Shroud of Turin
The Shroud of Turin is a piece of linen said to be the cloth that wrapped Jesus Christ’s body, as was the custom of the time, after he was crucified. The remarkable feature of this cloth is that a human image appears to have been transferred onto the shroud through some inexplicable process. However, scholars disagree on whether the cloth is genuine, with some saying it was fabricated during the Middle Ages, when many fake religious relics were made. Indeed, a radiocarbon-dating study conducted in 1998 to determine the age of the cloth suggested that the linen was woven sometime between 1260 and 1390. However, experts on medieval painting have said that the image on the cloth could not have been made during this time, and other scholars have asserted that the radiocarbon-dating study was flawed.
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SOURCE:
The Greenhaven Encyclopedia of Paranormal Phenomena – written by Patricia D. Netzley © 2006 Gale, a part of Cengage Learning
A medieval relic turned modern cause célèbre, the Shroud of Turin is a 14-foot (4.2-meter) strip of linen bearing the images of the front and back of a bearded man with the marks of crucifixion. Kept at Turin Cathedral since 1578, it originally appeared in northern France around 1350. Its owner, one Geoffroy de Charny, claimed that it was the original shroud of Jesus of Nazareth, wrapped around his body after his crucifixion. See Jesus of Nazareth.
The local bishop investigated the matter and discovered that it was a fraud, manufactured like so many other medieval relics in order to cash in on the lucrative pilgrim trade of the time; he even managed to interview the artist who created it. The bishop’s finding makes sense in the context of the time; more than 40 other “shrouds of Jesus” could be found in churches in medieval Europe in the fourteenth century, part of a cult of relics that also resulted in six different French churches claiming ownership of the one authentic relic of Jesus’ circumcision. Charny hurriedly put the “holy relic” away at the time of the bishop’s investigation, but brought it back out in the 1380s, prompting another investigation and a ruling from the Pope forbidding it to be called the actual shroud of Jesus.
Charny’s granddaughter sold the Shroud to the Duke of Savoy in 1453, and very little was heard of it thereafter until 1969, when the Catholic Church called together a commission of experts and charged them with testing the relic’s authenticity. The commission’s report, published in 1976, found that pollen in the linen suggested that it might have been woven in Palestine, but that what looked like blood was actually paint. Another round of tests beginning in 1978 found that the image consisted of red ochre and vermilion, common pigments in medieval art; the “blood” was tempera paint, and radiocarbon dating of the cloth dated it to between 1260 and 1390. All these findings confirmed the original fourteenth century report.
As these results surfaced, though, the Shroud became the focus of an unusual alliance between conservative Christians, who argued that it was an authentic relic of Jesus, and proponents of rejected knowledge, who argued that it was almost anything except what the Christians said it was, but still insisted that it could not be a medieval fake. One popular theory held that it was actually the image of Jacques de Molay, the last Grand Master of the Knights Templar, imprinted on the cloth by a hypothetical chemical process after he was tortured and, according to this account, crucified by the Inquisition. The Shroud dates from the right century, and both de Molay and the figure on the shroud had beards; no other evidence supports the claim, however, and the same logic could be used to “prove” that the Shroud was in fact the burial cloth of de Molay’s persecutor King Philip IV. This has not prevented this claim, and many others, from being circulated as fact in the rejected-knowledge community. See Knights Templar; rejected knowledge.
SOURCE:
The Element Encyclopedia of Secret Societies : the ultimate a-z of ancient mysteries, lost civilizations and forgotten wisdom written by John Michael Greer – © John Michael Greer 2006