medieval-religion: Scholarly discussions of medieval religion and culture
From: Rosemary Hayes-Milligan and Andrew Milligan
> Just a couple of points - this BBC prog did not mention the Mandylion
perhaps we can agree that the Beeb is really not a "good" source, for
anything?
better than FAUX NEWS, perhaps, but still not good enough for our purposes.
>although I remember an earlier one doing so - but the images of the
Mandylion I think I remember seemed to show only the head and were so
identified with Veronicas
that's my understanding (not being a Byzantinist, i can confidently put
forward a Definitive Opinion).
representations of it seem to suggest that it was encased in some kind of
shallow box with an "open" top, the cloth being held in place by a latticework
of (presumably) gold wires.
the "theory" is that, at some point in its history (perhaps before it left
Edessa for Constantinople), it was folded up and, in one of those curious
transformations which happened in middlevil times, all memory of it as being a
*larger* cloth, with a double life-size representation of a man's body, was
lost.
i believe that there are also Byz. literary sources which describe it as just
being a head/face.
back in the '80s, when i was doing a bit of work on the Turin Artifact, i came
across (quite by "accident") a ms. painting reproduced in a Dumbarton Oaks
Papers article
[btw, on this whole group of _acheiropoieta_ images, see E. von Dobschütz,
Christusbildel: Untersuchungen zur christlichen Legende, TU 118 (Leipzig,
1899); and on the Mandylion most recently see H. Kessler, ed., The Holy Face
and the Paradox of Representation, Villa Spelman Colloquia 6 (Bologna,
1998).]
- but I may be miss-remembering. this prog
> reckoned that the Byzantine image went from head to navel and they worked
> out a contraption which would match present folds in shroud with that kind
> of image, which they suggested then translated into 'man of sorrows'
images.
>
> Re how the image if fake was made, a previous BBC prog claimed that it was
> made by an early form of photography/camera obscura method of projecting an
> image by light, used apparently in early renaissance to help with
> perspective - but, again, my memory fails me as to exact method. One of
> most irritating facets of BBC is that it keeps thinking it has invented the
> wheel and does not even use its own archives to cover all the arguments.
> Hence old ground is gone over as if new and the odd 'new' item is not tested
> against the old. Now I'm showing my age.
>
> Rosemary
> ----- Original Message -----
> From: "Christopher Crockett" <[log in to unmask]>
> To: <[log in to unmask]>
>
> well, if the Turin Artifact is, indeed, the Mandylion from Edessa, we might
> presume that there was a more or less universal consensus back in ces temps
> la, but that has certainly not been the case in its incarnation since the
> 14th
> c.
>
> far as i know, the Artifact in Question enjoyed a somewhat quiet,
relatively
> localized (in Turin/Savoy) veneration until a Monstrance was held in 1898,
> when it was first photographed in detail --the newly "enhanced" image
> visible
> in the photographic negative was something of a BombShell, attracting the
> attention of l'abbé Ulysse Chevalier (yes, *that* U.C., of
> Topo-Bio-Bibliograhique fame), who examined the Artifact's history
>
> Le Saint Suaire de Turin: histoire d'une relique / Chanoine Ulysse
Chevalier
> Paris : L'Art et l'Autel, [ca 1900]
> 15 p. ; in-8
>
> http://gallica.bnf.fr/document?O=N091140
>
> Le linceul du Christ [Texte imprimé] / [par l'abbé Ulysse Chevalier]
> Publication : Paris : Séminaire Saint-Vincent-de-Paul, [ca 1902]
> Description matérielle : 8 p. ; in-8
>
> Note(s) : Extrait des "Petites Annales de Saint-Vincent-de-Paul", 15
> septembre 1902
>
> http://gallica.bnf.fr/document?O=N091143
>
>
> and, eventually, went to the archives in Troyes and the Vatican and found
> various documents concerning the 1389 "proces," which he published:
>
> Autour des origines du suaire de Lirey [Texte imprimé] : avec documents
> inédits / par le chanoine Ulysse Chevalier
> Paris : A. Picard et Fils, 1903
> 53 p. ; in-8
> Collection: Bibliothèque liturgique ; Tome 5, livraison 4
>
> http://gallica.bnf.fr/document?O=N091144
>
>
> in other words, l'abbé Chevalier was instrumental in propagating the
notion
> that the Turin Artifact is a 14th c. French painting.
>
> i'm guessing that his work was tied up, somehow, with all that
> Ultramontain/Gallican contraversy of the time in France, but haven't
> bothered
> to sort the details out (at some point one just has to Cut One's Losses and
> Quit).
>
> >or any other relic, for that matter?
>
> i know not from other relics.
>
> thankfully.
>
> one's enough.
>
> c
>
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