Pope Francis touches the case holding the Shroud of Turin after praying before the cloth in 2015 at the Cathedral of St. John the Baptist in Turin, Italy. (CNS photo/Paul Haring)
Question: The Gospel during Easter Sunday refers to the burial wrappings that John and Peter discovered within the vacant tomb. The text highlights that the cloth that covered Jesus’ head was distinct from the other linens. Conversely, the Shroud of Turin appears to be a single piece of fabric that envelops his entire form, including the head. Please clarify this seeming inconsistency.
— Paul VanHoudt, Erie, Colorado
Answer: The washcloth (referred to as the sudarium) was an individual piece of fabric, typically of superior quality, that concealed the face, situated beneath the primary burial shroud. The arms and legs were frequently wrapped in a winding cloth prior to the main burial shroud being placed. What we probably possess in Turin is the burial shroud which, as you indicate, was a lengthy and unbroken piece of cloth that enveloped both the other cloths and the body. Therefore, there is no inconsistency, as it was not the sole cloth encompassing the body of Jesus.
The sudarium is believed to be located in Oviedo, Spain, and possesses a connected history with the Shroud of Turin. Blood marks on the sudarium are positioned in identical areas in relation to the shroud. Remnants of limestone powder on the sudarium are likewise present on the shroud and can also be observed at Calvary in Jerusalem, the site of Jesus’s crucifixion. Subtle, hardly noticeable facial outlines on the sudarium possess patterns and shapes that closely resemble the facial imprint found on the shroud. The blood type present on the sudarium is AB, identical to what is present on the shroud. AB is the most uncommon blood type globally, thus the presence of it in both instances is less likely to be a mere coincidence.
Regarding the scriptural reference to the shroud and the sudarium, John provides information regarding them intended to emphasize the intrigue of their abandonment. If tomb raiders were active, they would undoubtedly not abandon the sudarium (facecloth) left behind, as it was typically a costly linen they would wish to keep. Yet, they not only abandon it, but also take the time to neatly fold it! The shroud, as well, could be considered precious, so why invest time in removing the corpse from it? One generally envisions grave-robbers quickly grabbing the encased body along with any additional treasures and fleeing.
John’s Gospel offers an additional hint that stirs one’s interest. He refers to the burial cloth as “lying there.” The Greek term is keimena, signifying to recline or lie down fully. In a broader interpretation, it refers to being positioned, arranged, prepared (similar to a “made up” bed) or established. Thus, the imagery created is of linens that had concealed the body settling perfectly in position as the body disappeared from within them. This is probably the reason why John’s Gospel notes that the Beloved Disciple witnessed this and had faith. In other terms, it was not solely Mary Magdalene’s account he found credence in, but rather that Jesus had indeed risen, as he promised, on the third day (see Jn 20:5-8).
Easter sequence
Question: During Easter, the lector recited a poem following the second reading, which left me confused. It was not mentioned as a reading. When I inquired about it, he was unsure and simply indicated he read it because it was included in the book. Does this seem correct?
— Name withheld, via email
Answer: What you probably heard was the sequence hymn, an optional piece to be performed on Easter Sunday and throughout the week that follows. Sequence hymns were historically more prevalent in the Church’s liturgical practices and were utilized to accompany the longer Gospel processions in bigger cathedrals and during significant celebrations. Currently, there are merely five remaining, all used at discretion: Easter (Victimae Paschali Laudes), Pentecost (Veni Sancti Spiritus), Corpus Christi (Lauda Sion), Requiem (Dies Irae), along with Our Lady of Sorrows (Stabat Mater).
As for the Victimae Paschali Laudes, it serves as a lyrical interpretation of the truths surrounding the Resurrection and the significance it holds. In the melody, Mary Magdalene recounts her encounter with the vacant tomb, the grave linens and face covering, angels bearing witness, and her personal experience of the Lord’s rising. The theological insights are numerous and intricately intertwined: The Lamb has bought back the sheep, Christ has restored our relationship with the Father, death and life engage in a magnificent struggle, and Christ emerges triumphant and completely alive; may Christ our hope, genuinely risen, show us mercy.
Regarding the lector delivering it, that was not particularly optimal. If a hymn isn’t performed, it is preferable to leave it out. They were written with the intent to be sung. It resembles reciting the National Anthem or the tune “Happy Birthday.”
Msgr. Charles Pope is the pastor of Holy Comforter-St. Cyprian in Washington, D.C., and writes for the Archdiocese of Washington, D.C. at blog.adw.org. Send questions to msgrpope@osv.com.
