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And stealing and forgery were both part of the business.It was also a time when the material remains of Jesus' Passion were very much in vogue, when St. Chapelle solely to enshrine the Crown of Thorns (which had recently been stolen from Constantinopole).But the more important point is this: The Shroud of Turin is not and never was a "work of art" in the conventional sense of that term.And in fact, were it in any way to look like a work of art-something made by human hands-this would imme-diately disqualify it from being what it is supposed to be: an acheiropoietos.This is the catch-22 that sindonologists fail to appreciate: For the shroud to be the shroud, it more or less has to look the way it looks.Furthermore, the shroud is in no way unique in appearance among its object type.
Stephen Mattingly - Previously unpublished response to the article "A Letter to Hershel Shanks, Editor of BAR" by Dr.But two of BAR's savvy readers have objected to our assessment.The following articles suggest there is no reason to doubt that the image, as well as the cloth, was produced in the Middle Ages.- Ed (BAR) Nothing puzzles and intrigues the sindonologist - the student of the Shroud of Turin - more than the supposed mystery of how the image on the shroud was made.The most characteristic form of acheiropoietos, however, is the holy cloth. Veronica stepped forward to wipe the sweat from Jesus' brow as he stumbled toward Calvary, and her towel already transformed into a relic through that holy contact miraculously retained the image of Jesus' face.Known as Veronica's Veil, the relic became one of the most famous acheiropoietai of the Middle Ages.* Another such cloth image (also generated by perspiration) was produced on the night of the betrayal, as Jesus prayed intently at Gethsemane.
"It doesn't look like any known work of art," they say.