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Greeks: and a smooth surface of colors has ever been esteemed a more decent and harmless mode of imitation. The merit and effect of a copy depends on its resemblance with the original; but the primitive Christians were ignorant of the genuine features of the Son of God, his mother, and his apostles: the statue of Christ at Paneas in Palestine was more probably that of some temporal savior; the Gnostics and their profane monuments were reprobated; and the fancy of the Christian artists could only be guided by the clandestine imitation of some heathen model. In this distress, a bold and dexterous invention assured at once the likeness of the image and the innocence of the worship. A new super structure of fable was raised on the popular basis of a Syrian legend, on the correspondence of Christ and Abgarus, so famous in the days of Eusebius, so reluctantly deserted by our modern advocates. The bishop of Cæsarea records the epistle, but he most strangely forgets the picture of Christ; the perfect impression of his face on a linen, with which he gratified the faith of the royal stranger who had invoked his healing power, and offered the strong city of Edessa to protect him against the malice of the Jews. The ignorance of the primitive church is explained by the long imprisonment of the image in a niche of the wall, from whence, after an oblivion of five hundred years, it was released by some prudent bishop, and seasonably presented to the devotion of the times. Its first and most glorious exploit was the deliverance of the city from the arms of Chosroes Nushirvan; and it was soon revered as a pledge of the divine promise, that Edessa should never be taken by a foreign enemy. It is true, indeed, that the text of Procopius ascribes the double deliverance of Edessa to the wealth and valor of her citizens, who purchased