Wednesday, October 19, 2022

History of the Shroud (1355-1400). Turin Shroud Encyclopedia

Turin Shroud Encyclopedia
Copyright © Stephen E. Jones
[1]

History of the Shroud #18

This is "History of the Shroud (1355-1400)," part #18 of my Turin Shroud Encyclopedia. For more information about this series, see part #1 and part #2. As explained in my previous part #16, the primary purpose of these "Prehistory" and "History" of the Shroud articles in my Turin Shroud Encyclopedia is to help me write Chapter 9, "Prehistory of the Shroud (AD 29 - 1354)" and Chapter 10, "History of the Shroud (1355-present)" of my book, "The Shroud of Turin: The Burial Sheet of Jesus!" I am using in-line referencing to save time in renumbering out-of-order footnotes. Emphases are mine unless otherwise indicated.

[Index #1] [Previous: Prehistory (701-1000) #17] [Next: Pierre d'Arcis #19]


Fourteenth century (1355-1400)
c. 1355 [13Apr18a] First exposition of the Shroud in undisputed history at Lirey, France by

[Right (enlarge)[CSM]: Rebuilt Church of St. Mary, Lirey, France. It was on these grounds in c. 1355 that the Shroud was first exhibited in undisputed history.]

Geoffroy I de Charny (c. 1300-56) and his wife Jeanne de Vergy (c. 1332-1428)[OM10, 4, 49; WI10, 221-222, 302]. This date is based on the 1389 memorandum of the then Bishop of Troyes, Pierre d'Arcis (r. 1377-95) [see "#1389c">1389c"], to Pope Clement VII (r. 1378-94), which stated that the Shroud had been exhibited in Lirey "thirty-four years or thereabouts" previously[HT78, 96; WI79, 91, 267; SD89, 14; SD91, 17; WI91, 19; SD98, 66; WI98, 111, 120, 122, 126; AM00, 151-152; GV01, 14; WI10, 222], that pilgrims were told it was "the true shroud of Christ" and that "from all parts people came together to view it"[WI79, 268; GV01, 14; OM10, 53; DT12, 14].

c. 1355-6 [13Apr18b] Pilgrim's badge or medallion in the Cluny Museum, Paris

[Left (enlarge): Lead pilgrim's badge or medallion in the Cluny Museum, Paris[LMS] from the first undisputed exposition of the Shroud at Lirey, France from c. 1355-56[WI10, 221-222]. The coats of arms are of Geoffroy I de Charny (left) and his wife Jeanne de Vergy (right)[WI79, 224D; MR86, 96; WI86, 5; WI98, 127; OM10, 150; TF06, 42; WI10, 221]

from the first exposition of the Shroud at Lirey, France, in c. 1355-56. It was found in 1855[AM00, 150; WI98, 126-127] by a French archaeologist, Arthur Forgeais (1822-78) in the mud of the Seine River, Paris[BB91, 233-260, 245; WI91, 194; WI98, 126-127; TF06, 42], under the Pont au Change bridge[WI79, 194; WI86, 5]. Forgeais found hundreds of pilgrim's medallions to various holy places at that location (but only one of the Lirey Shroud exposition), which indicates it was a pilgrim `wishing well' site[FA12]. The badge depicts the actual Lirey exposition[SJ03, 12], with the arms and hands of two clerics (whose heads have broken off[AF82, 31; BB91, 246; WI98, 127; GV01, 103]) holding the Shroud[WI98, 127; WI10] as well as the exposition platform and its support posts (the tops of which have also broken off) are on either side[SJ03, 12]. The clerics are holding a full-length representation of the Shroud[AF82, 30-31], the first known[WI79, 224D; AF82, 30-31; WI86, 5; WI91, 21; WI98, 127; WI10, 303]. The man on the Shroud is depicted front and back, head to head[WI79, 224D; AF82, 31; MR86, 96; WI86, 5; WI98, 127; GV01, 103; TF06, 42; WI10, 302-303] and naked[WI98, 127; GV01, 103]. Despite the small, about 6.2cm. by 4.5cm. (or 2½ in. by 1¾ in.), size of the badge[WI98, 126; SJ03, 12; WI10, 221; FA12], the mold-maker even depicted the Shroud's herringbone weave[GV01, 103; SJ03, 12; FA122; WI10, 221] [see 16Jul15a]. Under the Shroud is a depiction of the reliquary in which the Shroud was then kept[BB91, 246; GV01, 103]. That this is a depiction of the Shroud's reliquary and not a depiction of the de Charny and de Vergy coats of arms themselves, solves the apparent problem of Jeanne's coat of arms seeming to be on the right and Geoffroy's on the left[OM10, 52; WI10, 222]. That the reliquary has Geoffroy I's coat of arms[IJ98, 128; OM10, 49] indicates that he was still alive at the time of the exposition[BB91, 246; AM00, 151; OM10, 49] and therefore the badge (and the exposition) must be dated before his death at the Battle of Poitiers on 19 September 1356[OM10, 49] [see "1356c"]. It is most unlikely that the exposition took place, or continued, after Geoffroy I's death because not only would Jeanne have been grieving the loss of her husband, but King John II (r. 1350-64) had been captured [see "1356d"], the French army had been decimated and roving bands of English "companies" remained behind in France after the Battle of Poitiers [see "1356e"], which would have made it too dangerous for pilgrims to travel, let alone the danger to the Shroud [see "1358a"].

1356a [13Apr18c] In a letter dated 28 May 1356[BW57, 9; WI79, 90, 193, 259; CN84, 65; CN88, 49; SD89, 15-16; WI91, 20; WI98, 128; AM00, 152; GV01, 10; TF06, 42; WI10, 303], the confirmed Bishop of nearby Troyes, Henri de Poitiers (r. 1354-70), writing from his diocese of Aix/Gap-Embrun (r. 1349-53)[WI98, 278; WI10, 224, 229], formally ratified Geoffroy I's letters instituting the Lirey church, and praised, ratifed and approved its "divine cult" (devotion or veneration other than to God), which could only refer to the Shroud[BB91, 242; WI91, 20; WI98, 128, 278; GV01, 11; WI10, 224]

1356b [13Apr18d] On 19 September 1356 the Battle of Poitiers was fought at Nouaillé, near the city of Poitiers in Aquitaine, western France[BPW]. An English army led by Edward, the Black Prince (1330-76)[AF82, 44; CN88, 49; BPW], defeated a much larger French army led by King John II (r. 1350-64)[WI79, 199; AM00, 151; BPW]. The loss included the capture of King John II[WI98, 278; BPW], his son Philip II (1342-1404)), and much of the French nobility[BPW]. The effect of the defeat on France was catastrophic, leaving the country in the hands of the 18 year-old Dauphin, and future King, Charles V (r. 1364-80)[BPW].

1356c [13Apr18e] Death of Geoffroy I de Charny on 19 September 1356 in the Battle of Poitiers[AF82, 44; AM00, 151; GV01, 12; GDC. He died, Oriflamme (battle standard of France) in hand[CN88, 49; WI98, 278; RC99, 64], interposing his body between an English lance and King John II[WI79, 91; CN88, 49; WI91, 21; WI98, 278; RC99, 64]. Geoffroy's body was buried in a nearby graveyard[WI98, 278] but 14 years later, in 1370, his gallantry was publicly recognized when his remains were given a state funeral and reburied in the Abbey of the Celestins in Paris[WI79, 91; CN88, 49; WI91, 21; WI98, 279] [see "1370"].

1356d [13Apr18f] King John II was taken captive in the same Battle of Poitiers[KJW]. The Treaty of Brétigny in 1360 set John's ransom at 3 million crowns, so leaving his son Louis I, Duke of Anjou (1339-84) in English-held Calais as hostage, John returned to France to raise the funds[KJW]. However in 1363 Louis escaped and John for reasons of "good faith and honour" voluntarily returned to England[KJW] where he died in 1364 and his body was returned to France[KJW].

1356e [13Apr18g] Marauding bands of English soldiers, called "companies," after the Battle of Poitiers, began roaming the French countryside looting towns[OM10, 51].

1357 [13Apr18h] In June twelve bishops of the pontifical court at Avignon grant indulgences to all who visit the church of St Mary of Lirey and its relics[WI98, 279; GV01, 12; OM10, 52].

1358a [13Apr18i] A "company" (see "1356e") under English knight Robert Knolles (c. 1325-1407) attempts to capture Troyes but under the leadership of Bishop Henri de Poitiers, the attack failed[OM10, 51]. Lirey is only ~12 miles (~20 km) from Troyes[WI86, 11; CN88, 37; WI98, 129; RC99, 65; AM00, 151; SJ03, 13; OM10, 51] and such a valuable and well-known religious artifact as the Shroud would have been a prime target for one of "the companies" so presumably it had already been taken to a safer region of France [see "c. 1358"].

1358b [13Apr18i] In May there began a short-lived peasants' revolt, known as the Jacquerie[WI98, 279; JQE; JQW], which spread into France's Champagne region, in which were Troyes and Lirey[OM10, 50]. The revolt was directed primarily against the nobility in manors and castles (which included Jeanne) and there was also indiscriminate looting[OM10, 50-51].

c. 1358 [13Apr18j] Due to the threats of the "companies" [see "1356e" and "1358a"] and the peasants' revolt [see "1358b"], presumably the Shroud was taken in c. 1358 by Geoffroy I's widow Jeanne, with her two young children Geoffroy II (1352-98) and Charlotte (c. 1356-98), to a safer region of France[OM10, 51-52]. Such as her castle at Montfort-en-Auxois [Right (enlarge)[CM14] (aka Montfort near Montbard)[PA07] which was ~93 km (~58 mi) south of Lirey. [see 16Feb15a].

c. 1359 [13Apr18k] Jeanne married the wealthy and influential Aymon (Amadeus) IV of Geneva (c. 1324-69)[WI79, 203; AF82, 33; WI91, 18; WI98, 279; GV01, 12-13; OM10, 68; WI10, 229], an uncle of Robert of Geneva (1342-94) who became Pope Clement VII (r. 1378-94)[WI79, 203, 205; AF82, 33; CN88, 43; WI91, 18; CN95, 34; GV01, 13; OM10, 83] [see "1378"]. Then she took her two children Geoffroy II (~7) and Charlotte (~3), and the Shroud, from Montfort to the safety of one of Aymon's estates in High Savoy (that part of France bordering both Switzerland and Italy), probably Anthon[WI79, 18; WI10, 229-230] [see 16Feb15b]. Aymon's domains were close to Annecy where Clement VII had been born and grew up[WI79, 18]. Because of Clement VII's unexpected future siding with Geoffroy II and Jeanne's 1389 exposition of the Shroud against Bishop d'Arcis' objections [see "1389e"], presumably Jeanne had privately shown the Shroud to Robert of Geneva and explained its history: how her ancestor Othon IV de la Roche (c.1170-1234) had brought the Shroud from Constantinople to Burgundy, via Athens [see "c1332"] [OM10, 83]. So Pope Clement VII would have known the true facts about the Shroud's history, how it had come into the possession of the de Charny family and why this must remain a secret [see 15Aug17] [CN88, 43].

1370 [13Apr18l] Geoffroy I was given a hero's reburial at the Abbey of the Celestins in Paris by John II's son, King Charles V (r. 1364-80)[WI79, 203; WI91, 21; WI98, 279; WB06, 43].

1375 [13Apr18m] Archbishop Guillaume (William) de Vergy (r. 1371-91)[BB91, 245; SD91, 199], claimed to have found the original Besançon shroud lost in the 1349 fire [see "1349b"] [SD91, 199-200] and `verified' it by a `miracle' of laying that `shroud' on a dead man who immediately revived[SD91, 200; GV01, 12]! Thus a de Vergy `verified' by this `miracle' that this was the original Shroud[SD91, 200], which fits the theory that the de Vergys arranged the transfer of the Shroud from Besançon in Burgundy to Jeanne de Vergy in Paris[SD91, 200] [see "c1343"]. This painted copy of the Shroud with the frontal image only[SD91, 200; GV01, 12] [see "c1351"] was kept at Besançon until it was destroyed in 1792 during the French Revolution[GV01, 12]. Guillaume was a favourite of John II's older son, King Charles V[HVW] and came into conflict with John II's youngest son Duke Philip II of Burgundy (1342-1404), whom he excommunicated and took refuge at Avignon[GDV]. Where he was in 1391 made Cardinal of Besançon by Avignon Pope Clement VII (r. 1378-94)[HVW].

c. 1375 [13Apr18v] Date of the only known two other examples of

[Left (enlarge)[VAM]: The larger, 18 x 10.5 cm (7.1 x 4.1 in.), fragment of herringbone twill weave in linen (the grey part is a reconstruction), dated the second half of the fourteenth century[WI98, 69], in the Victoria and Albert Museum, London, ref. no. 8615-1863[WI98, 69].]

herringbone twill linen weave (besides the Shroud) in the Victoria and Albert Museum, London[WI98, 69]. They are a coarser weave than the Shroud and were sold to the Victoria and Albert Museum in 1863 by a Franz Bock who attributed it to Italy[WI90, 14]. They are the only known other examples of herringbone twill linen (which the Shroud is - see 16Jul15b]), so how could a medieval forger have obtained a ~4.4 m x 1.1 m [see 16Jul15c] herringbone twill linen sheet?]

1378 [03Jul18a] Robert of Geneva (1342-94), a nephew of Jeanne de Vergy's second husband Aymon of Geneva[WI98, 279; WB06, 44; WI10, 233] [see "c. 1359"], was elected Pope by cardinals opposed to the Italian Pope Urban VI (r. 1378-89)[WI91, 62; WI98, 279], and took the name Clement VII (r. 1378-94)[WI91, 62; WI98, 279; WB06, 44]. The papacy was thus split between Avignon, France and Rome in the Western Schism[WJ63, 54; WI79, 206; WI98, 279; AM00, 151; WB06, 44].

1388 [03Jul18b] Death of Aymon of Geneva [see "c. 1359"], thereby widowing Jeanne de Vergy (c. 1332- 1428) for a second time[WI79, 203, 205; CN88, 43; CN95, 34; WI98, 280; WI10, 230] [see "1356c"].

1389a [03Jul18c] In April the Shroud was exhibited for the second time [see "c. 1355"] at the Lirey collegiate church[SH81, 102; AM00, 122], by Geoffroy II de Charny (1352-98) and his twice-widowed

[Right (enlarge): Drawn copy of the brass effigy which was over the tomb of Geoffroy II de Charny in Froidmont Abbey, Belgium[WI07]. The Abbey was dissolved in 1791 by the French Revolution and it and the tombs within it were destroyed in World War I[WI07; WI10, 235-236].

mother Jeanne de Vergy[WI79, 260; AM00, 151; GV01, 13; WI10, 230]. Lirey being a collegiate church, was not under the control of the Bishop of Troyes, Pierre d'Arcis (r. 1377-95), so Geoffroy II, being a relative by marriage and former neighbour of Pope Clement VII [see "c1359" and "1389e" below] had bypassed d'Arcis and sought and received permission from Clement, through his nuncio, Cardinal Pierre de Thury (c. 1330-1410), to exhibit the Shroud at the Lirey church[HT78, 97; WI79, 206, 260; CN88, 43; IJ98, 129; WI98, 120; RC99, 65; GV01, 13; WB06, 44; OM10, 83]. This was subsequently confirmed in a letter of 28 July 1389 from Clement to Geoffrey II, which formally ratified Cardinal de Thury's permission for Geoffrey II to re-exhibit the "image or representation of the Shroud of our Lord Jesus Christ"[OM10, 82; WI10, 230]. Geoffroy II had also obtained the approval of Charles VI of France (r. 1380-1420) for the exposition[RC99, 64]. The exposition of the Shroud at the Lirey church attracted thousands of pilgrims[WB06, 44]. The Cloth was held by "two priests vested in albs with stoles and maniples and using the greatest possible reverence, with lighted torches and upon a lofty platform constructed for this special purpose"[TH03, in WB06, 44]. Although it had been agreed with Pope Clement that Geoffroy would claim that the Cloth was only a "picture" or "figure"[WI79, 206-207; WI91, 16; WI98, 121] (for why see 15Aug17 and "1389f"), by both unofficial word and actions, Geoffroy and the canons made it clear that it really was the true shroud of Christ[WI79, 206; WI91, 16; WI98, 121]! On some days Geoffroy would hold the Cloth in his own hands before the crowds, his presence giving the impression that it was something far more precious and holy than simply a cloth bearing an 'image' or 'representation'[WI91, 16-17; WI98, 120; WB06, 44, 46].

1389b [03Jul18d] In August a letter signed in Paris by King Charles VI ordered the bailli of Troyes to seize the Shroud at the Lirey church and bring it to the Bishop of Troyes (Pierre d'Arcis) so that he could relocate it in another church in Troyes[HT78, 98; SH81, 102; WI98, 280; WI10, 303]. This reveals d'Arcis' true motive, that he wanted the Shroud for Troyes Cathedral[AM00, 151; OM10, 58-59] (indeed d'Arcis admitted that he was being accused of "acting through jealousy and cupidity and to obtain possession of the cloth for myself"WI79, 269; WI98, 129)!, because if d'Arcis truly believed the Shroud was a painted forgery, he wouldn't want it for another church in his diocese! Significantly, one of d'Arcis' Bishop of Troyes predecessors, Garnier de Traînel (r. 1193-1205) was with the Fourth Crusade (1202–1204) at the Sack of Constantinople in 1204[CN95, 7; GDT; VP02, 56], and he was promised for Troyes Cathedral the relics from the Church of St. Mary of Blachernae, which included the Shroud[BA34, 54; CN95, 8; VP02, 56]. But Jeanne de Vergy's ancestor Othon IV de la Roche (c.1170-1234) took the Shroud instead[BA34, 54-55] (see "1204b"). So it is likely that d'Arcis knew the history of the Shroud from Troyes Cathedral's archives[DK90, 10] and his claim the Shroud was a forged painting [see next] was a lie! But the Dean of Lirey church couldn't hand over the Shroud because it was locked in its reliquary with different keys, one of which was held by Geoffroy II[HT78, 98; SH81, 102; WI98, 280; WI10, 303]. Then when later that month the bailli returned and threatened to break in and remove the Shroud, the Dean informed him that the Shroud was no longer there[WI10, 280]. The Dean and canons then lodged an appeal to the King and in September the bailli of Troyes was told that the Shroud was now "verbally put into the hands of our lord the king" and that was the end of matter[WI98, 280].

1389c [03Jul18e] In October, Bishop d'Arcis appealed to Pope Clement VII about the current exhibition of the Shroud at Lirey, describing it in a memorandum [see next] as bearing the double imprint of a crucified man and that it was being claimed to be the true Shroud in which Jesus's body was wrapped, and was attracting crowds of pilgrims[WI79, 260]. But according to d'Arcis' memorandum it had previously been discovered to be the work of an artist[WI79, 266; DR84, 24; WI98, 281; AM00, 150; GV01, 13-14] [see below].

1389d [03Jul18f] The d'Arcis Memorandum [Left (enlarge) [IMD].] One of two copies [WI98, 121; AM00, 151; OM10, 56] found only in the Bibliothèque Nationale de France (National Library of France)[BB91, 236; AM00, 152], of a draft, unsigned, undated, unaddressed docu-ment[BB91, 236-237; WI91, 17; IJ98, 129; WI98, 121; AM00, 151-152; GV01, 15; WB06, 57; OM10, 56]. Which was in 1900 published in its original Latin by French Roman Catholic Shroud sceptic historian Ulysse Chevalier (1841-1923)[MP78, 28; DR84, 24; WI98, 299; WR10, 7; UCW], who fraudulently added a title and date to make it appear to have been sent by Bishop d'Arcis to Pope Clement VII at the end of 1389[BB91, 236; AM00, 151-152; MJ01; OM10, 58]. Chevalier's fraud was continued by Fr Herbert Thurston (1856-1939)[MJ01; OM10, 58], another leading Roman Catholic opponent of the Shroud, who in 1903 published his translation of Chevalier's Latin into English[WI79, 266; MP78, 28; GV01, 15; OM10, 57-58]. [see also 31Oct14]. There is no evidence in either the Troyes or Papal archives of the d'Arcis memorandum having been sent to Pope Clement[AM00, 152; GV01, 15; OM10, 56]. However since the Pope did reply to d'Arcis' appeal[AF82, 32; WI91, 17] [see future "1389e"] it presumably is a record of d'Arcis verbal complaints to Clement VII through his nuncio, Cardinal de Thury. The value of the d'Arcis memorandum is that it is the earliest undisputed historical reference to the existence of the Shroud in c.1355[SD91, 174].

In the memorandum Bishop d'Arcis stated that "thirty-four years or thereabouts ... to the present year"[WI79, 267; WI98, 111] (i.e. c.1355)[HT78, 96; SD89, 14; PM96, 180; WI98, 111; GV01, 14; OM10, 52; DT12, 182] at the Lirey church, an exhibition was held by its Dean of:

"... a certain cloth cunningly painted, upon which by a clever sleight of hand was depicted the twofold image of one man, that is to say, the back and front, he falsely declaring and pretending that this was the actual shroud in which our Saviour Jesus Christ was enfolded in the tomb, and upon which the whole likeness of the Saviour had remained thus impressed together with the wounds which He bore"[WI79, 267; GV01, 13].

D'Arcis appealed to Pope Clement VII to stop the exposition[WI79, 271; CN88, 42], claiming that one of his predecessors, Bishop Henri de Poitiers (r. 1354-1370) had discovered that the Shroud had been "cunningly painted":
"... Henry of Poitiers ... then Bishop of Troyes ... after diligent inquiry and examination, he discovered the fraud and how the said cloth had been cunningly painted, the truth being attested by the artist who had painted it, to wit, that it was a work of human skill and not miraculously wrought or bestowed"[WI79, 267; AF82, 32; DR84, 23-24; CN88, 40-41; AM00, 151; GV01, 13; DT12, 19].
But d'Arcis provided no evidence in his memorandum to substantiate his claims[AM00, 152, 158; GV01, 14], which as a former lawyer [WI98, 121; WI10, 231], he would have if there had been any[AM00, 152]. D'Arcis did not provide the name of the artist[IJ98, 129; GV01, 14], nor a record of his confession[GV01, 14], nor the source of his allegations[AM00, 152]. d'Arcis became Bishop of Troyes in 1377 [see c. 1355], so the artist could still have been alive in 1389, or else well within living memory. There is also no record of Henri de Poitiers conducting any investigation into the origin of Shroud[AM00, 152] and d'Arcis did not even know its exact date[WI10, 229]! But there is a record of a letter of 28 May 1356[see "1356a"], from Bishop Henri de Poitiers, praising Geoffroy I, ratifying the Lirey church and approving its "divine cult"[WI79, 267; 90; SD89, 16; BB91, 242; AM00, 152; GV01, 14; OM10, 59; WI98, 278], which can only refer to the Shroud[BB91, 247; OM10, 52]! Further evidence that Henri de Poitiers didn't have a problem with the Shroud is that in c. 1392 Geoffroy II married the late Bishop de Poitiers' niece, Marguerite de Poitiers(1362-1418)[WI79, 205; BB91, 245; CN95, 40; GV01, 12; WB06, 44; WI10, 230]! And in 1460 [see "1460"] their daughter Marguerite de Charny (c. 1393–1460) died, leaving her Lirey lands to her godson Antoine-Guerry des Essars (c. 1408-74)[WI79, 213; CN95, 40; WI98, 283; OM10, 70-71; WI10, 240], who was the grandson of Bishop Henri de Poitiers[see " 1460"]! It is also highly unlikely that Geoffrey I de Charny, the owner of the Shroud in the 1350s [see "c.1355"], one of France's most ethical knights, and a devout author of religious poetry, was complicit in forging Jesus' burial shroud[DR84, 24]. The final refutation of the d'Arcis memorandum is that the image of the man on the Shroud is not painted[MP78, 34; SH81, 104-105; MW83, 289; MR86, 99; AM00, 153; ZF05, 204]! [see 11Jul16].

1389e [03Jul18g] Pope Clement VII allowed the expositions of the Shroud to continue as a "figure" and "representation" of Jesus' burial shroud [see above] [BW57, 7; WI79, 210, 260; WJ63, 54; MR80, 43; SD89, 14; SH81, 29; PM96, 181; DT12, 15, 182] and commanded Bishop d'Arcis to "perpetual silence" on this matter[WI79, 209, 260, 271; SH81, 29; HJ83, 19; WI86, 81-83; SH90, 71; WB06, 48; MJ11, 273; DT12, 183]. Initially this was conveyed verbally to d'Arcis through Cardinal de Thury as d'Arcis wrote in his memorandum, "I hear, - for I have not been able to procure a copy of the said Brief, - perpetual silence is enjoined upon myself"[WI79, 271]. See below where Pope Clement put it in writing. This unexpected siding of the Pope with the de Charnys against a senior bishop is explained by Clement, as Robert of Geneva (see above), being not only a nephew of Jeanne de Vergy's second husband Aymon of Geneva, but also having been their neighbour[WI91, 18] [see above and "c1359"]. So Clement presumably had had a private viewing of the Shroud[WI79, 206; WI91] and was told by Jeanne that her ancestor, Othon de la Roche (c.1170-1234) had looted the Shroud in the 1204 sack of Constantinople[WI79, 206; CN88, 43] [see "1204," "c1359" and 25Oct15]. The problem for the Pope was that the Byzantine Empire (c.330-1453) still existed and its Emperor John V Palaiologos (1332-1391) lived in Chambéry, France! So if the de Charny's continued to claim that the Shroud was Jesus' burial Shroud, John V would have known it was the one looted from Constantinople and demanded it be returned to him, creating a diplomatic crisis for the Pope[DT12, 182-183]! [see 15Aug17 & 20Jun18]. It may be no coincidence that the year the Byzantine Empire ended, 1453, was the same year that Geoffroy II's daughter, Marguerite de Charny [see "c1393" below], transferred the Shroud to Duke Louis I of Savoy (1440-1465) [see "1453a"].

1389f [03Jul18h] In December Bishop d'Arcis received a reply "from an authority higher even than Pope Clement"[WI10, 216] in that Troyes cathedral was struck by lightning causing its roof to catch fire[TCW] and the nave of the unfinished cathedral to collapse[WI91, 17; HR98, 47; WI98, 281; AM00, 150; OM10, 59; WI10, 234]. The damage was so significant that it would not be for another 60 years that repairs would be completed[AM00, 150; OM10, 59]. In fact Troyes cathedral is still unfinished as it has only one tower, St. Peter's while its planned second tower, St. Paul's, has never been built[CN95, 8; TCW]. In 1389 Troyes Cathedral had already suffered a loss of revenue due to pilgrims visiting the nearby Lirey exposition and leaving their offerings there[CN95, 8; AM00, 150; OM10, 59]. So presumably Bishop d'Arcis was envious of Lirey's relic and wanted it for his cathedral[HR98, 47; OM10, 58-59] [see above].

1390a [03Jul18i] On 6 January Pope Clement VII sent three letters[WJ63, 56]. One was to Geoffrey II de Charny restating conditions under which expositions could continue: that it would always stated that the cloth was a "figure or representation" [WJ63, 57; WI79, 260; WI91, 17-18; IJ98, 129; GV01, 15; WB06, 48; OM10, 58; WI10, 234, 281]. One was to Bishop d'Arcis threatening him with excommunication if he did not maintain "perpetual silence" about the Shroud[WJ63, 57; WI79, 260; WB06, 48; OM10, 83]. Copies of the other letter was sent to ecclesiastics in the surrounding area requiring them to oversee his decision in the matter[WJ63, 56]

1390c [03Jul18j] Upper limit of the 1260-1390 radiocarbon date of the Shroud[DP89, 611].

c. 1392 Geoffroy II de Charny married Marguerite de Poitiers (1362–1418)[WI10, 230; JSE] a niece of the late Bishop Henri de Poitiers, being the daughter of Henri's brother Charles (1325-1410)[WI79, .88, 205; MR80, 42; CN95, 22; 2; CD90a, 44; CD90b, 20; GV01, 12; WB06, 44; WI10, 230]. Even though Bishop de Poitiers had died ~12 years earlier, it would have been highly unlikely that Marguerite's father Charles would have approved the marriage if his brother Henri had really discovered that Geoffroy II's father and mother, Geoffroy I de Charny and Jeanne de Vergy, had exhibitied in c.1355 a "cunningly painted" forgery of Jesus' burial shroud (see above)[WI79, 205; SH81, 104; Crispino, D.C., in FL83, 32; WB06, 44; WI10, 230]. See also "1460" where Marguerite de Charny left her Lirey lands to her godson, Antoine-Guerry des Essars (c. 1408-74), who was the son of Guillemette de Poitiers (1370–1450), who in turn was one of four illegitimate children of Bishop Henri de Poitiers and his nun concubine, Jeanne de Chenery (1340–) [see 11Jul16]!

c. 1393 Birth of Marguerite de Charny (c. 1393–1460), to Geoffroy II de Charny and Marguerite de Poitiers[CN88, 35; CN95, 16; JSE].

1398 Death of Geoffroy II de Charny on 22 May in the Abbey at Froidmont, Belgium[WI79, 260; CN88, 44; WI98, 281; GV01, 15; OM10, 61; WI10, .235, 303] [see above] from wounds sustained in the 1396 Battle of Nicopolis, near today's Nikopol, Bulgaria, where a combined besieging Crusader force was routed by the Ottoman Turks[WI79, .211; WI10, 235]. Marguerite de Charny, the eldest of three daughters, yet still a child aged ~5, became the owner of the Shroud[WI79, 86; CN88, 44; CN95, 220; BE98, 16; GV01, 15; TF06, 46-47; WI10, 303]. However the Shroud remained in the Lirey church under the control of its canons[MR80, 43-44; WB06, 49; OM10, 61; WI10, 235], who came to believe, falsely, that the Lirey church owned the Shroud [see future "1418]!

1400 Marguerite de Charny marries Jean de Baufremont (c. 1380-1415), who was to die in 1415 in the Battle of Agincourt (see future "1415") [WI79, 260; MR80, 44; GV01, 15; WI10, 236].

Notes:
1. This post is copyright. I grant permission to extract or quote from any part of it (but not the whole post), provided the extract or quote includes a reference citing my name, its title, its date, and a hyperlink back to this page. [return]

Bibliography
AF82. Adams, F.O., 1982, "Sindon: A Layman's Guide to the Shroud of Turin," Synergy Books: Tempe AZ.
AM00. Antonacci, M., 2000, "Resurrection of the Shroud: New Scientific, Medical, and Archeological Evidence," M. Evans & Co: New York NY.
BA34. Barnes, A.S., 1934, "The Holy Shroud of Turin," Burns Oates & Washbourne: London.
BA91. Berard, A., ed., 1991, "History, Science, Theology and the Shroud," Symposium Proceedings, St. Louis Missouri, June 22-23, 1991, The Man in the Shroud Committee of Amarillo, Texas: Amarillo TX.
BB91. Bonnet-Eymard, B., 1991, "Study of original documents of the archives of the Diocese of Troyes in France with particular reference to the Memorandum of Pierre d'Arcis," in BA91, 233-260, 245.
BE98. Brucker, E., 1998, "Thy Holy Face: My 39 Years of Lecturing on the Shroud of Turin," Brucker: Tucson AZ.
BPW. "Battle of Poitiers," Wikipedia, 28 September 2022.
BW57. Bulst, W., 1957, "The Shroud of Turin," McKenna, S. & Galvin, J.J., transl., Bruce Publishing Co: Milwaukee WI.
CD90a.Crispino, D.C., 1990, "Kindred Questions," Shroud Spectrum International, No. 34, March, pp.43-44.
CD90b. Crispino, D.C., 1990, "The Charny Genealogy," Shroud Spectrum International, No. 37, December, pp.19-25.
CM14. "Château de Montfort," Tourisme en Bourgogne, 2014 (no longer online).
CN84. Currer-Briggs, N., 1984, "The Holy Grail and the Shroud of Christ: The Quest Renewed," ARA Publications: Maulden UK.
CN88. Currer-Briggs, N., 1988, "The Shroud and the Grail: A Modern Quest for the True Grail," St. Martin's Press: New York NY.
CN95. Currer-Briggs, N., 1995, "Shroud Mafia: The Creation of a Relic?," Book Guild: Sussex UK.
CSM. "Church of St Mary, Lirey, France," Google Street View, August 2008.
DK90. Dreisbach, K., 1990, "Correspondence," BSTS Newsletter, No. 25, April/May, 10-12.
DP89. Damon, P.E., et al., 1989, "Radiocarbon Dating of the Shroud of Turin," Nature, Vol. 337, 16 February, pp.611-615.
DR84. Drews, R., 1984, "In Search of the Shroud of Turin: New Light on Its History and Origins," Rowman & Littlefield: Lanham MD.
DT12. de Wesselow, T., 2012, "The Sign: The Shroud of Turin and the Secret of the Resurrection," Viking: London.
FA12. Foster, A., 2012, "The Pilgrim's Medallion / Amulet of Lirey," BSTS Newsletter, No. 75, June.
FL83. Fossati, L., 1983, "The Lirey Controversy," Shroud Spectrum International, No. 8, September, pp.24-34.
GDC. "Geoffroi de Charny," Wikipedia, 9 May 2022.
GDT. "Garnier de Traînel," Wikipedia, 30 May 2022.
GDV. "Guillaume de Vergy," Wikipedia, 8 March 2018.
GV01. Guerrera, V., 2001, "The Shroud of Turin: A Case for Authenticity," TAN: Rockford IL.
HJ83. Heller, J.H., 1983, "Report on the Shroud of Turin," Houghton Mifflin Co: Boston MA.
HR98. Hoare, R., 1998, "The Turin Shroud Is Genuine: The Irrefutable Evidence Updated," [1984], Souvenir Press: London.
HT78. Humber, T., 1978, "The Sacred Shroud," [1974], Pocket Books: New York NY.
HTW. "Herbert Thurston," Wikipedia, 1 May 2022.
HVW. "House of Vergy: Notable members," Wikipedia, 31 March 2022.
IMD. "La Sindone di Torino: Il memoriale del vescovo Pierre d'Arcis del 1389," n.d.
JSE. Jones, S.E., 2015, "de Charny Family Tree," Ancestry.com.au (members only).
JQE. "Jacquerie," Encyclopaedia Britannica, 2022.
JQW. "Jacquerie," Wikipedia, 9 March 2022.
KJW. "John II of France," Wikipedia, 3 October 2022.
IJ98. Iannone, J.C., 1998, "The Mystery of the Shroud of Turin: New Scientific Evidence," St Pauls: Staten Island NY.
LMS. Latendresse, M., 2012, "A Souvenir from Lirey," Sindonology.org.
MJ01. Markwardt, J., 2001, "The Conspiracy Against the Shroud," BSTS Newsletter, No. 55, June 2002.
MJ11. Marino, J.G., 2011, "Wrapped up in the Shroud: Chronicle of a Passion," Cradle Press: St. Louis MO.
MR86. Maher, R.W., 1986, "Science, History, and the Shroud of Turin," Vantage Press: New York NY.
MM12. Minor, M., Adler, A.D. & Piczek, I., eds., 2002, "The Shroud of Turin: Unraveling the Mystery: Proceedings of the 1998 Dallas Symposium," Alexander Books: Alexander NC.
MP78. McNair, P., "The Shroud and History: Fantasy, Fake or Fact?," in Jennings, P., ed., 1978, "Face to Face with the Turin Shroud ," Mayhew-McCrimmon: Great Wakering UK.
MR80. Morgan, R., 1980, "Perpetual Miracle: Secrets of the Holy Shroud of Turin by an Eye Witness," Runciman Press: Manly NSW, Australia.
MW83. Meacham, W., 1983, "The Authentication of the Turin Shroud: An Issue in Archaeological Epistemology," Current Anthropology, Vol. 24, No. 3, June, pp.283-311.
OM10. Oxley, M., 2010, "The Challenge of the Shroud: History, Science and the Shroud of Turin," AuthorHouse: Milton Keynes UK.
PM96. Petrosillo, O. & Marinelli, E., 1996, "The Enigma of the Shroud: A Challenge to Science," Scerri, L.J., transl., Publishers Enterprises Group: Malta.
RC99. Ruffin, C.B., 1999, "The Shroud of Turin: The Most Up-To-Date Analysis of All the Facts Regarding the Church's Controversial Relic," Our Sunday Visitor: Huntington IN.
SD89. Scavone, D.C., 1989, "The Shroud of Turin: Opposing Viewpoints," Greenhaven Press: San Diego CA.
SD91. Scavone, D.C., "The History of the Turin Shroud to the 14th C.," in BA91, 171-204.
SD98. Scavone, D.C., 1998, "A Hundred Years of Historical Studies on the Turin Shroud," Paper presented at the Third International Congress on the Shroud of Turin, 6 June 1998, Turin, Italy, in MM12, 58-70.
SH81. Stevenson, K.E. & Habermas, G.R., 1981, "Verdict on the Shroud: Evidence for the Death and Resurrection of Jesus Christ," Servant Books: Ann Arbor MI.
SH90. Stevenson, K.E. & Habermas, G.R., 1990, "The Shroud and the Controversy," Thomas Nelson: Nashville TN.
SJ03. Scott, J.B., 2003, "Architecture for the Shroud: Relic and Ritual in Turin," University of Chicago Press: Chicago & London.
TCW. "Troyes Cathedral: Gothic cathedral," Wikipedia, 8 October 2021
TF06. Tribbe, F.C., 2006, "Portrait of Jesus: The Illustrated Story of the Shroud of Turin," Paragon House Publishers: St. Paul MN, Second edition.
TH03. Thurston, H., 1903, "The Holy Shroud and the verdict of history," The Month, CI, 17-20.
UCW. "Ulysse Chevalier," Wikipedia, 24 January 2022.
VAM. "Printed Linen, ca. 1350-1400 (made), January 1895 (painted)," Victoria and Albert Museum, London, ref. no. 8615-1863, February 7, 2008.
VP02. Vignon, P., 1902, "The Shroud of Christ," University Books: New York NY, Reprinted, 1970.
WB06. Whiting, B., 2006, "The Shroud Story," Harbour Publishing: Strathfield NSW, Australia.
WI07. Wilson, I., 2007, "The Tombstone of Geoffrey II de Charny at Froidmont," BSTS Newsletter, No. 66, December.
WI10. Wilson, I., 2010, "The Shroud: The 2000-Year-Old Mystery Solved," Bantam Press: London.
WI79. Wilson, I., 1979, "The Shroud of Turin: The Burial Cloth of Jesus Christ?," [1978], Image Books: New York NY, Revised.
WI86. Wilson, I., 1986, "The Evidence of the Shroud," Guild Publishing: London.
WI90. Wilson, I., 1990, "Recent Publications," BSTS Newsletter, No. 26, September/October, 11-18.
WI91. Wilson, I., 1991, "Holy Faces, Secret Places: The Quest for Jesus' True Likeness," Doubleday: London.
WI98. Wilson, I., 1998, "The Blood and the Shroud: New Evidence that the World's Most Sacred Relic is Real," Simon & Schuster: New York NY.
WJ63. Walsh, J.E., 1963, "The Shroud," Random House: New York NY.
WR10. Wilcox, R.K., 2010, "The Truth About the Shroud of Turin: Solving the Mystery," [1977], Regnery: Washington DC.
ZF05. Zugibe, F.T., 2005, "The Crucifixion of Jesus: A Forensic Inquiry," M. Evans & Co: New York NY.

Posted 19 October 2022. Updated 3 April 2026.

Saturday, September 17, 2022

Prehistory of the Shroud (701-1000). Turin Shroud Encyclopedia

Turin Shroud Encyclopedia
Copyright © Stephen E. Jones
[1]

Prehistory of the Shroud #17

This is "Prehistory (701-1000)," part #17 of my Turin Shroud Encyclopedia. See also 24Jul16. For more information about this series, see part #1 and part #2. As explained in the previous part #16, the primary purpose of these "Prehistory" and later "History" of the Shroud articles in my Turin Shroud Encyclopedia is to help me write Chapter 9, "Prehistory of the Shroud (AD 29-1354)" and Chapter 10, "History of the Shroud (1355-present)" of my book, "The Shroud of Turin: The Burial Sheet of Jesus!" I am using in-line referencing to save time in renumbering out-of-order footnotes. Emphases are mine unless otherwise indicated.

[Index #1] [Previous: Prehistory (AD 29-700) #16] [Next: History (1355-1400) #18]


Eighth century (701-800)
c. 710 Estimated completion during the reign of Justinian II (685-695, 705-711) of the eighth century Christ Pantocrator fresco[WS00, 110]

[Right (enlarge)[24Feb17a]: Bust of Christ Pantocrator from the Catacomb of Pontianus, Rome[CPW]. Note in particular the Vignon marking on this 8th century fresco[WI86, 105; SD91, 189, 191; IJ98, 152]: "(2) three-sided [topless] `square' between brows" [WI78, 82e]. See 25Jul07, 29Jul08, 11Feb12, 22Sep12, 14Apr14, 09Nov15, 15Feb16, ...]

in the style of Byzantine iconography[WI79, 102], found in the depths of the Catacomb of Pontianus, Rome[WI86, 105-106; SD91, 189], which had been closed since 820[WI79, 102].

But as can be seen below, this "topless square" is merely a flaw or change in the weave of the Shroud[SD91, 185; WI91, 166], which runs all the way down the cloth (see 22Sep12), and explains its "starkly

[Above (enlarge): Extract from ShroudScope "Face only Vertical" Shroud photograph showing outlined in red the `three sided' or `topless square' Vignon Marking no. 2, superimposed on the above 8th century bust of Christ in the Catacomb of Pontianus, Rome: ShroudScope and Wikimedia.]

geometrical" shape[WI86, 105; WI98, 159; WI10, 142]. Other Byzantine portraits of Christ which have the same `topless square' marking include the eleventh-century Daphni Pantocrator, the tenth-century Sant'Angelo in Formis fresco, the tenth-century Hagia Sophia narthex mosaic, and an eleventh-century portable mosaic in Berlin[WI79, 104]. And since this catacomb had been closed in 820 (see above) and only opened in 1619, a 14th century forger could not have known of the Vignon markings on this Pontianus fresco[WI91, 167, 169].

That the Shroud, as the Image of Edessa "doubled in four" (tetradiplon), is the original of which this early eighth century Byzantine icon was a copy, is evident in that it has at least eight[MR86, 77], and by my count eleven Vignon markings [18Mar12, 22Sep12 & 27Apr14]!

730 St. St John of Damascus (c.675–749), aka St John Damascene, in his De Imaginibus (On

[Left (enlarge)[24Feb17b]: A "himation was with the ancient Greeks ... a loose robe ... worn over [clothes] ... alike for both sexes"[HMW].]

Images), writing in defence of images at the outset of the Iconoclastic Controversy[OM10, 26, 30], mentioned "sindons" ("shrouds") among the relics of the Passion to be venerated on account of their connection with Jesus[BP28, 146; BA34, 52; AF82, 17; CN84, 16]. That John was referring to the Edessa Cloth/ Shroud is evident in that he cited the Abgar V legend [see "50"] in support of its significance as an image[OM10, 26.]. John also referred to the Edessa image as a "himation" (see above), a Greek outer garment [see imation in the following verses: Mt 5:40; 9:20-21; 14:36; Mk 5:27-30; Jn 19:2; Ac 12:8][ZS92, 773-774] about two yards (183 cms) wide by three yards (274 cms) long[DR84, 39; IJ98, 110; WI98, 152, 266; AM00, 132; WI10, 153; DT12, 186], which means that the full length size of the Eddessa Cloth/Shroud was known in the early 8th century[OM10, 27, 36]! Finally John referred to the Edessa Image as "the miraculously imprinted image" that it "has been preserved up to the present time"[DR84, 62].

754 A copy of the Image of Edessa/Shroud called the Acheropita, a

[Right (enlarge)[24Feb17c]: "The Acheropita 'holy face' that for at least twelve hundred years has been preserved in Rome's Sancta Sanctorum chapel, originally the popes' private chapel before papal residence shifted to the Vatican. The icon's cover is thirteenth-century, and its 'face' a crude over-painting, but beneath lies an intriguing though near totally-effaced original that dates at least as far back as AD 754"[WI91, 46C]. Note that the head is centred in landscape aspect, exactly as it is on the Shroud[WI79, 120; WI91, 141; WI98, 152; WS00, 111; WI10, 140] and the icon's proportions appear close to the Shroud's 4:1.]

Latinization of acheiropoietos[WI91, 143]("not made with hands" - Mk 14:58; 2Cor 5:1; Col 2:11) was in the Sancta Sanctorum Chapel of the Vatican's Lateran Palace by at least 754[WI91, 162]. That is because when Rome was threatened by the Lombards after their capture of Ravenna in 751, Pope Stephen II (r. 752-757) in 754 personally carried this Acheropita barefoot at the head of a huge procession in Rome, praying for this icon to be instrumental in the deliverance of their city[WI79, 144]. Yet it is probably much earlier than that, being reliably regarded as having been brought to Rome in the last years of the sixth century by Pope Gregory I the Great (r. 590-604)[WI91, 143]. Before he became Pope, Gregory had been the papal legate in Constantinople at the court of the Byzantine Emperor Tiberius II (r. 574-582), when interest in acheiropoietic images, after the discovery of the Image of Edessa in 544[WI91, 140] [see "544"], was at its peak in Constantinople[WI91, 143]. Tiberius II's throne had a majestic image of Christ, since destroyed, derived from the Image of Edessa, which had been set there by his predecessor, Justin II (r. 565-574)[WI91, 143]. It is therefore very likely that this Acheropita icon now in the Sancta Sanctorum Chapel in Gregory's Lateran Palace in Rome, was specially commissioned by Gregory before 590 for him to take back to Rome[WI91, 144]!

769 [24Feb17d] In his Good Friday sermon delivered in Rome at the Lateran Council of 769[IJ98, 110; SD02, OM10, 27], Pope Stephen III (r. 768–772), opposing the Iconoclast movement[SD89a, 318], spoke in favor of the use of sacred images[GV01, 4; SD02]. In that sermon, Stephen referred to the Abgar V legend [see again "50"] mentioning the Edessa towel with its miraculous facial image[SD89a, 318]. Stephen quoted Jesus' supposed response to Abgar's request for a cure:

"Since you wish to look upon my physical face, I am sending you a likeness of my face on a cloth ..."[SD89a, 318]
And as we shall see in a twelfth century updated version of Stephen's 769 sermon [see "pre-1130"[WI98, 270], a copyist had interpolated a reference to Jesus' "whole body" being visible on the Edessa cloth, reflecting the later discovery in Constantinople that Jesus' body was imprinted on the Edessa Cloth/Shroud, not just His face[WR77, 94; SD89a, 88.

787 [24Feb17e] The Iconoclasm of the Byzantine Emperor Leo III the Isaurian (r. 717–741), was continued by his son Constantine V Coproymos (741–775)[CD82, 27], and grandson Leo IV the Khazar (r. 775–780)[OM10, 30]. It was only after the death of Leo IV that the first period of iconoclasm was brought to an end in 787 by the Second Council of Nicaea[OM10, 30], the last of the first seven ecumenical councils of the whole Christian church, both East and West[SCN]. The Council debated the veneration of holy images[FM15, 54] and in particular about the Image of Edessa not having been produced by the hand of man[FM15, 54]. A different Leo, the Lector (Reader) of Constantinople's Hagia Sophia Cathedral, reported to the Council that he had visited Edessa and seen there "the holy image made without hands and adored by the faithful"[WI98, 267; OM10, 27, 30; WI10, 154]. The Council endorsed the veneration of images[GV01, 4], and in particular the Image of Edessa, the "one `not made by human hands' [acheiropoieton] that was sent to Abgar"[IJ98, 111; GV01, 4; OM10, 30]. It was the main argument used by the bishops to defend the legitimacy of the use of sacred images[GV01, 4] and to which the iconoclast bishops had no reply[GM69].

Ninth century (801-900)
c. 820 Stuttgart Psalter (see below), presumably painted by a

[Above (enlarge)[25Mar17a]: Extract from folio 43v of the 9th century (c. 820) Stuttgart Psalter.]

Byzantine artist during the Carolingian period (780-900), in the Aachen, Germany capital of Holy Roman Emperor Charlemagne (r. 800–814)[SPW]. Jesus is depicted fully naked from the back, being scourged with realistic bleeding scourge marks, realistically by two scourgers (as was discovered in the 20th century using the modern science of goniometry)[15Jul13], wielding two realistic three-thonged Roman flagrums[see below].

[Above (enlarge): Close-up of the left scourger's, three-thonged, metal ball tipped, Roman flagrum in folio 43v of the 9th century (c. 820) Stuttgart Psalter. Compare its historical accuracy with the flagrum at 27Dec21, which is a copy of one excavated in the 18th century from the Roman city of Herculaneum, which had been buried in the AD 79 eruption of Mt Vesuvius.]

Moreover, as pointed out by a cryptologist, Max Patrick Hamon, on Dan Porter's blog [see 21Oct13], the two scourgers' fingers closely match the shape of the `reversed 3' or Greek letter epsilon shaped bloodflow on the Shroudman's forehead (see 30Dec19 and below):

"And last but not least, by means of a very curious tailed-Epsilon hand sign each time, the executioner on the left seem to point with his left hand index finger to his own head while the executioner on the right does point to Christ’s head with his left hand index finger too. Both left hand signs cryptically echoe [sic] the tailed-Epsilon-shaped like small blood rivulet we can observe on TS man’s forehead, just above his left eyebrow."

[Above (enlarge): Fingers of the scourger on the left of Jesus on the Stuttgart Psalter (left); the reversed 3 bloodstain on the Shroud horizontally flipped (because the scourgers' fingers are at the back of Jesus but the reversed 3 bloodstain is at the man on the Shroud's front) (centre); and the fingers of the scourger on the right of Jesus on the Stuttgart Psalter (right). As can be seen there is a close match between the shape of reversed 3 bloodstain on the Shroud and the fingers of the scourger on the right.]

So this unknown c. 820 artist must therefore have seen and studied up close the full-length Shroud, which was then in Edessa [see "544" and "944"]! Or as Hamon put it:

"... the bloodied body burial cloth now kept in Turin was already in existence early in the 9th CE. The Stuggart Psalter miniature Shroudlike Christ does predate the radiocarbon date [1260-1390 or 1325 ± 65] by no less than half-a-millennium [510-515 years]"!
And evidently by the 9th century, Edessan clergy were aware that behind the face-only Image of Edessa was the full-length Shroud!

842 [25Mar17b] The second iconoclast period (814–843) ended with the death of Emperor Theophilos (r. 829–842) in 842 and his two year-old son Michael III (r.842-867) succeeding him[MTW]. During Michael III's minority the Empire was governed by his mother, the Empress Theodora (r.842-855) [TEW], as his regent[MTW]. Theodora

[Above (enlarge)[MTB]: Solidus coin issued by Empress Theodora in 843, showing on the obverse (left) the face of Christ with Shroud-like "Vignon markings" features[PM96, 194] and on the reverse (right) Michael III and Theodora, indicating her regency during her son's minority.]

was an iconodule[TEW] and in 843 she reintroduced the minting of coins bearing the face of Christ, with Shroud-like features (above)[PM96, 194; FM15, 116-117].

Tenth century (901-1000)
943 [13May17a]. In the Spring (March-May) of 943, Byzantine usurper Emperor Romanos I Lekapenos (r. 920–944)[WI79, 255; WI98, 267; OM10, 31] sends an army led by his best general, John Kourkouas (fl. 915–946)[WI79, 148; WI98, 148], to Edessa to negotiate with its Muslim emir ruler for possession of the Edessa cloth[SD89a, 84; OM10, 31], to add to his collection of Christian relics[MR80, 36; SD89a, 84; DW99, 4]. In exchange for the Cloth, Kourkouas offered on behalf of the Emperor, a guarantee of perpetual immunity of Edessa from Byzantine attack, 12,000 pieces of silver and the release of 200 Muslim prisoners[MR80, 36; WI98, 267-268; AM00, 130; GV01, 4-5; TF06, 24; WI10, 300].

944a [13May17b] After lengthy consultations with his superiors in Baghdad[WI98, 148; AM00, 130; TF06, 24; OM10, 31; WI98, 158], in the Summer (June-August) of 944[WI79, 255; TF06, 24], Edessa's emir accepts Kourkouas' terms and Bishop Abraham of nearby Samosata[WI79, 149, 255; AM00, 130; TF06, 24; OM10, 32; WI10, 159], enters Edessa to receive the cloth, and despite the resistance of Edessa's Christians[WI79, 149-150, 255; OM10, 32; WI10, 159-160], he

[Above (enlarge)[SMW]: "The surrender of the Holy Mandylion" (the Image of Edessa), one of 574 miniatures, which may be copies of earlier Byzantine images, in the 12th Century "Madrid Skylitzes," which was based on the Synopsis of Histories by John Skylitzes (c. 1040s – aft. 1101)[JSW]. It depicts the arrival of the Image of Edessa in Constantinople on 15 August 944 , having been passed by Byzantine general John Kourkouas (bef. 900-aft. 946)[JKW] to Emperor Romanos I Lekapenos (r. 920-44)[RNW]. The persons on the left are wearing turbans and the buildings on their side have no Christian crosses, hence they are Muslims. The buildings on the right have Christian crosses, which means that the artist depicted both the Image having been surrendered by muslims in Edessa and its arrival in Christian Constantinople. Note that behind the face-only Image of Edessa is depicted the full-length Shroud! Res ipsa loquitur! So by at least the 12th century (and 1260 is in the 13th century) the Image of Edessa/Mandylion was known to be the full-length Shroud[SD91, 193-194; TF06, xxvii]!]

is satisfied that he has the original, as well as two copies of the Image[WI79, 255; AM00, 130; TF06, 24, 39] and Abgar V's letter from Jesus (see "50" and 08Jan19)[OM10, 32; WI10, 159-160]. After a short stay in Samosata[WI79, 255; TF06, 24], the bishop travels with the Image, escorted by Kourkouas' army[WI98, 148; WI10, 159] across Anatolia back to Constantinople[WI79, 149, 255; TF06, 24, 39; OM10, 32, WI10, 159].

944b [13May17c] On Thursday 15 August 944 the Image of Edessa arrives in Constantinople[MR86, 92; WI98, 268; GV01, 4]. It is carried in its framed portrait, fastened to a board and embellished with gold[WI79, 282; DR84, 35, 57; SD89a, 84; AM00, 131], through the streets of the city amidst great celebration[SD89a, 84; SD91, 194; WI10, 300]. The Image is then taken to the church of St Mary at Blachernae[WI98, 148-149, 268; GV01, 4-5], where it is viewed by members of the imperial family[WI98, 149, 268]. Romanos I's two sons Stephen (r. 924-945) and Constantine (also r. 924-945) find the face blurred and cannot distinguish its features[WI79, 116; MR86, 92; SD91, 192WI98, 268; AM00, 130; TF06, 25] (further evidence that this was the Shroud as its image is faint and difficult to see close-up[WI79, 116, 122; SD91, 192; AM00, 130]). But the legitimate Emperor, Constantine VII (r. 913-959), son of the late Emperor Leo VI (r. 886–912), is artistic and readily discerns the Image/Shroud's features[WR77, 94; SD91, 192; WI98, 268; TF06, 25; WI10, 300]. The Image of Edessa/Shroud is then taken to the Imperial (Boucoleon) Palace where it is placed overnight in the Pharos chapel[WI98, 149, 268].

944c [13May17d] The next day, 16 August 944, the Image is carried around the walls of Constantinople[WI79, 256; WI98, 149, 268], thereby establishing it as the city's new palladium (guarantee of a city's Divine protection)[CN95, 57; WI98, 149]. The Image is then taken to Constantinople's Hagia Sophia cathedral[WI79, 256; WI98, 149, 268], where it is placed on the "throne of mercy"[WI79, 256; MR86, 92; CN95, 57; WI98, 149, 268]. During that enthronement of the Image ceremony[RC99, 58], Gregory Referendarius (overseer of relationships between the Patriarch and the Emperor[GM09, 4]), Archdeacon of Hagia Sophia[SD91, 192; WI91, 143; OM10, 13], an eyewitness of these events[SD91, 192; DT12, 185], delivers a sermon[SD91, 192; WI91, 143; IJ98, 115; OM10, 13, 36; DT12, 185; FM15,56] in which he says that the Cloth bears not only "the sweat from the face of the ruler of life, falling like drops of blood" but also "drops from his own side ... [of] blood and water"[GM09, 85; OM10, 36].By "the sweat from the face of [Christ] ... falling like drops of blood" Gregory refers to Lk 22:44 which occurred in the Garden of Gethsemane (Mt 26:36; Mk 14:32)[WI98, 268]. But the "drops from his own side ... [of] blood and water" refers to Jn 19:33-34 which was after Jesus' death on the cross. Clearly the face-only Image of Edessa does not show the blood and fluid stained spear wound in Jesus' side that is on the Shroud[SD91, 192]. But Gregory could not have made that reference unless he had been aware of the wound in the side of the image and of bloodstains in the area of that wound[OM10, 36], and hence knew that the Cloth was full-length rather than merely a face-cloth[IJ98, 115; RC99, 58; OM10, 36]. And to know that, Gregory must have seen that under the Image of Edessa face was a full-length, bloodstained, body image of Jesus[SD98, 63; WI98, 268]. This is a further corroboration of Ian Wilson's insight that the Image of Edessa was the Shroud ("four-doubled" - tetradiplon)[SD91, 192; GV01, 5-6; TF06, xxvii.]!

944d [13May17e] In December 944, the co-Emperor sons of Romanos I, Stephen and Constantine, fearing their ~74 year-old father was going to confirm Constantine VII as his successor[RNW], forced him to abdicate[MR86, 92].

945a [13May17f] On 27 January 945, with the help of his wife, Romanos I's daughter Helena Lekapene (c. 910–961), Constantine VII exiled Stephen and Constantine (Helena's brothers!) and became sole emperor at the age of 39[WI79, 154; MR86, 92; TF06,164; WI10, 300; CVW]. Within weeks of his accession, Constantine VII had a new gold solidus coin struck[WI79, 154; MR86, 92; TF06, 164; WI10, 300], bearing a very Shroud-like Christ 'Rex Regnantium (King of Kings)

[Above (enlarge): "Coin ... [a gold solidus] minted in 945 under the reign of the Byzantine emperor Constantine VII. On the obverse, a bust of Christ similar to the Shroud face image; on the reverse, Constantine VII ... Notice ... the overall similarity of the facial representation with the face on the Shroud ... the left cheek of Christ, that is, the cheek that appears on our right, shows a clear protuberance, which is also on the Shroud. The beard and hair are also similar to the Shroud. Note the very peculiar lock of hair on the forehead. This is similar to the inverted '3' shape as seen on the forehead on the Shroud"[LM07].]

portrait, inspired by the recently arrived cloth of Edessa[WI98, 268.].

945b [13May17g] Soon after he became sole Emperor in January

[Right (enlarge)[DJ12]: King Abgar V (c.25 BC-AD 50) of Edessa is depicted in this 10th century icon at Saint Catherine's Monastery, Mount Sinai[AVW], receiving the Image of Edessa (the Shroud "four-doubled" - tetradiplon) from Jesus' disciple Thaddeus[WI79, 154-155] [see "50"]. Abgar's face is that of Byzantine Emperor Constantine VII Porphyrogenitus (r. 913-959)[WI79, 151,154].

945[WI79, 154; PH83, 8], Constantine VII commissioned a painting to commemorate the arrival of the Image of Edessa/Shroud in Constantinople on 15 August 944[WI79, 116,151,255; WI98, 148, 268; GV01, 4-5; TF06, 24; WI10, 165, 300]. That painting is now at Saint Catherine's Monastery, Mt Sinai, where it survives as the top right-hand quarter of a diptych[WI86, 110E, 118] [see 13May17h]. It originally was a triptych with an icon of the Image of Edessa in the centre panel but only the two wings have survived[WI79, 154; WI91, 175].

945c [13May17i] After becoming sole Emperor, Constantine VII commissioned[WI79, 116-117; WI10, 167, 174] an official history of the Image of Edessa[WI79, WI79, 272; WI86, 112; WI98, 151, 268; OM10, 34], the "Narratio de imagine Edessena"[WR77, 95; WI98, 256, 268], or "Story of the Image of Edessa"[SH81, 207; AM00, 130; DT12, 185]. Indeed it may have been written by Constantine himself[WI10, 167, 174]! The Story is actually a sermon to be read to Eastern Orthodox congregations on each 16 August Feast of the Holy Mandylion, starting in 946[WI79, 155; AM00, 130], hence it is also known as the "Festival Sermon"[ DR84, 115]. The Official History states that the Image of Edessa "now to be seen" in Constantinople in 944, had in Edessa been fastened to a board and embellished with gold by Abgar V[WI79, 280; OM10, 34] This fits Ian Wilson's theory that the Shroud was folded and mounted in such a way ("four-doubled" - tetradiplon) that only the facial area was visible and accessible, so "every description of the Image of Edessa during the period in question is compatible with a viewing of the Shroud"[WI86, 112; WI98, 152-153; OM10, 34; WI10, 140, 174]. The Official History gives two mutually exclusive versions of the origin of Jesus' image on the cloth[WI79, 117, 256; WI98, 150, 268; WI10, 174-175]. The first version is the traditional explanation since the sixth century[DT12, 185], that Jesus washed his face in water, wiped it on a towel, and his likeness was impressed on the towel, which he then gave to Abgar V's servant Ananias, who in turn gave it to Abgar V[WI79, 117, 276-277; DR84, 35, 56; WI98, 150, 268; WI10, 174-175; DT12, 185].

The second version is that:

"... when Christ was about to go voluntarily to death ... he ... pray[ed] ... sweat dropped from him like drops of blood ... he took this piece of cloth which we see now from one of the disciples and wiped off the drops of sweat on it ... the still-visible impression of that divine face was produced. Jesus gave the cloth to Thomas, and instructed him that after Jesus had ascended into heaven, he should send Thaddaeus with it to Abgar ... Thomas gave the divine portrait of Christ's face to Thaddaeus and sent him to Abgar"[WI79, 117, 277-278; WI10, 175].
That is, the image was formed during Jesus' agony in the Garden of Gethsemane when His "sweat became like great drops of blood falling down to the ground" (Lk 22:44)[WI79, 117, 123; DR84, 35, 57; SD91, 190; WI98, 150, 153, 268; WS00, 111; WI10, 175]. See also Gregory Referendarius' sermon above. This second version would be inexplicable unless blood could be seen on the face of the Image of Edessa[WI79, 123; DR84, 35; SD89b , 315; SD91, 190; DT12, 185-186], as it is on the Shroud face[DR84, 35], but which could not be explained by the first version[SD89b , 315]. The Official History described the Image as "a moist secretion without coloring or painter's art"[WR77, 95; WI79, 115, 255, 273; SD91, 192; DT12, 185], "it did not consist of earthly colors ... and ... was due to sweat, not pigments"[WI79, 115, 279; WI98, 268 111]. This fits the Shroud image which is extremely faint[SD89b , 315]. It also explains why some thought the Image had been made in the Garden of Gethsemane when Christ's face was covered in sweat "like great drops of blood"[DT12, 187]. Wilson, who has seen the Shroud many times, agrees that these "water/sweat details" sound "uncannily like the characteristics of the Shroud's image"[WI98, 150]. Wilson also points out of the late 10th/early 11th

[Above (enlarge): The Image of Edessa (late 10th-early 11th century), Sakli church, Goreme, Turkey[WI10, plate 22b].]

century copy of the Edessa cloth, painted above an arch in the Sakli church in the Goreme region of central Turkey, that:

"... its general resemblance to the facial portion on the Shroud is really quite remarkable. There is the same sepia-coloured, disembodied, rigidly frontal face on the same landscape cloth. ... And when we know, as we do from the Official History, that this same Edessa cloth's imprint had the appearance of `a moist secretion without colouring or painter's art', then can we really believe that this could not have been our Shroud[WI98, 151]?
In his insistence that the Image was "... without coloring or painter's art," "did not consist of earthly colors" and "was [not] due to ... pigments," the author of the Official History "anticipat[ed] twentieth-century science by a full millennium"[TF06, 25], in that the Shroud of Turin Research Project (STURP), after an exhaustive series of scientific tests on the Shroud, found that: "No pigments, paints, dyes or stains have been found on the fibrils"[SSC] (i.e. which form the image).

946 [13May17j] On 16 August 946, the first anniversary of the Image's enthronement ceremony in Hagia Sophia (see above) the "Monthly Lection" for that day, and on that day in each year thereafter, was a text that recounted the Official History of the Image of Edessa[DR84, 40]. In describing the Image's origins, the "Monthly Lection" stated that after Jesus had washed His face:

"...there was given to him a piece of cloth folded four times [rhakos tetradiplon]. And after washing, he imprinted on it his undefiled and divine face."[DR84, 40; IJ98, 105]
But Prof. Robert Drews' "folded four times" translation above is

[Left (enlarge)[DR84, 41]: Prof Drews' expanded side view reconstruction of the Edessa Cloth. The Edessa and Constantinople clergy could therefore see that the face-only Image of Edesssa was part of a longer cloth rhakos (Mt 9:16; Mk 2:21)[ZS92, 1259] that had been "four-doubled" tetradiplon.]

inexact. The Greek compound word "tetradiplon" means "doubled four times": tetra = "four" and diplon = "doubled" (see my 15Sep12). As Prof. Drews own diagram above left shows, the Edessa Cloth is the Shroud doubled and folded four times.

958 [13May17k] In a letter of encouragement to his troops campaigning around Tarsus in 958, Constantine VII told them that he was sending them holy water consecrated by relics of the Passion, including, "the sindon [shroud] which God wore"[SD89b , 317-318; WI91, 153; WI98, 268-269; WB06, 257; WI10, 169; DT12, 177]. This can only mean that by 958 Constantine VII had seen unfolded the full-length Shroud behind the face of the Image of Edessa[SD89b , 318]. Moreover Constantine made no mention of the Image of Edessa, despite his previous close identification with it[SD89b , 317-318; WI10, 169]. This is the first of several subsequent mentions of a burial sindon, or shroud, being among the imperial relic collection in Constantinople, with no explanation how it came to be there[WI91, 153; WI98, 26; WB06, 257; WI10, 169]. The arrival of the Edessa cloth in Constantinople in 944 had been accompanied by a great celebration (see above), so the arrival of the sindon, acknowledged as Jesus' burial shroud, ought to have merited at least the same level of celebration and ceremony, but there is no record of the sindon's arrival in Constantinople[SD91, 194-195]! This is inexplicable unless the Edessa cloth and the Shroud are one and the same[WI98, 269], more than three centuries before the earliest 1260 radiocarbon date of the Shroud[DT12, 178]!

c. 960 [13May17l] The Image of Edessa is called a sindon in versions of a liturgical text called the Synaxarion, composed after its arrival in Constantinople and based on the work of Symeon Metaphrastes (c. 886-987), who saw the cloth in 944[WI10, 177; DT12, 186].

977 [13May17m] A group of refugee Greek monks, led by Sergius, exiled metropolitan of Damascus, set up a cult of St Alexis of Rome (d. 412) in Rome's near-abandoned Church of St Boniface[WI98, 269; ARW]. According to their version, the young Alexis was attracted to become a beggar at Edessa by hearing of its cloth bearing Jesus's imprint: "an image of our Lord Jesus Christ made without human hand on a sindon," the same word used in the gospels for Jesus's burial shroud[WI98, 269] (Mt 27:59; Mk 15:46; Lk 23:53)! [see "c1050a"]

c. 980 [13May17n] Leo the Deacon (Leo Diaconus c. 950-992) was a Byzantine historian and a deacon in the imperial palace[LDW]. In Constantinople he wrote a history from the reign of Byzantine Emperor Romanus II (r. 959-963) to the early part of the reign of Basil II (r. 976-1025)[LDW]. Leo's history was based on his experiences as an eyewitness to events[LDW]. Leo, in late 9th century Constantinople, wrote of the Edessa Cloth as being a peplos, which was a long, rectangular cloth garment (see above)[WI98, 152; AM00,136; OM10, 36; DT12, 383 n.53]!

Notes:
1. This post is copyright. I grant permission to extract or quote from any part of it (but not the whole post), provided the extract or quote includes a reference citing my name, its title, its date, and a hyperlink back to this page. [return]

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Posted 17 September 2022. Updated 23 February 2025.