The Shroud

The Shroud of Turin is utterly unique. There is no other burial linen in existence that bears the photonegative image of a crucified man. In fact, no other burial cloth with similar markings has turned up anywhere. Most shrouds decompose with their contents.

In 1931, the Shroud gained new status when it was put on exhibition for the first time since 1898. Direct scientific testing of the Shroud was still out of the question, but Catholic authorities did allow a more elaborate set of photographs than had previously been permitted. To take the pictures, Maurilo Cardinal Fossati selected Giuseppe Enrie, one of Italy’s premier photographers. At his side as consultants were veteran Shroud experts Paul Vignon and Secondo Pia. Soon the world would have a set of technically fawless enlargements—and, with them, an opportunity for a more comprehensive look at the intriguing image. For “Sindonologists” (from the Greek word sindon, meaning linen) this marked the beginning of a new era.

JG

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Jerome S. Goldblatt

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The Shroud of Turin is utterly unique. There is no other burial linen in existence that bears the photonegative image of a crucified man. In fact, no other burial cloth with similar markings has turned up anywhere. Most shrouds decompose with their contents.

In 1931, the Shroud gained new status when it was put on exhibition for the first time since 1898. Direct scientific testing of the Shroud was still out of the question, but Catholic authorities did allow a more elaborate set of photographs than had previously been permitted. To take the pictures, Maurilo Cardinal Fossati selected Giuseppe Enrie, one of Italy’s premier photographers. At his side as consultants were veteran Shroud experts Paul Vignon and Secondo Pia. Soon the world would have a set of technically fawless enlargements—and, with them, an opportunity for a more comprehensive look at the intriguing image. For “Sindonologists” (from the Greek word sindon, meaning linen) this marked the beginning of a new era.