the cathar crucifix - The Shroud of Turin

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53 “In order to deride and offend the cross of Christ, they have an image of the crucified one with one foot on top of the other and one nail through both feet… In these same times the heretics made a crucifix…with one foot nailed on top of the other and so there were only three nails.” Lucas of Tuy, Book II, Chapter 9. 54 The heretics had “affirmed with no authority to back them that…the lance had pierced his left side and not the right…” Lucas of Tuy, Book II, Chapter 11. 55 Modern knowledge of Cathar theology seems to be limited to tenets that directly conflicted with orthodox doctrine. Oldenbourg, p. 33. 56 “Holy images were no more than idols, and relics worse still—mere bits of crumbling bone, wooden splinters or scraps of cloth being picked up any old where, and passed off by a pack of plausible rogues as parts of saints’ bodies or other venerable objects. Those who bowed before such objects were adoring matter, and matter was the Devil’s handiwork.” Oldenbourg, p. 37. The Cathars rejected relics as devices through which salvation could be procured. Lea, p. 93. In the Synodikon of Bulgaria’s Tsar Boril, datable to 1211, the Council of Trnovo made this declaration against the Bogomil brethren of the Cathars: “To those who reject the adoration of the precious and life-giving cross, and the sacred and holy icons, anathema”. Hamilton, Christian Dualistic Heresies, p. 262. 57 “An image that is painted of the Savior after he took on humanity should be venerated even more by the faithful as the form of the Son of God taken from his mother is much more worthy than any other.” Lucas of Tuy, Book II, Chapter 20. 58 Costen, p. 62. 59 Costen, pp. 63-64. 60 Lucas of Tuy, Book III, Chapter 22. 61 Costen, p. 65. Lucas of Tuy, Book II, Chapter 11. 62 The Cathars considered the Eucharist, and all of the other sacraments, to be vain and useless. Warner, Vol. 1, p. 31. 63 To this heretical view, Lucas replied: “The first and foremost of the Church's sacraments on account of its dignity is the consecration of the body and blood of the Lord, the Church's way, with the ministry of a priest, by which bread is transubstantiated into the flesh of Christ and wine into his blood.” Lucas of Tuy, Book II, Chapter 1. 64 Lea, p. 93. Costen, p. 65. 65 Oldenbourg, p. 37. 18
66 Joinville, p. 15. Amaury de Montfort led the Albigensian Crusade between 1218 and 1224. While the precise date and circumstances of this invitation remain unknown, the preeminent Cathar bishop, Guilhabert de Castres, was in Castelnaudary during Amaury's eight-month siege of that city in 1220-1221. Strayer, pp.119-120. Sumption, p. 228. 67 “Dogmatic reasons alone, that is, the reduced fear of Arian and Apollinarist misinterpretation or the apologetic efforts against Monophysitism cannot explain the sudden popularity of crucifixion scenes in the later 6 th century.” Schacher, p. 487. 68 Wilson, The Shroud of Turin, pp. 126-147. 69 Markwardt, Jack, The Fire and the Portrait, British Society for the Turin Shroud Newsletter, No. 48, p. 18 (December, 1998). Shroud of Turin Website Library, http:\\www.shroud.com (1998). 70 “…Christian art for a long time objected to stripping Christ of his garments…”. Marucchi, p. 529. 71 An interpolation made, at that time, to a papal sermon refers to Christ having left an image of his entire body on a cloth. Wilson, The Shroud of Turin, pp. 157-158. 72 The lance wound made a particular impression upon Gregory, archdeacon of Constantinople’s Hagia Sophia Cathedral, since he mentions, in a sermon delivered upon the cloth’s arrival in 944, that the image had been embellished by blood drops “from his very side”. See Wilson, The Blood and the Shroud, p. 154. 73 The dead Christ is so depicted on a Byzantine ivory found in the Victoria and Albert Museum and in the Stroganoff reliquary in St. Petersburg, both datable to ca. 1100. See Wilson, The Blood and the Shroud, p. 270. 74 “…All this was done from artistic motives, to bring about a more moving and devotional pose.” Marucchi, p. 529. 75 “These changes were connected with a more intimate and emotional piety inspired by the writings of St Bernard and St Francis and later also by the 14 th -century mystics.” Oakes, p. 211. “In the 13 th century the development of Franciscan theology, stressing Christ’s humanity, and the renewal of Byzantine artistic influences prompted not only the transition from a triumphant to a suffering Christ but also the changes in number and arrangement of secondary figures and scenes.” Jones, p. 211. 76 Wilson, The Shroud of Turin, pp. 179-192. 77 Wilson, The Shroud of Turin, pp. 177-178. 19
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