There are several "veroniques"; and the Shroud and the Mandylion, despite some nebulous arguments to the contrary, are almost certainly one and the same.
yep, thats how i see it also
a short re cap....
In 544 AD, in the city of Edessa, a folded burial cloth bearing an image, believed to be of Jesus, was found above a gate in the city's walls. We know from various history sources that the cloth was a burial shroud with a faint full-body image of Jesus and bloodstains positioned on the image. The image was variously described as a reflection, produced by sweat and divinely wrought. There is even some indication that the image was thought to be negative.
On August 15, 944 AD, the Image of Edessa was forcibly transferred from Edessa to the Byzantine capital city of Constantinople. It clearly was a burial cloth with a full image and bloodstains.
The following records are particularly useful in developing an accurate picture of the cloth:
a sermon by Gregory, archdeacon and referendarius of Hagia Sophia Cathedral given August 16, 944http://www.shroud.com/pdfs/guscin3.pdf
a Greek ceremonial text written in 960http://perpetuacatholic.info/index.php?p=1_17
a text by Nicholas Mesarites, the overseer of the imperial relic treasury in Constantinople in 1201
a letter by the crusader knight Robert de Clari in 1203http://www.deremilitari.org/resources/sources/clari.htm
Other documents have since been found in the Vatican library and the University of Leiden, Netherlands, confirming this impression. (The Codex Vossianus Latinus Q69 and Vatican Library Codex 5696, p. 35.):
Illustrations in an 1192 a codex, known as the Hungarian Pray Manuscript, show Jesus being prepared for burial and the scene of the empty tomb. The drawing depicts several features consistent with the Shroud of Turin: the unique herringbone twill, a specific pattern of burn holes that antedate the much later fire in 1532 which nearly destroyed the Shroud, Jesus depicted naked with his hands crossed before him, hands with no visible thumbs. http://www.historian.net/shroud.htmhttp://www.shroudstory.com/faq-pray-manuscript.htm
In 1204, French and Venetian knights of the Fourth Crusade besieged the city and on April 13 entered and looted the city. The Edessa Image certainly seems to have been among the treasures taken by the looters. http://www.deremilitari.org/resources/sources/clari.htm
About a year after Constantinople was plundered, Theodore Ducas Anglelos, in a letter to Pope Innocent III wrote: "The Venetians partitioned the treasure of gold, silver and ivory, while the French did the same with the relics of saints and the most sacred of all, the linen in which our Lord Jesus Christ was wrapped after His death and before the resurrection."http://www.shroud.com/pdfs/n66part3.pdf
Many sacred objects were preserved in Venice, in France and elsewhere. In 1207, Nicholas d'Orrante, the abbot of Casole and the Papal legate in Athens, wrote about relics taken from Constantinople by French knights. Referring specifically to burial cloths, he mentions seeing them "with our own eyes" in Athens.
After that time, the trail runs cold on the Image of Edessa. In 1356, Geoffrey de Charny, a French knight , displayed a burial shroud that he claims is the burial shroud of Christ. That shroud is now the Shroud of Turin. It they are one in the same, if the Shroud of Turin is the Image of Edessa -- and there is good reason to think so -- then no records have been found to empirically link it to 1204.
But there is some evidence that the cloth may have been in Besancon, France prior to 1356.http://www.shroud.com/pdfs/n67part6.pdf
The Turin Shroud is about fourteen feet long and three and a half feet wide. As a burial shroud it is long enough on which to lay the body of a man on his back with his feet at one end and his head near the middle. The cloth is long enough to bring it across the front of body and back down to his feet. Its width is enough to cover him completely if his arms are not extended.
The earliest reference may be the Hymn of the Pearl, often attributed by scholars to Bardesane of Edessa, a Gnostic poet, perhaps as early as A.D. 216. This poems describes Jesus’ burial garment with two images, front and back. In the late 6th century, Evagrius Scholasticus’ Ecclesiastical History mentions that Edessa was protected by a “divinely wrought portrait” (acheiropoieton) sent by Jesus to Abgar, the king of Edessa. http://www.shroud.com/pdfs/dreisbc2.pdf
A 6th century apocryphal text, the Acts of Thaddeus describes the “divinely wrought portrait” as an large image-bearing cloth. It describes the cloth as a tetradiplon, meaning folded into fours doubled (a fold of eight layers). A fourteen-foot long cloth, thus folded, would be just about the right size for a portrait. Moreover, the Acts goes on to use the word sindon. This is important for it is the word sindon is used in the synoptic Gospels for burial shroud. http://greatshroudofturinfaq.com/Histor ... iplon.html
In A.D. 730, John of Damascus, a priest and monk who served as an advisor to the Muslim Caliph of Damascus, wrote his famous Apologetic Treatises against those Decrying the Holy Images. He describes the same cloth as a himation. An himation was a long rectangular cloth worn as sleeveless garment in ancient Greece and well into the middle Byzantine era. Similar to a toga, but shorter, it was often used as a garment in iconography of Christ or other biblical persons. http://en.wikipedia.org/wiki/Himation
One of the illationes used in a late 7th century rite, The Mozarabic Rite speaks of an imaged cloth: “Peter ran with John to the tomb and saw the recent imprints of the dead and risen man on the linens.” Pope Stephen II, who reigned from 752 to 757, wrote that Christ had “spread out his entire body on a linen cloth that was white as snow.
On this cloth, marvelous as it is to see . . . the glorious image of the Lord's face, and the length of his entire and most noble body, has been divinely transferred.”
On August 16, 944, the very day after the image-bearing cloth arrived in Constantinople from Edessa, Gregory Referendarius, the archdeacon of Constantinople’s great cathedral, Hagia Sophia, gave a sermon in which he described the cloth as having the likeness of a man with a side wound, a clear reference to a full body image.
There are many references to it after that that clearly support the case that a large, shroud-size cloth with an image believed to be that of Jesus, was brought from Edessa and was kept in Constantinople for about 250 years. http://www.shroudofturin4journalists.com/article.pdf