Here, belatedly, is the first issue of my restarted Shroud of Turin News. My last issue was October/November 2008. After I catch up with January's news, I will then add to each month's issue, excerpts of newsworthy articles about the Shroud, newest uppermost. The articles will be bold to distinguish their words from mine (or vice-versa).
On January 28 I had a system file failure on my 7 year-old computer running Windows XP, which stopped it loading Windows. So rather than re-install XP, because it may have been a warning of impending hard disk failure, I decided to buy a new computer running Windows 7. I did not then realise that much of my old software and hardware would not run under Windows 7 and that so many things, including my idiosyncratic way of writing my blog posts, would have to change. If any reader can recommend a HTML WYSIWYG editor that writes clean and uncluttered HTML code, suitable for posting to Blogger, please let me know in comments.
"A new detail observed on the Shroud of Turin," The News Association of Jean Carmignac, Paris, No. 50 - June 2011 ... We
[Left (click to enlarge): Photo by Reginald Wehrkamp-Richter showing a triangular shape in the right foot of the Man on the Shroud]
learned in late 2010 of the astonishing discovery made by Mr. Wehrkamp-Richter, who uses – and creates – medical equipment as part of his professional activity. From his friend Barrie Schwortz, a photographer who was a member of the American research team STURP in 1978, Mr. Wehrkamp-Richter has acquired a full-size facsimile of the Shroud of Turin, which reproduces on transparent photographic film more than 4 meters long everything that is impressed on the Shroud. Very close observation, aided by adjustments in lighting and contrasts, has allowed him to discover the image of a geometric form in the centre of surrounding blood traces ...
[Right (click to enlarge): Shroud Scope closeup of the Durante 2002 vertical positive image of the sole of the right foot. Note the polarity is opposite.]This triangle is nearly equilateral; an exact geometric figure, which appears within the bloody image. What is the meaning of this image? ... Can we see the image of a hole which partially preserved the clear boards in the flesh, even if the hole has been partly filled in a second phase? ... Are these traces remainders of coagulated blood, which when dried out, became hardened and preserved the form of the nail? Is this the silhouette just of the hole which one can see and which the enormous nail has driven into the flesh of the man of the Shroud of Turin? ... The question is no longer: Is the Shroud of Turin Yes or No the authentic Shroud of Jesus? But how can anyone still say today, at the beginning of the third millennium, that the Shroud of Turin is a fake, given all the scientific work that has been done in the last hundred years and more? Now we know with absolute certainty that the Shroud of Turin is unforgeable. And if the Shroud of Turin is authentic, then it is a direct witness of Resurrection ... This appears on Shroud.com's Update of January 21, 2012 so I am including as the last article in January's Shroud of Turin News. I am still a bit sceptical of this until it is confirmed by an independent witness who I trust, e.g. Barrie Schwortz. But on a Shroud Scope close-up of the right foot area (see above), there does seem to be something angular there, although I cannot definitely make out a triangle at that level of resolution. But if it is confirmed that it is the imprint of a large Roman nail (and that is the term Thomas used in Jn 20:27 KJV: "Except I shall see in his hands the print [Gk. tupon = Lit. "type", i.e. the "stamp" or "mark" of where the nails were] of the nails ... I will not believe"), then, as I replied to the commenter who told me about the article: "This is [or will be] the final nail in the coffin of Shroud inauthenticity (pun intended)!"
"Luciano Buso - an artist who cracked Giotto Code, The Voice of Russia, Jan 31, 2012 ...
[Left: Statue representing Giotto, outside the Uffizi Gallery in Florence, Italy: Wikipedia]
... Luciano Buso – an artist and art-restorer from an Italian town of Treviso – is confident that it [The Shroud of Turin] was a replica of the original Shroud made by a great Italian medieval artist Giotto di Bondone. ... Mr. Buso, how did you manage to establish that the famous Shroud of Turin was created by Giotto given the fact that you did not have direct access to it? During this study I only used the same methods that I have already used during my examination of other pieces of art ... All of these artists used a special technique of hidden writing. And in the case of the Shroud it was sufficient for me to operate with its photograph only. In your opinion, why of all the great medieval masters it was Giotto who was honored with the job of replicating the burial cloth of Christ? As I have written numerous times, in my mind Giotto was chosen as a famous artist of his time whose name was well known primarily due to his popularity and his craftsmanship. ... Are you ready to insist on your point of view? If yes, what counter arguments are you going to use to prove your point? The fact that all theories related to the Shroud of Turin are to be proved invalid to some extent became obvious to me back in 1980s when a group of world renowned scientists who performed carbon dating test on a small piece of the cloth put the Shroud's origin around 1280-1320. ... I can say only this: those who want to doubt my theory will also have to appeal the results of all my work to study hundreds of pictures painted between years 1300 and 2010. In all those I found hidden writing. There is a book about to come out in which I give a precise and detailed account of all examples of hidden writing I have encountered. What I don't understand is this: what's the point of denying my theory that proves that Giotto created the Shroud of Turin in 1315 if the existence of these hidden writings is obvious. ...Busco's "hidden writing" in the case of the Shroud is nothing more than "several veiled appearances of the number 15" which supposedly "indicate Giotto created the Shroud in 1315"(!):
"An art critic has claimed the Shroud of Turin, an ancient linen sheet revered by some Christians as the burial cloth that wrapped Christ's body after his crucifixion, was created by the Italian master Giotto ... After months of careful examination of photographs of the Shroud - the relic is kept locked away and not available to be viewed unless on special occasions - Luciano Buso... says that several veiled appearances of the number 15, hidden in the fabric by the artist, indicate Giotto created the Shroud in 1315 - and that it is a copy of the original which had been damaged and was then lost over the centuries." ("Shroud of Turin is a fake created by famous master Giotto, claims Italian art expert," Daily Mail, 8th June 2011).
Sounds like Busco's `theory' is more about his making money through sales of his new book than any actual artistic or historical evidence that Giotto di Bondone (c.1266-1337) painted the Shroud. I could point out the usual evidence that invalidates all claims that the Shroud is a painting, i.e. there is no paint or pigment on it that accounts for its image, the image is extremely superficial ("one fifth of a thousandth of a millimeter"), it has no outline and no directionality, it is a photographic negative which was unknown until photography was invented ~600 years later in the early 19th century, etc. But I will quote The Guardian's art critic, Jonathan Jones, who answers "Nah" to the question, "Did Giotto really paint the Turin Shroud?":
"Claims that the shroud was a 14th-century hoax by Giotto may be far-fetched, but at least they get us talking about this profound and brilliant painter ... But why would he want to? Nothing in what is known of his life or art suggests any such activities or interests. ... the idea of Giotto taking time off to concoct a relic seems silly. He was too well-known, too ambitious and too profound to either want to do it or get away with it unnoticed." ("Did Giotto really paint the Turin Shroud? Nah," Jonathan Jones, The Guardian, 9 June 2011).
"A painter pulled between the pretty and the prophetic," TheSpec, Regina Haggo, January 26, 2012 ... Kurelek's major blockbuster
exhibit opening in Hamilton William Kurelek ... The Art Gallery of Hamilton is hosting the largest-ever exhibition of work by Kurelek, one of Canada's greatest 20th-century artists ... In Self-Portrait, painted in 1957 while Kurelek was in England, the artist looks directly at us ... Artists' self-portraits can tell us both what someone looks like and what makes them tick. He's placed himself in front of a wall neatly covered with images. A picture of the dead Christ from the Shroud of Turin might serve as a reminder of his recent conversion to Roman Catholicism .... Kurelek's other religious paintings are more subtle but they deliver the same message: seek spiritual salvation — or suffer the consequences ...
Since the image on the Shroud is that of the crucified, dead and resurrected Jesus, who is God incarnate (Mt 1:23; Jn 1:1; 20:28; Acts 20:28; Rom 9:5; Php 2:5-6; Col 2:9; Tit 2:13; Heb 1:8; 2Pet 1:1; 1Jn 5:20) the Shroud is a "Fifth Gospel" message of God's self-sacrificing love to each individual in our post-Christian society, to "seek spiritual salvation - or suffer the consequences."
Those who know in their heart of hearts that the image on the Shroud is Jesus', but reject His death on the Cross for them (Eph 2:16; Php 2:8; Col 1:20; 2:14; Heb 12:2), when they stand before Jesus, who is going to be their (and my) Judge on the Last Day (Jn 5:26-27; Act 10:41-42; 17:31; Rom 2:16; 2Cor 5:10; 2Tim 4:1) will be even less able to offer Bertrand Russell (1872-1970)'s feeble excuse of, "Not enough evidence, God":
"Bertrand Russell was asked what he would say if he died and found himself confronted by God, demanding to know why Russell had not believed in him. `Not enough evidence, God, not enough evidence,' was Russell's (I almost said immortal) reply." (Dawkins, R., "The God Delusion," Bantam Press: London, 2006, p.104).Russell at least died in 1970, before the Shroud of Turin Research Project (STURP) in 1978 proved that the Shroud was not a painting. But now in the light of the ENEA Report that the Shroud:
"could not possibly have been faked with technology that was available in the medieval period." ("Italian study claims Turin Shroud is Christ's authentic burial robe," Nick Squires, The Telegraph, 19 December 2011)
when Richard Dawkins, or any other disbeliever in Jesus, who knows about the Shroud, stands before Jesus, to give to Him an account of their lives (Mt 16:27; Rom 2:6; 14:12; 2Cor 5:10; Rev 20:12; 22:12), if they claim as an excuse for their sin of unbelief (Mt 11:23; Jn 3:18; Rom 14:23), "Not enough evidence, God," Jesus could point them to the conclusive evidence of the authenticity of His Shroud, which bears the image of His crucified, dead and resurrected body!