The present investigation proceeds from the immersive attitude of Eastern Roman visual production, which through the “reverse perspective” makes the user a real kinesthetic actor, which crowds the representation. This ability finds a peculiar expression in the singular cult of the Iconavetere of Foggia, also known as Madonna dei Sette Veli, an icon that is presented covered to the faithful by precious tissues. The icon is the protagonist of an exceptional ‘emerging’ prodigy when the face of a young girl protrudes from the oculus placed on her cover. The same circular opening repeated in the copies for devotional use, called quatrìddi re li sette véli, is used by the so-called mòneche re casa for singular divinatory practices characterized by an immersive nature.