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Image of Edessa

The Image of Edessa, also known as the Mandylion, is a revered Christian relic consisting of a cloth bearing a miraculous, acheiropoietos ("not made by human hands") imprint of Jesus Christ's face, regarded as one of the earliest and most significant icons in Eastern Christianity. According to the foundational legend recorded in early Syriac texts, it originated in the 1st century AD when King Abgar V of Edessa, suffering from leprosy, corresponded with Jesus, who promised to send a disciple; the disciple Ananias (or Thaddaeus/Addai) then delivered the image along with a letter from Christ, miraculously healing the king and leading to Edessa's conversion as one of the first Christian kingdoms.^[1]^[2] The relic's historical attestation begins in the 6th century, with no earlier references to the image itself despite the Abgar legend appearing in Eusebius of Caesarea's Ecclesiastical History around 325 AD; by then, it was described as a protective talisman, hidden in Edessa's city walls during a flood in 525 AD and rediscovered to aid in defending the city against Persian King Khusro I's siege in 544 AD, where it reportedly contributed to a miraculous victory.^[2]^[3] In 944 AD, Byzantine Emperor Romanos I Lekapenos orchestrated its transfer from Edessa to Constantinople amid diplomatic negotiations, where it was enshrined in the Pharos Chapel of the imperial palace, celebrated annually on August 16, and venerated as a prototype for iconography.^[1]^[2] The Image played a pivotal role in the Byzantine Iconoclastic Controversy (726–843 AD), serving as canonical proof of divinely sanctioned images against iconoclasts, and inspired numerous copies and artistic traditions depicting Christ in a specific frontal pose.^[2] Described in contemporary accounts as a small, rectangular cloth (often called a tetradiplon, or fourfold linen) showing only the face in natural colors, it was publicly displayed during processions and healings but handled with reverence to avoid direct contact with the image.^[3] Its fate remains unknown after the sack of Constantinople in 1204 during the Fourth Crusade, when it was looted along with other relics.

Legend and Origins

Abgar Correspondence

The foundational legend of the Image of Edessa centers on an exchange of letters between King Abgar V Ukkama of Osroene, who ruled the city-state of Edessa (modern Şanlıurfa, Turkey) from approximately 4 BC to AD 7 and again from AD 13 to 50, and Jesus Christ. Afflicted with a debilitating illness—often described as leprosy or gout—Abgar wrote to Jesus, having heard reports of his miracles, to request healing and to invite him to Edessa as a safe haven from persecution by Jewish authorities. In his letter, Abgar praised Jesus as either God descended from heaven or the Son of God, capable of restoring sight to the blind, mobility to the lame, and life to the dead without medicines.^[4] Jesus responded by commending Abgar's faith, quoting scripture to affirm that those who believe without seeing will be saved, and promising that after fulfilling his mission and ascending to the Father, he would send a disciple to cure the king and ensure that neither Abgar nor his city would ever fall to enemies.^[4] In the expanded narrative of the legend, Jesus fulfills his promise by creating the Image of Edessa through a miraculous act: he presses a linen cloth to his face, imprinting upon it an exact likeness of his features, rendered acheiropoietos—not made by human hands. This cloth, bearing the divine countenance, is dispatched to Abgar along with the disciple Thaddaeus (also known as Addai), one of the seventy apostles sent by Thomas. Upon arrival in Edessa, Thaddaeus presents the image to the king, who is immediately healed upon gazing at it and touching it to his body. This miracle leads to Abgar's conversion to Christianity, along with many of his subjects, establishing Edessa as one of the earliest Christian centers in the Near East.^[5] The earliest surviving textual record of the Abgar correspondence appears in Eusebius of Caesarea's Ecclesiastical History (c. AD 325), where he claims to have personally translated the letters from ancient Syriac documents preserved in Edessa's royal archives, presenting them as historical evidence of the city's apostolic origins.^[4] Eusebius includes the full texts of the letters and describes Thaddaeus's mission, though his account does not yet mention the image itself. The acheiropoietos cloth emerges in subsequent Syriac traditions, such as the Doctrine of Addai (late 4th or early 5th century), which elaborates on the relic's role in the conversion and marks the legend's development to include the miraculous image.^[6] Theologically, the Image of Edessa is portrayed as a divine talisman safeguarding the city from calamities, underscoring its acheiropoietos nature as a direct emanation of Christ's presence and authority.^[7] This protective function, first attested by the historian Evagrius Scholasticus in his Ecclesiastical History (c. AD 593), highlights the relic's significance in early Christian devotion, symbolizing God's enduring favor toward the faithful community.^[7]

Early Christian Accounts

The Abgar legend, including the correspondence between King Abgar V of Edessa and Jesus Christ, is recorded in fourth-century Christian writings, but references to the Image of Edessa itself first appear in the sixth century. Eusebius of Caesarea, in his Ecclesiastical History (Book 1, Chapter 13), records discovering the letters exchanged between Abgar and Jesus in the public archives of Edessa, where they were preserved in Syriac; he describes how, after Jesus' ascension, the disciple Thaddaeus was sent to heal Abgar and convert the city, establishing Christianity there as a lasting legacy.^[4] By the sixth century, the Image gained prominence as a tangible relic in historical accounts of Edessan defense. Evagrius Scholasticus, in his Ecclesiastical History (Book 4, Chapter 27), describes it as a "divinely wrought image" on cloth—not made by human hands but sent by Christ to Abgar—employed during the Persian siege of Edessa in 544 CE under King Khosrow I. According to Evagrius, the Edessenes applied the Image to wooden supports in a counter-mined tunnel beneath the Persian siege mound, invoking divine power that ignited the structure and collapsed it, compelling the attackers to retreat and sparing the city.^[7] The Image functioned as a palladium, or protective icon, central to Edessan identity against Zoroastrian Persian incursions, symbolizing divine favor in moments of crisis like Khosrow I's invasion, where its revelation reportedly induced enemy withdrawal through miraculous intervention.^[8]

Historical Transmission

Period in Edessa

Following the Persian siege of Edessa in 544, during which the image was credited with miraculously protecting the city from destruction, the relic continued to be housed in the city's cathedral as a central object of Christian devotion. When Arab forces under the Rashidun Caliphate conquered Edessa in 638, the image remained in Christian custody under Muslim rule, enduring as a symbol of local faith amid the political shift. Rather than being hidden, it was preserved through the tolerance extended to Christian communities, allowing ongoing veneration despite the city's isolation from Byzantine territories. Throughout the 7th to 10th centuries, the Image of Edessa served as a focal point for liturgical practices, including annual feasts on August 16 featuring processions through the streets, where it was carried aloft to invoke divine protection and healing. Integrated into the local Syriac Christian liturgy, the relic symbolized Edessan orthodoxy, particularly in theological disputes between Orthodox and Monophysite factions, with theologians like Theodore Abu Qurrah invoking it around 800 to affirm its acheiropoietos (not made by human hands) nature against iconoclastic challenges. These practices underscored its role in fostering communal identity and resilience under Islamic governance. The relic's prominence culminated in the events of 944, when Byzantine Emperor Romanos I Lekapenos leveraged its prestige in negotiations during a siege led by General John Kourkouas. The Muslim authorities of Edessa agreed to relinquish the image—along with a purported accompanying letter from Christ to King Abgar—in exchange for 200 prisoners, 12,000 silver dinars, and a pledge to spare the city from plunder, highlighting the relic's immense political and symbolic value as a trophy of Christian heritage. Contemporary accounts, such as the anonymous Narratio de Imagine Edessena, portray this transfer as a providential event, celebrated with miracles and processions upon its arrival in Constantinople, framing it as divine intervention in the restoration of Byzantine influence.

Transfer to Constantinople

In 944, during the reign of Emperor Romanos I Lekapenos, the Byzantine general John Kourkouas led a military expedition against the Muslim-held city of Edessa, besieging it as part of broader campaigns in Syria. The Edessan authorities, facing pressure from the siege, agreed to surrender the Image in exchange for the release of 200 Muslim prisoners and a payment of 12,000 pieces of silver, averting further destruction. This transaction marked the relic's extraction from Edessa, where it had been rediscovered and venerated centuries earlier as a protective talisman. The Image's journey to Constantinople was conducted with elaborate imperial pomp, transforming the transfer into a triumphal adventus ceremony. Arriving by sea on August 15, 944, it was first received at the Sagar River estuary by the patrician Theophanes, accompanied by torchlight processions and liturgical hymns. The next day, August 16, a grand procession through the Golden Gate led to Hagia Sophia, where Emperor Romanos I and Patriarch Theophylaktos presided over veneration rites, before the relic was escorted to the imperial palace. This ceremonial route emphasized the Image's role as a divine palladium, bolstering Byzantine legitimacy amid ongoing conflicts with Arab forces. Upon arrival, the relic was renamed the Mandylion, derived from the Greek term for a towel or cloth, reflecting its form as an acheiropoietos image imprinted on fabric. It was enshrined in the Chapel of the Virgin Pharos within the Great Palace, placed in a gold-framed casket alongside the legendary correspondence of Abgar V, where it joined other imperial relics. Contemporary accounts, including the Narratio de Imagine Edessena and descriptions in Constantine VII's De Ceremoniis, documented the event's splendor, portraying it as theological propaganda to affirm the relic's miraculous origins and the emperor's piety. The Mandylion's integration into Constantinople provided a significant boost to icon veneration in the post-Iconoclastic era, serving as the preeminent example of a divinely produced image that validated the use of religious icons. It was paraded in subsequent military triumphs against Arab incursions, reinforcing its protective aura and the empire's spiritual-military prestige. This elevation helped solidify Byzantine identity around acheiropoieta relics, influencing court rituals and artistic traditions.

Description and Iconography

Physical Attributes

The Image of Edessa is described in historical sources as a linen cloth, often termed a mandylion or small towel, bearing a miraculous, acheiropoietos (not made by human hands) imprint of Jesus Christ's face.^[9] Early Syriac accounts, such as the Doctrine of Addai (ca. 5th–6th century), portray it as a simple cloth impression created when Christ pressed the fabric to his face, resulting in a faint, natural transfer rather than a painted image.^[8] By the 6th century, Evagrius Scholasticus referred to it as a theoteuktos (divine portrait), emphasizing its non-artificial qualities during its role in Edessa's defense against Persian forces in 544.^[8] Tenth-century Byzantine sources, including the Narratio de Imagine Edessena, identify the cloth as a tetradiplon—folded in four layers—to reveal only the facial image, with the unfolded linen described as square or rectangular, though its precise size is not documented.^[10] The relic was typically housed in a wooden or gold frame, sometimes nailed to a board for stability, and placed within a locked reliquary or casket measuring about 60 cm long, 40 cm wide, and 5 cm deep to fit the folded form.^[11] Handling involved unfolding it partially for veneration in processions or liturgical settings, such as in Edessa's cathedral or Constantinople's Pharos Chapel after 944.^[12] The imprinted image depicts a full-face portrait of Jesus with long hair parted in the middle, a forked beard, and prominent eyes, contributing to its lifelike appearance.^[10] Described as dim or faint by the 10th century, the impression resembled sweat, blood, or a subtle stain.^[12] Accounts vary across traditions: early Syriac texts emphasize a basic, unadorned cloth with a minimal impression, while later Byzantine descriptions, such as those in the Synaxarion and Michael the Syrian's Chronicle (12th century), portray it as more elaborate, with added inscriptions, gold embellishments, and integration into ornate reliquaries.^[9] These evolutions reflect the relic's growing ceremonial role without altering core attestations of its acheiropoietos nature.^[13]

Influence on Byzantine Art

The Image of Edessa, revered as the Mandylion, profoundly shaped Byzantine iconography by establishing the "Christ Pantocrator" type, featuring a symmetrical face with long hair, a forked beard, and solemn expression that became standard in religious art from the late 6th century onward. This prototype drew from the relic's legendary acheiropoietos (not made by human hands) imprint, influencing monumental works such as the 11th-century mosaics in the Daphni Monastery near Athens, where the Pantocrator's dignified visage in the dome conveys divine authority and mirrors textual descriptions of the Mandylion's facial traits.^[14]^[15] Numerous painted replicas of the Mandylion proliferated in Byzantine workshops, disseminating its iconography across the empire and beyond; for instance, icons from St. Catherine's Monastery on Mount Sinai, dating to the 10th–12th centuries, depict Christ's face emerging from a folded cloth, often with ethereal highlights emphasizing its miraculous origin. These copies not only preserved the relic's form but also facilitated its transmission to Slavic artistic traditions, such as in medieval Russian icons, and indirectly to Western European depictions through trade and pilgrimage routes.^[14]^[16] The Mandylion's liturgical integration, particularly through the annual feast of the Holy Mandylion on August 16 commemorating its transfer to Constantinople, inspired a range of artistic media beyond painting, including embroidered textiles like epitaphioi veils used in Passion Week processions and cloisonné enamel works on crosses and reliquaries from the 12th century. These artifacts, often featuring the folded cloth motif, reinforced the relic's role in Eucharistic rituals and theophanic celebrations, blending visual piety with ceremonial practice.^[14]^[16] As a cornerstone of the acheiropoietos tradition, the Mandylion bolstered the post-Iconoclastic revival after 843, justifying the veneration of images through its divine authenticity and shaping church decorative programs with themes of triumph over heresy in the 11th–15th centuries. It also informed Byzantine diplomatic and theological exchanges with Islamic rulers, who referenced the relic in discussions on aniconism, thereby highlighting Christianity's emphasis on incarnational imagery.^[14]^[16]

Connection to the Shroud of Turin

In 1978, historian Ian Wilson proposed that the Image of Edessa, also known as the Mandylion, was the Shroud of Turin folded in a specific manner to display only the face, interpreting the Greek term tetradiplon—meaning "doubled in four"—as evidence of this configuration, which aligned with descriptions of the relic's transfer from Edessa to Constantinople in 944 AD.^[17] This theory posits that the full-length cloth was folded lengthwise twice and then in half crosswise, creating a rectangular panel approximately 38 by 21 inches that revealed solely the facial image during veneration, consistent with contemporary accounts of the relic as a compact, face-only icon.^[18] Supporting this identification, certain Byzantine artistic depictions of the Mandylion from the 10th to 12th centuries include subtle indications of a fuller body image, such as rivulets of blood flowing from the forehead and hints of elongated proportions beneath the cloth, suggesting artists were aware of underlying corporal elements not publicly shown.^[14] Additionally, 12th-century pilgrim testimonies, including those from Western visitors to Constantinople, describe the relic in ways that imply imprints of the entire body, with references to a "sindon" or burial cloth bearing traces beyond the face, potentially conflating or revealing the Mandylion's true nature as a complete shroud.^[3] Opposing views highlight discrepancies, such as the Mandylion's reported smaller dimensions in Edessan traditions compared to the Shroud's 14-foot length, and the absence of unbroken provenance linking the two relics across centuries.^[19] The 1988 radiocarbon dating of the Shroud by laboratories in Oxford, Zurich, and Arizona yielded a medieval origin range of 1260–1390 AD with 95% confidence, conflicting with the Image of Edessa's purported 1st-century antiquity, though this result has been challenged by 2020s studies, including 2025 research demonstrating potential contamination from microbial biofilms, repairs, or environmental factors that could skew the dating toward a later period.^[20]^[21] Scholar Averil Cameron, in her 1980s analysis, examined the Mandylion legend as an evolving narrative shaped by Byzantine cultural and political needs, arguing that its transformation from a simple facial icon to a more complex relic may reflect legendary embellishment rather than historical continuity with the Shroud.^[22]

Claimed Surviving Copies

Several medieval and later artifacts have been proposed as direct copies or survivals of the Image of Edessa, also known as the Mandylion, a cloth bearing a miraculous imprint of Christ's face. These claims emerged primarily in the context of Byzantine relic transmission and post-Crusade relic trade, with proponents arguing for continuity from the original Edessan relic lost during the 1204 sack of Constantinople. However, none possess an unbroken chain of custody linking them definitively to the 10th-century Mandylion, and scholarly consensus views them as devotional replicas inspired by the legend rather than authentic survivals.^[23] The Holy Face of Genoa, housed in the Church of San Bartolomeo degli Armeni, is a 14th-century linen cloth featuring a faint image of Christ's face, framed in a silver-gilt reliquary with embossed scenes from the Passion. Acquired in 1362 as a diplomatic gift from Byzantine Emperor John V Palaiologos to Genoese Doge Leonardo Montaldo, it was bequeathed to the Armenian monastery in 1388 and has remained there, venerated as a copy of the Mandylion since at least the late 14th century. Proponents, including 17th-century chronicler Agostino Calcagnino, cited its resemblance to Byzantine descriptions of the Edessan image and eyewitness accounts of its antiquity to argue for its status as a direct replica produced in Constantinople.^[24]^[25]^[23] The Holy Face of San Silvestro, located in Rome's Church of San Silvestro in Capite (now transferred to the Vatican), is an 8th-century icon painted on cloth depicting Christ's face in a serene, beardless Edessan style, supported by a cedar wood panel and enclosed in a Palaiologan-era frame (1261–1453). Historical accounts trace its arrival in Rome from Constantinople in the early Middle Ages, with 17th-century defender Paolo Giacomo Giacchetti invoking the Narratio de Imagine Edessena to claim it as an early acheiropoietos replica commissioned during the Mandylion's time in Edessa. Restricted from public display in 1517 to avoid rivalry with other relics, it was analyzed in 1996 using X-ray and thermography, revealing pigment-based painting with later alterations to the facial features but no evidence of overpainting.^[25]^[26]^[23] Other candidates include the Veil of Manoppello, a thin byssus cloth with a translucent face image, first documented in 17th-century records as a post-1204 survival smuggled from Constantinople and housed in the Basilica of the Holy Face since 1638. Devotees claim it as a Mandylion derivative based on its acheiropoietos qualities and spectral analyses in the 2010s showing no pigments or brushstrokes, though critics attribute the image to 16th-century artistic techniques. Similarly, the Savior Acheiropoietos icon in Moscow's Assumption Cathedral, a 12th-century Novgorod-school tempera on panel, replicates the Mandylion's frontal, haloed face and was venerated in Russian Orthodoxy as a copy transferred after the Byzantine era.^[27]^[28]^[29] Authenticity debates center on the absence of provenance documents predating the 14th century for most claimants, with Counter-Reformation scholars like Calcagnino and Giacchetti engaging in polemics to affirm their relics amid theological scrutiny from the Council of Trent. Modern scholarship, including Joe Nickell's 2009 analysis, dismisses them as pious forgeries or artistic inventions drawing on the Edessan legend, lacking the miraculous properties described in early sources; recent studies in outlets like Skeptical Inquirer reinforce this by highlighting stylistic inconsistencies with 6th–10th-century Byzantine icons. No comprehensive 2010s UV analyses confirm ancient pigments on the Genoa cloth specifically, though related examinations of similar relics underscore medieval fabrication methods.^[25]^[23]

Relation to the Veil of Veronica

The legend of the Veil of Veronica originates from the story of a woman who, during Jesus' journey to Calvary, wipes his bloodied face with her cloth, resulting in a miraculous imprint of his features. This narrative is rooted in apocryphal traditions, with the name "Veronica" (meaning "true image") first appearing in the 4th- or 5th-century Gospel of Nicodemus (also known as the Acts of Pilate), where she is identified as the hemorrhaging woman healed by Jesus, though without mention of the veil imprint. The full legend of the face-wiping and imprinting developed in medieval Western Christianity, evolving into a recognized relic housed in Rome by the 12th century, where it was venerated as an acheiropoietos (not made by human hands) image.^[30]^[31] The Image of Edessa (Mandylion) and the Veil of Veronica share key motifs as acheiropoieta cloths bearing Christ's face, often invoked for healing, protection against disasters, and as symbols of divine favor. Both relics were believed to possess miraculous properties, such as replicating themselves through contact or prayer, and were associated with narratives of direct imprinting from Jesus' living face. Scholars suggest possible cross-pollination between the Eastern Mandylion tradition and the Western Veronica legend, particularly following the Fourth Crusade's sack of Constantinople in 1204, when Byzantine relics, including face images, were dispersed to the Latin West, influencing devotional practices and iconography.^[32]^[33] Despite these parallels, significant differences distinguish the two traditions: the Mandylion is depicted as a pre-Crucifixion gift from Jesus to King Abgar V of Edessa in the 1st century, emphasizing an Eastern, apostolic origin, whereas the Veronica arises from a Passion event during the Crucifixion procession, tying it to Western meditations on Christ's suffering. 20th-century scholarship, including that of Ian Wilson, concludes there is no direct historical link between the relics, viewing them as independent developments shaped by regional theologies rather than a shared artifact.^[32]^[34] Culturally, the Mandylion held an imperial role in Byzantine Constantinople, serving as a palladium (protective talisman) for the emperor and the city, often displayed in processions to affirm Orthodox authority. In contrast, the Veronica became a focal point of papal veneration in St. Peter's Basilica, promoted by figures like Pope Innocent III in the early 13th century to bolster Roman prestige and pilgrim devotion, including indulgences for viewing it. Both traditions persist in modern replicas, such as Byzantine-style Mandylion icons and Western vernicle medals depicting the Veronica, continuing their roles in liturgical art and personal piety.^[35]^[36]

References

[1]
Story of the Image of Edessa - NASSCAL
The second movement of the text focuses on the actions of the image in the sixth century during the war waged against the city by the Persian king Khusro.Missing: origin | Show results with:origin
[2]
09.09.21, Guscin, The Image of Edessa | The Medieval Review
This book offers an English translation of the tenth-century Greek Narratio de imagine Edessena (an account of the translation of the well-known Image or ...
[3]
[PDF] The Mandylion Or The Story Of A Man-Made Relic - Shroud.com
Oct 12, 2014 · At the beginning, the Image of Edessa comes from the legend of Abgar V, who was king of. Edessa at the time of Christ. For those who don't know ...<|control11|><|separator|>
[4]
Gazing on the Image of His Face - Melkite | Eparchy of Newton
In 593 Evagius the Stoic in his Ecclesiastical History mentions that Edessa was home to a “God-made image” of the face of Christ printed on cloth. The story ...Vocations · The Image Of Edessa · From Edessa To...Missing: legend | Show results with:legend
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CHURCH FATHERS: Church History, Book I (Eusebius) - New Advent
Chapter 13. Narrative concerning the Prince of the Edessenes. 1. The divinity of our Lord and Saviour Jesus Christ being reported abroad among all men on ...Missing: text | Show results with:text
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Aug 16, 2025 · Eusebius, in his History of the Church (I:13), relates that when the Savior was preaching, Abgar was the ruler of Edessa. He was stricken ...
[7]
The Doctrine of Addai (1876). English Translation
And they departed and came to Edessa, and entered into the presence of Abgar the king, their lord, who had sent them, and they gave him the reply of the letters ...
[8]
Evagrius Scholasticus, Ecclesiastical History (AD431-594 ...
Grace is given to the Chuzibite. Your wife is cured, and is in possession of both her eyes ; for the accident has had no power to deprive her of them, since ...Missing: 27 English
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(PDF) The Tradition of the Image of Edessa - Academia.edu
The Image of Edessa played a vital role in defending Orthodox icons during the Iconoclast crisis. The legend of Abgar's correspondence with Jesus ...
[10]
Image of Edessa - World History Edu
The Image of Edessa, or Mandylion, is a legendary Christian relic believed to bear a miraculous imprint of Jesus Christ's face on a cloth, considered the first ...
[11]
Some Remarks on the Image of Edessa - jstor
The earliest account of the Abgar legend that we now possess is that given by Eusebius of Caesarea in his Ecclesiastical History (Book i,. Chapter 13) which ...
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[PDF] The History of the Image of Edessa : The Telling of a Story
conversion is the picture, which is now a miraculous picture on cloth; furthermore, the cure takes place even before Addai arrives at Edessa. Thomas can now be ...
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Edessa - World History Encyclopedia
Sep 25, 2018 · Arab Conquest. Edessa was attacked several times over the centuries ... The Seljuks would finally conquer Edessa in 1078 CE, but then ...Missing: hidden rediscovery Bulgaria chronicle
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[PDF] From the Mandylion to the Shroud
The first reliable news of the presence of the Mandylion in Edessa goes back to the 6th century. In 1544 the city was besieged by the Sassanids, led by king ...
[15]
Romanos I (920–944) - Dumbarton Oaks
... 944 Edessa surrendered its most precious relic, the Mandylion, as the price for Kourkouas to lift his siege of the city. This brought Byzantium into direct ...Missing: Transfer expedition
[16]
THE AD VENTUS CEREMONY OF THE IMAGE OF EDESSAAND ...
In August 944 the Image of Edessa was brought into Constantinople as the fruits of Romanus I's campaign against the Muslims in Syria. The adventus ceremony of ...
[17]
Εγκυκλοπαίδεια Μείζονος Ελληνισμού, Μ. Ασία
The Mandylion became the epitome of the post-iconoclastic perception about icon as bearer of the holy and as an indispensable element of the Byzantine ...
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https://www.academia.edu/11767479/The_Mandylion_Or_The_Story_Of_A_Man_Made_Relic
[19]
The Shroud of Turin and the Sainte-Chapelle of Paris - sindonology
We know that the Mandylion was in Constantinople when the city was sacked by the army of the Fourth Crusade, in April of 1204. But according to many authors ...<|control11|><|separator|>
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The Tradition of the Image of Edessa
AB - The Image of Edessa was an image of Christ, which according to tradition was of miraculous origin. It was taken from Edessa (mod. Sanliurfa, Turkey) to ...
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How did the Edessa Image influence early Christian art depictions of Christ?add. The Edessa Image was foundational in establishing Christ's iconography ...
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[PDF] The Shroud and the Iconography of Christ
Oct 12, 2014 · In the Byzantine literary sources the image of the Pantocrator is called acheiropoietos – ... Image of Edessa as a full-body image or with ...
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[PDF] Recent Studies on the Image of Edessa:
Byzantines, the Holy Face became a genuine image of Christ. But contrary to Byzantine art, where images of the Mandylion on icons were quite rare, they were ...
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The Mandylion Or The Story Of A Man-Made Relic - Academia.edu
In 1978, Ian Wilson suggested that the Mandylion was in fact the Turin Shroud folded in such a way that only the face of the man of the Shroud was visible, ...
[26]
The Shroud of Turin's Earlier History: Part Two To the Great City
The 8th to mid-10th centuries made the Holy Image of Edessa, the most famous icon in the Christian world. It became the Mandylion and the probable shroud.
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McCrone suggested various microchemical and spectroscopic methods which could be applied to investigate the Shroud of Turin, including radiocarbon dating [30].
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The Mandylion of Edessa - Unam Sanctam Catholicam
May 27, 2025 · The Mandylion (called the Keramidion in the east) was a small, rectangular piece of cloth upon which an image of Christ's face was imprinted.
[30]
The Image of Edessa Revealed - Skeptical Inquirer
Jun 1, 2009 · Among certain reputedly miraculous images of Jesus was the Image of Edessa, known later to the Byzantines as the Mandylion.
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The Holy Face - Genova - Visitgenoa
The Holy Face, more commonly known to in Genoa as the "Santo Mandillo" (a local dialect term meaning a handkerchief and deriving from the Greek mandylion),<|separator|>
[32]
On the Authenticity of Christ's True Image in Counter-Reformation Italy
This essay recovers the dialectics of authenticity informed by the reinvigorated emergence of the Mandylion of Edessa as an authorized early Christian relic ...
[33]
Relic of Edessa Image - San Silvestro in Capite
In the 'Edessa Image', the face of Christ shows no sign of suffering. It is the face of a man in the fullness of health, the face of Christ before he entered ...
[34]
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The purpose of this work is to study the authenticity of what is known as the Holy Face of Manoppello, in the light of some recent research which started in ...
[35]
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The problem of digital image restoration in spatial terms has also been tackled, since the Holy Face is deformed due to distortions of the meshes of the Veil, ...
[36]
File:Christos Acheiropoietos.jpg - Wikimedia Commons
Mar 11, 2007 · Christ Acheiropoietos (Made without hands). A 12th-century Novgorod icon from the Assumption Cathedral in the Moscow Kremlin ... Image of Edessa ...
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Jan 6, 2010 · called the Gospel of Nicodemus - around 380 A.D. In this work, mention is made for the first time (that we know of) of the name of Veronica.
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St. Veronica in Art - Christian Iconography
In written texts, her first appearance is in the 4th-century Gospel of Nicodemus (Acts of Pilate), where she testifies before Pilate that she was the woman ...
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None
### Summary of Comparison Between Mandylion and Veronica
[40]
Intertextuality in the Mandylion and Veronica traditions - ResearchGate
Oct 28, 2018 · Intertextuality in the Mandylion and Veronica traditions ; property of replication, which was carried out by miraculous means in the legends ...
[41]
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https://www.brepolsonline.net/doi/pdf/10.1484/M.CONVISUP-EB.5.131046
[43]
[PDF] About 1200 the cult of Christ's face devel
Unlike the Mandylion, the. Veronica legend of late medieval and Renaissance times came from the story of Christ's Passion, in which jesus wiped his face on ...