. The Open court. VERONICA. Copper engraving of 1510 by Albert Durer. Redrawn by A. Petrak. 716. ^ In Chap. 25 on the doctrines of Carpocrates. BUDDHIST VERONICA. 651 with the images of the philosophers of the world; that is to say,with the images of Pythagoras, and Plato, and Aristotle, and therest. They have also other modes of honoring these images, afterthe same manner as the SS. PETER AND PAUL WITH THE engraving of the beginning of the l6th century. Attributedto Master M. (Passavant III, p. 89, No. 3. and also Anderson, , 109). To find a way out of this dif
. The Open court. VERONICA. Copper engraving of 1510 by Albert Durer. Redrawn by A. Petrak. 716. ^ In Chap. 25 on the doctrines of Carpocrates. BUDDHIST VERONICA. 651 with the images of the philosophers of the world; that is to say,with the images of Pythagoras, and Plato, and Aristotle, and therest. They have also other modes of honoring these images, afterthe same manner as the SS. PETER AND PAUL WITH THE engraving of the beginning of the l6th century. Attributedto Master M. (Passavant III, p. 89, No. 3. and also Anderson, , 109). To find a way out of this difficulty, images were produced whichwere claimed not to have been made by human hands but to haveoriginated in a supernatural way. To explain the origin of one ofthem, the Edesseum, kept at Edessa and famous in the Greek church,the Abgar correspondence was invented presumably at the end of 652 THE OPEN COURT. the second century. In the meantime in the domain of the Romanchurch Christian art had developed a picture of Christ in its ownway, and so when the type of the Abgar picture, claiming to be the only true picture (or vera icon),reached western Europe muchlater at the beginning of theMiddle Ages, quite a similar ver-sion of the same motive tookshape in the legend of St. Vero-nica. The supernatural origin ofthese portraits of Christ, of thez>era icon so-called, naturally im-plie
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