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on relics,23 Chifflet time and again raised potentially problematic points in his argument for the local shroud and tried to resolve them in a convincing man- ner. Clarification was needed, for instance, of why the Besançon linen showed both face and body of Jesus and also why no traces were visible of bandages tying hands and feet. In Jewish burial, according to Chifflet’s interpretation of his various sources and mainly of the Gospel of John, the so called “su- darium of the head” actually covered all of the anterior body and the head, and the sepulchral bandages were not tied just to the extremities but instead wrapped around the whole body up to the neck after it had been enveloped in the sudarium, thus leaving visible the head covered by the cloth.24 To aid the readers’ comprehension of the interpretation of the Gospel text he was proposing, Chifflet had an illustration of the dramatic scene of the raising of Lazarus included in the chapter. The engraving, of a painterly quality, was executed and signed by Cornelis Galle, a well-known illustrator and the son of the major Antwerp editor of prints, Philips Galle (fig. 2). The figure of Lazarus, still tied in the bandages and with the underlying cloth covering his head, forms the intriguing center of the composition, standing near an opening in the ground that indicates the tomb he has just stepped out from. His two sisters, Mary and Magdalene, and many others surround him, all witnessing the miracle worked by the luminous figure of Jesus depicted on the right. A quotation from John (11:43–44) served as a caption for the image: “Je- sus voce magna clamavit, Lazare veni foras, et statim prodijt, qui fuerat mor- tuus, ligatus pedes et manus institis, et facies eius sudario erat ligata.” (“And when he thus had spoken, he cried with a loud voice, Lazarus, come forth. And he that was dead came forth, bound hand and foot with graveclothes: and his face was bound about with a napkin. Jesus saith unto them, Loose him, and let him go.” KJV) Chifflet in this instance, too, explicitly commented on his purpose- ful inclusion of an illustration. In the sentence immediately preceding Galle’s en- graving, he declared himself convinced that the picture would, as a sensory per- ception, facilitate an understanding of the event.25 That the body of Christ after the washing and anointing was wrapped in a linen fabric and then in bandages this very way would also explain the length of the Besançon shroud, which at 8 feet was only half the length of the Turin piece. Still following the description in 23 Chifflet specifically refers to Jean Calvin’s Traité des reliques (Genève: Pierre de la Rovière, 1543) in chapter 7. On Calvin’s tract cf. Fabre/Wilmart 2009. 24 Chifflet 1624, 35–36. Chifflet discussed the miracle of Lazarus’ resurrection as described by John. At the same time he pointed to a specific use of language by erudite authors such as Hippocrates and Galen who used the words “hands” and “feet” as a pars pro toto for the upper and the lower body respec- tively. 25 Chifflet 1624, 39: “Sensum nostrum iuvabit haec pictura, Lazarum voce Christi suscitatum, et vinculis nondum solutum exprimens.” Between Erudition and Faith | 55www.jrfm.eu 2019, 5/1