Saint Abgar
I have no further description, at this time
Ananias took the cloth and the letter of the Saviour to Edessa
Tempera on panel
40.3 x 32.0 cm
The Royal Collection Trust
Icon depicting Christ washing His face with the Mandylion
I have no further description, at this time
The Saviour Himself caught sight of him, called to him by name and gave over to him for Abgar a short letter in which, having praised the faith of this ruler, He promised to send His disciple for both healing from leprosy and guidance for salvation. Then the Lord asked that there be brought Him water and a cloth. He washed His Face, drying it with the cloth, and upon it was imprinted His Divine Countenance. Ananias took the cloth and the letter of the Saviour to Edessa. With reverence Abgar took the holy thing and he received healing; only a small part of traces of the terrible affliction remained upon his face until the arrival of the disciple promised by the Lord.
Thaddeus, an apostle from the 70, after 994
Fragment of "Agar receivinh the Mandilion from Thaddeus"
Encaustic painting
Saint Catherine's Monastery, Mount Sinai
Encaustic painting, painting technique in which pigments are mixed with hot liquid wax. Artists can change the paint’s consistency by adding resin or oil to the wax.
He was the Disciple from the Seventy Saint Thaddeus, who preached the Gospel and baptised the believer Abgar and all the people of Edessa. Having inscribed upon the Image Not-Made-by-Hand the words "O Christ God, let no one hoping on Thee be ashamed thereof".
Unknown artist
Fragment of "Agar receivinh the Mandilion from Thaddeus"after 944
Encaustic painting
Saint Catherine's Monastery, Mount Sinai
Abgar adorned it and placed it in a niche over the city gates.
Unknown artist
Made without hands, c. 12th-century
573×620
Novgorod icon from the Assumption Cathedral in the Moscow Kremlin
Tretiakov Gallery, Moscow
For many years the inhabitants kept a pious custom to bow down before the Image Not-Made-by-Hand, when they went forth from the gates. But one of the great-grandsons of Abgar, later ruling Edessa, fell into idolatry. He decided to take down the Image from the city wall. In a vision the Lord ordered the Edessa bishop to hide His image. The bishop, coming by night with his clergy, lit a lampada before it and walled it over with a pottery-board and bricks.
The uncovering of the Holy Mandylion above the Gate of Edessa
I have no further description, at this time
The Vizier Buzurghmihr Showing the Game of Chess to King Khusraw Anushirwan, between 1525 and 1575
Manuscript of the Shahnama (Book of Kings)
Ink, opaque watercolor, and gold on paper
6 1/8 x 10 in. (15.5 x 25.5 cm)
Los Angeles County Museum of Art
Many years passed, and the people forgot about it. But in the year 545, when the Persian emperor Khosrow I besieged Edessa and the position of the city seemed hopeless, the Most Holy Mother of God appeared to Eulabios and ordered him to secure the Image from the walled-in niche, and it would save the city from the enemy.
Besieged Edessa and the position of the city seemed hopeless
I have no further description, at this time
Having opened the niche, the bishop found the Not-Made-by-Hand Image: in front of it was burning the lampada, and upon the pottery-board, closing in the niche, was the imaged likeness. After the making of church procession with the Image Not-Made-by-Hand along the city walls, the Persian army withdrew.
In the year 630 Arabs seized hold of Edessa
I have no further description, at this time
In the year 630 Arabs seized hold of Edessa, but they did not hinder the reverencing of the Image Not-Made-by-Hand, the fame of which had spread throughout all the East.
Constantine Palaiologos and his wife Eirene, c. between 1328 and 1344
1850 x 2702 px | 15.7 x 22.9 cm | 6.2 x 9 inches
Monastery of Our Lady of Certain Hope
In the year 944 the emperor Constantine Porphyrigenitos (912-959) wanted to transfer the Image to the then capital of Orthodoxy and he paid a ransom for it to the emir-ruler of the city. With great reverence the Not-Made-by-Hand Image of the Saviour and that letter, which He had written to Abgar, were transported by clergy to Constantinople. On 16 August the Image of the Saviour was placed in the Tharossa church of the Most Holy Mother of God. About what happened later with the Not-Made-by-Hand Image there exist several traditions.
The Taking of Constantinople 1204
I have no further description, at this time
Iacopo Negretti (1548/50[1] – 14 October 1628), best known as Jacopo or Giacomo Palma il Giovane or simply Palma Giovane ("Young Palma"), was an Italian painter from Venice and a notable exponent of the Venetian school.
After Tintoretto's death (1594), Palma became Venice's dominant artist perpetuating his style. Outside Venice, he received numerous commissions .
Palma was born into a family of painters, he was the great-nephew of the painter Palma Vecchio ("Old Palma") and the son of Antonio Nigreti (1510/15-1575/85), a minor painter.
In 1567 Guidobaldo II della Rovere, duke of Urbino, recognized Palma's talents, supporting him for four years and sending him to Rome, where he remained until about 1572. Shedding most remnants of Roman manner after his return to Venice, Palma adopted the inescapable models and mannerisms of Tintoretto. When the master died, Palma stepped in to finish his last work, the Pietà in the Accademia. By the mid-1580s he had digested Tintoretto's versatile figure postures and thick surfaces, emphasis on light, and loose brushstroke.
He worked alongside Veronese and Tintoretto on the decorations in the Doge's Palace where he came to know fully the Venetian tradition. From 1580-90 he painted cycles of large canvases. After this he went back to official commissions at the Doge's Palace.
Palma il Giovane went on to organize his own, large studio which he used to produce a repetitive series of religious and allegorical pictures. After 1600 he painted mythologies for a small circle of intellectuals. After the death of Tintoretto in 1594, he remained one of the leading painters in the City of Venice. More on Iacopo Negretti
According to one, – crusaders ran off with it during the time of their rule at Constantinople (1204-1261), but the ship, on which the sacred thing was taken, perished in the waters of the Sea of Marmora.
According to another tradition, the Image Not-Made-by-Hand was transported around 1362 to Genoa, where it is preserved in a monastery in honour of the Apostle Bartholomew. It is known, that the Image Not-Made-by-Hand repeatedly gave from itself exact imprints. One of these, named "On Ceramic", was imprinted when Ananias hid the image in a wall on his way to Edessa; another, imprinted on a cloak, wound up in Gruzia (Georgia). Possibly, the variance of traditions about the original Image Not-Made-by-Hand derives from the existence of several exact imprints.
During the time of the Iconoclast heresy the defenders of Icon-Veneration, having their blood spilt for holy icons, sang the tropar to the Not-Made-by-Hand Image. In proof of the veracity of Icon-Veneration, Pope Gregory II (715-731) dispatched a letter to the Eastern emperor, in which he pointed out the healing of king Abgar and the sojourn of the Not-Made-by-Hand Image at Edessa as a commonly known fact.
The Image Not-Made-by-Hand was put on the standards of the Russian army, defending them from the enemy. In the Russian Orthodox Church it is a pious custom for a believer, before entering the temple, to read together with other prayers the tropar of the Not-Made-by-Hand Image of the Saviour.
According to the Prologue there are known 4 Not-Made-by-Hand Images of the Saviour: 1) at Edessa, of king Abgar – 16 August; 2) the Kamulian, – Sainted Gregory of Nyssa (Comm. 10 January) wrote about its discovery, while according to the Monk Nikodemos of the Holy Mount (+ 1809, Comm. 1 July), the Kamulian image appeared in the year 392, but it had in appearance an image of the Mother of God – 9 August; 3) in the time of emperor Tiberius (578-582), Saint Mary Syncletika (Comm. 11 August) received healing from this; 4) on ceramic tiles – 16 August.
The feast in honour of the Transfer of the Image Not-Made-by-Hand, made together with the After-Feast of the Dormition, they call the third-above Saviour Image, the "Saviour on Linen Cloth". The particular reverence of this feast in the Russian Orthodox Church is also expressed in iconography – the icon of the Not-Made-by-Hand Image was one of the most widely distributed. More on the Not-Made-by-Hand Image
Unknown artist
Not Made by Hands
Orthodox Vita Icon
Size: 8 1/4" x 6 3/4"
I have no further description, at this time
Vita is a Latin word meaning "life," icons with this description include scene from the life of the Christ or of the event depicted.
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