Mandylion' or 'Image of Edessa'. Until very recently, however, the issue has been frustrated because of the non-availability of any photograph of the Veronica in the public domain, the Vatican custodians

the 'Image of Edessa'. It has been only during the last three years that I have begun properly to appreciate just how unknown remains that supposedly 'known' Charny century from the mid-fourteenth century

pp. 779–80. See also Mark Guscin, The Image of Edessa (Leiden: Brill, 2009), pp. 201–9. 39 Avigail Sheffer, Hero Granger-Taylor, ‘Textiles from Masada: APreliminary Selection’ in Joseph Aviram,

Byzantine East as the Image of Edessa, or Mandylion. As for the two 'stars', these suggested a link to the French order of chivalry known as the Company of the Star with which Geoffroi de Charny is

short in my opinion). The author mentions the Image of Edessa, Robert de Clari and the Sudarium of Oviedo but without too much detail. The analysis of the Shroud includes photography, the bloodstains

whose theory on the carbon dating is quoted earlier in this Newsletter, also an article on the Image of Edessa and the Shroud by Père Dubarle, responding to earlier critics.

but obviously it is an attempt to imitate the Edessa image, i.e. the Shroud face. This is why it has been held in such veneration, and with some irony, as the original True Image is now also in the

This in no way affects the interpretation of the other (numerous) texts that do indeed suggest that the Image of Edessa and the Shroud of Turin are one and the same object.

one of the earliest- known depictions of the Image of Edessa as an actual Christ- imprinted piece of cloth [see right], features the face of Jesus flanked by three roundels on one side, four on the

converted into the portrait known as the Image of Edessa. In its original form the paper includes a very full set of references, but these have been reduced for the purposes of this Newsletter. The