According to tradition, King Abgar received the Image of Edessa, a representation of Jesus.
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 icon.
Origins and Early Christian Tradition
The Image of Edessa holds a significant place in Christian tradition as an acheiropoieton, or an “icon not made by hand.” It is believed to be a miraculous imprint of the face of Jesus Christ on a cloth, considered the first Christian icon.
The earliest mention of this tradition is found in the writings of Eusebius of Caesarea in the early 4th century. According to Eusebius, King Abgar of Edessa wrote to Jesus, requesting Him to visit and heal him of an illness. Jesus declined but promised to send a disciple after His ascension. Thaddeus of Edessa, one of the seventy disciples, later arrived in Edessa and miraculously healed Abgar through Jesus’ teachings.
The Image of Edessa, also known as the Mandylion, remains one of the most enigmatic relics in Christian history.
While Eusebius mentions the exchange of letters between Jesus and Abgar, he does not refer to an image. The notion of a physical depiction of Christ emerged later in the Doctrine of Addai, a Syriac work, which introduced Ananias, a royal painter, who painted Jesus’ portrait and delivered it to Abgar. This later evolved into the legend that the image was miraculously imprinted on a cloth when Jesus pressed it to His face.
Development of the Legend
By the late 6th century, the Image of Edessa had gained prominence. Evagrius Scholasticus, writing around 593, provides the first historical reference to a physical image in Edessa, describing it as a divine portrait (θεότευκτος) that helped defend the city from the Persian siege of 544. Procopius of Caesarea, an earlier historian, made no mention of an image in his account of the siege but did reference the letter of Jesus to Abgar, which was inscribed over the city gate.
The story further evolved to include the miraculous rediscovery of the image. According to later accounts, during the 6th-century reconstruction efforts following a flood, the cloth was discovered hidden within the walls of Edessa. The legend states that a bishop, foreseeing pagan rulers’ opposition, concealed the image within a niche, where it remained for centuries, still accompanied by a perpetually burning lamp.
Relocation to Constantinople and Disappearance
By the 10th century, the Byzantine Empire took an interest in acquiring the relic. In 944, the Mandylion was transferred to Constantinople under Emperor Romanos I Lekapenos. It was placed in the Pharos Chapel of the Great Palace, a significant repository of Christian relics. The transfer was commemorated with an Orthodox feast on August 16.
The relic remained in Constantinople until the Fourth Crusade in 1204, when Crusaders looted the city. Some believe it was taken to France and housed in the Sainte-Chapelle in Paris under King Louis IX. However, during the French Revolution, the relic disappeared, leaving its ultimate fate unknown.
Possible Connection to the Shroud of Turin
Some scholars, including Ian Wilson, have proposed that the Image of Edessa and the Shroud of Turin may be the same relic. The theory suggests that the Mandylion was a folded cloth, displaying only Christ’s face, while the full-length Shroud remained hidden. This interpretation is supported by Byzantine records describing a burial cloth bearing Christ’s full body imprint.
A Vatican manuscript, the Codex Vossianus Latinus Q 69, contains an 8th-century account suggesting that a cloth in Edessa bore not just a facial imprint but the whole body of Christ. This has led some historians to argue that the Shroud of Turin, which surfaced in medieval Europe, could be the long-lost Mandylion. However, the lack of conclusive evidence prevents definitive identification.
The Mandylion in Art and Theology
The Mandylion became an important subject in Byzantine and Orthodox Christian iconography. The concept of acheiropoietos (not made by human hands) inspired the creation of similar holy images, such as the Keramidion, which was believed to have been imprinted from the Mandylion onto a ceramic tile.
Icons of the Holy Face, modeled after the Mandylion, became widespread in Eastern Christianity. In Russia, numerous churches were dedicated to the Saviour Not Made by Hands, a term referring to the Mandylion. The iconography also influenced Western Christian traditions, including the Veil of Veronica, another relic said to bear Christ’s face imprint.
*Veronica Holding Her Veil*, painted by German-Flemish artist Hans Memling around 1470.
Alternative Accounts and Conflicting Traditions
While the Greek Orthodox tradition emphasizes the Mandylion’s role in Edessa and its transfer to Constantinople, alternative accounts exist. Some reports suggest that when the Sassanian Empire conquered Edessa in 609, the image was lost or hidden. A local legend recorded in 1997 suggests that the cloth was thrown into a well in what is now Urfa’s Great Mosque.
By contrast, medieval Western sources, such as the Golden Legend compiled by Jacobus de Voragine, recount a different version of the story. In this account, a painter failed to capture Jesus’ likeness due to His radiant light, leading Christ to press a cloth to His face and imprint His features upon it. This variation mirrors the Veronica legend, where Saint Veronica wipes Christ’s face on the way to the crucifixion, and His image appears on her veil.
Surviving Representations and Relics
Although the original Mandylion is lost, several images claim a connection to it:
- The Holy Face of Genoa: This image, preserved in the Church of St. Bartholomew of The Armenians in Genoa, was reportedly a gift from Emperor John V Palaiologos in the 14th century. Studies have dated its outer frame to this period, but the image itself is of uncertain origin.
- The Holy Face of San Silvestro: Once housed in the Church of San Silvestro in Capite, this image was moved to the Vatican in 1870. The first known mention dates to 1517, suggesting it was a later copy rather than the original relic.
- The Shroud of Turin: Though traditionally identified as Christ’s burial shroud, some believe it may also be the lost Mandylion. Its history before the 14th century remains obscure, fueling speculation.
Religious and Cultural Significance
The Image of Edessa holds profound theological importance in Eastern Orthodox Christianity, where it is venerated as a miraculous, divinely created icon. Its commemoration on August 16 celebrates its transfer to Constantinople, reinforcing its role in Byzantine religious identity.
Beyond Christianity, the Mandylion’s legend highlights the ancient relationship between religious imagery and divine presence. The concept of an acheiropoieton suggests a sacred authenticity beyond human artistic creation, elevating the icon from mere representation to a tangible connection with the divine.
Frequently Asked Questions
How does the legend connect to King Abgar of Edessa?
According to tradition, King Abgar wrote to Jesus seeking healing. Jesus declined but promised to send a disciple, Thaddeus, who later healed Abgar. The image later became part of this story.
When did the Image of Edessa first appear in historical records?
The first historical mention of a physical image comes from Evagrius Scholasticus in 593, who described it as a divine portrait that helped defend Edessa from a Persian siege in 544.
How did the Image of Edessa reach Constantinople?
In 944, the Byzantine Emperor Romanos I Lekapenos acquired the relic and transferred it to Constantinople, where it was placed in the Pharos Chapel.
What happened to the Image of Edessa after the Fourth Crusade?
The relic disappeared after the sack of Constantinople in 1204, with some believing it was taken to France and stored in Sainte-Chapelle before vanishing during the French Revolution.
Is there a connection between the Image of Edessa and the Shroud of Turin?
Some scholars suggest that the Mandylion and the Shroud of Turin are the same relic, with the latter being a full-body imprint hidden beneath a folded cloth showing only Christ’s face.
How is the Image of Edessa venerated today?
The Eastern Orthodox Church commemorates the translation of the relic to Constantinople with a feast on August 16, and its iconography remains central to Christian art.
What are the most notable surviving images linked to the Mandylion?
Relics such as the Holy Face of Genoa, the Holy Face of San Silvestro, and the Shroud of Turin have been associated with the Image of Edessa, though none have been definitively identified as the original.
