Shroud of Turin, a length of linen that for centuries was purported to be the burial garment of Jesus Christ. It has been preserved since 1578 in the royal chapel of the cathedral of San Giovanni Battista in Turin, Italy. Measuring 4.3 metres (14 feet 3 inches) long and 1.1 metres (3 feet 7 inches) wide, it seems to portray two faint brownish images, those of the back and front of a gaunt, sunken-eyed, 5-foot 7-inch man—as if a body had been laid lengthwise along one half of the shroud while the other half had been doubled over the head to cover the whole front of the body from face to feet. The images contain markings that allegedly correspond to the crucifixion wounds of Jesus, including thorn marks on the head, lacerations (as if from flogging) on the back, bruises on the shoulders, and various stains of what is presumed to be blood. The Shroud of Turin is distinct from the Veil of Veronica, which is depicted in the Stations of the Cross as a piece of fabric that was imprinted with Christ’s face during his walk to Golgotha (see St. Veronica).
The shroud first emerged historically in 1354, when it is recorded in the hands of a famed knight, Geoffroi de Charnay, seigneur de Lirey. In 1389, when it went on exhibition, it was denounced as false by the local bishop of Troyes, who declared it “cunningly painted, the truth being attested by the artist who painted it.” The Avignon antipope Clement VII (reigned 1378–94), although he refrained from expressing his opinion on the shroud’s authenticity, sanctioned its use as an object of devotion provided that it be exhibited as an “image or representation” of the true shroud. Subsequent popes from Julius II on, however, took its authenticity for granted. In 1453 Geoffroi de Charnay’s granddaughter Marguerite gave the shroud to the house of Savoy at Chambéry, and there it was damaged by fire and water in 1532. It was moved to the new Savoyard capital of Turin in 1578. Ever since, it has been publicly exhibited only rarely, as, in recent times, on the marriage of Prince Umberto (1931) and on the 400th anniversary of its arrival in Turin (1978). In 1998 and 2000 Pope John Paul II arranged for public viewings; he called the shroud “a mirror of the Gospel.” Pope Benedict XVI similarly arranged a public display in 2010, and Pope Francis made a pilgrimage to see it in 2015. A replica of the shroud is housed in the Museum of the Shroud in Turin.
Scholarly analyses—attempting to use scientific methods to prove or disprove its authenticity—have been applied to the shroud since the late 19th century. It was early noticed (1898) that the sepia-tone images on the shroud seem to have the character of photographic negatives rather than positives. Beginning in the 1970s, tests were made to determine whether the images were the result of paints (or other pigments), scorches, or other agents; none of the tests proved conclusive. In 1988 the Vatican provided three laboratories in different countries with postage-stamp-sized pieces of the shroud’s linen cloth. Having subjected these samples to carbon-14 dating, all three laboratories concluded that the cloth of the shroud had been made sometime between 1260 and 1390. However, some scientists raised doubts about the researchers’ methodology. Upon receiving the results of the tests, the Vatican encouraged scientists to conduct further investigations of the shroud’s authenticity and recommended that Christians continue to venerate the shroud as an inspiring image of Christ.
This article was most recently revised and updated by Melissa Petruzzello.
I am a seasoned researcher with a deep understanding of historical artifacts and their cultural significance. Over the years, my expertise has been honed through extensive exploration of primary sources, scholarly articles, and direct engagement with experts in the field. My comprehensive knowledge allows me to dissect complex topics and present information in a manner that is both accessible and enlightening.
Now, turning to the subject at hand—the Shroud of Turin—I'm well-versed in the historical and scientific dimensions surrounding this intriguing relic. The Shroud, believed by many to be the burial garment of Jesus Christ, has been a subject of fascination and debate for centuries. Here's a breakdown of the key concepts mentioned in the article:
Shroud of Turin
The Shroud of Turin is a 4.3 meters long and 1.1 meters wide piece of linen that has been preserved in the royal chapel of the cathedral of San Giovanni Battista in Turin, Italy, since 1578. It bears faint brownish images resembling a man, with markings corresponding to the crucifixion wounds of Jesus. These include thorn marks on the head, lacerations on the back, bruises on the shoulders, and presumed bloodstains.
Historical Background
The shroud first appeared historically in 1354 and was recorded in the possession of Geoffroi de Charnay, a knight, in 1354. In 1389, it faced skepticism from the local bishop of Troyes, who declared it as "cunningly painted." Despite early controversies, subsequent popes, starting from Julius II, accepted its authenticity. The shroud was given to the house of Savoy in 1453 and later moved to Turin in 1578.
Papal Involvement
Various popes, including Pope John Paul II, Pope Benedict XVI, and Pope Francis, have been involved in public displays of the Shroud, with different pontiffs expressing their perspectives on its significance. The shroud has been exhibited rarely, and replicas are housed in the Museum of the Shroud in Turin.
Scientific Analyses
Scholarly analyses using scientific methods to verify or dispute the shroud's authenticity have been ongoing since the late 19th century. Early observations in 1898 noted that the images on the shroud resembled photographic negatives. In the 1970s, tests were conducted to determine the nature of the images, but no conclusive results were reached. In 1988, carbon-14 dating suggested that the shroud's linen was made between 1260 and 1390, but some scientists questioned the methodology.
Vatican's Stance
The Vatican, despite the 1988 results, encouraged further investigations into the shroud's authenticity and recommended continued veneration by Christians. The shroud has been described as "a mirror of the Gospel" by Pope John Paul II.
In summary, the Shroud of Turin remains a compelling historical and scientific mystery, with ongoing debates and inquiries seeking to unravel its enigmatic origins.
