I intended to put this out on Easter, but as with so many things during this overwhelmed period of my life, I’m way behind. I did spend a good deal of Sunday reviewing research on this subject, finding that there was a lot more available than there had been the last time I looked.
Among the surprisingly many religious articles in my mother’s room, I found one that I’d given her myself. I bought it at the gift shop of the Santuario de Chimayó in northern New Mexico. It’s a small card with the kind of double picture that changes when you hold it at different angles. One view is the familiar face found in the negative shot of the Shroud of Turin:
And the other is a reconstruction of the living face as imagined by an artist, whose name is not given:
I was so struck by the beauty and power of the artist’s conception portrait that I wanted a copy to bring home.
There is not much I can say about the Shroud of Turin that hasn’t been said already. I’m writing about it here because it is a source of continual fascination for me, as for so many others. It is one of the anomalous objects in the world that reminds us that reality is not at all what we’ve been told it is, and that we have far less understanding of what is “really” going on than we might like. No matter how one interprets the phenomenon, there is an irreducible amount of mystery. Something beyond the ordinary happened here. What exactly was it?
Here is a summary of the facts and questions about the Shroud, as my small knowledge of them permits:
We don’t know, no one can say for sure, who the Man in the Shroud really was. We can be sure of the meaning of some aspects of his image, though. What we see is a gruesome record, in literally excruciating detail, of the torture and murder of a man by the Roman state, in a way that myriad others were also tortured and murdered. This is what holds my attention above all. The terrifying injuries— the thorns piercing the scalp, the hundreds of tears made by the lash, the abrasions and bruises, the slash of the lance, and all that beyond the horror of the nails themselves— bear witness to the cruelty of human beings to their fellows. It would be difficult to believe if we did not see it right in front of us, right down to the still-obvious blood and body fluid stains. When I was a child, the nuns told us that Jesus being nailed to the cross was unusual, that most of those who were crucified were only tied to the wood. That was not true. What happened to this one whose sufferings we see so clearly in the Shroud happened to thousands.
We do know that the blood is type AB. It turns out that the Sudarium of Oviedo, the cloth said to have been used to wrap the face of Jesus when he was prepared for burial, is saturated with the same type of blood. Records of the Sudarium’s whereabouts over time go back about seven centuries further than those of the Shroud, lending weight to the contention that the Shroud is at least that old as well. Similarities in the placement of the stains as well as the blood itself point to the same origin as the Shroud. The shapes and contents of the stains indicate that the person whose head it covered died in an upright position, consistent with crucifixion. It must be the most historically important dirty rag on the planet.
We don’t know the age of the Shroud through testing of the cloth itself. Carbon dating done decades ago placed it in the medieval period, meaning that it had to be a fake, but since the cloth was much handled over the centuries, in addition to surviving fire and water damage, there is now agreement that it was too contaminated for carbon dating to be accurate. There is also a question about the part of the cloth that was tested, which appears to be a repair added later.
We know that pollen grains found in the cloth of the Shroud place its origin in the area of Jerusalem, and are consistent with the species of plants that would be used with a burial.
We know that the color forming the image is not paint or dye. There are simply no molecules of such things present. If the image was faked during medieval or any other times, it is very challenging to give an explanation of how the faking could have been accomplished. The contention that the Shroud is simply a fake just doesn’t hold up to scrutiny. The situation is more complex than that.
One theory is that a Maillard reaction, similar to the browning of bread in the oven, could have formed the brownish-yellowish image. This does not explain the holographic and X-ray like properties of the image, in which some structures that would have been behind others can be seen.
Similarly, the theory that the Shroud is an example of a medieval photograph is intriguing and more or less plausible, but it does not explain how details other than those on the surface of the body can be seen. (Although all the materials needed for photography were indeed available in the 14th century, there is no evidence that photographs were actually made anywhere at that time.) It also fails to explain the details of the wounds and patterns of bodily secretions. Neither a live body nor the corpse of a person who had died other than through this specific series of tortures would display these particular details when photographed.
So what do I think happened? I am agnostic. The most likely explanation, it appears to me, is one that raises still more questions. Some form of radiation emanated from this body and caused changes in the surface of the cloth, by a mechanism we don’t understand but may at some point be able to reproduce. I mentioned, when I described the events around my mother’s death, that a huge amount of heat was present around her body before she left it. Could a much more powerful burst of energy of some kind be released from a human body under certain circumstances? Could this perhaps have happened many times, but to bodies that were left peacefully in their graves so that we never saw the evidence? Have images like this one been imprinted upon many other burial cloths but crumbled away unnoticed in the earth?
And in this case, what happened to the body? Why was the Shroud not left in place with it? Was the body simply disinterred and moved— the obvious hypothesis— then wrapped in a fresh length of linen and buried elsewhere, with the original cloth kept as an object of veneration? Did it reanimate and walk away, as the stories say? Did it go poof and disappear in a burst of light, which formed the image?
It seems that there have been recorded cases of people who survived crucifixion, unlikely as that sounds. Could the Man in the Shroud have been one of these, and if he was Jesus, could that explain his apparent resurrection? The evidence in the cloth is against this, as the patterns of bleeding and fluid leakage look like what would be expected to occur postmortem. As far as anyone can tell, the man was dead when he was wound in the Shroud.
Is the Shroud a supernatural phenomenon, a miracle? To me, “supernatural” only means something that is natural but not yet understood. There has got to be a way of expanding our scientific understanding to encompass this phenomenon. Even if that might mean understanding how a physical body could suddenly transform into pure energy, which is one conceivable interpretation of the evidence. The physically-measurable electromagnetic signals in and around a human body, photons included, are fairly small. It’s hard to imagine how there could be enough light or other energy emitted to produce an image on a physical surface, but equally odd things have happened, and I don’t want to rule it out.
The one thing we know for sure, from studying the Shroud, is that we are creatures who have a gigantic ability to torment other members of our species. The only comfort I can find about this is that nowadays we at least give lip service to the idea that doing this is wrong, even as we keep doing it every day, all around the world.
But what I hope we’ve learned from this strange artifact is that we are also far less limited beings than we believe, and that possibilities exist that we’ve barely begun to grasp.
Article on the mysteries of the Shroud
A reply to Nicholas Allen’s “medieval photograph” theory
The evidence of plants wrapped with the shroud, through pollen samples and images
Holographic studies of the image
‘While photography has the advantage of fixing an image in time and of concentrating it so that whichever angle you look at it from, it will remain the same, with the Shroud that is not the case. Moving around that table (lighting under an angle from one side only!), from a certain angle I saw this image so faded as if to practically disappear, while from others it seemed as if the figure WAS ALMOST OUTSIDE THE SHEET: it was, I repeat, an incredible emotion. At that moment I knew that this image was unique. I approached the face placing my camera at a distance of about 20-30 cm, aimed the camera at the face and saw…………………nothing in my viewfinder.” “And yet,” I said “I know it by heart.” I had to beg my friend to point to the position of the eye, because from a distance of 30 cm I could not see it. I could only see it as I moved away from it.’