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Is the Shroud of Turin a fake?
Quick-read this article:
Many believe that the Shroud of Turin is the cloth that covered
Jesus Christ during His burial. There are as many reasons against this as there are for it. We therefore urge our readers against
hastily accepting it as showing an image of the body of
Jesus Christ.

Many people believe that the famous Shroud of Turin is the cloth
that covered Jesus Christ at His burial.
In recent years some amazing 3-D images and the discovery of a faint “second face” on the reverse of the shroud have boosted the confidence of believers.
In 2009, a video documentary claimed that the body on the shroud was “weightless or levitating when it left the remarkable image.”
Other studies have concluded that the image genuinely shows a crucified man, and that no-one has been able to demonstrate convincingly how any medieval forger could have produced the image.
There is no doubt that all this recent information is impressive. Without having the ability to look at all the pieces in this jigsaw to assess how much information was original and how much was interpretation put on the evidence, we are unable to say conclusively whether the shroud shows Jesus Christ's face and body or is a clever hoax.
But there are serious problems
with the view that this is the burial cloth of Christ, even if we ignore carbon dating tests in 1988 that
showed the cloth may be only 600 or 700 years old.
We admit that carbon dating can give crazy results, and carbon
dating results from the shroud have brought major criticisms, so
this is not proof of the shroud's age. Even so, there are genuine
problems with the view that this shroud shows a picture of
Christ.
- It is clear from the Bible and from Jewish burial customs that
several pieces of cloth bound Christ at His burial — not one
large sheet like the shroud.
- In John 20:5-7 we find there was a separate piece wrapped
around Christ's head. Yet the Shroud of Turin depicts a face on the
sheet.
- In December 2009, archaeologists announced the discovery of a shroud-like cloth in a cave in Jerusalem that dated to the time of Christ. Unfortunately, it was made with a simple two-way weave — not the twill weave used on the Turin Shroud, which textile experts say was introduced more than 1000 years after Christ lived.
- The size of the shroud is 14 feet 3 inches by 3 feet 7 inches
(434 centimetres by 109 centimetres). But the Bible says linen
strips bound Jesus, not an enormous cloth (see John
19:40).
- The Bible
is the authoritative record of Christ's death, burial, and
resurrection,
and the Bible mentions nothing of a shroud.
- Walter C. McCrone, head of a Chicago research institute and a
specialist in authenticating art objects, examined the shroud. He
found a pale, gelatin-based substance speckled with particles of
red ochre on fibres from the part of the cloth that supposedly
showed the figure of Christ. He also found that fibers from the
“wounds” had stains, not of blood, but of particles of
a synthetic vermilion developed in the Middle Ages. He said the
practice of painting linen with gelatin-based temperas began in the
late thirteenth century and was common in the fourteenth.
McCrone concluded that a fourteenth century artist had forged the
shroud, and defended this view right up until he died on July 10,
2002.
- In the 1980s, Jesuit priest Robert A. Wild expressed surprise
that the bloodstains showed no trace of
smearing after all the movement and transport the body would have
endured. Wild also noted that the hands of the body masked the
genitals. He said this couldn't be right. No matter how you arrange
a body after rigor mortis, he said, the hands cannot cover the
genitals unless you prop up the elbows on the body and bind the
hands tightly in place. Yet this is not what the shroud's image
shows.

Above: In the studio of composer Igor Stravinsky's home stood a
reproduction of the face from the Shroud of Turin among other icons
and religious memorabilia. © Time Inc. 1959.
- The first record of the shroud's appearance was in 1353, when
Geoffrey de Charny presented it to the small local church in the
French town of Lirey. Three years later, in 1356, the bishop of the
region wrote to the pope, in Latin, telling of his annoyance that
certain people wanted this “painted” cloth displayed as
the burial cloth of Christ. The bishop added that his predecessor,
Henry of Poitiers, “after diligent inquiry and
examination,” had found the artist who painted it. The artist
testified that “it was the work of human skill and not
miraculously wrought.”
- Interestingly, this date accords with the carbon-14 tests,
which dated the shroud to about the first quarter of the 1300s — although some information suggests that this is the date the cloth was repaired, and the repaired cloth was the part that was carbon-dated. The date
agrees with art expert Walter McCrone's estimate of the age
based on known painting styles (see 6th point above).
- The verses that tell of Joseph of Arimathea's wrapping Jesus in
linen cloth are Matthew 27:59, Mark 15:46, Luke 23:53, and John
19:40. Look in Vine's Expository Dictionary, Strong's
Exhaustive Concordance of the Bible, and the Ryrie Study
Bible. They all tell us the Greek words used in Matthew, Mark,
and Luke (entulisso and eneileo) mean “to
roll in, wind in”, “to twist, to entwine”,
“to enwrap”, “to wrap by winding tightly”.
Winding, twisting and entwining imply wrappings, or strips of
bandage, rather than a single shroud.
But if they did mean a single sheet, then Matthew, Mark, and Luke
would conflict with John 19:40, which is clearer by using the Greek
word othonion, meaning “linen bandage”
(Strong's concordance). If the Bible writers had meant a single
linen sheet like the shroud, the word used should have been
othone (a single linen cloth, a sail, or a sheet). From
this, it seems that all four Gospel
writers were telling us that normal long strips of linen covered
Jesus.
- In 2005, N.D. Wilson, a fellow of literature at New St. Andrews College in Moscow, Idaho, showed it would have been easy for a medieval to create a 3-D photonegative. Wilson painted faces on glass, put the painted panes on linen, and left it in the sun for various lengths of time. The images Wilson produced look remarkably similar to the Shroud of Turin, although Wilson was the first to admit that this in itself did not disprove the Shroud's authenticity.
- The Catholic Church itself does not officially accept the shroud as
authentic. When we last checked, in May 2008, the Catholic
Encyclopedia's article on the Shroud of Turin admitted a
number of reasons to doubt its authenticity. These included:
- the awkward fact that many similar shrouds existed which their
owners claimed showed the genuine image of Christ
- a pope in the 1300s issued a pronouncement that when the shroud
was exhibited, the priest must “declare in a loud voice that
it was not the real shroud of Christ”
- the admission that “no intelligible account, beyond wild
conjecture, can be given of the previous history of the
Shroud” before it appeared at Lirey around 1353
- this shroud, like the others, “was probably painted
without fraudulent intent to aid the dramatic setting” at
Easter
- witnesses in the fifteenth and early sixteenth centuries said
the image was then so vivid that the blood “seemed freshly
shed.” But the blood is now dark and hardly
recognizable.
On the supposition that this is an authentic relic dating from
aroound the year AD 30, “why should it have retained its
brilliance through countless journeys and changes of climate for
fifteen centuries, and then in four centuries more have become
almost invisible? On the other hand if it be a fabrication of the
fifteenth century this is exactly what we should
expect.”
Even if the Shroud of Turin proves to be 2000 years old —
and it hasn't — you can see there are strong arguments against its being
Christ's burial cloth.
Historical note: The Shroud of Turin has been kept
since 1578 in a chapel at the Cathedral of San Giovanni Battista in
Turin, Italy.
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