medieval-religion: Scholarly discussions of medieval religion and culture
On Fri, 28 Mar 2008 10:00:14 -0400, Christopher Crockett wrote:
snip
>accepting, for the sake of argument, that the Turin Artifact was not a 14th c.
>painting and was, indeed, the Mandylion, transferred to Champagne after the
>1204 Sack, it's not unreasonable to suppose that the relic was taken out of
>its box in its new home at some point (150+ years later?), found to be *much*
>more substantial than was previously realized; the box no longer being
>sufficient to display its True Glory, was striped of whatever was of value and
>discarded.
>the "new" relic was displayed in a spiffy new collegial church built by
>Godfrey de Charny, Lord of Liry and (presumably) descendant of the original
>Fourth Crusade Looter (whose name i've never seen, btw).
>that's one possible Screenplay, anyway.
>c
>**********************************************************************
This raises another question in my mind.
Events like the "invention of the true Cross" and other dramatic discoveries (examples of which escape my recollection at the moment) are often
commemorated in art associated with the object itself. Dramatic events associated with individual saints are often included in borders around their images.
With this in mind, would it not seem "logical" that the discovery that the Mandylion was, in fact, the whole shroud of Jesus would make a dramatic enough
impact that it would be celebrated and immortalized in art (of which there is apparently none)? It would also seem a hair unlikely that such a dramatic
discovery would go unnoticed or commented on by the very individuals credited with rejecting the veracity of the Turin artifact. . .
George the Less (curiouser and curiouser)
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