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The historical records for the Shroud of Turin can be separated into two time periods: before 1390 and from 1390 to the present. The period until 1390 is subject to debate and controversy among historians. Prior to the 14th century there are some allegedly congruent but controversial references such as the Pray Codex. It is often mentioned that the first certain historical record dates from 1353 or 1357.〔W. Meacham, The Authentication of the Turin Shroud, An Issue in Archeological Epistemogy, Current Anthropology, 24, 3, 1983 (Article )〕〔(BBC article ) 31 January 2005〕 However the presence of the Turin Shroud in Lirey, France, is only undoubtedly attested in 1390 when Bishop Pierre d'Arcis wrote a memorandum where he charged that the Shroud was a forgery.〔Emmanuel Poulle, ″Les sources de l'histoire du linceul de Turin. Revue critique″, ''Revue d'Histoire Ecclésiastique'', 2009/3-4, p. 776.(Abstract )〕 The history from the 15th century to the present is well documented. In 1453 Margaret de Charny deeded the Shroud to the House of Savoy. As of the 17th century the shroud has been displayed (e.g. in the chapel built for that purpose by Guarino Guarini〔''Architecture for the shroud: relic and ritual in Turin'' by John Beldon Scott 2003 ISBN 0-226-74316-0 page xxi〕) and in the 19th century it was first photographed during a public exhibition. There are little definite historical records concerning the shroud prior to the 14th century. Although there are numerous reports of Jesus' burial shroud, or an image of his head, of unknown origin, being venerated in various locations before the 14th century, there is little but reliable historical evidence that these refer to the shroud currently at Turin Cathedral.〔Humber, Thomas: ''The Sacred Shroud''. New York: Pocket Books, 1980. ISBN 0-671-41889-0〕 A burial cloth, which some historians maintain was the Shroud, was owned by the Byzantine emperors but disappeared during the Sack of Constantinople in 1204.〔Emmanuel Poulle, ″Les sources de l'histoire du linceul de Turin. Revue critique″, ''Revue d'Histoire Ecclésiastique'', 2009/3-4, pp. 747-781.(Abstract )〕 Barbara Frale has cited that the Order of Knights Templar were in the possession of a relic showing a red, monochromatic image of a bearded man on linen or cotton.〔Barbara Frale, ''The Templars and The Shroud of Christ'', page 99 (Maverick House, 2011; ISBN 1-905379-73-0), Frale citing Charles Du Fresne, ''Glossarium Mediae et Infimae Latinitatis'', page 447 (Graz: Akademische Druck- u. Verlagsanstalt, 1954).〕 Historical records seem to indicate that a shroud bearing an image of a crucified man existed in the possession of Geoffroy de Charny in the small town of Lirey, France around the years 1353 to 1357.〔 However, the correspondence of this shroud with the shroud in Turin, and its very origin has been debated by scholars and lay authors, with claims of forgery attributed to artists born a century apart. Some contend that the Lirey shroud was the work of a confessed forger and murderer.〔Mercer dictionary of the Bible by Watson E. Mills, Roger Aubrey Bullard 1998 ISBN 0-86554-373-9 page 822〕 Professor Larissa Tracy of Virginia also argues that the shroud in Turin is a forgery, but that it was forged by Leonardo da Vinci, who was born in 1452.〔The Independent, Ireland, July 1, 2009, ''Turin Shroud may have been faked by da Vinci''〕 This theory, however, is mostly illogical, as not only that the carbon 14 dating discards this theory, the shroud in Turin cathedral today has been known to have been in existence in France in the 1350s, 100 years before da Vinci was born.() Professor Nicholas Allen of South Africa on the other hand believes that the image was made photographically and not by an artist. Professor John Jackson of the Turin Shroud Centre of Colorado argues that the shroud in Turin dates back to the 1st century AD.〔(BBC News March 21, 2008 ''Shroud mystery refuses to go away'' )〕 The history of the shroud from the 15th century is well recorded. In 1532, the shroud suffered damage from a fire in the chapel where it was stored. A drop of molten silver from the reliquary produced a symmetrically placed mark through the layers of the folded cloth. Poor Clare Nuns attempted to repair this damage with patches. In 1578 the House of Savoy took the shroud to Turin and it has remained at Turin Cathedral ever since.〔The International Standard Bible Encyclopedia:Q-Z by Geoffrey W. Bromiley 1995 ISBN 0-8028-3784-0 page 495〕 Repairs were made to the shroud in 1694 by Sebastian Valfrè to improve the repairs of the Poor Clare nuns.〔''Architecture for the shroud: relic and ritual in Turin'' by John Beldon Scott 2003 ISBN 0-226-74316-0 page 26〕 Further repairs were made in 1868 by Clotilde of Savoy.〔''Holy Shroud of Turin'' by Arthur Stapylton Barnes 2003 ISBN 0-7661-3425-3 page 62〕 The shroud remained the property of the House of Savoy until 1983, when it was given to the Holy See, the rule of the House of Savoy having ended in 1946. A fire, possibly caused by arson, threatened the shroud on 11 April 1997.〔NY Times April 12, 1997 ''Shroud of Turin Saved From Fire in Cathedral'' ()〕 In 2002, the Holy See had the shroud restored. The cloth backing and thirty patches were removed, making it possible to photograph and scan the reverse side of the cloth, which had been hidden from view for centuries. The most recent public exhibition of the Shroud was in 2010. The next public exhibition will be in 2015, from April 19 to June 24. ==Prior to the 14th century== Although there are numerous reports of Jesus' burial shroud, or an image of his head, of unknown origin, being venerated in various locations before the fourteenth century, there is no historical evidence that these refer to the shroud currently at Turin Cathedral.〔 The Gospel of John states that: "Then cometh Simon Peter following him, and went into the sepulchre, and seeth the linen clothes () lie, and the napkin (), that was about his head, not lying with the linen clothes, but wrapped together in a place by itself" (John 20:6–7, KJV). The Gospels of Matthew (27:59), Mark (15:46), and Luke (23:53) all refer to a singular "sindon" (fine linen cloth) which was wrapped (entulisso) around Jesus' body. In other Greek usage the word "sindon" refers to a wrapping such as a toga (Mark 14:51-52) or a mummy wrapping (Herodotus 2, 86). The Image of Edessa was reported to contain the image of the face of Jesus, and its existence is reported since the sixth century. Some have suggested a connection between the Shroud of Turin and the Image of Edessa.〔Wilson, pp. 148-175〕 No legend connected with that image suggests that it contained the image of a beaten and bloody Jesus. It was said to be an image transferred by Jesus to the cloth in life. This image is generally described as depicting only the face of Jesus, not the entire body. Proponents of the theory that the Edessa image was actually the shroud, led by Ian Wilson, theorize that it was always folded in such a way as to show only the face, as recorded in the apocryphical 'Acts of Thaddeus' from around that time, which say it was ''tradiplon''- folded into 4 pieces. 〔 Andrzej Datko: The Book of Relics; chapter: The Shroud of Turin, p.351. Cracow, 2014〕 Ian Wilson, under 'Reconstructed Chronology of the Turin Shroud'〔p287 Ian Wilson, 1978, The Turin Shroud, Penguin Books (1979) first published by Doubleday & Company Inc., (1978) Under the title 'The Shroud of Turin'〕 recounts that the 'Doctrine of Addai' mentions a 'mysterious portrait' in connection with the healing of Abgar V. A similar story is recorded in Eusebius' 'History of the Church' bk 1, ch 13,〔Trans. G A Williamson, Ed Andrew Louth, Eusebius, 'The History of the Church', Penguin Books〕 which does not mention the portrait. Three principal pieces of evidence are cited in favor of the identification with the shroud. Saint John of Damascus mentions the image in his anti-iconoclastic work ''On Holy Images'', describing the Edessa image as being a "strip", or oblong cloth, rather than a square, as other accounts of the Edessa cloth hold. However, in his description, St. John still speaks of the image of Jesus' face when he was alive. In several articles, Daniel Scavone, professor Emeritus of history at the University of southern Indiana, puts forward a hypothesis which identifies the Shroud of Turin as the real object that inspires the romances of the Holy Grail.〔D. Scavone: "Joseph of Arimathea, the Holy Grail, and the Edessa Icon," Arthuriana vol. 9, no. 4, 3-31 (Winter 1999) ((Article ) and (abstract )) ;Scavone, “British King Lucius, the Grail, and Joseph of Arimathea: The Question of Byzantine Origins.”, Publications of the Medieval Association of the Midwest 10 (2003): 101-42, vol. 10, 101-142 (2003).〕 To the contrary, Averil Cameron, expert of Late Antique and Byzantine History at the University of Oxford, denies the possibility of the Turin shroud being identified with the Image of Edessa. Among the reasons are too big differences in the historical descriptions of the Image of Edessa compared to the shroud.〔Averil Cameron, ''The Sceptic and the Shroud'' London: King's College Inaugural Lecture monograph (1980)〕 The Image of Edessa has according to her its origin in the resistance to the Byzantine iconoclasm.〔Averil Cameron, ''The mandylion and Byzantine Iconoclasm.'' in H. Kessler, G. Wolf, eds, ''The holy face and the paradox of representation.'' Bologna, (1998), 33-54〕 On the occasion of the transfer of the cloth to Constantinople in 944, Gregory Referendarius, archdeacon of Hagia Sophia in Constantinople, preached a sermon about the artifact. This sermon had been lost but was rediscovered in the Vatican Archives and translated by Mark Guscin in 2004. This sermon says that this Edessa cloth contained not only the face, but a full-length image, which was believed to be of Jesus. The sermon also mentions bloodstains from a wound in the side. Other documents have since been found in the Vatican library and the University of Leiden, Netherlands, confirming this impression. ''"Non tantum faciei figuram sed totius corporis figuram cernere poteris"'' (You can see not only the figure of a face, but () the figure of the whole body). ((In Italian )) (Cf. Codex Vossianus Latinus Q69 and Vatican Library Codex 5696, p. 35.) An illustration of what appears to some to be the Shroud of Turin complete with the distinctive "L-shaped" burn marks and what is interpreted by some to be fishbone weave is depicted in Codex Pray, an Illuminated manuscript written in Budapest, Hungary between 1192 and 1195.〔Wilson, Ian.(1986)''The Mysterious Shroud'', Garden city, New York; Doubleday & Company. p.115〕〔Bercovits, I. (1969) Dublin: Irish University Press. ''Illuminated Manuscripts in Hungary''〕 In the Budapest National Library is the Pray Manuscript, the oldest surviving text of the Hungarian language. It was written between 1192 and 1195 (65 years before the earliest carbon-14 date in the 1988 tests). One of its illustrations shows preparations for the burial of Christ. The picture supposedly includes a burial cloth in the post-resurrection scene. According to proponents, it has the same herringbone weave as the Shroud, plus four holes near one of the edges. The holes form an "L" shape. Proponents claim this odd pattern of holes is the same as the ones found on the Shroud of Turin. They are burn holes, perhaps from a hot poker or incense embers.〔Wilson, I., "The Evidence of the Shroud", Guild Publishing: London, 1986, p.114 and http://www.newgeology.us/presentation24.html〕 On the other hand, Italian Shroud researcher Gian Marco Rinaldi interprets the item that is sometimes identified as the Shroud as a probable rectangular tombstone as seen on other sacred images, alleged holes as decorative elements, as seen, for example, on the angel's wing and clothes. Rinaldi also points out that the alleged shroud in the Pray codex does not contain any image.〔G.M.Rinaldi, "Il Codice Pray", http://sindone.weebly.com/pray.html〕 Furthermore it would be most unlikely that anyone who had seen the Shroud would have shown Christ being buried without any sign of the wounds that are so graphically shown on the Shroud. In 1204, a knight named Robert de Clari who participated in the Fourth Crusade that captured Constantinople, claims the cloth was among the countless relics in the city: "Where there was the Shroud in which our Lord had been wrapped, which every Friday raised itself upright so one could see the figure of our Lord on it. And none knows - neither Greek nor Frank - what became of that shroud when the city was taken."〔Robert de Clari, ''The History Of Them That Took Constantinople'', chapter 92 (), in Edward N. Stone, ''Three Old French Chronicles of the Crusades'' (University of Washington Publications in the Social Sciences, volume 10; 1939).〕 (The apparent miracle of the cloth raising itself may be accounted for as a mistranslation: the French impersonal passive takes the form of a reflexive verb. Thus the original French could equally well be translated as the cloth ''was raised upright''. De Clari's matter of fact delivery does not suggest that he witnessed anything out of the ordinary.) However, the historians Madden and Queller describe this part of Robert's account as a mistake: Robert had actually seen or heard of the ''sudarium'', the handkerchief of Saint Veronica (which also purportedly contained the image of Jesus), and confused it with the grave cloth (''sindon'').〔Madden, Thomas, and Donald Queller. ''The Fourth Crusade: The Conquest of Constantinople''. University of Pennsylvania Press, 1997. Second edition. page 139.〕 In 1205, the following letter was allegedly sent by Theodore Angelos, a brother of Michael I Komnenos Doukas, to Pope Innocent III protesting the attack on the capital. From the document, dated 1 August 1205 in Rome: "The Venetians partitioned the treasures of gold, silver, and ivory while the French did the same with the relics of the saints and the most sacred of all, the linen in which our Lord Jesus Christ was wrapped after his death and before the resurrection. We know that the sacred objects are preserved by their predators in Venice, in France, and in other places, the sacred linen in Athens." (Codex Chartularium Culisanense, fol. CXXVI (copia), Bilioteca del Santuario di Montevergine)〔"The letter was rediscovered in the archive of the Abbey of St. Caterina a Formiello, Naples; it was folio CXXVI of the Chartularium Culisanense, now destroyed, a copy of which came to the Naples as a result of close political ties with the imperial Angelus-Comnenus family from 1481 on. The Greek original had been lost." in: (); see also: (a photo of the document )〕 According to Emmanuel Poulle, a French medievalist, although the Mandylion is not the Shroud of Turin, the texts "attest the presence of the Shroud in Constantinople before 1204".〔 But it was claimed that the letter of Theodore and other documents contained in the Chartularium are a modern forgery.〔A. Nicolotti, , in «Giornale di storia» 8 (2012).〕 Unless it is the Shroud of Turin, then the location of the Image of Edessa since the 13th century is unknown but may well have been among the relics sold to Louis IX and housed in the Sainte-Chapelle in Paris until lost in the French Revolution. Some authors suggest that the shroud was captured by the knight Otto de la Roche who became Duke of Athens, sometimes adding that he soon relinquished it to the Knights Templar. It was subsequently taken to France, where the first known keeper of the Turin Shroud had links both to the Templars as well the descendants of Otto. Some speculate that the shroud could have been a major part of the famed "Templar treasure" that treasure hunters still seek today. The association with the Templars seems to be based on a coincidence of family names; the Templars were a celibate order and so unlikely to have children after entering the Order. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「History of the Shroud of Turin」の詳細全文を読む スポンサード リンク
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