S&V - Pages 122-123
The first indisputable appearance of the funeral linen having the image of Christ dates back the middle of XIVe century in Lirey, near Troyes, in the collegial Our-Lady founded by Geoffroy the First of Charny. The historian Paul-Eric Blanrue reports in a very documented book that alerted by the arrival of a great number of pilgrims and by the account of miracles occurring at the time of the public presentations of the relic, the bishop of Troyes, Henri of Poitiers, carried out the investigation.

However, its successor at the bishopric in 1377, Peter of Arcis, told in a report how the ecclesiastic « discovered the forgery and the way in which this famous linen had been painted by an artistic process; it was proven, by the artist who painted it, that it was work due to the hand of the man and not miraculously made or given ».

However the identity of the forger did not arrive to us. At the time, the canons refused to be parted from the shroud. The public presentations began again under Peter of Arcis, who called out the pope. At the end of a long procedure, in 1390, Clement VII promulgated three bubbles (found in the files of the Vatican) giving reason to the bishop, but authorizing the public presentations of the aforesaid « image » provided that the believers are informed on its true nature.

VSD - Page 26
At the head of the authenticity adversaries, one finds the canon Ulysses Chevalier, for whom the shroud is only a medieval painting. He relied primarily on a report of the bishop of Troyes, Peter of Arcis, dated back to approximately 1390, and which affirms that the shroud is a pictorial work carried out by an artist who had confessed it to his predecessor, Henri of Poitiers.

Besides the fact that this memory, neither dated nor signed, has an authenticity considered today as doubtful and that no trace was never found of this painter, this thesis is taken by the scientists because what science is not able to explain does not exist.