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Andrea Nicolotti
FROM THE MANDYLION OF EDESSA TO THE SHROUD OF TURIN
on a towel, kept in Edessa. This acheiopoieton image (“not made by human
hands”) disappeared in the eighteenth century. The first records of another
acheiropoieton relic appeared in mid-fourteenth century France: a long
linen bearing the image of Jesus’ corpse, known nowadays as the Holy
Shroud of Turin. Some believe the Mandylion and the Shroud to be the
same object, first kept in Edessa, later translated to Constantinople, France
and Italy. Andrea Nicolotti traces back the legend of the Edessean image in
history and art, focusing especially on elements that could prove its identity
with the Shroud, concluding that the Mandylion and the Shroud are two
distinct objects.
Andrea Nicolotti
ISBN 978-90-04-26919-4
BRILL.COM
ISSN: 2212-4187
ii
Edited by
Sarah Blick
Laura D. Gelfand
VOLUME 1
By
Andrea Nicolotti
LEIDEN | BOSTON
iv
Cover illustration: Lluís Borrassà, Retaule d’advocació franciscana. © Museu Episcopal de Vic, Spain.
Photo: Josep Giribet.
Brill and the author have made all reasonable effforts to trace all rights holders to any copyrighted
material used in this work. In cases where these effforts have not been successful the publisher welcomes
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future editions, and to settle other permission matters.
Nicolotti, Andrea.
[Dal Mandylion di Edessa alla Sindone di Torino. English]
From the Mandylion of Edessa to the Shroud of Turin : the metamorphosis and manipulation of
a legend / by Andrea Nicolotti ; edited by Sarah Blick and Laura D. Gelfand.
pages cm. -- (Art and material culture in medieval and Renaissance Europe, ISSN 2212-4187 ;
VOLUME 1)
ISBN 978-90-04-26919-4 (hardback : alk. paper) -- ISBN 978-90-04-27852-3 (e-book) 1. Holy Face of
Edessa. 2. Holy Shroud. 3. Jesus Christ--Relics. I. Title.
BT587.M3N5313 2014
232.9’66--dc23
2014023664
This publication has been typeset in the multilingual ‘Brill’ typeface. With over 5,100 characters covering
Latin, ipa, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities.
For more information, please see brill.com/brill-typeface.
issn 2212-4187
isbn 978-90-04-26919-4 (hardback)
isbn 978-90-04-27852-3 (e-book)
To Gian Marco
∵
Contents Contents vii
Contents
Acknowledgements ix
List of Illustrations xi
1 Introduction 1
3 Shifting Perspectives? 29
Acts of Thaddaeus 29
The Term tetrádiplon and the Reliquary of the Image 34
The Question of the Folds 39
The Letter of the Three Patriarchs and Jesus’ Height 47
Robert de Clari 109
Latin Sermon 112
6 An Overview of Iconography 120
The Holy Face of Lucca 120
Orderic Vitalis 126
Iconography of the Mandylion 128
Flowers or Holes? 148
Miniatures of the Mandylion 152
The Georgian Icon of Ancha 159
The Madrid’s Skylitzes 162
A Russian Icon 170
Byzantine Coins 173
Two Copies of the Mandylion of Edessa 182
The End 188
The Sainte-Chapelle in Paris and the Disappearance of the
Mandylion 188
Conclusions 202
Index of Names 205
Contents
Contents vii
Contents vii
Acknowledgements ix
Acknowledgements ix
List of illustrations xi
List of Illustrations xi
Chapter 1 1
Introduction 1
Chapter 2 7
Origins and Traditions 7
King Abgar and the Origins of the Legend 7
The Apparition of the Image in Edessa 9
The Development of Traditions about the Image 12
The Siege of Edessa 14
A Later Genesis? 17
An Older Genesis? 18
Silence in Syria and Traditions in Armenia 22
The Iconoclastic Era 26
Chapter 3 29
Shifting Perspectives? 29
Acts of Thaddaeus 29
The Term tetrádiplon and the Reliquary of the Image 34
The Question of the Folds 39
The Letter of the Three Patriarchs and Jesus’ Height 47
Chapter 4 53
The Translation of the Image of Edessa 53
Gregory Referendarius and the Translation of the Image 53
The Narratio de imagine Edessena 66
The Keramion 72
The Edessean Cult of the Image 77
The Synaxarium 80
The Liturgical Odes 84
Chapter 5 89
The Mandylion in Constantinople 89
The Name “Mandylion” 89
Persistence of Converging and Diffferent Traditions 91
An Elusive Vision 96
The Preservation of the Mandylion in Byzantium 99
The Revolt of the Palace 106
Robert de Clari 109
Latin Sermon 112
Chapter 6 120
An Overview of Iconography 120
The Holy Face of Lucca 120
Orderic Vitalis 126
Iconography of the Mandylion 128
Flowers or Holes? 149
Miniatures of the Mandylion 153
The Georgian Icon of Ancha 160
The Madrid’s Skylitzes 162
A Russian Icon 170
Byzantine Coins 173
Two Copies of the Mandylion of Edessa 182
Chapter 7 188
The End 188
The Sainte-Chapelle in Paris and the Disappearance of the Mandylion 188
Conclusions 202
Index of Names 205
Acknowledgements
Acknowledgements ix
Acknowledgements
Between April 10th and May 23. 2010, the city of Turin witnessed the passage of
more than two million people who came on pilgrimage to the exhibition of the
Holy Shroud.1 At the same time, between the 18th and the 20th of May, an in-
ternational conference was held at the University of Turin, called Sacred Im-
prints and “Objects not Made by Human Hands” in Religions, organized by the
University’s Center of Religious Sciences. I was involved in the organization of
the conference and because I had been researching the Shroud of Turin since
2009, I was invited to lecture on the relationship between the Shroud and the
so-called “Mandylion of Edessa.”2 This was an opportunity to focus on other
aspects of the history of the Turinese relic, namely, the invisible ancient writ-
ings identifijied on the sheet,3 the alleged presence of the Shroud in the city of
Constantinople – claimed by the crusader Robert de Clari4 – and, most re-
cently, the historiographical theories regarding the Shroud’s supposed journey
from Constantinople to fourteenth-century France.5 This book – a signifijicant
expansion of the topics covered at the conference – is therefore the fourth part
of a series of studies about a millennium of alleged history of the Shroud of
Turin covering the fijifth through the fourteenth centuries.
The parallel study of the two acheiropoieta images led me to review the
entire dossier of sources referring to the Mandylion of Edessa and its icono-
graphic tradition; many testimonies are gathered here in the original texts –
Greek, Latin, Arabic, Armenian and Syriac, some of them unpublished before
– and translated with strict fijidelity to the text. Readers should note that I have
chosen to sacrifijice the smoothness and elegance of English for the sake of
1 The volume Icona del Sabato Santo. Ricordi dell’ostensione della Sindone, Cantalupa, Efffatà,
2011, was published to commemorate the exhibition of the Shroud in 2010.
2 A. Nicolotti, “Forme e vicende del Mandilio di Edessa secondo alcune moderne interpretazio-
ni,” in A. Monaci Castagno (ed.), Sacre impronte e oggetti «non fatti da mano d’uomo» nelle
religioni. Atti del Convegno Internazionale – Torino, 18–20 maggio 2010, Alessandria, Edizioni
dell’Orso, 2011, pp. 279–307. The entire volume of the proceedings of the Congress can be
downloaded for free from the website www.unito.it/csr, or from Google Books.
3 A. Nicolotti, “I cavalieri Templari, la Sindone di Torino e le sue presunte iscrizioni,” Humanitas
65/2 (2010), pp. 328–339; Id., “La leggenda delle scritte sulla Sindone,” MicroMega 4 (2010), pp.
67–79.
4 A. Nicolotti, “Una reliquia costantinopolitana dei panni sepolcrali di Gesù secondo la Cronaca
del crociato Robert de Clari,” Medioevo greco 11 (2011), pp. 151–196.
5 A. Nicolotti, I Templari e la Sindone. Storia di un falso, Rome, Salerno, 2011.
x Acknowledgements
faithfulness to the original texts.6 Thus, I have provided the reader with an up-
dated and comprehensive presentation of the historical and legendary events
of the Edessean image, with particular attention to its alleged contacts with
the Turinese relic.
This book was published in 2011 in Italian, in the Collana di studi del Centro
di scienze religiose dell'Università di Torino. The original Italian edition was well
received in academic circles,7 so I have not made any substantial changes to
the English edition. However, I have taken the opportunity to correct some
minor mistakes,8 and to make some adjustments as well as several additions,
updates, and adaptations for English-speaking readers. This volume, therefore,
can be considered a revised and augmented edition.
I thank Prof. Adele Monaci and all the Fellows, colleagues and friends of the
Department of Historical Studies of the University of Turin, who work at the
Center of Religious Sciences and at the Erik Peterson Library. I would like to
express my gratitude to my colleagues and friends Roberto Alciati (Torino) and
Luciano Bossina (Padova), and to Livio Cavallo for help with some image pro-
cessing. I also thank the editors of this series, who have given me the opportu-
nity to publish an English translation of the book, and Edizioni Dell'Orso,
which kindly granted free translation rights.
6 All translations from Greek and Latin are mine. Those from Arabic and Syriac have been re-
vised and sometimes entirely done by Alessandro Mengozzi. Anna Sirinian translated all the
Armenian texts.
7 V. Kontouma, in Revue des études byzantines 70 (2012), pp. 308–309; V. Poggi, in Orientalia
christiana periodica 78/1 (2012), pp. 239–240; V. Polidori, in Medioevo greco 12 (2012), pp. 375–
376; A. Rossi, in Vetera Christianorum 48 (2011), pp. 391–392; P. George, in Revue d'histoire ec-
clésiastique 107 (2012), pp. 673–674; K. Toomaspoeg, in Rivista di storia del cristianesimo 10/2
(2013), pp. 508–511; G. Aragione, in Revue d'Histoire et de Philosophie Religieuses 93 (2013),
p. 568; A. N. Palmer, in The Catholic Historical Review 100/2 (2014), pp. 319-320. This book of
mine, along with the one entitled I Templari e la Sindone, had deserved the attention of
L. Canetti – who published his deep reflections on the issue in “Dai Templari a Bisanzio o la
falsa preistoria della Sindone di Torino,” in G. Vespignani (ed.), Polidoro. Studi offferti ad Antonio
Carile, Spoleto, Fondazione CISAM, 2013, pp. 827–847 – and of F. Pieri, “La Sindone fra nuove
e antiche leggende,” Rivista di storia e letteratura religiosa 48 (2012), pp. 167–178.
8 An errata corrige of the Italian version can be found in my personal webpage at www.acade-
mia.edu.
List Of Illustrations xi
List of illustrations
List of Illustrations
Figure caption
1 The Shroud folded as a tetrádiplon 35
2 The face of the man of the Shroud (color contrast has been digitally
enhanced) 37
3 Alleged folding creases of the Shroud 40
4 Maiorina of Vetranio featuring two Roman labarum, Sisak, Croatia 41
5 Alleged traces of the folding of the Shroud, according to John Jack-
son 42
6 Surface of the Shroud 43
8 Walls of the Partian palace of Hatra, Turkey (third century) 75
7 A head of Medusa, Sagalassos, Turkey, Antonine Nymphaeum (161–
180 ce) 75
9 A representation of the Edessean niche according to Ian Wilson 76
10 The Holy Face of Lucca, St. Martin’s Cathedral 121
11 Fragment of an Edessean mosaic, Şanlıurfa Museum (sixth century) 129
12 Face of Christ. Telovani, Georgia, Church of the Holy Cross (from the turn
of the eighth century and the beginnings of the ninth ce) 129
13 King Abgar with the Edessean image, detail. Dayr al-Suryân, Egypt (tenth
century ce) 130
14 King Abgar. Detail from a diptych. Monastery of St. Catherine on Mount
Sinai, Egypt (tenth century ce) 131
15 Mandylion. Lagoudera, Cyprus, Church of the Panagia tou Arakou (1192
ce) 133
16 Mandylion. Kato Lefkara, Cyprus, Church of Archangel Michael (end of
twelfth century ce) 133
17 Mandylion. Pskov, Russia, Transfijiguration Church of the Mirozh Monas-
tery (c. 1140 ce) 134
18 Precious linen textile in the Museo Sacro Vaticano, inv. 1256 (eighth-tenth
centuries ce) 135
20 Mandylion. Spas-Nereditsa, Russia, Church of the Savior (1199 ce) 136
21 Pattern of the folding of the Shroud and distribution of the nails that
fijixed it to the board, according to Ian Wilson (1978) 137
22 Lamentation over the Dead Christ. Gorno Nerezi, Macedonia, Church of
St. Panteleimon (1164 ce) 138
23 Last Supper fresco. Göreme, Turkey, Karanlık kilise (eleventh century
ce) 138
xii List Of Illustrations
45 Painting by Lluís Borrassà, Abgar receives the Mandylion and the letter
from Jesus. Retaule d’advocació franciscana, Museu Episcopal de Vic,
Spain (1414–1415 ce) 160
46 Anchiskhati, detail. Tbilisi, Georgia, Shalva Amiranashvili Museum of
Fine Arts, inv. Tb331 (sixth-seventh century ce) 161
47 Madrid Skylitzes, reception of the Mandylion. Madrid, Spain, Biblioteca
Nacional, cod. Vitr/26/2, f. 131r (late eleventh century ce) 163
48 Madrid Skylitzes, Constantine Phagitzes receives and delivers the relics.
Madrid, Spain, Biblioteca Nacional, cod. Vitr/26/2, f. 207v (late eleventh
century ce) 165
49 Madrid Skylitzes, translation of Jesus’ epistle. Madrid, Spain, Biblioteca
Nacional, cod. Vitr/26/2, f. 205r (late eleventh century ce) 166
50 Madrid Skylitzes, procession to the Blachernae carrying the relics 169
51 Stefan Arefʾev, Savior acheiropoieton and “Weep not for me, oh
mother” 171
52 Moscow School, Savior acheiropoieton and “Weep not for me, oh
mother” 172
53 Popov Petr Ivanov Kostromitin, Icon of the Savior acheiropoieton with
scenes of the cycle of Abgar 174
54 Solidus of Justinian II (fijirst reign), Constantinople (692–695 ce) 176
55 Icon of the Christ Pantokrator, Monastery of St. Catherine on Mount
Sinai, Egypt (sixth century ce) 177
56 Solidus of Basil I, Constantinople (868–879 ce) 178
57 Copy of the face of Zeus of Olympia 180
58 Solidus of Justinian II (second reign), Constantinople (705–711 ce) 181
59 Mandylion of Genoa, detail. San Bartolomeo degli Armeni, Genoa, Italy
(second half of the thirteenth century ce) 183
60 Mandylion of Genoa, detail of the frame. San Bartolomeo degli Armeni,
Genoa, Italy (second half of the thirteenth century ce) 184
61 Mandylion of Rome. Vatican City, Pontifijical Sacristy (second half of the
thirteenth century ce) 185
62 Miniature of Giovanni Todeschino, Book of Hours of the Sainte-Chapelle
of Paris, f. 137v, detail 95
63 Grande chasse of the Sainte-Chapelle, engraving dating from 1649 197
64 Sainte-Chapelle of Paris, France. Upper chapel, apse 199
65 Sainte-Chapelle of Paris, France. Grande Chasse, engraving of Sauveur-
Jérôme Morand, Histoire de la Ste-Chapelle Royale du Palais, Paris, Clousier
– Prault, 1790, p. 40 200
66 Sainte-Chapelle of Paris, France. Detail of the Grande Chasse, engraving
of Sauveur-Jérôme Morand, Histoire de la Ste-Chapelle Royale du Palais,
cit., ibidem 201
Introduction 1
Chapter 1
Introduction
A face alone, as it was that of Abgar and of the Veronica, should not be
called so absolutely image of Christ […] inasmuch as the head of a man is
not the man, so the image of a head or of a face should not be called abso-
lutely and straightforwardly the image of a man.1
Until the last two decades of the last century there was a substantial agree-
ment on what was the acheiropoieton image (that is, the image “not made by
[human] hands”) of the Christ of Edessa; on its history, its characteristics and,
to some extent, its fate.2 One of the legends about this image – the most
Cambridge, Cambridge University Press, 2006, pp. 192–205; M. Illert, Die Abgarlegende.
Das Christusbild von Edessa, Turnhout, Brepols, 2007; A.N. Palmer, “The Logos of the Man-
dylion: Folktale, or Sacred Narrative?” in L. Greisiger – C. Rammelt – J. Tubach (eds.),
Edessa in hellenistisch-römischer Zeit, Beirut, Orient-Institut, 2009, pp. 117–208; S. Ionescu
Berechet, “Τὸ ἅγιον μανδήλιον: istoria unei tradiţii,” Studii Teologice 2 (2010), pp. 109–185
(I do not agree with all the conclusions); E. Fogliadini, Il volto di Cristo: gli acheropiti del
Salvatore nella tradizione dell’oriente cristiano, Milan, Jaca Book, 2011. About the latter,
including general observations on the relation between history and theology of the sacred
image, see A. Nicolotti, “Storia, leggenda e teologia delle immagini non fatte da mano
d’uomo: osservazioni metodologiche in margine ad una recente pubblicazione,” Rivista di
storia del cristianesimo 11/1 (2014), pp. 189–202, and E. Brunet, “Alle radici dell’immagine
cristiana. Considerazioni sulla supposta antinomia tra arte sacra orientale e occidentale,”
Marcianum 9 (2013), pp. 139–165.
3 Cf. E. von Dobschütz, Christusbilder, cit., pp. 40–60. Camuliana or Camulia was a town in
Cappadocia, located northwest of Caesarea, today in Turkey. The oldest story about this
image is that of the Pseudo-Zachariah of Mytilene, Historia ecclesiastica, 12,4; translation
in F.J. Hamilton – E.W. Brooks, The Syriac Chronicle Known as that of Zachariah of Mity-
lene, London, Methuen, 1899, pp. 320–321.
4 This is how the author introduces himself in his last book: “Ian Wilson is a prolifijic, inter-
nationally published author specialising in historical and religious mysteries. Born in
south London, he graduated in Modern History with honours, from Magdalen College,
Oxford University, in 1963.” (I. Wilson, The Shroud. The 2000-Year-Old Mystery Solved, Lon-
don, Bantam, 2010, p. 370). An incomplete list of his publications: Mind out of Time? Rein-
carnation Claims Investigated, 1981; The Exodus Enigma, 1985; Worlds Beyond: From the
Files of the Society for Psychical Research, 1986; Undiscovered: The Fascinating World of
Undiscovered Places, 1987; The Bleeding Mind: An Investigation into the Mysterious Phe-
nomenon of Stigmata, 1988; The After Death Experience: The Physics of the Non-Physical,
1989; Superself: The Hidden Powers Within Us, 1989; The Columbus Myth: Did Men of Bristol
Reach America Before Columbus?, 1992; In Search of Ghosts, 1996; The Bible is History, 2000;
Life after Death: The Evidence, 2001; Past Lives: Unlocking the Secrets of Our Ancestors, 2001;
Introduction 3
Before the Flood: The Biblical Flood as a Real Event and How it Changed the Course of Civili-
sation, 2001; Nostradamus: The Man Behind the Prophecies, 2003.
5 I. Wilson, The Turin Shroud, London, Gollancz, 1978, hastily translated: Id., Le Suaire de
Turin. Linceul du Christ?, Paris, Albin Michel, 1978. His theories were already well-known
in the sindonological fijield: for instance, Id., The Shroud’s History before the 14th Century, in
K. Stevenson (ed.), Proceedings of the 1977 U.S. Conference of Research on the Shroud of
Turin, New York, Holy Shroud Guild, 1977, pp. 31–49.
6 A. Nicolotti, I Templari e la Sindone. Storia di un falso, Rome, Salerno, 2011 (on the history
of the relic between the thirteenth and fourteenth centuries).
7 Theodora Bates Cogswell seems to have had the same idea in the 1930s. Her unpublished
lectures are kept in the Atlanta International Center for the Continuing Study of the Shroud
of Turin.
8 A. Cameron, “The Mandylion and Byzantine Iconoclasm,” cit., p. 33, note 3. Wilson
answered to this article by Averil Cameron, concluding: “Perhaps there will be a day,
4 Chapter 1
maybe as a result of radiocarbon dating, when the Shroud will be proved to be a four-
teenth century forgery. If that comes, then I will gracefully concede that Professor Cam-
eron was right all the time.” In 1988, a radiocarbon dating test was performed, and three
laboratories concurred with the dates obtained; the tested samples dated from the Middle
Ages, between the years 1260 and 1390. Wilson, however, did not change his mind (“The
Shroud and the Mandylion. A Reply to Professor Averil Cameron,” in W. Meacham [ed.],
Turin Shroud – Image of Christ? Proceedings of a Symposium Held in Hong Kong, Hong
Kong, Cosmos Printing, 1987, p. 26).
9 I quote from S. Brock’s review of I. Ramelli’s “Atti di Mar Mari,” Brescia, Paideia, 2008, in
Ancient Narrative 7 (2009), p. 126; Id., “Transformations of the Edessa Portrait of Christ,”
Journal of Assyrian Academic Studies 18/1 (2004), p. 56. See also G. Wolf, Schleier und Spie-
gel, Schleier und Spiegel. Traditionen des Christusbildes und die Bildkonzepte der Renais-
sance, München, Fink, 2002, p. 29; P. du Bourguet, review of A.M. Dubarle, “Histoire
ancienne du Linceul de Turin,” Paris, OEIL, 1985, in Études 365 (1986), pp. 138–139. Accord-
ing to Ewa Kuryluk “Wilson wants so badly to prove that the Turin shroud is the burial
cloth of Christ that he jumps to many unjustifijied conclusions” (Veronica and Her Cloth,
Cambridge, Blackwell, 1991, p. 225, note 3). Similar words are used by B. Flusin in his
review of A.M. Dubarle – H. Leynen, “Histoire ancienne du Linceul de Turin,” Guibert,
Paris, 1998, in Revue des études byzantines 58 (2000), p. 289: “The identity between the
shroud of Turin and the Mandylion is not at all proved. All the Byzantine documents
available lead, on the contrary, to deny it.” Sir Steven Runciman: “I cannot think it helps the
Shroud to force its identifijication with the Image” (in H.D. Sox, File on the Shroud, Seveno-
aks, Coronet, 1978, p. 55). Some publications dedicated to the iconography of Christ
record the sindonological hypothesis too, but point out that “its supporters do not provide
any documentary confijirmation” (N.I. Korneeva, Иконография Христа, Moscow, Junyj
hudozhnik, 2002, p. 5). Last but not least, Franco Cardini deems the identifijication
between the Mandylion and the Shroud inacceptable and “quite fijictional” (“La Sindone.
Note storiche,” Vita e pensiero 72 [1989], pp. 194–198).
10 For example E. Poulle, “Les sources de l’histoire du Linceul de Turin. Revue critique,”
Revue d’Histoire Ecclésiastique 104/3–4 (2009), pp. 747–782. Giulio Ricci has originally con-
sidered it “at least reasonable” to keep the “two objects quite distinct” (L’uomo della Sin-
done è Gesù, Milan, Cammino, 1985, p. 334), to then recover part of the argument saying
that the cloth of Edessa was not the Shroud but a copy of the sole face of the Shroud (Id.,
La Sindone contestata, difesa, spiegata, Rome, Emmaus, 1992, pp. 346–349). David Sox,
who was once General Secretary of the British Society for the Turin Shroud, is also against
Wilson’s thesis (File on the Shroud, cit., pp. 55–57). Some of the Turinese sindonologists
greeted Wilson’s hypothesis with skepticism: “They are all conjectures based on no pre-
cise evidence, that cannot even be presented as hypotheses because, to be such, they
should possess a scientifijic dimension that they lack, and that cannot be provided by the
Introduction 5
which do not take into account the principles that underlie the methodology
of history.”11 Sometimes, the negative judgment is expressed in harsh words: for
Alain Desreumaux, for example, the identifijication of the two relics “is only due
to the ignorance of the American Ian Wilson, and it was repeated with the
complacent lightness typical of some journalists.”12 Pier Angelo Gramaglia also
believes that the Shroud is a relic “irreconcilable with the cloth of Edessa,” de-
spite the opposition of certain “scandalous, pseudoscientifijic publications.”13
Historians are due to respond to the Shroud experts who accept the theory of
Wilson, claims Andrew Palmer, “not for any academic merit (they have none),
but for their widespread difffusion, which means that scholars who aspire to
communicate with the general public need to know what distortions have
been presented to that public, under some of the outward trappings of
scholarship.”14
A theory like this, so widespread and at the same time rejected with such
unusual harshness, rarely occurs in academic publications and this is why I felt
compelled to conduct a thorough review of the matter. In this book I provide,
for the fijirst time, a focused critical examination of the arguments put forward
by those who believe that the identifijication of the Shroud of Turin with
the Edessean image is proven beyond doubt.15 The analysis of a number of
diffferent editions in several languages, because the interests of the publishing industry
are very diffferent from those that seek after the historical truth” (L. Fossati – G. Donna
d’Oldenico, “Rassegna della celebrazione del IV centenario del trasferimento della Sin-
done da Chambéry a Torino e guida bibliografijica,” Studi piemontesi 8/1 [1979], p. 221).
A few years later, Fossati changed his mind radically.
11 G. Donna d’Oldenico, “La Sindone nella politica dei Duchi di Savoia e nella considera-
zione di S. Carlo Borromeo zelatore della prima ricerca critico esegetica,” Verbanus 5
(1984), p. 250. The author has been President of the Royal Confraternity of the Holy
Shroud and of the International Center of Sindonology (Turin).
12 A. Desreumaux, Histoire du roi Abgar et de Jésus, Turnhout, Brepols, 1993, p. 38, note 27.
Desreumaux believes that Wilson is from the United States, while he is instead British. He
now lives in Australia.
13 P.A. Gramaglia, “La Sindone di Torino: alcuni problemi storici,” Rivista di storia e lettera-
tura religiosa 24 (1988), pp. 567–568.
14 A.N. Palmer, “The Logos of the Mandylion,” cit., p. 121, note 15.
15 David W. Rolfe has been the most active fijilm producer in support of Wilson’s theory. He
produced a documentary in 1978, entitled The Silent Witness. An Investigation into the Holy
Shroud of Turin, which was released along with a book: P. Brent – D. Rolfe, The Silent Wit-
ness, London, Futura Publications, 1978. Together with Wilson, Rolfe was in charge of
making the offfijicial documentary for the exhibition of the Shroud in 2010 (Shroud – Passio
Christi Passio Hominis). The fijilm was widely distributed and translated into seven lan-
guages. In 2010, on the occasion of the exhibition, an animated cartoon for children was
6 Chapter 1
historical, literary and iconographic sources allows for verifijication of the pos-
sibility that the characteristics of the Shroud of Turin are compatible and com-
parable to those handed down about the image of Edessa. Such characteristics
are at fijirst sight contradictory: the Shroud is a burial linen nearly 4.50 meters
long and more than 1.10 meters wide, with a total weight of just over 1.100 kg. It
bears the double monochromatic image, front and back, of a complete, blood-
ied corpse of a man, his eyes closed, bearing the marks of many wounds. The
Edessean relic, instead, was a small piece of cloth, the size of a hand towel, on
which there are printed only the features of the face of Jesus in color: Jesus is
alive, his eyes are open, his face shows no wound.
made and translated into seven languages, in which the journey of the Shroud to Edessa
is narrated: M. Durando, Mystery after Mystery, Milan, San Paolo, 2010. There are also sev-
eral novels based on the theory, such as, J. Navarro, La hermandad de la Sábana Santa,
Barcelona, Plaza & Janés, 2004 (English translation: The Brotherhood of the Holy Shroud,
New York, Bantam Dell, 2006), and M. Guscin, All the Diamonds in the World, Las Vegas,
ArcheBooks, 2011.
202
[...]
Conclusions
The legend behind the story of the Mandylion of Edessa is derived from an-
other, older Syriac legend, which began with an exchange of letters between
King Abgar of Edessa and Jesus Christ. Slowly the content of the letter written
by Jesus, together with its apotropaic function for the city, were transferred, as
from the fijifth century, onto an image that is not part of the earliest versions of
the story. In the sixth century, the image itself, which was originally a colored
picture of the face of Jesus, was transformed, especially in the Byzantine
environment, into a miraculous imprint of Jesus’ face left on a cloth, but not
everyone was aware of this evolution. Several exemplars of the image – per-
haps slightly individualized in the features shown – began to compete with
one another for preeminence, and countless reproductions of each were pro-
duced, all sharing some key elements: the presence of the towel that showed
only the face of a living Jesus. The legends that relate the transformation of the
painting into an acheiropoieton are comparable, although they difffer in some
details. One of these Mandylion was moved to Constantinople in 944, where it
remained until the Fourth Crusade. It was then sold to Louis IX of France and
disappeared in the chaos of the French Revolution. We can somehow deter-
mine the size and the shape of the Constantinopolitan Mandylion thanks to
two copies in Genoa and Rome.
There is not a shred of evidence that the Mandylion of Edessa was a long
shroud or that it showed the entire body of the crucifijied and wounded fijigure
of Christ. Those who argue for the shared identity of the Shroud of Turin and
the Mandylion of Edessa have based their arguments on evidence that cannot
withstand close scrutiny. In order to argue for the authenticity of the Turinese
relic, some have gone to great lengths. In so doing, they have approached the
changing nature of the legends concerning this relic too simplistically. More-
over, they have used evolving legends as if they were trustworthy historical
sources, which is utterly unacceptable.
It is clear that the ultimate aim of the theory that identifijies the Shroud with
the Mandylion is to demonstrate that the Shroud of Turin has existed and can
be documented since antiquity. But the fijirst historical documents that men-
tion the Shroud date to the fourteenth century, and the date obtained by
203
radiocarbon dating places it between 1260 and 1390 CE.38 The history of the
Shroud is the topic of my next book, but it is important to clarify that even if
the Shroud was authentic and dated from the fijirst century, it is a completely
diffferent object than the Edessean image.
We can therefore end this analysis by quoting the 1786 opinion of the Mar-
quis Giovanni de Serpos, in regard to the reliability of that “sweet illusion” and
the “birth of a devout imagination” in the legend of Abgar: “Everything so far
narrated must be counted as mere fable.”39
38 P.E. Damon et alii, “Radiocarbon Dating of the Shroud of Turin,” Nature 337 (1989),
pp. 611–615.
39 G. de Serpos, Compendio storico di memorie cronologiche concernenti la religione e la
morale della nazione Armena, vol. 1, Venice, Carlo Palese, 1786, pp. 155–156: “it is not,
therefore, without regret that I here present you with those reasons, that some believe to
be a sweet illusion; and my impartiality wants me to tell you why many critics deem to be
a birth of a devout imagination both the abovementioned letters [of Abgar] and all that is
said about them by many a writer. They say faithfully that everything so far narrated must
be counted as mere fable.”
204 Chapter 7
Index of names
Index of Names 205
Index of Names
Fossati, Giuseppe 146, 146n47–48, 61n21, 72n58, 74n65, 95, 95n24, 97, 97n28,
148n50–51 107n53, 167n85
Fossati, Luigi 5n10 Granger Ryan, William 127n18
Frale, Barbara 3, 21n48, 28, 28n72, 29n2, Green, Maurus 3, 112, 112n68
38n19, 67n38, 89n1, 98n31, 106, 106n48–49, Gregory bar-ʿEbrāyā (Bar-Hebraeus) 96,
107, 114n71, 126n17, 152, 162, 163n78, 166, 167, 96n26
170, 170n92, 171, 173, 185n115, 193n16 Gregory Nazianzen 57, 105n45
Franco, Carlo 140n36 Gregory Nyssen 57, 60, 105n45
Freeman, Charles 36n15, 47, 47n43 Gregory Referendarius 53, 54, 54n4–6,
Friedberg, Arthur L. and Ira S. 175n98, 55n8, 56, 56n10–12, 57, 57n13, 58, 58n16–17,
178n100 59, 60, 60n20, 61, 61n21, 62, 62n24, 63,
Frommel, Christoph Luitpold 112n67 63n27–28, 64, 64n30, 64n33, 65, 65n34, 66,
Frugoni, Chiara 120n1, 125n12 68, 69, 99, 104, 163
Greisiger, Lutz 2n2
Gaeta, Saverio 115n75 Grelot, Guillaume-Joseph 146, 146n49,
Garidis, Miltos 118n85 147, 148, 148n51
Garlaschelli, Luigi 11n14, 38n18 Grierson, Philip 175n96–97, 178n101,
Garnier de Traînel 193, 194 179n102
Gelzer, Heinrich 25n66 Grifffijith, Sidney H. 9n10
Geofffroy de Villehardouin 109n60, 188 Grillmeier, Aloys 39n20
George Kedrenos 82n81, 90 Groote, Eberhard von 194n22
George Maniakes 29n1, 165 Grosdidier de Matons, José 72n61
George the Monk 18n35 Grumel, Venance 84n88
George, protovestiarios 169 Gualfredus, bishop 120,121
George, Philippe Xn7 Guðmundsson, Kristján 180
George, saint 117 Guerra, Giulio D. 124n9, 126n13
Gérard de Saint-Quentin-en-l’Isle 194 Guerreschi, Aldo, 44n29
Germanus of Constantinople 18n35 Guidi, Ignazio 23, 23n54, 23n56
Gerstel, Sharon E. J. 151n53 Guidi, Pietro 121n4
Gervase of Tilbury 112, 114, 114n72, 124, Guilland, Rodolphe 99n35
125, 125n10–11 Gukova, Sania 157n67
Geyer, Paul 33n12 Guscin, Mark 3, 6n15, 18, 18n39, 21, 21n48,
Gharib, Georges 84n87, 131, 132n26 27n70, 32, 32n8, 62, 62n23, 63n25, 64n29,
Ghiberti, Giuseppe 13n21 65n34, 66n38, 67, 67n38, 67n40, 68n43–44,
Giacchetti, Giovanni 184n113, 185n114 69n45–46, 69n48–49, 70n52–54, 71n55,
Giacobbo, Roberto 153n59 73n62, 73n64, 74n66, 77, 77n69, 79n71,
Giardelli, Paolo 167n86 80n75–76, 81n80, 82n80, 84n88, 86, 86n96,
Gibbon, Edward 16n31 87, 87n97, 88, 88n99, 105n45, 111n64,
Giribet, Josep 160 118n86, 150, 167, 167n88, 186, 186n121, 187,
Goldbacher, Alois 9n8 187n122–123, 192, 192n15, 193
González Núñez, Jacinto 9n10
Gould, Karen 194n20 Halkin, François 73n63
Gounelle, Rémi 187n123, 198n33 Hallensleben, Horst 29n1, 152n56
Goussen, Heinrich 21n47 Hamilton, Frederick J. 2n3
Grabar, André 21, 21n48, 135, 140, 140n34, Ḥanān or Ḥannān: see Ananias
145n42, 166n84, 181n105 Harrak, Amir 13n19
Gramaglia, Pier Angelo 5, 5n13, 9n6, Hase, Charles Benoît 14n21
13n21, 22n51, 23n55, 29n2, 46, 46n38, 61, Hata, Gōhei 10n12
Index of Names 209
Andrea Nicolotti
FROM THE MANDYLION OF EDESSA TO THE SHROUD OF TURIN
on a towel, kept in Edessa. This acheiopoieton image (“not made by human
hands”) disappeared in the eighteenth century. The first records of another
acheiropoieton relic appeared in mid-fourteenth century France: a long
linen bearing the image of Jesus’ corpse, known nowadays as the Holy
Shroud of Turin. Some believe the Mandylion and the Shroud to be the
same object, first kept in Edessa, later translated to Constantinople, France
and Italy. Andrea Nicolotti traces back the legend of the Edessean image in
history and art, focusing especially on elements that could prove its identity
with the Shroud, concluding that the Mandylion and the Shroud are two
distinct objects.
Andrea Nicolotti
ISBN 978-90-04-26919-4
BRILL.COM
ISSN: 2212-4187