There are no descriptions of Jesus’ appearance in the New Testament. Nor are there any reputable descriptions in any known early Church sources.  St. Augustine of Hippo made a point of this when he wrote his monumental works in the fifth century. Yet, starting in the sixth century a new common appearance for Jesus emerged in eastern art. We see it today in hundreds of icons, paintings, mosaics, and Byzantine coins. This common quality seems to have started in the Middle East about the same time that the Image of Edessa was discovered. Prior to this time, images of Jesus were mostly of a young, beardless man, often with short hair, often in story-like settings in which he was depicted as a shepherd.

Abruptly, throughout the Middle East, and eventually throughout eastern Mediterranean Europe, depictions of Jesus became full frontal portraits with distinctive facial characteristics. Jesus now had shoulder length hair, an elongated thin nose, and a forked beard. Numerous other characteristics appeared in these portraits and some of them were seemingly strange and of no particular artistic merit. Many portraits had two wisps of hair that dropped at an angle from a central parting of the hair. Many works showed Jesus with large “owlish” eyes. Paul Vignon, a French scholar, who first categorized these facial attributes in 1930, also described a square cornered U shape between the eyebrows, a downward pointing triangle on the bridge of the nose, a raised right eyebrow, accents on both cheeks with the accent on the right cheek being somewhat lower, an enlarged left nostril, an accent line below the nose, a gap in the beard below the lower lip, and hair on one side of the head that was shorter than on the other side.

Jennifer Speake who wrote a chapter, “Jesus in Art,” in J. R. Porter’s Jesus Christ: the Jesus of History, the Christ of Faith, observed:

Speake:  Famous relics that claim to bear the true imprint of Christ’s features include the controversial Shroud of Turin and the Holy Mandylion of Edessa; the iconography of both of these promoted the now conventional image of Jesus as a bearded man.

Keep in mind that the Shroud of Turin and the Holy Mandylion of Edessa are very likely one in the same. And keep in mind, too, that this iconography started some six centuries before the carbon-14-determined date for the Shroud.

Now with modern image analysis technology we can clearly see that the portraits in numerous works of art are most probably sourced from a single image and those pictorial characteristics are those found on the Shroud of Turin. Some most notable and telling portraits include:

§         Christ Pantocrator, an icon at St. Catherine’s Monastery in the Sinai (550 CE)

§         Byzantine Justinian II solidus, a coin (695)

§         Icon of Christ at St. Ambrose, (now in Milan) (700s)

§         Christ Enthroned, a mosaic in the narthex of Hagia Sophia Cathedral (850 – 900)

§         Christ Pantocrator, a dome mosaic in a church in Daphni (1050 – 1100)

§         Christ the Merciful, a mosaic icon now in a Berlin museum (1000s)

§         Christ Pantocrator, an apse mosaic in Cefalu Cathedral, Sicily (1148)

The Chrysanthemum image found on the Shroud is particularly significant. What makes this so is not just the prominence and clarity of the image on the Shroud, but the fact that this flower is depicted accurately, as to its likeness and relationship to the face, on some early icons and coins. This includes the Pantocrator icon at St. Catherine’s Monastery and the seventh century Justinian solidus coin.

Read more about the carbon 14 testing, with useful links to significant papers, may be found at http://www.shroudstory.com/c14.htm and http://shroud.com.

Must Read: A new and very decisive paper written in 2002 by  Raymond N. Rogers, a Laboratory Fellow at the University of California, Los Alamos National Laboratory and Anna Arnoldi of the University of Milan is a must read:  Scientific Method Applied to the Shroud of Turin: A Review

Open Letter to John Dominic Crossan: Dear John, What Were You Thinking?

Other web pages address some of the other evidence that argues that the Shroud of Turin Carbon 14 testing does not make sense: