The Holy Shroud, a length of linen…
1578 CE
The Holy Shroud, a length of linen that for centuries has been purported to be the burial garment of Jesus Christ, measuring fourteen feet three inches long and thee feet seven inches wide, seems to portray two faint brownish images, those of the back and front of a gaunt, sunken-eyed, five-foot seven-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 stigmata of Jesus, including a thorn mark 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 had first emerged historically in 1354, when it is recorded in the hands of a famed knight, Geoffroi de Charnay, Seigneur de Lirey.
When it went on exhibition in 1389, 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) sanctioned its use as an object of devotion provided that it were exhibited as a “representation” of the true shroud.
Subsequent popes, from Julius II on, however, took its authenticity for granted.
Geoffroi de Charnay's granddaughter Marguerite gave the shroud in 1453 to the house of Savoy at Chambéry, and there in 1532 it was damaged by fire and water.
It is moved to the new Savoyard capital of Turin in 1578, where it is preserved in the royal chapel of the Cathedral of San Giovanni Battista and will become known to posterity as the Shroud of Turin.