The Crucifixion of Jesus by Frederick T. Zugibe

Author:Frederick T. Zugibe
Language: eng
Format: epub
Publisher: Rowman & Littlefield
Published: 2005-03-10T16:00:00+00:00

FIGURE 13-1

Icon of Christ. Found in the Saint Pontianus’s Catacombs in Rome, in the sixth or seventh century.

FIGURE 13-2

Pray Manuscript with inset (shows “poker holes”). Hungarian Pray Codex Manuscript in the Budapest National Szecheneyi Library. This includes the four holes corresponding in exact alignment with the L-shaped “poker holes” on the Shroud, the naked body of Jesus with crossed hands with missing thumbs lying on a cloth with a herringbone-type pattern, and long fingers, as they are on the Shroud. Inset shows the four holes on the Pray Manuscript. (See also Figure 12-2.)

The question of an artistic forgery first arose in 1359, when Henry de Poitier, Bishop of Troyes, allegedly stopped Jean de Vergy, widow of Geoffrey de Charny, from exhibiting the Shroud, from which she was apparently profiting. Bishop de Poitier charged that the Shroud was fraudulent and that he had found the artist who had painted it. In support of this being a ploy, we now know that the Shroud was not a painting, that Jean de Vergy was making a significant profit, that this was a great time for the relics market, and that the pilgrims who were the potential buyers were swarming to Lirey rather than to Troyes. Unfortunately the repercussion was that the Shroud was purportedly laid to rest for about 32 years until the de Charnys were quietly granted permission, in 1390 with certain reservations, from anti-Pope Clement VII to again exhibit it. The viewers had to be informed, however, that the cloth was not the true burial cloth but a likeness or representation of the true Shroud. This restriction was supposedly met, but when the showing was discovered by Pierre d’Arcis—the new Bishop of Troyes—d’Arcis allegedly sent a memorandum to Clement II, informing the antipope that some 30 years before, his predecessor, Bishop de Poitier, had discovered the fraud and found the artist who had cunningly painted it. Pope Clement II, however, silenced the Bishop, and allowed the de Charny family to continue with their exposition.

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