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| The Veil of Veronica (Shroud) Manopello, Italy |
There are many legends surrounding the shrouds that reportedly have the imprint of Christ's face on them. There is a the Shroud of Turin which is also known as the Shroud of Edessa, formerly owned by King Agbar of Edessa who requested Jesus come and heal his servant, and Jesus responded in letter, "A copy of a letter written by Abgarus the toparch to Jesus, and sent to him by means of Ananias the runner, to Jerusalem. Abgarus Uchama the toparch to Jesus the good Saviour that hath appeared in the parts (place) of Jerusalem, greeting. I have heard concerning thee and thy cures, that they are done of thee without drugs or herbs: for, as the report goes, thou makest blind men to see again, lame to walk, and cleansest lepers, and castest out unclean spirits and devils, and those that are afflicted with long sickness thou healest, and raisest the dead. And having heard all this of thee, I had determined one of two things, either that thou art God come down from heaven, and so doest these things or art a Son of God that doest these things. Therefore now have I written and entreated thee to trouble thyself to come to me and heal the affliction which I have. or indeed I have heard that the Jews even murmur against thee and wish to do thee hurt. And I have a very little city but (and) comely (reverend), which is sufficient for us both. The answer, written by Jesus, sent by Ananias the runner to Abgarus the toparch. Blessed art thou that hast believed in me, not having seen me.
For it is written concerning me that they that have seen me shall not believe in me, and that they that have not seen me shall believe and live. But concerning that which thou hast written to me, to come unto thee; it must needs be that I fulfil all things for the which I was sent here, and after fulfilling them should then be taken up unto him that sent me. And when I am taken up, I will send thee one of my disciples, to heal thine affliction and give life to thee and them that are with thee." (The Apocryphal New Testament" M.R. James-Translation and Notes Oxford: Clarendon Press, 1924).
The Veil of Veronica is believed to be the head veil Veronica wore and placed on Christ's face at the Crucifixion, leaving an imprint and outline of His face. There have been Scientific experts trying to debunk the authenticity of the Shrouds, claiming them to be forgeries like the Donation of Constantine made in the Middle Ages. But there is quite a case to be made for the authenticity of the Shrouds.
The Shroud of Turin, believed to be an image of Christ on a piece of cloth the disciple carried to King Agbar could have indeed had Christ's face on it. It is possible the disciple after Christ's crucifixion, since Christ in letter to Agbar mentions He cannot come because He must fulfill His purpose, which we know thanks to Holy Scripture was to die for our sins, it is possible a disciple carried the veil that covered Jesus' face at His burial (,Matthew 27:57-61, Mark 15:42-47, John 19:38-42, Luke 23:50-24:12). It is said this viel was folded after Jesus' resurrection, "Simon Peter arrived just after him. He entered the tomb and saw the linen cloths lying there, and the face cloth, which had been on Jesus’ head, not lying with the linen cloths but folded up in a place by itself." (John 20:6-7). It could be that the Veil of Veronica, which contained the Suffering Face of Jesus on Via Del Rosa could have been taken to King Agbar and so the Veil of Veronica and Shroud of Turin could be variations of same image, with different names, just as Jesus was called The Galilean, Nazarene, and the Way. The Shrouds break down to these possiblities, Veronica's veil at the Crucifixion, the Resurrection veil placed on Christ's buried face which had oils and blood, it is possible Mary His Mother, Mary Magdalene, Joseph of Arimathea, Nicodemus, and others might have whipped his face upon carrying Him down from the cross (John 19:38-42). Interestingly, none of the apostles describe Jesus physically in the Four Gospels or most of the New Testament (Revelation being an exception, see later in the post). The only accounts come from Pontius Pilate, Rabbi Gamilel, Publius Lenttus, Josephus, and more [Everything in Courier Font is not my writing or research, when you see the font return to this default it is my thinking and interpretation]:
"The Description of Publius Lentullus
The following was taken from a manuscript in the possession of Lord Kelly, and in his library, and was copied from an original letter of Publius Lentullus at Rome. It being the usual custom of Roman Governors to advertise the Senate and people of such material things as happened in their provinces in the days of Tiberius Caesar, Publius Lentullus, President of Judea, wrote the following epistle to the Senate concerning the Nazarene called Jesus. "There appeared in these our days a man, of the Jewish Nation, of great virtue, named Yeshua [Jesus], who is yet living among us, and of the Gentiles is accepted for a Prophet of truth, but His own disciples call Him the Son of God- He raiseth the dead and cureth all manner of diseases. A man of stature somewhat tall, and comely, with very reverent countenance, such as the beholders may both love and fear, his hair of (the colour of) the chestnut, full ripe, plain to His ears, whence downwards it is more orient and curling and wavering about His shoulders. In the midst of His head is a seam or partition in His hair, after the manner of the Nazarenes. His forehead plain and very delicate; His face without spot or wrinkle, beautified with a lovely red; His nose and mouth so formed as nothing can be reprehended; His beard thickish, in colour like His hair, not very long, but forked; His look innocent and mature; His eyes grey, clear, and quick- In reproving hypocrisy He is terrible; in admonishing, courteous and fair spoken; pleasant in conversation, mixed with gravity. It cannot be remembered that any have seen Him Laugh, but many have seen Him Weep. In proportion of body, most excellent; His hands and arms delicate to behold. In speaking, very temperate, modest, and wise. A man, for His singular beauty, surpassing the
The letter from Pontius Pilate to Tiberius Caesar
This is a reprinting of a letter from Pontius Pilate to Tiberius Caesar describing the physical appearance of Jesus. Copies are in the Congressional Library in Washington, D.C.
TO TIBERIUS CAESAR:
A young man appeared in Galilee preaching with humble unction, a new law in the Name of the God that had sent Him. At first I was apprehensive that His design was to stir up the people against the Romans, but my fears were soon dispelled. Jesus of Nazareth spoke rather as a friend of the Romans than of the Jews. One day I observed in the midst of a group of people a young man who was leaning against a tree, calmly addressing the multitude. I was told it was Jesus. This I could easily have suspected so great was the difference between Him and those who were listening to Him. His golden colored hair and beard gave to his appearance a celestial aspect. He appeared to be about 30 years of age. Never have I seen a sweeter or more serene countenance. What a contrast between Him and His bearers with their black beards and tawny complexions! Unwilling to interrupt Him by my presence, I continued my walk but signified to my secretary to join the group and listen. Later, my secretary reported that never had he seen in the works of all the philosophers anything that compared to the teachings of Jesus. He told me that Jesus was neither seditious nor rebellious, so we extended to Him our protection. He was at liberty to act, to speak, to assemble and to address the people. This unlimited freedom provoked the Jews -- not the poor but the rich and powerful.
Later, I wrote to Jesus requesting an interview with Him at the Praetorium. He came. When the Nazarene made His appearance I was having my morning walk and as I faced Him my feet seemed fastened with an iron hand to the marble pavement and I trembled in every limb as a guilty culprit, though he was calm. For some time I stood admiring this extraordinary Man. There was nothing in Him that was repelling, nor in His character, yet I felt awed in His presence. I told Him that there was a magnetic simplicity about Him and His personality that elevated Him far above the philosophers and teachers of His day.
Now, Noble Sovereign, these are the facts concerning Jesus of Nazareth and I have taken the time to write you in detail concerning these matters. I say that such a man who could convert water into wine, change death into life, disease into health; calm the stormy seas, is not guilty of any criminal offense and as others have said, we must agree -- truly this is the Son of God.
Your most obedient servant,
Pontius Pilate
"The Archko Volume"
Another description of Jesus is found in "The Archko Volume" which contains official court documents from the days of Jesus. This information substantiates that He came from racial lines which had blue eyes and golden hair. In a chapter entitled "Gamaliel's Interview" it states concerning Jesus (Yeshua) appearance:"I asked him to describe this person to me, so that I might know him if I should meet him. He said: 'If you ever meet him [Yeshua] you will know him. While he is nothing but a man, there is something about him that distinguishes him from every other man. He is the picture of his mother, only he has not her smooth, round face. His hair is a little more golden than hers, though it is as much from sunburn as anything else. He is tall, and his shoulders are a little drooped; his visage is thin and of a swarthy complexion, though this is from exposure. His eyes are large and a soft blue, and rather dull and heavy....' This Jew [Nazarite] is convinced that he is the Messiah of the world. ...this was the same person that was born of the virgin in Bethlehem some twenty-six years before..."- The Archko Volume, translated by Drs. McIntosh and Twyman of the Antiquarian Lodge, Genoa, Italy, from manuscripts in Constantinople and the records of the Senatorial Docket taken from the Vatican of Rome (1896) 92-93
Josephus, the "Antiquities Of The Jews"
This is a quote from Josephus, from his historical first-century writings entitled, "Antiquities Of The Jews," Book #18, Chapter 2, section 3."Now there was about this time Jesus, a wise man, if it be lawful to call him a man; for he was a doer of wonderful works, a teacher of such men as receive the truth with pleasure. He drew over to him both many of the Jews and many of the Gentiles. He was [the] Christ. And when Pilate, at the suggestion of the principal men amongst us, had condemned him to the cross, those that loved him at the first did not forsake him; for he appeared to them alive again the third day, as the divine prophets had foretold these and ten thousand other wonderful things concerning him. And the tribe of Christians, so named from him, are not extinct at this day."
Cornelius Tacitus, a Roman historian
Cornelius Tacitus was a Roman historian who lived circa 56-120 AD. He is believed to have been born in France or Gaul into a provincial aristocratic family. He became a senator, a consul, and eventually governor of Asia. Tacitus wrote at least four historic treatises. Around 115 AD, he published Annals in which he explicitly states that Nero prosecuted the Christians in order to draw attention away from himself for Rome's devastating fire of 64 AD. In that context, he mentions Christus who was put to death by Pontius Pilate.
Christus: Annals 15.44.2-8
"Nero fastened the guilt and inflicted the most exquisite tortures on a class hated for their abominations, called Christians by the populace. Christus, from whom the name had its origin, suffered the extreme penalty during the reign of Tiberius at the hands of one of our procurators, Pontius Pilatus, and a most mischievous superstition, thus checked for the moment, again broke out not only in Judaea, the first source of the evil, but even in Rome..."
1. The Apocrypha and Pseudepigrapha.
Neither the New Testament nor the writings of the earlier post-Biblical Christian authors have any statements regarding the personal appearance of Jesus, thus contrasting sharply with the Apocrypha and the Pseudepigrapha and especially with the works of the Gnostics. In the "Shepherd" of Hermas (ix. 6, 12) the lofty stature of the Son of God is emphasized, and according to the Gospel of Peter he even towered above the heaven at his resurrection. Gnostic influence is betrayed by visions in which Christ appears as a shepherd, or the master of a ship, or in the form of one of his apostles, as of Paul and of Thomas, or again as a young boy. In the Acts of Andrew and Matthew he assumes the figure of a lad, and the same form is taken in the Acts of Peter and Andrew, in the Acts of Matthew, and in the Ethiopic Acts of James. Manazara is healed by a youth in the Acts of Thomas, and a beautiful lad appears to Peter and Theon in the Actus Vercellensis, which also mentions the smile of friendship in the face of Jesus. A handsome youth with smiling face appears at the grave of Drusiana in the Acts of John, but certain widows to whom the Lord restored their sight saw him an, aged man of indescribable appearance, though others perceived in him a youth, and others still a boy. The youthfulness of Christ is also mentioned in the life and passion of St. C棩lus and the vision of Saints Perpetua and Felicitas ascribed to the risen Christ the face of a youth with snow-white hair.
2. The Church Fathers.
The early Christian authors were by no means concordant in their opinions of the personal appearance of Jesus. Some, basing their judgment on Isa. Iii. and liii., denied him all beauty and comeliness, while others, with reference to Ps. xlv. 3, regarded him as the most beautiful of mankind. To the former class belong Justin Martyr, Clement of Alexandria, Basil, Isidor of Peluaium, Theodoret, Cyril of Alexandria, Tertullian, and Cyprian. Origen declared that Christ assumed whatever form was suited to circumstances. It was not until the fourth century that Chrysostom and Jerome laid emphasis upon the beauty of Jesus. While Isidor of Pelusium had referred the phrase, "Thou art fairer than the children of men" in Ps. xlv. 2, to the divine virtue of Christ, Chrysotom interpreted the lack of comeliness mentioned in Isa. liii. 2 as an allusion to the humiliation of the Lord. Jerome saw in the profound impression produced by the first sight of Jesus upon disciples and foes alike a proof of heavenly beauty in face and eyes. From the insults inflicted upon Jesus Augustine concluded that he had appeared hateful to his persecutors, while actuallly he had been more beautiful than all, since the virgins had loved him.
3. Other Data.
The Problem of the life passion of St. C? us, and the external appearance of Jesus possessed but minor interest for the Church Fathers, although the Catholic Acts of the Holy Apostles ascribe to him an olive complexion, a beautiful beard, and flashing eyes. Further details are first found in a letter to the Emperor Theophilus attributed to John of Damascus (in MPG, xcv. 349), which speaks of the brows which grew together, the beautiful eyes, the prominent nose, the curling hair, the look of health, the black beard, the wheat-colored complexion, and the long fingers, a picture which almost coincides with a hand-book on painting from Mt. Athos not earlier than the sixteenth century. In like manner, Nicephorus Callistus, who introduced his description of the picture of Christ (MPG, cxlv. 748) with the words, "as we have received it from the ancients," was impressed with the healthful appearance, with the stature, the brown hair which was not very thick but somewhat curling, the black brows which were not fully arched, the sea-blue eyes shading into brown, the beautiful glance, the prominent nose, but brown beard of moderate length, and the long hair which had not been cut since childhood, the neck slightly bent, and the olive and somewhat ruddy complexion of the oval face. A slight divergence from both these accounts is shown by the so-called letter of Lentulus, the ostensible predecessor of Pontius Pilate, who is said to have prepared a report to the Roman Senate concerning Jesus and containing a description of him. According to this document Christ possessed a tall and handsome figure, a countenance which inspired reverence and awakened love and fear together, dark, shining, curling hair, parted in the center in Nazarene fashion and flowing over the shoulders, an open and serene forehead, a face without wrinkle or blemish and rendered more beautiful by its delicate ruddiness, a perfect nose and mouth, a full red beard of the same color as the hair and worn in two points and piercing eyes of a grayish-blue.
II. Literary Data on the Oldest Pictures of Jesus:
(1) A handkerchief embroidered with the figures of Jesus and his Apostles, and made, according to legend, by his mother, is said to have been seen by the monk Arculfus during his residence in Jerusalem (Adamnan, De Locis sanctis, i. 11 [12]). (2) In his account of his visit to C泡rea Philippi, Eusebius mentions (Hist. eccl. vii. 18) a group of statuary in brass which consisted of a kneeling woman and a man standing with his hands stretched out toward her. Local tradition saw in this a figure of Jesus and the woman healed of an issue of blood, who was said to have come from C泡rea Philippi. This legend was accepted by Eusebius, Asterius Amasenus Photius, Sozomen, Philostorgius, and Macarius Magnes, the last-named calling the woman Beronike. The actual meaning of the group is uncertain. Some have seen in it an emperor and a province, possibly Hadrian and Judea while others have regarded it as Ƴculapius and Hygeia, a view which is vitiated by the fact that no mention is made of the serpent-staff characteristic of statues of the god of healing. It is entirely possible that the group actually represented Christ and either the woman with an issue of blood or possibly the woman of Canaan who implored him to heal her daughter. (3) According to Iren浳 (H沼/i>., I., xxv. 6), pictures of Christ were possessed by the Gnostic sect of Carpocratians, who crowned them with garlands like the pictures of philosophers--Pythagoras, Plato, Aristotle, and others--while, according to the Carpocratians, Pilate had a portrait of Jesus painted during his lifetime, and the Carpocratian Marcellina possessed a picture of Christ which she honored, like those of Paul, Homer, and Pythagoras, with prayer and incense. (4) The Emperor Alexander Severus had a picture of Jesus; it must have been, however, only an ideal portrait, like those of Apollonius, Abraham, Orpheus, and others, which were also included in his lararium (Lampridius, Vita Alex. Sev. xxix.). (5) A brass statue of the Savior was erected by Constantine the Great before the main door of the imperial palace of Chalce (Theophanes in MPG, cviii. 817). (6) A picture of Jesus "painted from life" was possessed by the Archduchess Margaret which may be the same one as D��'s altar-piece of St. Luke at Brussels (M. Thausing, D��, p. 420, Leipsic, 1876).While the portraits just mentioned were prepared by human agency, there were others to which a supernatural origin was ascribed. To this category belong (7) a picture at Camulium in Cappadocia, apparently on cloth and perhaps a copy of that of Edessa (see below). It was mentioned at the second Nicene Council and was carried to Constantinople by Justin II., where it was regarded as so sacred that a special festival was instituted in its honor, and it was frequently carried in war as a potent icon (J. Gretsei opera, xv. 196-197, Regensburg, 1741). (8) In the war against the Persians the General Philippicus had a picture of Christ which the Romans believed to be supernatural in origin, and the same portrait served to quell a mutiny in the army of Priscus, the successor of Philippicus. This icon was apparently on cloth, and was a copy of an original which was frequently confounded with a portrait in Amida, although the latter is expressly said to have been painted, and was, consequently, natural in provenience (Zacharias, MPG, Ixxxv. 1159). (9) A Syriac fragment mentions a picture of Jesus painted on linen and found unwet in a spring by a certain Hypatia shortly after the Passion. This portrait left a miraculous imprint on the napkin in which it was wrapped, and one of these pictures found its way to C泡rea while the other was taken to Comolia (possibly identical with the city of Camulium already mentioned), although a copy was later found at Dibudin (?) (Lipsius, Die edessenische Abgarsage, p. 67, n. 1, Brunswick, 1880). (10) About 570 a linen mantle was shown at a church in Memphis which bore the impress of the Savior's face and was so bright that none could gaze at it (Antoninus Martyr, De locis sanctisxliv.). (11)Byzantine literature frequently mentions pictures of Christ impressed on bricks. According to a legend which presents several slight variations, the portrait of himself which Jesus had sent to Abgar at Edessa was believed to have been walled up to save it from the attack of King Ananun and to have been rediscovered in 539 together with a brick which bore a miraculous copy of the original (Georgius Cedrenus, ed. Bekker, i. 312, and others). (12) The patriarch Germanus, when forced to leave Constantinople, is said to have taken with him a picture of Christ which later came into the possession of Gregory II. (G. Marangoni, Istoria dell' oratorio di San Lorenzo, pp. 78 sqq., Rome, 1747). (13) The cloth with a picture of Christ presented by Photius to the hermit Paul at Latro in the ninth century was merely a copy of a miraculous original, although only he to whom the gift was made was able to perceive the portrait, others seeing only the cloth (Gretses, ut sup. p,186). (14) More important than all other statements concerning the oldest pictures of Christ is a passage of Augustine (De trin. viii. 4), stating that the portraits of Jesus were innumerable in concept and design.
III. Extant Pictures of Jesus.
1. Portraits Ostensibly Authentic:
1. Portraits by Painters, Sculptors, etc.
(1) The paintings of Luke, of which the best known are two at Rome. One of these is in the chapel Sanctus Sanctorum, although the statement that Luke painted a portrait of Jesus dates only from medieval times, the monk Michael, the biographer of Theodore of Studium, being one of the earliest sources. In the last quarter of the twelfth century the legend of Luke was interwoven by Wernher of Niederrhein with the tradition of Veronica (see below). Luke, in answer to Veronica's entreaties, is said to have made repeated attempts to portray Christ, but his endeavors were unsuccessful. Jesus then impressed the image of his face upon the handkerchief of Veronica. Another picture ascribed to Luke and painted on cloth is in the Vatican library, while a third is said to have been placed in the cathedral of Tivoli by Pope Simplicius. Other pictures are likewise ascribed to a similar provenience, and very late traditions even attribute statues of Christ to the chisel of Luke. [In the church of San Miniato at Monto, in the environs of Florence, Italy, is shown a portrait of Christ, attributed to Luke.] (2) To Nicodemus is ascribed a statue of the crucified Christ carved in black cedar and preserved in the Cathedral of Lucca. Its design shows that it dates at the earliest from the eighth century, although tradition states that the model of Nicodemus was furnished by the impress of the Savior's body on the linen cloths purchased to cover the corpse at the descent from the cross. (3) A "true and only portrait of our Savior taken from an engraved emerald which Pope Innocent VIII. received from Sultan Bajazted II. for the ransom of his brother, who was a captive of the Christians," frequently reproduced in photograph is in reality the copy of a medal which may have been cut at the command of Mohammed II., and which is, at all events, of comparatively modern date. (4) The mosaic in the Church of St. Praxedis in Rome, which is exhibited on festal occasions, is by no means one of the earliest Christian mosaics, although tradition regards it as a present to Pudens from the Apostle Peter. 2. Alleged Supernatural Pictures.
Alleged supernatural pictures may be divided into those which represent the entire figure of Jesus, and those which give only his face. (1) Clothe of medieval date containing more or less clear outlines of the figure of a man, all claiming to be the "napkin" in which Jesus was wrapped in the grave and on which his image was impressed, were formerly found in Chamb鲹, and until the end of the eighteenth century, in Besan篮, while they still exist at Compi觮e and Turin, the latter "napkin" being declared authentic by a bull of Sixtus IV. Far more famous, however, are the cloths which bear only the impress of a head or face and of these one of the best known is (2) the picture of Edessa, or the Abgar picture. According to the Doctrine of Addai and Moses of Choren, Hanan, the envoy of the king of Edessa, painted a portrait of Jesus and took it to his royal master. Evagrius, on the authority of Procopius, states that Christ sent to the king a picture of miraculous origin. The legend apparently arose about 350, and may well have been based on an actual painting which remained at Edessa till 944, when it was brought to Constantinople by the Emperor Romanus I. Its subsequent fortunes are uncertain, although various cities laid claim to its possession, especially Genoa, Rome, and Paris, the first-named city advancing the most probable arguments for authenticity and receiving the confirmation of Pius IX. (see ABGAR). This picture shows only the head of Jesus, but legend also knows a full-length Edessene portrait on linen produced by contact with the body of Christ. It is mentioned by Gervase of Tilbury in the beginning of the thirteenth century, who bases his statement on ancient sources and says that it was exhibited on festivals in the chief church of Edessa, and that on Easter it shows Jesus successively as a child, boy, youth, young man, and in the ripeness of years. (3) One of the choicest treasures of the Roman Church is the handkerchief of Veronica, which is shown only on special occasions, particularly in Passion Week. This portrait is said to have been transferred in 1297 by Boniface VIII. from the Hospital of the Holy Ghost to St. Peter's in Rome, where it reposes behind the statue of St. Veronica. The picture, which is now much faded, shows an elliptical face with a low-arched forehead, in marked contrast with the long nose. The mouth is slightly open, and the scanty hair is visible only on the temples. The beard on the cheeks is thin, but is stronger on the chin, where it ends in three points, while the mustache is more conspicuous for color than for strength. The eyes arched by scanty brows, are closed, and, combined with features distorted by agony and stained with blood complete the picture of a martyr pale in death. From the point of view of esthetics and the history of art, the picture is probably Byzantine. Although one would expect the picture of Veronica to be regarded as the napkin which covered the head of Christ, there is no tradition as to its origin, although a mess of medieval legends connects it with the name of a woman.
These may be divided into two classes. In the older group, apparently written shortly before the ninth century, Veronica appears as the woman afflicted with an issue of blood, who had a portrait of Jesus either painted by herself or at her bidding, or else impressed by Christ himself upon a piece of cloth. The second form of the legend sprang up in France and Germany in the course of the fourteenth century and superseded the older version before 1500. According to this tradition, Veronica gave the Savior a handkerchief on his way to Golgotha, and received it back impressed with his features. Further amplifications of the tradition stated that the napkin was brought to Rome by John VII., or even during the reign of Tiberius, while it is certain that Celestine III. prepared a reliquary for it. At all events, what is clear is that during the medieval period Rome possessed a cloth picture of Christ, which was apparently supposed to be the miraculous impress of the head of Jesus in the sepulcher. It is significant, moreover, that it bore the name sudarium before the rise of the legend of the handkerchief given Christ to wipe his face on his way to the cross, nor was it until the twelfth century that the name of Veronica even began to form a part of the tradition, a connection suggested by a popular etymology of Veronica as Vera *?* ("true image"), This legend of Veronica gave rise to a tendency of art which reached its culmination in D��, who represented the napkin of Veronica and the Savior with a crown of thorns, combining the suffering in the face of Jesus with the loftiness and the majesty of the Son of God, (4) The picture of Christ in the apse of St. John Lateran at Rome is supposed to have been miraculously produced when the church was dedicated by Pope Sylvester, although it is in reality a mosaic of recent date.
2. Pictures of Jesus in Ancient Art:
1. Symbolical and Allegorical Representations.
In the course of time pictorial representations of Jesus became either real or symbolical and allegorical, the latter tendency gradually giving way to the former. To the category of symbols belong the fish, the lamb, the various monograms of Christ, and the Good Shepherd, the last-named leading to representations of Jesus in human form. As early as Tertullian the Good Shepherd adorned chalices, and it was a favorite form of decoration in the catacombs, where the figure usually carries a goat or a wether. In these pictures, often adorned with other animals, trees, and shrubs, and based on Luke xv. 5; John x.; and Ps. xxiii., the Christ appears only in youthful guise, although the Shepherd is usually clad in garments of a higher rank and wears the Roman tunic and the pallium as well as sandals. The figure, moreover, is Latin instead of Oriental in type, and represents a youthful and beardless sometimes even boyish, figure, a round head with curling hair, and a frank face with regular features. This type of picture, purely ideal as it was, underwent evolution in the course of time. In the third century the face grew more oval, while the unparted hair grew slightly over the forehead in the center and flowed on the on the sides in wavy or curly locks.
2. Representation as Teacher and Lawgiver.
The first real impulse, however, to artistic representations of Jesus was given by his miracles, though the risen Lord as a teacher and a lawgiver became more and more a subject for pictorial representation. In the midst of all or a part of his disciples, including Paul, Christ appears either on a plain, as in Spain and southern France, or standing on a mountain either within or without the four rivers of Eden, or sitting on a throne with his feet on a footstool or on the clouds while mosaics represent him as seated on the celestial globe. As a teacher, he is depicted as speaking and as holding a book or scroll either in his hand or on his bosom, while as a lawgiver he proffers the Gospel to Peter or Paul. In both of these latter categories the beardless, youthful type gradually grows less frequent, so that on Roman, Upper Italian, and French sarcophagi the central Christ appears bearded, although in the reliefs on their sides he wears no beard, the former representing the risen Lord and the latter the earthly Savior. Originally a characteristic of the ascended Christ, the beard was attributed to Jesus during his earthly ministry after the end of the fourth or the beginning of the fifth century. The struggle between the two types is seen in the mosaics of Sant'Apollinare Nuovo at Ravenna and of St. Michael, but the earliest specimen of the bearded Christ is generally believed to be the socalled Callistinian mosaic which was found in the catacomb of St. Domitilla. In conformity with the manhood implied by the beard, the body increased in height and breadth, while the features became more sharply defined as the bones gained in accentuation over the flesh. The nose became longer and more prominent, and the eyes were deeper and their pupils enlarged, while the angles of the nose and mouth were more sharply outlined. The hair, while frequently less curling than hitherto, was now represented as falling to the neck and shoulders, and was often parted in the middle. The color both of the hair and of the beard varied through all shades from yellow to gray and black. The upper lip was never clean-shaven, and the beard was sometimes close and sometimes either pointed or rounded, the parted type being found only in rudimentary form in early Christian art.
The bearded Christ represents the climax of the art of early Christianity, and the fifth century ushered in a period of decay marked by all manner of exaggeration. Majesty became stiffness, exaltation unapproachability, and earnestness gloom. Thus the Christ of Saints Cosmas and Damian (q.v.) in Rome, dating from the sixth century, is a figure with, long face, projecting cheek bones, ashen complexion, attenuated nose, mane-like hair, and scanty beard.
IV. Origin of the Pictures of Jesus:
While the theory may be advanced that the oldest pictures of Christ were based either on works of art still more ancient or on tradition, it is practically certain that they are not real portraits but ideal representations. This is clear both from their extreme diversity and from the words of Augustine: "What his appearance was we know not." The most primitive type, wherein early Christian and Gnostic documents agree, is that of a boy or youth. The youthful vigor of the early Church in religious and in moral thought, sustained by the belief in the second coming of the Lord and strengthened by persecution, inspired the artist to depict the Christ as the incarnation of undying youth, even as Noah, Job, Abraham, and Moses were represented as beardless boys. Herein, too, lay the genesis of the concept of the Good Shepherd.
With the fourth and fifth centuries the bearded type was evolved side by side with the beardless. The explanation of this change lies in the perfection, strength, and manliness implied by the beard. The parted hair, on the other hand, which is characteristic of the pictures of Christ in this period, especially in the mosaics, typifies his earthly lineage and designates him as one of the children of Israel, since of human beings only Jews and Judeo-Christians are represented with parted hair in early Christian art. The theory, advanced by many scholars, that Greek religious art influenced the various early Christian concepts of the personal appearance of Christ seems to lack sufficient evidence to be in any wise conclusive." (The Nazarene Way of Essenic Studies, Physical Description of Jesus).
-----------------------------------------------------------------------------------------------------------------------Why did the Apostles avoid giving us a clear description of Christ's face? Is it because often men make idols and statues? Was it because Christ's presence and revelations so permeated and overpowered that his features can only be outlined? The Transfigured Christ and Resurrected Christ often it was said, "While they were talking and discussing together, Jesus himself drew near and went with them. But their eyes were kept from recognizing him. When he was at table with them, he took the bread and blessed and broke it and gave it to them. And their eyes were opened, and they recognized him."(Luke 24:15, 30). Are the images we see in art today merely gnostic and by other Apocalyphal works that cannot be trusted? Well that doesn't seem to stand, because above I copied and pasted the eyewitnesses accounts of Romans and Jews who met with Jesus Christ for interviews, including Pontius Pilate which we have Biblical Proof of an audience between the two (John 18:28-40, Matthew 27:11-54, Mark 15:1-21, Luke 23:1-26), and Gamaliel who did defend the Christians (Acts 5:34-39). It thus stands to reason that Pilate's letter to Tiberius is sound, because Pilate as a Roman Prefect (Governor) had to give the absolute truth to the Emperor, and Gamaliel probably interviewed Jesus during His stay at Annas' House cellar, the Father in Law to Caiaphas (John 18:13-24) or when Jesus was tried by Sanhedrin (Matthew 24:57-67, Mark 14:53-65), Gamaliel is proved to be on Sanhedrin in the Acts of the Apostles in the Holy Bible (Acts 5:34-39), so the latter is probably most likely of the two meeting sites. We do have one Biblical description of Jesus Christ, but it come from The Revelation, last book of the holy Bible, "I saw seven golden lampstands, 13 and among the lampstands was someone like a son of man (who is Jesus, Mark 14:62, Matthew 16:13-28), dressed in a robe reaching down to his feet and with a golden sash around his chest. 14 The hair on his head was white like wool, as white as snow, and his eyes were like blazing fire. 15 His feet were like bronze glowing in a furnace, and his voice was like the sound of rushing waters. 16 In his right hand he held seven stars, and coming out of his mouth was a sharp, double-edged sword. His face was like the sun shining in all its brilliance," (Revelation 1:12-17) and, "When I saw him, I fell at his feet as though dead. Then he placed his right hand on me and said, "Do not be afraid. I am the First and the Last. 18 I am the Living One; I was dead, and now look, I am alive for ever and ever! And I hold the keys of death and Hades." (Revelation 1:17), Jesus did this same action before, "When the disciples heard this, they fell facedown to the ground, terrified. But Jesus came and touched them. “Get up,” he said. “Don’t be afraid.” When they looked up, they saw no one except Jesus." (Matthew 17:6). It is clear the Disciples saw Jesus Transfigured with Moses and Elijah, but John later sees this Transfigured Jesus in His Vision which is the Revelation or Apocalypse "Unveiling".
It would seem then you could with accuracy depict Christ's face via Pontius Pilate and Gamaliel's description, or refer merely to the Book of Revelation. The fact that it says in John's description in Revelation, "His face was like the sun shining in all its brilliance," (Rev 1:17) could be why most Apostles forget His face. Please do not come to wrong conclusion that pagans did, that Helios or the sun god is same as our Savior Christ Jesus. Jesus Christ is God and is Son of God, not the Sun god. Jesus created the Sun and all things (John 1:3, Colossians 1:16, Genesis 1:1-5) and so would not demote Himself to the Greco-Roman guardian of the sun when He created the sun! It is important to note that the Apostle Luke who wrote the Gospel According to Luke, in every Holy Bible, is believed to have painted the Apostles, and Jesus from descriptions of the Apostles, and the Women, including Mary, because Luke did interview the women followers of Jesus because he is a Greek and wanted the full story. So if he knew from first hand accounts from Mary, Jesus's Mother and others, then we can imagine he knew what Jesus looked like and so painted Him. Thus if we compile Luke's knowledge of Jesus' description and the letters of Pilate and account of Gamaliel which corroborate with the Gospels and Acts of the Apostles in the Holy Bible, it is likely that we do in fact have very close images of what Christ looks like in ancient Christian artwork and icons.
Does it matter? Well is depends. For us believers and followers of Christ, we all see Jesus in a certain way. We can always hold on to that Christ is unique in His Transfigured appearance to each one of us faithful Christians, but it is interesting to know what Jesus looked like from 30-33 A.D. prior to His Ascension. What I would discourage is the strange cultic and relic veneration that happens with some very creepy and disturbed persons. But on a healthy level, it is exciting to know we probably have copies of what Christ looked like in ancient Christian artwork from the 3rd to 6th Centuries. The Shroud of Turin still exists, and old art in caves, icons, and more give us a clue of what Christ looked like as the Suffering Servant and Savior of the World. This should be interesting and intriguing to any Christian, but we must not do as the pagans did, do not worship the image, worship the image maker, the Creator and Savior, The Divine Trinity! The Face of Jesus Christ can be seen in prayer and seeking Him personally, so I urge that search over finding a shroud. But I understand the shrouds make us excited like the legends of Holy Grail and True Cross, the idea of seeing and touching something that was with Christ and part of His mission is thrilling! But again I urge self control, if you should see the Shroud in Manopello, Italy or any other relic, keep it in perspective. We worship Jesus Christ, God and Creator (Colossians 2:9), the relics are just shadows and echoes, props and pieces of His Passion and Life. As aforementioned, you can see Face of Jesus when you spend time with Him in prayer, worship, and reflection; He can show Himself to you personally, because He loves all His followers! Amen.
Addendum:
Below is how the Shroud of Turin is interpreted differently.
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