon as the hour at which mercy was best received, and asked her to pray the Chaplet of Mercy and venerate the Divine Mercy image at that hour.

In 1939, a year after Faustina's death when Jałbrzykowski noticed that her predictions about the war had taken place, he allowed public access to the Divine Mercy image which resulted in large crowds that led to the spread of the Divine Mercy devotion.

In July 1937 the first holy cards with the Divine Mercy image were printed and in August Father Sopocko asked Faustina to write the instructions for the Novena of Divine Mercy which she had reported as a message from Jesus on Good Friday 1937.

Faustina eventually found an artist (Eugene Kazimierowski) to depict the Divine Mercy image of Jesus with his right hand raised in a sign of blessing and the left hand touching the garment near his breast, with two large rays, one red, the other white emanating from near his heart.