but does have curly hair, sometimes he is shown with features which are different from the features of the other men in the scenes, e.g. his disciples or the Romans. However, bearded depictions also appear very early on, perhaps drawing on an existing stereotype from the Greek world of the appearance of the many itinerant charismatic philosophers. Although some images of Jews exist in the synagogue in Dura-Europos, and such images may have been common, in theory, Judaism forbade images, and its influence on the depictions of Jesus remains unknown. Christian depictions of Jesus which were produced during the 3rd and 4th centuries typically focused on New Testament scenes of healings and other miracles. Following the conversion of Constantine in the fourth century, Christian art found many wealthy donors and flourished. During this period, Jesus began to have more mature features, and he was also shown with a beard. A new development which occurred at this time was the depiction of Jesus without a narrative context; he was just depicted as a figure all by himself. By the fifth century, depictions of the Passion began to appear, perhaps reflecting a change in the theological focus of the early Church. The sixth-century Rabbula Gospels include some of the earliest images of the crucifixion and resurrection. By the sixth century, the bearded depiction of Jesus had become standard, both in the East and in the West. These depictions of Jesus with reddish brown hair which is parted in the middle and almond shaped eyes remained consistent for several centuries. At this time, various legends were developed in order to validate the styles of the depictions, e.g. the image of Edessa and later the Veil of Veronica. The Byzantine Iconoclasm acted as a barrier to developments in the East, but by the ninth century, art was again permitted. The Transfiguration of Jesus was a major theme in the East and every Eastern Orthodox monk who took up iconography needed to start his craft by producing the icon of the Transfiguration. Whereas Western depictions aim for proportion, the abolition of perspective and alterations in the size and proportion of an image in Eastern icons aim to reach beyond man's earthly dwellings. The 13th century witnessed a turning point in the portrayal of the powerful Kyrios image of Jesus as a wonder worker in the West, as the Franciscans began to emphasize the humility of