Once I was a clever boy learning the arts of Oxford... is a quotation from the verses written by Bishop Richard Fleming (c.1385-1431) for his tomb in Lincoln Cathedral. Fleming, the founder of Lincoln College in Oxford, is the subject of my research for a D. Phil., and, like me, a son of the West Riding. I have remarked in the past that I have a deeply meaningful on-going relationship with a dead fifteenth century bishop... it was Fleming who, in effect, enabled me to come to Oxford and to learn its arts, and for that I am immensely grateful.


Wednesday 30 October 2024

A contrary view on the Shroud of Turin


I have recently posted about new research into the Shroud of Turin and the significant evidence that suggest that it is indeed a first piece of first century linen that has been in the Holy Land.

In order to demonstrate my impartiality when it comes to assessing the scientific evidence I will now draw attention to an article in the Daily Telegraph which reports on research and an interpretation that puts forward a counter- argument as to how the image on the Shroud could or could not have come about, and indeed when that event might have happened.


I am not a scientist and claim no expertise at all in the technologies that have been implied by researchers into the history and nature of the Holy Shroud.

However, I would make two points against what appears to be the argument in the article.

Firstly, if I have understood the argument aright, it seems to be returning to a an explanation that is predicated on the cloth coming into contact with either a corpse or a living body, or a carved or moulded model that is somehow covered by an ungeant that would leave the marks on the burial cloth. Previous experiments on these lines produced similar distortions to the figure as opposed to those on the relic itself. That idea has, I believe, been ruled out in favour of a so-far unexplained burst of energy, so this seems to be a return to a discredited type of explanation for the markings on the fabric.

Secondly, the suggestion that this is somehow a forgery or, indeed, a piece of “Christian art” produced in the middle ages, requires the creators to have obtained an authentic piece of first century cloth from the Holy Land and furthermore to have used techniques that are completely unknown and unrecorded by contemporaries or indeed by anybody since.

We come back, it seems to me, to the case that on the basis of probability as other arguments are nullified that, however impossible it may appear. that it seems the “impossible” may have to be accepted.


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