Sunday, December 1, 2024

History of the Shroud (1) #50: The evidence is overwhelming that the Turin Shroud is Jesus' burial sheet!

HISTORY OF THE SHROUD (1) #50

Copyright © Stephen E. Jones[1]

This is the tenth installment of #50, "History of the Shroud (1)," of my series, "The evidence is overwhelming that the Turin Shroud is Jesus' burial sheet!" This post is based on my "Chronology of the Turin Shroud: Fourteenth century (2)." For more information about this "overwhelming" series, see the "Main index #1." I have decided to alternate between "Prehistory of the Shroud AD 30-1354" and "History of the Shroud 1355-" This latter will help me write Chapter "11. History of the Shroud" of my book in progress, "Shroud of Turin: Burial Sheet of Jesus!" See 06Jul17,

[Right (enlarge): The planned cover of my book.]

03Jun18, 04Apr22, 13Jul22, 8 Nov 22 & 20Jun24. The in-line references which clutter these posts are for me to choose from for the numbered endnotes in the book.

Newcomers start with: "The Turin Shroud in a nutshell"

[Main index #1] [Previous: Prehistory of the Shroud (6) #49] [Next: To be advised]

c.1355 First exposition of the Shroud in undisputed history at Lirey,

[Left (enlarge)[RCF]: Rebuilt Church of St. Mary, Lirey, France. It was on these grounds in c.1355 that the Shroud was first exhibited in undisputed history [OM10, 50].

France by Geoffroy I de Charny (c.1300–56) and his wife Jeanne de Vergy (c.1332–1428)[OM10, 4, 49; WI10, 221-222, 302.]. This date is based on a 1389 memorandum by the then Bishop of Troyes, Pierre d'Arcis (r. 1377-95) [see "1389d"], to Pope Clement VII (r. 1378-94), which stated that the Shroud had been exhibited in Lirey "thirty-four years or thereabouts" previously[HT78, 99; WI79, 91; WI98, 111; GV01, 14; OM10, 52; WI10, 228], that pilgrims were told it was "the true shroud of Christ" and that "from all parts people came together to view it"[WI79, 268; GV01, 14; OM10, 53; DT12, 14].

c.1355-56 Pilgrim's badge or medallion in the Cluny Museum, Paris[AF82, 30-31; WI98, 127; OM10, 49], from the first exposition

[Above (enlarge): Lead pilgrim's badge or medallion in the Cluny Museum, Paris[LM12] from the first undisputed exposition of the Shroud at Lirey, France from c.1355-56[WI10, 221-222].]

of the Shroud at Lirey, France, in c.1355-56. It was found in 1855[WI98, 127-127; AM00, 150] by a French archaeologist, Arthur Forgeais (1822-78), in the mud of the Seine River, Paris[BB91, 245; WI91, 194; WI98, 126-127; TF06, 42], under the Pont au Change bridge[WI79, 194; WM86, 5]. Forgeais found hundreds of pilgrim's medallions to various holy places at that location (but only one of the Lirey Shroud exposition), which indicates it was a pilgrim `wishing well' site[FA12]. The badge depicts the actual Lirey exposition[BB91, 245; SJ03, 12], with the arms and hands of two clerics holding the Shroud[WI79, 194; AF82, 31; WI98, 127; WI10, 221], whose heads and arms have broken off[BB91, 246; WI98, 127; GV01, 103]. Also depicted is the exposition platform and its support posts on either side[SJ03, 12], the tops of which have also broken off. The clerics are holding a full-length, front and back, head-to-head depiction of the Shroud[WI79, 224D; AF82, 30-31; MW86, 96; WM86, 5; WI98, 127; GV01, 103; TF06, 42; WI10, 302-303], the first known[WI79, 224D; AF82, 30-31; WM86, 5; WI91, 21; WI98, 127; WI10, 303]. The man on the Shroud is depicted fully naked, front and rear, with his hands crossed covering his genitals[WI98, 127; GV01, 103]. Under the Shroud is a depiction of the reliquary in which the Shroud was then kept[BB91, 246; GV01, 103]. That this is a depiction of the Shroud's reliquary and not simply a depiction of the de Charny and de Vergy coats of arms solves the apparent problem[WI98, 253-254] of Jeanne's coat of arms seeming to be on the right and Geoffroy's on the left[OM10, 49; WI10, 222]. The roundel in the centre represents the empty Tomb[WI79, 224D; WM86, 5; WI98, 127; GV01, 103; SJ03, 12; AM00, 15; WI10, 221], and around it are instruments of the Passion: a flagrum, the scourging column, the lance, pincers, nails, and the cross upon which is hung the crown of thorns[BB91, 246; GV01, 103; SJ03, 12]. Despite the small (about 6.2cm. by 4.5cm. (or 2½ in. by 1¾ in.) size of the badge[WI98, 126; SJ03, 12; WI10, 221; FA12], "little bigger than a large postage stamp"[WI98, 126], the mold-maker even depicted the Shroud's herringbone weave[GV01, 103; SJ03, 12; FA12; WI10, 221] [see 16Jul15]. The Cluny Museum dates this badge as 1357[WI79, 224D; MW86, 97; WM86, 5; GV01, 103] but it seems unlikely that the exposition began, or continued, after Geoffroy I's 19 September 1356 death in the Battle of Poitiers [see "1356c"]. Not only would Jeanne have been grieving the death of her husband, King John II had been captured [see "1356d"], the French army had been decimated and roving bands of English "companies" remained behind in France after the Battle of Poitiers [see "1356e"], looting defenceless French towns, which would have made it too dangerous for pilgrims to travel, let alone the danger to the Shroud [see "1358a"].

1356a In a letter dated 28 May 1356[BW57 9; WI79, 90, 193; CN84, 65; CN88, 49; SD89, 15-16; BB91, 242; WI91, 20; WI98, 128; GV01, 10; TF06,42; WI10, 224], Bishop Henri de Poitiers (r. 1354–70), writing from his diocese of Aix/Gap-Embrun (r. 1349-53)[WI98, 278; WI10, 224, 229] formally ratified Geoffroy I's letters instituting the Lirey church, praised him and approved its "divine cult":

"Henri, by the grace of God and of the Apostolic See, confirmed bishop elect of Troyes, to all those who will see this letter, eternal salvation in the Lord. You will learn what we ourselves learned on seeing and hearing the letters of the noble knight Geoffroy de Charny, Lord of Savoysy and of Lirey, to which and for which our present letters are enclosed, after scrupulous examination of these letters and more especially of the said knight's sentiments of devotion, which he has hitherto manifested for the divine cult and which he manifests ever more daily. And ourselves wishing to develop as much as possible a cult of this nature, we praise, ratify and approve the said letters in all their parts a cult which is declared and reported to have been canonically and ritually prescribed, as we have been informed by legitimate documents. To all these, we give our assent, our authority and our decision, by faith of which we esteem it our duty to affix our seal to this present letter in perpetual memory. Given in our palace of Aix of our diocese in the year of Our Lord 1356, Saturday, the 28th of the month of May" (my emphasis)[BB91, 242; WI91, 20; WI98, 128; GV01, 11; WI10, 224].
In Roman Catholic theology, a "cult" is devotion or veneration other than to God[CRW], so Henri can only be referring to the Shroud with approval because the new Lirey church didn't have any other "cult":
"Although there is no mention of a Shroud in this letter, the bishop congratulates de Charny on his `devotion ... for the divine cult' and his own wish to `develop as much as possible a cult of this nature.' The repeated references to this cult could only refer to the sacred object housed in the church and not the church proper, thereby suggesting that the Shroud was in Lirey by 1356. This document, which is kept in the archive of Aube, Lirey, is the only genuine act of Bishop Henri de Poitiers that can be authenticated"[GV01, 10-11].
1356b On 19 September 1356 the Battle of Poitiers was fought at

[Right (enlarge): Battle of Poitier at Nouaillé-Maupertuis in 1356, in the Chronicles of Froissart, c.1470[FBP]. The mounted French knights in armour (right) were no match for the longbows of the English foot-soldiers[ WI79, 199; HJ83, 18; OM10, 47; WI10, 224].]

Nouaillé, near the city of Poitiers in Aquitaine, western France[BPW]. An English army led by Edward, the Black Prince (1330–76)[AF82, 44; CN88, 49], defeated a much larger French army led by King John II (r. 1350–64)[WI79, 199; AM00, 151; BPW]. The loss included the capture of King John II[WI98, 278; BPW], his son Philip II (1342–1404)[PTW], and much of the French nobility[BPW]. The effect of the defeat on France was catastrophic, leaving the country in the hands of the 18 year-old Dauphin, and future King, Charles V (r. 1364-80)[BPW; CVW].

1356c Death of Geoffroy I de Charny on 19 September 1356 in the Battle of Poitiers[AF82, 44; GV01, 12; GNW]. He died, Oriflamme in hand[CN88, 49; WI98, 278; RC99; 64], interposing his body between an English lance and his king[WI79, 91; CN88, 49; WI91, 21; WI98, 278; RC99; 64]. Geoffroy's body is buried in a nearby graveyard[WI98, 278] but 14 years later, in 1370, his gallantry was publicly recognized in a state funeral when his remains were reburied in the Abbey of the Celestins in Paris[WI79, 91; CN88, 49; WI91, 21] [see future "1370"].

1356d King John II was taken captive in the same Battle of Poitiers[JTW]. The Treaty of Brétigny in 1360 set John's ransom at 3 million crowns, so leaving his son Louis I, Duke of Anjou (1339–84) in English-held Calais as hostage[LNW], John returned to France to raise the funds[JTW]. However in 1363 Louis escaped[LNW] and John, for reasons of "good faith," voluntarily returned to England[JTW], where he died in 1364 and his body was returned to France[JTW].

1356e Marauding bands of English soldiers, called "companies," after the Battle of Poitiers, began roaming the French countryside, looting defenceless towns and castles[OM10, 51]. The two largest companies were led by French archpriest Arnaud de Cervole (c. 1320-66) and English knight Sir Robert Knolles (c. 1325-1407)[OM10, 51].

1357 In June twelve bishops of the pontifical court at Avignon grant indulgences to all who visit the church of St Mary of Lirey and its relics[WI98, 278; GV01, 12; OM10, 52]. However, the Shroud is not listed as a relic of the Lirey church[BB91, 245]. And never was[RTB], because it was the private property of the de Charnys[RTB],. See 16Feb15, 20Jun18 & 09Nov18, where Geoffroy I's granddaughter, Marguerite de Charny (1390-1460) , refused to return the Shoud to the canons of the Lirey church becuase it was "conquis par feu" ("conquered by fire"), that is a "spoil of war" of Geoffroy I (presumably conferred on him by King Philip VI (1328-50) - see 10Feb18).

1358a A "company" (see "1356e") under English knight Robert Knolles (c.1325–1407) attempts to capture Troyes, but under the leadership of Bishop Henri de Poitiers, the attack fails[OM10, 51]. Lirey is only ~12 miles (~19 km) from Troyes[WM86, 11; CN88, 37; WI98, 129; RC99, 65; AM00, 151; SJ03, 13; OM10, 51.] and such a valuable and well-known religious artifact as the Shroud would have been a prime target for one of the companies, so presumably it had already been taken to a safer region of France[WI10, 229].

1358b In May there began a short-lived, but widespread peasants' revolt, known as the Jacquerie[JQW], which spread into Lirey's Champagne region, and although it was directed primarily against the nobility in manors and castles (which included Jeanne's), there was also indiscriminate looting[WM86, 81; WI98, 278; OM10, 50; WI10, 229].

To be continued in the eleventh installment of this post.

Notes:
1. This post is copyright. I grant permission to extract or quote from any part of it (but not the whole post), provided the extract or quote includes a reference citing my name, its title, its date, and a hyperlink back to this page. [return]

Bibliography
AF82. Adams, F.O., 1982, "Sindon: A Layman's Guide to the Shroud of Turin," Synergy Books: Tempe AZ.
AM00. Antonacci, M., 2000, "Resurrection of the Shroud: New Scientific, Medical, and Archeological Evidence," M. Evans & Co: New York NY.
BA91. Berard, A., ed., 1991, "History, Science, Theology and the Shroud," Symposium Proceedings, St. Louis Missouri, June 22-23, 1991, The Man in the Shroud Committee of Amarillo, Texas: Amarillo TX.
BB91. Bonnet-Eymard, B., "Study of original documents of the archives of the Diocese of Troyes in France with particular reference to the Memorandum of Pierre d'Arcis," in BA91, 233-260.
BPW. "Battle of Poitiers," Wikipedia, 28 October 2024.
BW57. Bulst, W., 1957, "The Shroud of Turin," McKenna, S. & Galvin, J.J., transl., Bruce Publishing Co: Milwaukee WI.
CN84. Currer-Briggs, N., 1984, "The Holy Grail and the Shroud of Christ: The Quest Renewed," ARA Publications: Maulden UK.
CN88. Currer-Briggs, N., 1988, "The Shroud and the Grail: A Modern Quest for the True Grail," St. Martin's Press: New York NY.
CRW. "Cult (religious practice)," Wikipedia, 27 November 2024.
CVW. "Charles V of France," Wikipedia, 7 November 2024
DT12. de Wesselow, T., 2012, "The Sign: The Shroud of Turin and the Secret of the Resurrection," Viking: London.
FA12. Foster, A., 2012, "The Pilgrim's Medallion / Amulet of Lirey," BSTS Newsletter, No. 75, June.
FBP. "File:Battle-poitiers(1356).jpg," Wikimedia Commons, 11 October 2024.
GNW. "Geoffroi de Charny," Wikipedia, 15 September 2024.
GV01. Guerrera, V., 2001, "The Shroud of Turin: A Case for Authenticity," TAN: Rockford IL.
HJ83. Heller, J.H., 1983, "Report on the Shroud of Turin," Houghton Mifflin Co: Boston MA.
HT78. Humber, T., 1978, "The Sacred Shroud," [1974], Pocket Books: New York NY.
JQW. "Jacquerie," Wikipedia, 23 August 2024.
JTW. "John II of France," Wikipedia, 18 November 2024.
LM12. Latendresse, M., 2012, "A Souvenir from Lirey," Sindonology.org.
MW86. Maher, R.W., 1986, "Science, History, and the Shroud of Turin," Vantage Press: New York NY.
LNW. "Louis I of Anjou," Wikipedia, 8 November 2024.
OM10. Oxley, M., 2010, "The Challenge of the Shroud: History, Science and the Shroud of Turin," AuthorHouse: Milton Keynes UK.
PTW. "Philip the Bold," Wikipedia, 26 November 2024.
RC99. Ruffin, C.B., 1999, "The Shroud of Turin: The Most Up-To-Date Analysis of All the Facts Regarding the Church's Controversial Relic," Our Sunday Visitor: Huntington IN.
RCF. "Lirey, France," Google Street View, August 2008.
RTB. Reference(s) to be provided.
SD89. Scavone, D.C., 1989, "The Shroud of Turin: Opposing Viewpoints," Greenhaven Press: San Diego CA.
SJ03. Scott, J.B., 2003, "Architecture for the Shroud: Relic and Ritual in Turin," University of Chicago Press: Chicago & London.
TF06. Tribbe, F.C., 2006, "Portrait of Jesus: The Illustrated Story of the Shroud of Turin," Paragon House Publishers: St. Paul MN, Second edition.
WI79. Wilson, I., 1979, "The Shroud of Turin: The Burial Cloth of Jesus Christ?," [1978], Image Books: New York NY, Revised edition.
WI91. Wilson, I., 1991, "Holy Faces, Secret Places: The Quest for Jesus' True Likeness," Doubleday: London.
WI98. Wilson, I., 1998, "The Blood and the Shroud: New Evidence that the World's Most Sacred Relic is Real," Simon & Schuster: New York NY.
WI10. Wilson, I., 2010, "The Shroud: The 2000-Year-Old Mystery Solved," Bantam Press: London.
WM86. Wilson, I. & Miller, V., 1986, "The Evidence of the Shroud," Guild Publishing: London.

Posted 1 December 2024. Updated 12 December 2024.

Tuesday, November 26, 2024

Image of Edessa: There is a circular area around the Shroud face!: Turin Shroud Encyclopedia

Copyright © Stephen E. Jones[1]

Newcomers start with: "The Turin Shroud in a nutshell"

[Index #1] [Previous: Gabriel Vial #31] [Next: To be advised]

As promised in my previous post, this is "Image of Edessa: There is a circular area around the Shroud face!," part #32 of my Turin Shroud Encyclopedia. For more information about this encyclopedia, see part #1.

[Right (enlarge): The Shroud after the 2002 restoration[SU14]. Note the lighter coloured circular `halo' around the man's head, within a lighter rectangle. Only tonight (26 Nov 24) did I discover the article, Soons, P., 2014, "The Halo Around The Head In The Image Of The Man On The Shroud," 10 October. However, my claims about the `halo' are different from Soons'.].

Image of Edessa/Shroud It is Ian Wilson's theory, which I and most Shroudies accept, as far as I know, that the Image of Edessa/Mandylion was the Shroud folded in eight, with the face one-eighth, uppermost (see my "Tetradiplon and the Shroud of Turin"). Here is an early quote by Wilson in support of his theory:

"If the Shroud was the Mandylion, was this the manner in which it appeared in the early centuries? This speculation takes on more credibility in the light of a piece of information gleaned from a text of the sixth century, the period when the Mandylion first came to light in Edessa. The text gives a description of how the image was thought by those of the time to have been created by Jesus on the linen of a cloth he had used to dry his face. This text, as translated in Roberts and Donaldson's voluminous Writings of the Ante-Nicene Fathers, at first sight seems totally uninformative: `And he ... asked to wash himself, and a towel was given to him; and when he had washed himself he wiped his face with it. And his image having been imprinted upon the linen ... ' But, as a footnote reveals, one word in the passage gave the translators some difficulty. In order to convey the sense evident from the description, they used the word `towel.' But they were careful to point out that this is not the literal meaning of the strange Greek word used in the original text. The actual meaning is `doubled in four.' 16 The discovery is intriguing. Could the sixth-century writer have been trying to convey that the cloth he saw was literally `doubled in four' - i.e., that it was a substantially larger cloth, the folds perhaps being actually countable at the edges but otherwise inaccessible? The only logical test is to try to `double in four' the Turin Shroud to see what effect is achieved. This is not a difficult task. One simply takes a full-length print of the cloth, doubles it, then doubles it twice again, producing a cloth `doubled in four' sections. The head of Christ appears on the uppermost section, curiously disembodied, exactly as on artists' copies of the Mandylion. Furthermore, it appears on the cloth in landscape aspect, again exactly as on artists' copies of the Mandylion. It takes little imagination or artistic license to visualize the cloth as it would have been without the burn marks of the 1532 fire. There lies the most convincing original of all the various artists' copies of the Mandylion, the true and only cloth `not made by hands.'"[WI79, 120-121].

16. "The actual word used in the Acta Thaddaei is tetradiplon... "[WI79, 307]

However, as objected by the Professor of Italian at Birmingham University, Philip McNair (1974–94), "If the Shroud spent more than half its life as the Mandylion, there should be a circular area around the face of Christ which is more yellowed than the rest of the cloth: but this is not the case":
"Mr Wilson argues that the Mandylion was the Shroud of Christ so folded up and protected by ornamental trellis that only the image of the face was displayed. His hypothesis, presented with a wealth of circumstantial evidence, is as attractive as it is unconvincing; for, although it would have explained so much, it is fraught with difficulties which many critical readers will find insuperable. One is purely practical, and might occur to any housewife. If a linen sheet is folded and protected so that only a small part of it is exposed to the air, after several centuries that part is likely to have suffered discoloration. If the Shroud spent more than half its life as the Mandylion, there should be a circular area around the face of Christ which is more yellowed than the rest of the cloth: but this is not the case"[MP78, 37].
There are two fallacies in McNair's objection. The first is that the Shroud's years as the Image of Edessa are not the same as it having been "exposed to the air." As Stevenson and Habermas point out, "... perhaps the Mandylion was never exposed to the open air and sunlight often enough to become visibly discolored":
"But perhaps the Mandylion was never exposed to the open air and sunlight often enough to become visibly discolored. If the Shroud and the Mandylion are indeed the same, then the Shroud was hermetically sealed in the Edessa city wall for 500 years, and later kept in a reliquary where it was removed only twice a year in Edessa and only once a year in Constantinople. Private showings of the Mandylion for dignitaries and artists would have been conducted indoors. So in the course of twelve centuries the cloth's actual exposure to heat, air, and sunlight may have amounted to only a few hundred days"[SH81, 25].
The second fallacy is contained in McNair's objection. If it would "occur to any housewife" that if the Image of Edessa was "exposed to the air" it would "suffer... discoloration," then it would have occurred to the Edessans, so they wouldn't have allowed that.

Moreover, since the Edessans regarded the Image of Edessa as "too holy for common gaze"[WI10, 201], an obvious way for them to both protect the face of the Image of Edessa/Shroud from becoming discoloured by exposure to air and light, as well as preserve its "too holy for common gaze" mystique, would be to place a depiction of the Image/Shroud's face over the actual face. Over centuries this would have the effect of slowing the face area's darkening relative to the rest of the cloth, causing it to appear lighter than the other areas!

The `acid test' which would falsify my theory if it was false, but doesn't, is STURP's 1978 raking light photograph of the Shroud which revealed a pattern of ancient foldmarks at one-eighth intervals [see 08Dec22], which is consistent with the Shroud having been "doubled in four" for much of its history.

[Left (enlarge): Diagram of STURP's raking light photograph of the Shroud. Note ancient foldlines D and E which enclose the man's face in landscape aspect, as it is in copies of the Image of Edessa (e.g. 23Aug12). And as can be seen above, those foldlines also enclose the lighter coloured halo around the Shroudman's face within a lighter rectangle!]

Below is a close-up of that lighter coloured `halo' around the Shroud face, within the lighter coloured rectangle, and a red rectangle approximating the boundaries of [Above: Extract of the face area of the 2002 Restoration full-length Shroud photograph above, within the approximate boundaries of foldlines D and E in STURP's raking light photograph above, drawn over it in a red rectangle.]

foldlines D and E drawn over it. That this is not an effect of the lighting of the 2002 Restoration photograph is proved by the same light coloured circular `halo' around the man's head, within a light colured rectangle, is evident, albeit less clear, in Shroud Scope's 2002 Durante pre-restoration photograph of the same area (see below).

[Above: Extract of the face area of Shroud Scope's Durante 2002 Vertical pre-restoration photograph, showing the same circular `halo' within a light-coloured rectangle, proving it really is there! Could this `halo' around the Shroudman's head be the origin of medieval depictions of Jesus with a halo around his head?].

Questions. 1. Why is the `halo' and the rectangle it is within, clearer on the 2002 Resoration photograph? During the 2002 restoration the white Holland cloth backing, sewn on in 1534, was removed. So in all Shroud photographs before the restoration the white backing would have been reflected through the weave of the cloth. This likely partially masked the contrast between the `halo' and its rectangle and the rest of the Shroud. 2. Why isn't the rest of the Shroud light-coloured, since it was also covered from light and air? As can be seen in this drawing below of the likely side view of the Image of Edessa, proposed by Classics Professor Prof. Robert Drews (1936-) (with a red line inserted by me), in which the Edessan clergy could see that the cloth was doubled in four, without seeing its full length (see 15Sep24).

[Right: Likely side view of the Image of Edessa, with red line added by me, to illustrate that if a depiction of the Image of Edesa (represented by the read line) was placed over the actual face of the Image of Edessa/Shroud, air could circulate through the rest of the doubled-in-four cloth, and so discolour it over time, but there would be very little air circulation between the depiction of the face and the face itself, protecting it from discolouration.]

So again (see 03Aug24), the claimed `bug' turned out to be a feature!

Notes:
1. This post is copyright. I grant permission to extract or quote from any part of it (but not the whole post), provided the extract or quote includes a reference citing my name, its title, its date, and a hyperlink back to this page. [return]

Bibliography
JP78. Jennings, P., ed., 1978, "Face to Face with the Turin Shroud ," Mayhew-McCrimmon: Great Wakering UK.
MP78. McNair, P., 1978, "The Shroud and History: Fantasy, Fake or Fact?," in JP78, 21-40.
SU14. "Image of Full 2002 Restored Shroud," High Resolution Imagery, Shroud University, 2014.
WI79. Wilson, I., 1979, "The Shroud of Turin: The Burial Cloth of Jesus?," [1978], Image Books: New York NY, Revised edition.
WI10. Wilson, I., 2010, "The Shroud: The 2000-Year-Old Mystery Solved," Bantam Press: London.

Posted 26 November 2024. Updated 12 December 2024.

Saturday, November 9, 2024

Prehistory of the Shroud (6) #49: The evidence is overwhelming that the Turin Shroud is Jesus' burial sheet!

PREHISTORY OF THE SHROUD (6) #49

Copyright © Stephen E. Jones[1]

This is #49, "Prehistory of the Shroud (6)," of my series, "The evidence is overwhelming that the Turin Shroud is Jesus' burial sheet!" This post is based on my "Chronology of the Turin Shroud: Eleventh century." For more information about this "overwhelming" series, see the "Main index #1."

Newcomers start with: "The Turin Shroud in a nutshell"

[Main index #1] [Previous: Prehistory of the Shroud (5) #48] [Next: History of the Shroud (1) #50]

A major criticism of Ian Wilson's theory that the of Image of Edessa/Mandylion was the Shroud folded in eight, with only the face one-eighth panel visible (see my "Tetradiplon and the Shroud of Turin"), is that there should be, but isn't, a circular area around the Shroud face which is darker than the rest of the cloth:

"Mr Wilson argues that the Mandylion was the Shroud of Christ so folded up and protected by ornamental trellis that only the image of the face was displayed ... [But] "If the Shroud spent more than half its life as the Mandylion, there should be a circular area around the face of Christ which is more yellowed than the rest of the cloth: but this is not the case"[MP78, 37].
In my next post I will present evidence that there is a circular area around the Shroud face, which has been hiding in plain sight!


Prehistory of the Shroud (AD 30-1354).

c. 1000 Assumed appearance of the Russian Orthodox cross, with its angled footrest, or suppedaneum[BW57, 47], with the left side higher than the right[BA34, 65]. This

[Right (enlarge[TDC]): Russian cross with angled footrest, late 12th century.]

followed the conversion to Christianity in 988 of Vladimir the Great (978-1015)[VGW] and the subsequent Christianisation of Russia, when missionaries came from Constantinople[BA34, 65-66] bringing a copy of the full-length Shroud, in `icon evangelism'[WI10, 184]. This matches the Shroud, in that the man on the Shroud's left leg (which when facing the Shroud appears to be his right leg because of left-right reversal[BA34, 64]), appears to be shorter than the other[PM96, 196]. This is due

[Left (enlarge[LM10a]): The man on the Shroud's apparent right leg (left leg because of left-right reversal) appears to be shorter than his right.]

to his left foot having been superimposed over his right[PM96, 196], and both feet fixed by a single nail[BA34, 64]. The man's left leg was therefore bent more and remained fixed in that position after death by rigor mortis[PM96, 196]. This presumably is the source of the 11th century Byzantine legend that Jesus actually had one leg shorter than the other and therefore was lame[RC99, 111].

c. 1000b Closely related to the Russian cross is the "Byzantine curve"

[Right (enlarge): "Byzantine Crucifix of Pisa," ca. 1230[BMW]. Note that Christ's right leg (corresponding to the Shroud's left leg) is shorter than the other leg and His body is curved (the "Byzantine curve") to compensate.]

in Byzantine Christian iconography[BA34, 66]. After the year 1000, a striking change occurred in Byzantine depictions of Christ on the Cross[BA34, 66-67]. Christ's two feet were nailed separately at the same level but his left leg is bent which meant that Jesus' body needed to curve to His right to compensate[BA34, 67]. This "Byzantine curve" became the established form of Eastern depictions of Christ at the beginning of the eleventh century and made its way also into the West and became the recognized form in Italy in the early mediaeval period[BA34, 67-68]. As with the strange design of the Russian cross, so this strange belief that Jesus had to have a curved body on the Shroud because one leg was shorter than the other[BA34, 68], has its most likely common origin in the Shroud[PM96, 195]. But then that means the full-length Shroud was known in the Byzantine world (the centre of which was Constantinople), soon after the year 1000, nearly three centuries before 1260, the earliest radiocarbon date of the Shroud[WI98, 141], and and more than three and a half centuries before the Shroud first appeared in c. 1355, in undisputed history at Lirey, France[DT12, 181-182; OM10, 52; WI10, 222, 228]!

1011 Pope Sergius IV (r. 1009-12) consecrates an altar in Rome dedicated to the sudarium[WI98, 269; GV01, 7; OM10, 37]. This is thought to be a reference to the coming to Rome of its Veil of Veronica[BW57, 40; WI79, 109], which was purported to be

[Above (original): Excerpt from a poor quality distance photograph of Rome's Veronica icon[SPV], which the Vatican now refuses to allow to be seen or photographed up close because it has so deteriorated[BW57, 41; WI91, 183-187; OM10, 37; WI98, 63].]

an imprint of Jesus' face on the veil of a Jerusalem woman named Veronica who supposedly wiped Jesus' bloody and sweaty face with it as He was being led to the site of His crucifixion[WI79, 97, 106; SH81, 25-26; SD91, 265-266; WI91, 25; GV01, 7; OM10, 36]. But there is no mention of that in the Gospel accounts (Mt 27:31-35; Mk 15:20-25; Lk 23:26-33; Jn 19:16-18)[BW57, 12; GV01, 7]. That there never was a woman called Veronica is evident in the name itself, which is a compound of Latin vera "true" + Greek eikon "image") = "true image"[SH81, 25-26; HJ83, 71; CJ84, 53; PM96, 191; RC99, 59; GV01, 7]. The Veronica's veil legends seem to have arisen in 7th and 8th centuries, when knowledge of the Edessa Cloth/Shroud image had become widespread[MW83, 287; BM95, 50; BW57, 41; AM00, 265; OM10, 37]. In the early twentieth century, Joseph Wilpert (1857-1944), a German Catholic priest and archaeologist, examined the Vatican's Veronica icon in St Peter's Basilica and found on it brown stains but no clear image[BW57, 41; AM00, 265; OM10, 37]. Similarly, Hungarian artist Isabel Piczek (1927–2016) in 1946, when still a teenager, was surprisingly shown the Veronica in St. Peter's, and as she described it:

"On it was a head-size patch of colour, about the same as the [Turin] shroud, slightly more brownish. By patch, I do not mean that it was patched, just a blob of a brownish rust colour. It looked almost even, except for some little swirly discolorations ... Even with the best imagination, you could not make any face or features out of them, not even the slightest hint of it"[WI91, 185].
Earlier artists' copies of the Veronica icon indicate it was a copy of the face on the Cloth of Edessa/Shroud[BW57, 40] specially made for Rome shortly before the Roman Catholic and Eastern Orthodox churches went their separate ways[BM95, 35; PM96, 191; WI98, 269-270]. Indeed, when Makarios of Magnesia (4th century)[AM00, 265], retold the Veronica legend, he called her a "Princess of Edessa"[SD91, 195]! This supports my proposal that, the Veronica story may be "a contemporary parallel to [or even earlier than] the Abgar V story of Jesus wiping his face on a towel [see "50"], to explain how Jesus' image came to be on the Image of Edessa (the Shroud tetradiplon = `four-doubled')" (see my 06Mar17). It had been claimed that Rome's Veronica icon disappeared when the troops of Holy Roman Emperor Charles V (r. 1519-1556) mutinied and sacked Rome and the Vatican in 1527[WI79, 107; WM86, 107, 129; AM00, 265; OM10, 37]. But in 1616-17 six official faithful "tone for tone, blotch for blotch" copies of the Veronica in St Peter's were commissioned by Pope Paul V (r. 1605-21) to be painted by an amateur artist who was also a canon of St Peter's, Pietro Strozzi[WI91, 106-113; OM10, 37]. And at least three of Strozzi's copies have survived: "The Holy Face of Vienna," "The Holy Face of San Silvestro," and "The Holy Face of Genoa" (see my 03Sep12)[WI91, 111-114]. So this 1527 looted Veronica was evidently only one of the many copies of that icon[WI91, 47; AM00, 265; BJ01, 87].

c. 1050a The mid-eleventh-century Old French "Life of Saint Alexis"[ARW], the first masterpiece of French literature, contains the passage:

"Then he [St. Alexius (-417)] went off to the city of Edessa Because of an image he had heard tell of, which the angels made at God's commandment" (my emphasis)[WI87, 14]

[Left (enlarge[TCF]): Miniature and text of the "Chanson de St Alexis" or "Vie de St Alexis," in the St. Albans Psalter (c. 1120-1145)[SLB].]

As philologist Linda Cooper has shown in a scholarly paper[CL86], the "image" referred to is the Image of Edessa, and from the various versions of St. Alexis's life it is clear that this was the Shroud (my emphasis)[WI87, 14]. See "977" for a 10th century "Life of St. Alexis" which used the word "sindon," the same word used in the Gospels for Jesus' burial shroud[WI98, 269] (Mt 27:59; Mk 15:46; Lk 23:53)!

c. 1050b Eleventh-century mosaic bust of Christ Pantocrator, i.e. "Ruler of all"[RC99, 110; ZS92, 1093-94], in the narthex of the Katholicon church (c. 1010) within the Hosios Loukas monastery[HL24] near the town of Distomo, Greece[HLW].

[Right (enlarge[FHW]): Christ Pantocrator, c. 1050, Hosios Loukas monastery, Greece[HLW].]

The late art historian, Professor Kurt Weitzmann (1904-93), who specialised in Byzantine and medieval art[KWW], noted that this icon had facial "subtleties" similar to the sixth-century Christ Pantocrator icon portrait in St. Catherine's monastery, Sinai[WM86, 107] [see "550"]. In particular Prof. Weitzmann noted:

"...the pupils of the eyes are not at the same level; the eyebrow over Christ's left eye is arched higher than over his right ... one side of the mustache droops at a slightly different angle from the other, while the beard is combed in the opposite direction ... Many of these subtleties remain attached to this particular type of Christ image and can be seen in later copies, e.g. the mosaic bust in the narthex of Hosios Lukas over the entrance to the catholicon ... Here too the difference in the raising of the eyebrows is most noticeable ..." (my emphasis)[WK76].

Those facial "subtleties" that Prof. Weitzmann noted were "attached to this particular type of Christ image and can be seen in later copies" are Vignon markings (see 11Feb12) which are all found on the Shroud (see 27Jul17)!

1075 On 14 March the ark or chest (Arca Santa) in which the

[Above (enlarge)[ASW]: The Holy Chest (or Arca Santa) in which the Sudarium of Oviedo was transported from Jerusalem in 614[BJ01, 194], via Alexandria[BJ01, 194], to Cartagena and Seville in Spain in 616[BJ01, 194]; taken to the Monastery of San Vicente near Oviedo in 761[BJ01, 195], deposited in the Holy Chamber (Camara Santa), which is within today's Oviedo Cathedral, by King Alfonso II (r. 791-842) in c.812[BJ01, 195], opened by Bishop Ponce (r. 1025–28) in 1030[BJ01, 195-96] and again opened by King Alfonso IV (r. 1065–1109) in 1075[BJ01, 196].]

Sudarium of Oviedo was kept was officially opened in the presence of King Alfonso VI (r. 1065-1109), his sister Doña Urraca (c.1033–1101), Rodrigo Diaz de Vivar (c. 1040–99) (aka El Cid) and a number of bishops[GM98, 17]. This official act was recorded in a document which is now kept in the archives of the cathedral in Oviedo[GM98, 17]. But

[Above: "Comparison of the Sudarium of Oviedo and the Shroud of Turin"[BJ01, 122]. "The most striking thing about all the stains [on the Sudarium of Oviedo] is that they coincide exactly with the face of the image on the Turin Shroud" (my emphasis)[GM98, 27].]

as we saw in ["614"], the bloodstains on the face and back of the head of the Sudarium of Oviedo are so similar in appearance to those on the corresponding parts of the Shroud, that the two cloths must have been in contact with the same wounded body within the same short time period[AA96, 83]. And since the Sudarium has been in Spain since the early seventh century, and certainly since 1075, this is further evidence that the "mediaeval ... AD 1260-1390 radiocarbon date of the Shroud[DP89, 611] is wrong[AA0a, 124]!

c. 1080 Eleventh-century Christ Pantocrator mosaic in the dome of the monastery church of Daphni near Athens, Greece[MR86, 77]. It has 13 of the 15

[Left (enlarge[FDW]): Christ Pantocrator mosaic in the dome of Daphni Monastery, Greece[DMW].]

Vignon markings [MR86, 77]. Some of the markings (for example, the three-sided, or topless, square) are stylized, having been rendered more naturalistic by a very competent artist[WI79, 104; WR10, 101].

c. 1087 The Pantocrator in the apse of Sant'Angelo in Formis church, near Capua, Italy, I have dated c. 1087. That is because the "church was built in the eleventh century by Desiderius, the abbot of Monte Cassino," who died in 1087 as Pope Victor III (c. 1026–87)[PVW]:

"The church was built in the eleventh century by Desiderius, the abbot of Monte Cassino ... the decoration was carried out by Byzantine (Greek) artists hired from Constantinople and the decoration of Sant'Angelo displays a mingling of the Byzantine (Eastern) and Latin (Western) traditions. The frescos were painted by Greek artists and by Italian pupils trained in their methods"[SFW].
This "Christ enthroned" mosaic[WI91, 47] has 14 out of the 15 Vignon

[Right (enlarge): Extract of Christ's face which is part of a larger 11th century mosaic in the church of St. Angelo in Formis, Capua, Italy[WM86, 110A].]

markings that are on the Shroud[WI91, 47], many of which are just incidental blemishes on the cloth[WI79, 102]. These include:

"... a transverse line across the forehead, a raised right eyebrow, an upside-down triangle at the bridge of the nose, heavily delineated lower eyelids, a strongly accentuated left cheek, a strongly accentuated right cheek, and a hairless gap between the lower lip and beard ..."[WI91, 165].
One of these, the upside-down triangle at the bridge of the nose (VM 3)[WI78, 82E] is particularly important because it has no logic as a natural feature of the

[Left (enlarge): Upside-down triangle at the bridge of the nose on the Shroud, just below the base of the `topless square'[LM10b].]

face, yet it recurs on several other pre-1260] depictions of Jesus' face. In this eleventh-century Pantocrator in the dome of the church at Daphni, near Athens, being a mosaic, pieces of black material have been specially selected and arranged into the shape of a triangle[WI91, 165]!

c. 1090 Late eleventh/early twelfth century Byzantine ivory carving

[Above (enlarge): "Scenes from the Passion of Christ." 5-1872, Victoria and Albert Museum, London[SP04].]

part of a larger carved ivory panel in the Victoria and Albert Museum, London[WI79, 160; WI91, 151; WI98, 147, 270. See "c. 1090"]. Jesus' arms are crossed awkwardly at the wrists, right over left, covering his loins[WI79, 160; WI10, 182-183], exactly as they are on the Shroud[WI91, 151; WI98, 270; WI10, 183]. And Jesus is lying on a double-length cloth[WI91, 151; WI98, 270]. Yet this is a late 11th/early 12th century Byzantine icon[WI98, 147], an early example of the genre which the Byzantine Greeks called Threnos[WI91, 151; PM96, 195], or Lamentation, the main feature of which is Jesus wrapped in a large cloth compatible with today's Turin Shroud[WI10, 182]. This is further proof beyond reasonable doubt that the Shroud already existed more than a century before the earliest 1260 radiocarbon date of the Shroud!

1092 A letter dated 1092 purporting to be from the Byzantine Emperor Alexios I Komnenos (r. 1081-1118) (aka Alexius I Comnenus) to Robert II of Flanders (c.1065- 1111)[WI79, 166-167]. In the letter the Emperor

[Right (enlarge): Portrait of Byzantine Emperor Alexius I Comnenus (1056-1118), from a Greek manuscript [ANK].]

appealed for help to prevent Constantinople falling into the hands of the pagans[RG81, xxxv; SD89b, 318.]. The letter listed the relics "of the Lord" in Constantinople including, "the linen cloths [linteamina] found in the sepulchre after his Resurrection"[CN89, 11-12; DT12, 177]. Although some historians regard the letter as a forgery[WI79, 314 n31], it may not be, since Robert had made a pilgrimage to Jerusalem in 1086 and had spent some time with Alexius I in Constantinople, and there is no reason why the two had not remained in touch[CD89, 17]. Besides, even if Alexius I did not himself write the letter, this need not invalidate its description of the relics which were then in the imperial collection[WI79, 314 n31]. See "1095" next on the appeal by the same Emperor for Western help to prevent Anatolia from falling into the hands of Muslim forces.

1095 Start of the First Crusade (1095–1099) which sought to regain the Holy Land taken in the Muslim conquests of the Levant (632–661)[FCW]. The crusade was called for by Pope Urban II (r. 1088-99), in response to an appeal by Byzantine Emperor Alexios I Komnenos (r. 1081-1118) who requested western help to repel the invading Seljuk Turks from Anatolia[FCW]. See above on the 1092 appeal by the same Emperor for Western help to prevent Constantinople from falling into the hands of Muslim forces. The crusade culminated in the recapture of Jerusalem in 1099[SJW]. In 1098 Edessa was captured by Christian forces under Baldwin of Boulogne (1058-1118) who became the first ruler of the County of Edessa and then the first King of Jerusalem (r. 1098–1100)[BNW].

[Left (enlarge): "Baldwin of Boulogne entering Edessa in February 1098," by J. Robert-Fleury (1840)[BBW].]

Edessa became an important part of the Crusader presence in the Middle East[OM10, 33] until its recapture by Muslim forces in 1144[SEW]. [See future "1144"]. An important consequence for Shroud history of the Christian capture of Edessa in the First Crusade is that Byzantine texts about Edessa became better known in the West[SD02, 6]. Among these were the Abgar V story[SD89av, 88] [See future "c.1130"].

c. 1100 Late eleventh century portable mosaic, "Christ the Merciful"[WI79, 160H; MR80, 114; AM00, 126], in the former Ehemals Staatliche Museum], now Bodemuseum, Berlin.

[Right (enlarge): "Christ the Merciful" mosaic icon (1100-50)[CTM].]

By my count this 11th century icon has 12 (1, 2, 3, 5, 8, 9, 10, 11, 12, 13, 14 and 15) of the 15 Vignon markings including a wisp of hair where the reversed `3' bloodflow is on the Shroud, a topless square, wide open staring eyes, a forked beard and a line across the throat, but they are more stylized[WI79, 104].

Remember:

"... if the radiocarbon dating is to be believed, there should be no evidence of our Shroud [before 1260]. The year 1260 was the earliest possible date for the Shroud's existence by radiocarbon dating's calculations. Yet artistic likenesses of Jesus originating well before 1260 can be seen to have an often striking affinity with the face on the Shroud ..."[WI98, 141]!
Notes:
1. This post is copyright. I grant permission to extract or quote from any part of it (but not the whole post), provided the extract or quote includes a reference citing my name, its title, its date, and a hyperlink back to this page. [return]

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Posted 9 November 2024. Updated 1 December 2024.