It’s Good Friday—Time to Roll Out Obscure Gnostic Propaganda

Mary Magdalene Praying, a 19th century painting by Ary Scheffer

No surprise here:  The BBC has chosen the noon hour on Christianity’s most reverent of days, Good Friday, to air a documentary suggesting that Jesus had a sexual relationship with Mary Magdalene.

In the program, author and broadcaster Melvyn Bragg relies on accounts from the Gnostic Gospel of Mary, in which Jesus kisses his friend and disciple Mary Magdalene on the mouth and may, in fact, have taken her as his wife.   Bragg, who calls himself a Christian, believes that Jesus’ intimate relationship with Magdalene was “airbrushed” out of the four gospels in the canonical scriptures.

Bragg’s assertion that Mary had a sexual relationship with Jesus is a familiar meme:  It was the underlying motif in Martin Scorsese’s film The Last Temptation of Christ and, more recently, Dan Brown’s best-selling novel The DaVinci Code.

Clearly, Lord Bragg has a political agenda.  Referring to the project in an interview last week with The Daily Telegraph, Bragg spoke of the effect which revelations in his film might have on the Church.  “What then?” he asked.  “What then for the celibacy which has led the organized Church into so many abuses and crimes and distorted lives?”

Harsh Criticism

Bishop Nazir-Ali, Pakistan-born cleric who is the first non-white bishop in the Church of England, worried that the program could cause problems for Christians living in Muslim countries, where they already face persecution.  He asked why the network would choose noon on Good Friday to air such inflammatory, anti-Christian broadcast.

And Andrea Williams, director of the evangelical British group Christian Concern, chastised the BBC for its bewildering programming decision, calling for a letter-writing campaign by Christians, and demanding an orthodox program in response which is based on sound scholarship, rather than the “pseudo-scholarship” popularized by the Dan Brown novels.

A Faithful Alternative

The BBC’s silly propaganda piece is one more reason to tune in to Roma Downey and Mark Burnett’s serialized drama The Bible, the last episode of which airs on The History Channel on Easter night.  Whether you like the casting of a “beefy model” as  Jesus or the head-turning transitions from one Bible story to another, you’ve got to admit:  The project really attempts to be faithful to Scripture in its presentation of Old and New Testament stories.

The Sudarium of Oviedo: The “Other Shroud” of Jesus

And so Simon Peter also came, following him, and entered the tomb; and he saw the linen wrappings lying there, and the face-cloth which had been on His head, not lying with the linen wrappings, but rolled up in a place by itself.

John 20:6-7

What exactly are we talking about here?

The “linen wrappings”—well, that’s the shroud, what has become known as the Shroud of Turin.  But what about this “face cloth” that was rolled up in a separate place?

It was Jewish custom at the time of Jesus’ burial to first clean and cover the face, as a sign of respect and compassion for the family.  Mourners would then cover the body with fragrant herbs and wrap it in a shroud, or burial cloth.  When Jesus rose from the dead, it is believed, he set aside the face cloth before emerging from the tomb.

This small linen napkin, measuring approximately 2¾ feet by 1¾ feet, is called the Sudarium (Latin for “face cloth”).  It was preserved from the time of the crucifixion in a reliquary; however, the two linens were separated—eventually being carried to other countries.  The Sudarium made its way to the town of Oviedo, in north-central Spain, where it has been venerated for centuries.  In 840 A.D., King Alfonso II of Asturias erected a chapel to protect the Sudarium, which was enshrined in an elaborate reliquary chest called the Arca Santa.

The Sudarium is now housed in a reliquary with a Romanesque metal frontal, and is displayed for the public in Oviedo three times each year:  on Good Friday, on the Feast of the Triumph of the Cross (September 14), and on the octave of the feast (September 21).

The Sudarium has assumed importance in recent years for two reasons:

THE HISTORY OF THE SUDARIUM  HELPS TO CONFIRM THE SHROUD’S AUTHENTICITY

Unlike the Shroud (called a “sindon” in New Testament Greek), it has never been missing, so there’s no question regarding its ancient origin.

  • Notorious carbon dating of the Shroud of Turin placed its date of origin in the 1300s, meaning that—if this controversial reading were correct—it would be nothing more than a pious forgery.
  • On the other hand, the Sudarium—which has been in the possession of the Knights Templar, the Moors, El Cid, saints and bishops—is known to have been in Spain since 631 A.D.   Before that it was, according to an account by Antoninus of Piacenza, hidden in a cave near the monastery of St. Mark, not far from Jerusalem.  When Persian forces invaded the Byzantine provinces in 614, the oak case in which the Sudarium was kept was spirited out of Palestine through northern Africa by Philip “the Presbyter,” a leader of the Christian community in Palestine.  Philip and his precious cargo were welcomed to Alexandria by John the Almoner, bishop of Alexandria at the time.  When the Persians pushed on into Egypt, the chest was carried into Spain and entrusted to St. Fulgentius, who sent it on to Seville.  The Ark was carried from Toledo north to Monte Sacro in Asturias in 711 A.D., to escape the advancing Moors.  It was there that King Alfonso II turned back the Moors and erected a Camara Santa (holy chamber) to shelter the relics.  King Alfonso had the ancient oak chest plated with silver with the inscription “The Sacred Sudarium of Our Lord Jesus Christ.”

SIMILARITIES BETWEEN THE SHROUD AND THE SUDARIUM

The Sudarium also helps to authenticate the Shroud of Turin because of notable similarities between the two cloths.

  • Of prime importance, the blood and lymph stains on the two cloths match—both are type AB, which was uncommon among medieval Europeans but is a common blood type in the Middle East.
  • The material used in the two cloths is identical, although there are differences in the manner of weaving.
  • Pollen residues on the Shroud and the Sudarium both provide evidence that the cloths were in the same region of Palestine.
  • Stains on the two cloths would also seem to match.  Because of the way the Sudarium would have covered the head, there is no clear face print—but there are remarkable correlations between stains on the two cloths.  The Sudarium would have been wrapped over the head of Christ while his relatives waited for permission to remove the body; and so the stains show that the body was held in a vertical position with the head dropping back.  At the back of the head, the cloth shows blood from deep puncture wounds, similar to the wounds on the Shroud of Turin, which may have been made by the crown of thorns.
  • A second, overlaying stain was produced by fluids excreted from the nostrils when the body was lain horizontally.  According to the Investigation Team from the Spanish Centre for Sindology, which has been studying the Sudarium since 1989, this second set of stains is composed of one part AB-type blood and six parts oedemal fluid.  This fluid proves, according to scientists, that the victim died from asphyxiation—which is the cause of death for people who are crucified.
  • Comparing the cloth to the Shroud of Turin, one researcher has identified 70 points of correlation on the front of the Sudarium and 50 on the back. Dr. Alan Whanger, professor emeritus from Duke University, used a Polarized Image Overlay Technique to demonstrate correlations between the two cloths.

WHAT DOES THIS MEAN FOR THE BELIEVER?

Well, as is the case with the Shroud, the Christian is not compelled to believe in the authenticity of the Sudarium of Oviedo.  Its existence, though, does help to prove that the image on the Shroud which has become so familiar to us is, in fact, that of a man who died by crucifixion in the first century A.D.

It is an inspiration for prayer, and an encouragement for faith.

Now the Servant’s Name Was Malchus…

“Faith is a never-ending pool of clarity, reaching far beyond the margins of consciousness. We all know more than we know we know. ”
–Thornton Wilder, The Eighth Day
“Then Simon Peter having a sword drew it, and smote the high priest’s servant, and cut off his right ear. The servant’s name was Malchus.”
–John 18:10-11

Thornton Wilder

Thornton Wilder, great American playwright and novelist, wrote often about faith.

In 1928 he published a book of “playlets” (what Wilder described as “three-minute plays for three persons”) titled The Angel That Troubled the Waters and Other Plays. He conceded that almost all the playlets were religious—but only, he noted, “religious in that dilute fashion that is a believer’s concession to a contemporary standard of good manners.”
In other words, he wanted to explore religious themes without appearing preachy or didactic. He was adamant that he wanted, not to coerce the minds of his readers, but to “stand the biblical story on its head”—to shake up the language and present it new and fresh. He believed that beauty, not argumentation, is the only way to persuade an individual to examine issues of faith.
Wilder (or “Thorny,” as he called himself) came to mind today because of the Gospel reading about Malchus, the servant whose ear Peter severed in that dramatic scene in the Garden of Gethsemane. One of the odd little playlets in Wilder’s The Angel That Troubled the Waters is titled “Now the Servant’s Name Was Malchus.”

God and Malchus, in a performance by the Keen Company

Wilder’s Malthus—a minor character in Scripture whose name is mentioned only in that ear-cutting incident in John 18—is quite a troublemaker in Heaven.

He makes a pest of himself trying to get in to see the Lord. Finally getting past the Angel Gabriel, who’s serving as doorkeeper in Heaven, he asks the Lord to remove him from the Bible. The Lord grants Malthus’ request, but then persuades him to change his mind.