Chronology of the Turin Shroud: AD 30 to the present
TENTH CENTURY
© Stephen E. Jones[1]
This is part #10, "Tenth century," of my "Chronology of the Turin Shroud: AD 30 - present" series. For more information about this series see part #1, "1st century and Index." Emphases are mine unless otherwise indicated.
[Index #1] [Previous: 9th century #9] [Next: 11th century #11]
10th century (901-1000)
[Above (enlarge)[2]: King Abgar V (c.25 BC-AD 50) of Edessa is depicted in this 10th century icon at Saint Catherine's Monastery, Mount Sinai[3], receiving the Image of Edessa (the Shroud "four-doubled" - tetradiplon) from Jesus' disciple Thaddeus[4] [see "50"]. Abgar's face is that of Byzantine Emperor Constantine VII Porphyrogenitus (r. 913-959)[5], to commemorate the arrival of the Image of Edessa/Shroud in Constantinople on 15 August 944[6] [see below].]
943 In the Spring of 943, Byzantine usurper Emperor Romanos I Lekapenos (r. 920–944)[7] sends an army led by his best general, John Curcuas (fl. 915–946)[8], to Edessa to negotiate with its Muslim emir ruler for possession of the Edessa cloth[9], to add to his collection of Christian relics[10]. In exchange for the Cloth, Curcuas offered on behalf of the Emperor, a guarantee of perpetual immunity of Edessa from Byzantine attack, 12,000 pieces of silver and the release of 200 Muslim prisoners[11].
944a After lengthy consultations with his superiors in Baghdad[12], in the Summer of 944[13], Edessa's emir accepts Curcuas' terms and Bishop Abraham of nearby Samosata[14], enters Edessa to receive the cloth, and despite the resistance of Edessa's Christians[15], he is
[Above (enlarge): "The surrender of the Holy Mandylion" (the Image of Edessa), one of 574 miniatures, which may be copies of earlier Byzantine images, in the 12th Century "Madrid Skylitzes," which was based on the Synopsis of Histories by John Skylitzes (c. 1040s – aft. 1101)[16]. It depicts the arrival of the Image of Edessa in Constantinople in 944 and being embraced by Byzantine Emperor Romanos I Lekapenos[17]. The Image of Edessa is represented as the face of Christ, behind which is a long cloth folded four times[17a]! The persons on the left are wearing turbans and the buildings on their side have no Christian crosses, hence they are Muslims. The buildings on the right have Christian crosses, which means that the artist depicted both the Image being handed over by muslims in Edessa and its arrival in Christian Constantinople. So by at least the 12th century the Image of Edessa/Mandylion was known to be the full-length Shroud[18]!]
satisfied that he has the original, as well as two copies of the Image[19] and Abgar V's letter from Jesus (see "50" and 08Jan19)[20]. After a short stay in Samosata[21], the bishop travels with the Image, escorted by Curcuas' army[22] across Anatolia back to Constantinople[23].
944b On Thursday 15 August 944 the Image of Edessa arrives in Constantinople[24]. It is carried in its framed portrait, fastened to a board and embellished with gold[25], through the streets of the city amidst great celebration[26]. The Image is then taken to the church of St Mary at Blachernae[27], where it is viewed by members of the imperial family[28]. Romanos I's two sons Stephen and Constantine find the face blurred and cannot distinguish its features[29] (further evidence that this was the Shroud: its image is faint and difficult to see close-up[30]). But the legitimate Emperor, Constantine VII, son of the late Emperor Leo VI (r. 886–912), was artistic and readily discerns them[31]. The Image of Edessa/Shroud is then taken to the Imperial (Boucoleon) Palace where it is placed overnight in the Pharos chapel[32].
944c The next day, 16 August 944, the Image is carried around the walls of Constantinople[33], thereby establishing it as the city's new palladium (guarantee of a city's Divine protection)[34]. The Image is then taken to Constantinople's Hagia Sophia cathedral[35], where it is placed on the "throne of mercy"[36]. During that enthronement of the Image ceremony[37], Gregory Referendarius (overseer of relationships between the Patriarch and the Emperor[38]), Archdeacon of Hagia Sophia[39], an eyewitness of these events[40], delivers a sermon[41] in which he says that the Cloth bears not only "the sweat from the face of the ruler of life, falling like drops of blood" but also "drops from his own side ... [of] blood and water":
"This reflection, however - may everyone be inspired with the explanation - has been imprinted only by the sweat from the face of the ruler of life, falling like drops of blood, and by the finger of God. For these are indeed the beauties that have coloured the true imprint of Christ, because that from which they dripped was also embellished by drops from his own side. Both are highly instructive - blood and water there, here sweat and image. O equality of happenings, since both have their origin in the same person. The source of living water can be seen and it gives us water, showing us that the origin of the image made by sweat is in fact of the same nature as the origin of that which makes the liquid flow from the side"[42].
By "the sweat from the face of [Christ] ... falling like drops of blood" Gregory refers to
Lk 22:44:
"And being in agony he [Jesus] prayed more earnestly; and his sweat became like great drops of blood falling down to the ground."
which occurred in the
Garden of Gethsemane (
Mt 26:36; Mk 14:32)[
43]. But the "drops from his own side ... [of] blood and water" refers to
Jn 19:33-34 which was after Jesus' death on the cross:
"But when they came to Jesus and saw that he was already dead, they did not break his legs. But one of the soldiers pierced his side with a spear, and at once there came out blood and water."
Clearly the face-only Image of Edessa does not show the blood and fluid stained spear wound in Jesus' side that is on the Shroud[
44]. But Gregory could not have made that reference unless he had been aware of the wound in the side of the image and of bloodstains in the area of that wound[
45], and hence knew that the Cloth was full-length rather than merely a face-cloth[
46]. And to know that, Gregory must have seen that under the Image of Edessa face was a full-length, bloodstained, body image of Jesus[
47]. This is a further corroboration of Ian Wilson's insight that the Image of Edessa was the Shroud (
"four-doubled" - tetradiplon)[
48]!
944d In December 944, the co-Emperor sons of Romanos I, Stephen and Constantine, fearing their ~74 year-old father was going to confirm Constantine VII as his successor[49], forced him to abdicate[50].
945a On 27 January 945, with the help of his wife, Romanos I's daughter Helena Lekapene (c. 910–961), Constantine VII exiled Stephen and Constantine (Helena's brothers!) and became sole emperor at the age of 39[51]. Within weeks of his accession, Constantine VII had a new gold solidus coin struck[52], bearing 
[Above (enlarge):
"Coin ... [a gold solidus] minted in 945 under the reign of the Byzantine emperor Constantine VII. On the obverse, a bust of Christ similar to the Shroud face image; on the reverse, Constantine VII ... Notice ... the overall similarity of the facial representation with the face on the Shroud ... the left cheek of Christ, that is, the cheek that appears on our right, shows a clear protuberance, which is also on the Shroud. The beard and hair are also similar to the Shroud. Note the very peculiar lock of hair on the forehead. This is similar to the inverted '3' shape as seen on the forehead on the Shroud"[53].]
a very Shroud-like Christ 'Rex Regnantium' (King of Kings) portrait, inspired by the recently arrived cloth of Edessa[54].
945b On 16 August 945, the anniversary of the solemn exposition of the cloth in Hagia Sophia cathedral, Constantine VII proclaimed 16 August as the Feast of the Holy Mandylion in the Eastern Orthodox church calendar[57], which it continues to celebrate to this very day, even though the Image has been lost to them since 1204[58]!
945c Soon after becoming sole Emperor, Constantine VII commissioned[59] an official history of the Image of Edessa[60], the "Narratio de imagine Edessena"[61], or "Story of the Image of Edessa"[62]. Indeed it may have been written by Constantine himself[63]! The Story is actually a sermon to be read to Eastern Orthodox congregations on each 16 August Feast of the Holy Mandylion, starting in 946[64], hence it is also known as the "Festival Sermon"[65]. Fastened to a board The Official History states that the Image of Edessa "now to be seen" in Constantinople in 944, had in Edessa been fastened to a board and embellished with gold by Abgar V:
"Abgar ... set up this likeness of our Lord Jesus Christ not made by hand, fastening it to a board and embellishing it with the gold which is now to be seen, inscribing these words on the gold: `Christ the God, he who hopes in thee is never disappointed'"[66].
This fits Ian Wilson's theory that the Shroud was folded and mounted in such a way (
"four-doubled" - tetradiplon) that only the facial area was visible and accessible, so "every description of the Image of Edessa during the period in question is compatible with a viewing of the Shroud"[
67].
Two alternative versions of the origin of the image The
Official History gives two mutually exclusive versions of the origin of Jesus' image on the cloth[
68].
The first version is the traditional explanation since the sixth century[
69], that Jesus washed his face in water, wiped it on a towel, and his likeness was impressed on the towel, which he then gave to Abgar V's servant Ananias, who in turn gave it to Abgar:
"... immediately Ananias [Abgar's servant] focused his eyes on him [Jesus], held a piece of paper in his hand and began to draw a likeness of him ... Jesus ... summoned Thomas and said, `... bring me that man who is sitting on the rock drawing me, and bring the letter which he has brought from home, so that he may fulfill the command of the man who sent him:' Thomas ... brought him to Jesus. ... He then took it [the letter from Abgar] and, having read it, gave him another letter for Abgar ... Christ ... knew that the man was anxious to bring to completion the other command of his master, that he should take a likeness of Jesus' face to Abgar. The Savior then washed his face in water, wiped off the moisture that was left on the towel that was given to him, and in some divine and inexpressible manner had his own likeness impressed on it. This towel he gave to Ananias and instructed him to hand it over to Abgar so that the latter might have some consolation for his longing and disease"[70].
The second version is that:
"... when Christ was about to go voluntarily to death ... he ... pray[ed] ... sweat dropped from him like drops of blood ... he took this piece of cloth which we see now from one of the disciples and wiped off the drops of sweat on it ... the still-visible impression of that divine face was produced. Jesus gave the cloth to Thomas, and instructed him that after Jesus had ascended into heaven, he should send Thaddaeus with it to Abgar ... Thomas gave the divine portrait of Christ's face to Thaddaeus and sent him to Abgar"[71].
That is, the image was formed during Jesus' agony in the
Garden of Gethsemane when His "sweat became like great drops of blood falling down to the ground" (
Lk 22:44)[
72]. See also Gregory Referendarius' sermon
above. This second version would be inexplicable unless dripping blood could be seen on the face of the Image of Edessa[
73], as it is on the Shroud face[
74], but which could not be explained by the first version[
75]. This second version may be the parent of the tradition of
Veronica's veil[
76] - or it may be the other way around [see
06Mar17 and "
1011"].
Moist secretion The
Official History described the Image as "a moist secretion without coloring or painter's art"[
77], "it did not consist of earthly colors ... and ... was due to sweat, not pigments"[
78]. This fits the Shroud image which is extremely faint[
79]. It also explains why some thought the Image had been made in the Garden of Gethsemane when Christ's face was covered in sweat "like great drops of blood"[
80]. Wilson, who has seen the Shroud many times, agrees that these "water/sweat details" sound "uncannily like the characteristics of the Shroud's image"[
81]. Wilson also points out of
[Above (enlarge): The Image of Edessa (late 10th-early 11th century), Sakli church, Goreme, Turkey[82].]
the late 10th/early 11th century copy of the Edessa cloth, painted above an arch in the Sakli church in the Goreme region of central Turkey, that:
"... its general resemblance to the facial portion on the Shroud is really quite remarkable. There is the same sepia-coloured, disembodied, rigidly frontal face on the same landscape cloth. ... And when we know, as we do from the Official History, that this same Edessa cloth's imprint had the appearance of `a moist secretion without colouring or painter's art', then can we really believe that this could not have been our Shroud[83]?
In his insistence that the Image was "... without coloring or painter's art," "did not consist of earthly colors" and "was [not] due to ... pigments," the author of the
Official History "anticipat[ed] twentieth-century science by a full millennium"[
84], in that the
Shroud of Turin Research Project (STURP), after an exhaustive series of scientific tests on the Shroud, found that: "No pigments, paints, dyes or stains have been found on the fibrils"[
85] (i.e.
which form the image).
945d Soon after he became sole Emperor in January 945[86], Constantine VII commissioned a painting, now at Saint Catherine's Monastery, Mt Sinai, depicting Abgar V holding the Edessa cloth, which had been handed to him by Thaddeus (see above)[87]. That icon survives as the top right-hand quarter of a diptych[88] (see below). It 
[Above (enlarge)[89]: The Abgar V icon (see above) in its surviving diptych context.]
originally was a triptych with an icon of the Image of Edessa in the centre panel but only the two wings have survived[90].
946 On 16 August 946, the first anniversary of the Image's enthronement ceremony in Hagia Sophia (see above) the "Monthly Lection" for that day, and on that day in each year thereafter, was a text that recounted the full history of the Image of Edessa[91]. This particular lection was prepared soon after the Image's arrival in time for this first anniversary festival[92]. In describing the Image's origins, the "Monthly Lection" stated that after Jesus had washed:
"...there was given to him a piece of cloth folded four times [rhakos tetradiplon]. And after washing, he imprinted on it his undefiled and divine face."[93]
Note:
Prof. Robert Drews' "
folded four times" above is inexact. The Greek compound word "
tetradiplon" means "
doubled four times":
tetra = "four" and
diplon = "doubled" (see my
15Sep12).
Indeed Prof. Drews on the next facing page acknowledges this:
"What exactly the authors meant by a cloth `folded four times' may be debated, but a reasonable guess is that in a slightly expanded form the cloth was arranged something like this: [right]
The Mandylion [Image of Edessa], then, was an ivory-colored linen, bearing a blurred and dim image, the image being described as `not made by human hands' and resembling, in the artists' copies of the Mandylion, the face of the Man of the Shroud. The Mandylion was considerably wider than one would expect as backdrop for a portrait of a face, and was apparently far longer than the height of the exposed cloth. The bulk of the cloth seems to have been folded, in seven folds, behind an exposed, eighth panel. That the seven other folds were nothing but blank linen, carefully concealed but carefully preserved for over a thousand years, is manifestly improbable. If the Shroud does carry, as it seems to, the vera imago of Jesus, then what is now known as the Shroud of Turin was in the Middle Ages the Mandylion of Edessa and Constantinople"[94]!
958 In a letter of encouragement to his troops campaigning around Tarsus in 958, Constantine VII told them that he was sending them holy water consecrated by relics of the Passion, including, "the sindon [shroud] which God wore"[95]. This can only mean that by 958 Constantine VII had seen unfolded the full-length Shroud behind the face of the Image of Edessa[96]. Moreover Constantine made no mention of the Image of Edessa, despite his previous close identification with it[97]. This is the first of several subsequent mentions of a burial sindon or shroud being among the imperial relic collection in Constantinople, with no explanation how it came to be there[98]. The arrival of the Edessa cloth in Constantinople in 944 had been accompanied by a great celebration (see above), so the arrival of the sindon, acknowledged as Jesus' burial shroud, ought to have merited at least the same level of celebration and ceremony, but there is no record of the sindon's arrival in Constantinople[99]! This is inexplicable unless the Edessa cloth and the Shroud are one and the same[100], more than three centuries before the earliest 1260 radiocarbon date of the Shroud[101]!
c. 960 The Image of Edessa is called a sindon in versions of a liturgical text called the Synaxarion, composed after its arrival in Constantinople and based on the work of Symeon Metaphrastes (fl. c.950-c.990), who saw the cloth in 944[102].
968/969 A tile with a claimed image of Jesus on it, which was at Hierapolis, Syria (modern Manbij about 173 km = 107 miles from Sanliurfa, modern Edessa), was in either 968 or 969 transferred from Hierapolis to Constantinople by order of Byzantine Emperor Nicephorus II Phocas (r. 963-969)[103], where it was subsequently named the "Keramion"[104] (Greek "an earthen [clay] vessel, a pot, jar - Mk 14:13; Lk 22:10"). See my posts 04Apr16 and 25Apr16 on the confusion between a tile at Edessa which had no image on it and was not transferred to Constantinople, and a tile at Hierapolis, Syria, which did have an image of Jesus on it, but which never was at Edessa, and was transferred to Constantinople in 968/969 about a quarter of a century after the Image of Edessa/Shroud had been transferred from Edessa to Constantinople in 944. The image-bearing tile was mentioned by Fourth Crusade French knight Robert de Clari (c. 1170-1216) [see future "1216"] as being in Constantinople immediately prior to its sack in 1204 [see "1204"][105], but it has not been seen or heard of since[106], so presumably it has subsequently been lost or destroyed.
977 A group of refugee Greek monks, led by Sergius, exiled metropolitan of Damascus, set up a cult of St Alexis of Rome (d.412) in Rome's near-abandoned Church of St Boniface[107]. According to their version, the young Alexis was attracted to become a beggar at Edessa by hearing of its cloth bearing Jesus's imprint: "an image of our Lord Jesus Christ made without human hand on a sindon," the same word used in the gospels for Jesus's burial shroud[108] (Mt 27:59; Mk 15:46; Lk 23:53)! [see "c1050"]
c. 980 Leo the Deacon (Leo Diaconus) (c. 950-992) was a Byzantine historian and a deacon in the imperial palace[109]. In Constantinople he wrote a history from the reign of Byzantine Emperor Romanus II (r. 959-963) to the early part of the reign of Basil II (r. 976-1025)[110]. Leo's history was based on his experiences as an eyewitness to events[111]. Leo wrote of the Cloth as being a peplos, which was a full-length robe[112]!
c. 990 The first known reference to the Edessa Cloth as the "Mandylion" appeared in about the year 990 in a biography of the Greek ascetic, Paul of Latros (c. 880-956)[113], who without ever leaving Mt. Latros (aka Mt Latmus), was granted a vision of "the icon of Christ not made by hands, which is commonly called 'the holy Mandylion'"[114]. "Mandylion" originally derived from the Latin word mantile which meant "hand-cloth"[115], and by the tenth century it had been borrowed by several languages including Arabic, Turkish, and Greek[116] as mandil, "handkerchief"[117]. The Byzantine Greeks attached to mandil the diminutive suffix -ion as a colloquial name for the Image of Edessa[118]. It was clearly not a descriptive name because the Image of Edessa definitely was not a "little handkerchief "[119]! The existing word "mandylion" was evidently applied by the Byzantines to the Cloth since it was no longer of Edessa but Constantinople[120]. However "mandylion" was not used of the Image by the cloth's official custodians[121], and in fact the word only appears three times (including the Paul of Latros reference) in the Greek texts of that period[122].
Continued in the next part #11 of this series.
Notes
1. This post is copyright. I grant permission to quote from any part of this post (but not the whole post), provided it includes a reference citing my name, its subject heading, its date, and a hyperlink back to this page[return].
2. "Image of Edessa or Holy Mandylion," Digital Journal, 28 March 2012. [return]
3. "Abgar V," Wikipedia, 12 May 2017. [return]
4. Wilson, I., 1979, "The Shroud of Turin: The Burial Cloth of Jesus?," [1978], Image Books: New York NY, Revised edition, 154-155. [return]
5. Wilson, 1979, pp.151,154. [return]
6. Wilson, 1979, pp.116,151,255; Wilson, I., 1998, "The Blood and the Shroud: New Evidence that the World's Most Sacred Relic is Real," Simon & Schuster: New York NY, pp.148,268; Guerrera, V., 2001, "The Shroud of Turin: A Case for Authenticity," TAN: Rockford IL, pp.4-5; Tribbe, F.C., 2006, "Portrait of Jesus: The Illustrated Story of the Shroud of Turin," Paragon House Publishers: St. Paul MN, Second edition, p.24; Wilson, I., 2010, "The Shroud: The 2000-Year-Old Mystery Solved," Bantam Press: London, pp.165, 300. [return]
7. Wilson, 1979, p.255; Wilson, 1998, p.267; Oxley, M., 2010, "The Challenge of the Shroud: History, Science and the Shroud of Turin," AuthorHouse: Milton Keynes UK, p.31. [return]
8. Wilson, 1979, p.148; Wilson, 1998, p.148. [return]
9. Scavone, D.C., 1989a, "The Shroud of Turin: Opposing Viewpoints," Greenhaven Press: San Diego CA, p.84; Oxley, 2010, p.31. [return]
10. Morgan, R.H., 1980, "Perpetual Miracle: Secrets of the Holy Shroud of Turin by an Eye Witness," Runciman Press: Manly NSW, Australia, p.36; Scavone, 1989a, p.84; Danin, A., Whanger, A.D., Baruch, U. & Whanger, M., 1999, "Flora of the Shroud of Turin," Missouri Botanical Garden Press: St. Louis MO, p.4. [return]
11. Morgan, 1980, p.36; Wilson, 1998, pp.267-268; Antonacci, M., 2000, "Resurrection of the Shroud: New Scientific, Medical, and Archeological Evidence," M. Evans & Co: New York NY, p.130; Guerrera, 2001, p.4; Tribbe, 2006, p.24; Wilson, 2010, p.300. [return]
12. Wilson, 1998, p.148; Antonacci, 2000, p.130; Tribbe, 2006, p.24; Oxley, 2010, p.31; Wilson, 2010, p.158. [return]
13. Wilson, 1979, p.255; Tribbe, 2006, p.24. [return]
14. Wilson, 1979, pp.149, 255; Antonacci, 2000, p.130; Tribbe, 2006, p.24; Oxley, 2010, p.32; Wilson, 2010, p.159. [return]
15. Wilson, 1979, pp.149-150, 255; Oxley, 2010, p.32; Wilson, 2010, pp.159-160. [return]
16. "Chronography of John Skylitzes, cod. Vitr. 26-2, folio 131a, Madrid National Library, in "File:Surrender of the Mandylion to the Byzantines.jpg," Wikimedia Commons, 20 December 2012. [return]
17. Wilson, I., 1990, "Correspondence," BSTS Newsletter, No. 25, April/May 1990, p.10; Fanti, G. & Malfi, P., 2015, "The Shroud of Turin: First Century after Christ!," Pan Stanford: Singapore, pp.54-55. [return]
17a. Ibid. [return]
18. Scavone, D.C., "The History of the Turin Shroud to the 14th C.," in 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, pp.171-204, 193-194; Scavone, D.C., "Underscoring the Highly Significant Historical Research of the Shroud," in Tribbe, 2006, p.xxvii. [return]
19. Wilson, 1979, p.255; Antonacci, 2000, p.130; Tribbe, 2006, pp.24, 39. [return]
20. Wilson, 1979, pp.286-287; Oxley, 2010, p.32; Wilson, 2010, pp.159-160. [return]
21. Wilson, 1979, p.255; Tribbe, 2006, p.24. [return]
22. Wilson, 1998, p.148; Wilson, 2010, p.159. [return]
23. Wilson, 1979, pp.149, 255; Tribbe, 2006, pp.24, 39; Oxley, 2010, p.32; Wilson, 2010, p.159. [return]
24. Maher, R.W., 1986, "Science, History, and the Shroud of Turin," Vantage Press: New York NY, p.92; Wilson, 1998, p.268; Guerrera, 2001, p.4. [return]
25. Wilson, 1979, pp.282; Drews, R., 1984, "In Search of the Shroud of Turin: New Light on Its History and Origins," Rowman & Littlefield: Lanham MD, pp.35, 57; Scavone, 1989a, p.84; Antonacci, 2000, p.131. [return]
26. Scavone, 1989a, p.84; Scavone, 1991, p.194; Wilson, 2010, p.300. [return]
27. Wilson, 1998, pp.148-149, 268; Guerrera, 2001, pp.4-5. [return]
28. Wilson, 1998, pp.149, 268. [return]
29. Wilson, 1979, p.116; Maher, 1986, p.92; Scavone, 1991, p.192; Wilson, 1998, p.268; Antonacci, 2000, p.130; Tribbe, 2006, p.25. [return]
30. Wilson, 1979, pp.116, 122; Scavone, 1991, p.192; Antonacci, 2000, p.130. [return]
31. Wilcox, R.K., 1977, "Shroud," Macmillan: New York NY, p.94; Scavone, 1991, p.192; Wilson, 1998, p.268; Tribbe, 2006, p.25; Wilson, 2010, p.300. [return]
32. Wilson, 1998, pp.149, 268. [return]
33. Wilson, 1979, p.256; Wilson, 1998, pp.149, 268. [return]
34. Currer-Briggs, N., 1995, "Shroud Mafia: The Creation of a Relic?," Book Guild: Sussex UK, p.57; Wilson, 1998, p.149. [return]
35. Wilson, 1979, p.256; Wilson, 1998, pp.149, 268. [return]
36. Wilson, 1979, p.256; Maher, 1986, p.92; Currer-Briggs, 1995, p.57; Wilson, 1998, pp.149, 268. [return]
37. 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, p.58. [return]
38. Guscin, M., 2009, "The Image of Edessa," Brill: Leiden, Netherlands & Boston MA, p.4. [return]
39. Scavone, 1991, p.192; Wilson, I., 1991, "Holy Faces, Secret Places: The Quest for Jesus' True Likeness," Doubleday: London, p.143; Oxley, 2010, p.13. [return]
40. Scavone, 1991, p.192; de Wesselow, T., 2012, "The Sign: The Shroud of Turin and the Secret of the Resurrection," Viking: London, p.185. [return]
41. Scavone, 1991, p.192; Wilson, 1991, p.143; Iannone, J.C., 1998, "The Mystery of the Shroud of Turin: New Scientific Evidence," St Pauls: Staten Island NY, p.115; Oxley, 2010, pp.13, 36; de Wesselow, 2012, p.185; Fanti & Malfi, 2015, p.56. [return]
42. Guscin, 2009, p.85; Oxley, 2010, p.36. [return]
43. Wilson, 1998, p.268. [return]
44. Scavone, 1991, p.192. [return]
45. Oxley, 2010, p.36. [return]
46. Iannone, 1998, p.115; Ruffin, 1999, p.58; Oxley, 2010, p.36. [return]
47. Scavone, D.C., 1998, "A Hundred Years of Historical Studies on the Turin Shroud," Paper presented at the Third International Congress on the Shroud of Turin, 6 June 1998, Turin, Italy, in Minor, M., Adler, A.D. & Piczek, I., eds., 2002, "The Shroud of Turin: Unraveling the Mystery: Proceedings of the 1998 Dallas Symposium," Alexander Books: Alexander NC, pp.58-70, 63; Wilson, 1998, p.268. [return]
48. Scavone, 1991, p.192; Guerrera, 2001, pp.5-6; Scavone, 2006, p.xxvii. [return]
49. "Romanos I Lekapenos: End of the reign," Wikipedia, 4 November 2016. [return]
50. Maher, 1986, p.92. [return]
51. "Constantine VII: Reign," Wikipedia, 15 March 2017; Wilson, 1979, p.154; Wilson, 1998, p.268; Wilson, 2010, pp.166-167. [return]
52. Wilson, 1979, p.154; Maher, 1986, p.92; Tribbe, 2006, p.164; Wilson, 2010, p.300. [return]
53. Latendresse, M., 2007, "The Shroud of Turin and Byzantine Coins," Sindonology.org. [return]
54. Wilson, 1998, p.268. [return]
55. Extract from Latendresse, M., 2010, "Shroud Scope: Durante 2002 Vertical," Sindonology.org. [return]
56. Wilson, 1998, p.268. [return]
57. Wilson, 1979, p.256; Maher, 1986, p.92; Wilson, 1998, p.149; Guerrera, 2001, p.6; Wilson, 2010, p.300. [return]
58. Wilson, I. & Schwortz, B., 2000, "The Turin Shroud: The Illustrated Evidence," Michael O'Mara Books: London, p.113; Wilson, 2010, p.167. [return]
59. Wilson, 1979, pp.116-117; Wilson, 2010, pp.167, 174. [return]
60. Wilson, 1979, p.272; Wilson, I., 1986, "The Evidence of the Shroud," Guild Publishing: London, p.112; Wilson, 1998, pp.151, 268; Oxley, 2010, p.34. [return]
61. Wilcox, 1977, p.95; Wilson, 1998, pp.256, 268 [return]
62. Stevenson, K.E. & Habermas, G.R., 1981, "Verdict on the Shroud: Evidence for the Death and Resurrection of Jesus Christ," Servant Books: Ann Arbor MI, p.207; Antonacci, 2000, p.130; de Wesselow, 2012, p.185. [return]
63. Wilson, 2010, pp.167, 174. [return]
64. Wilson, 1979, p.155; Antonacci, 2000, p.130. [return]
65. Drews, 1984, p.115. [return]
66. Wilson, 1979, p.280; Oxley, 2010, p.34. [return]
67. Wilson, 1986, p.112; Wilson, 1998, pp.152-153; Oxley, 2010, p.34; Wilson, 2010, pp.140, 174. [return]
68. Wilson, 1979, pp.117, 256; Wilson, 1998, pp.150, 268; Wilson, 2010, p.174-175. [return]
69. de Wesselow, 2012, p.185. [return]
70. Wilson, 1979, pp.117, 276-277; Drews, 1984, pp.35, 56; Wilson, 1998, pp.150, 268; Wilson, 2010, pp.174-175; de Wesselow, 2012, p185. [return]
71. Wilson, 1979, pp.117, 277-278; Wilson, 2010, p.175. [return]
72. Wilson, 1979, pp.117, 123; Drews, 1984, pp.35, 57; Scavone, 1991, p.190; Wilson, 1998, pp.150, 153, 268; Wilson & Schwortz, 2000, p.111; Wilson, 2010, p.175. [return]
73. Wilson, 1979, p.123; Drews, 1984, pp.35; Scavone, D.C., "The Shroud of Turin in Constantinople: The Documentary Evidence," in Sutton, R.F., Jr., 1989b, "Daidalikon: Studies in Memory of Raymond V Schoder," Bolchazy Carducci Publishers: Wauconda IL, pp.311-329, 315; Scavone, 1991, p.190; de Wesselow, 2012, pp185-186. [return]
74. Drews, 1984, pp.35. [return]
75. Scavone, 1989b, p.315. [return]
76. Wilson, 1979, p.117; Stevenson & Habermas, 1981, p.25; Currer-Briggs, N., 1988, "The Shroud and the Grail: A Modern Quest for the True Grail," St. Martin's Press: New York NY, p.59. [return]
77. Wilcox, 1977, p.95; Wilson, 1979, pp.115, 255, 273; Scavone, 1991, p.192; de Wesselow, 2012, p185. [return]
78. Wilson, 1979, pp.115, 279; Wilson, 1998, p.268; Wilson & Schwortz, 2000, p.111. [return]
79. Scavone, 1989b, p.315. [return]
80. de Wesselow, 2012, p.187 [return]
81. Wilson, 1998, p.150. [return]
82. Wilson, 2010, plate 22b. [return]
83. Wilson, 1998, p.151. [return]
84. Tribbe, 2006, p.25 . [return]
85. "A Summary of STURP's Conclusions," October 1981, Shroud.com. [return]
86. Wilson, 1979, p.154; Pfeiffer, H., 1983, "The Shroud of Turin and the Face of Christ in Paleochristian, Byzantine and Western Medieval Art: Part I," Shroud Spectrum International, Issue #9, December, pp.7-20, 8. [return]
87. Wilson, 1979, p.154; Scavone, 1989a, p.88; Whanger, M. & Whanger, A.D., 1998, "The Shroud of Turin: An Adventure of Discovery," Providence House Publishers: Franklin TN, p.5. [return]
88. Wilson, 1986, pp.110E, 118. [return]
89. "Two Wings of a Triptych: Saint Thaddeus, Saint Paul of Thebes, Saint Anthony; King Abgarus, Saint Basil, and Saint Ephraem," The Icons of Sinai, Princeton University, 2017. [return]
90. Wilson, 1979, p.154; Wilson, 1991, p.175; Dreisbach, K., 1995, "Hans Belting, Likeness and Presence: A History of the Image before the Era of Art, translated by Edmund Jepthcott, Chicago, University of Chicago Press, 1994," in "Recent Publications - Book reviews by Ian Wilson, Rev. Albert Kim Dreisbach and Dr. Michael Clift," BSTS Newsletter, No. 39, January. [return]
91. Drews, 1984, p.40. [return]
92. Drews, 1984, p.40. [return]
93. Drews, 1984, p.40; Iannone, 1998, p.105. [return]
94. Drews, 1984, p.41. [return]
95. Scavone, 1989b, pp.317-318; Wilson, 1991, p.153; Wilson, 1998, pp.268-269; Whiting, B., 2006, "The Shroud Story," Harbour Publishing: Strathfield NSW, Australia, p.257; Wilson, 2010, p.169; de Wesselow, 2012, p.177. [return]
96. Scavone, 1989b, p.318. [return]
97. Scavone, 1989b, pp.317-318; Wilson, 2010, p.169. [return]
98. Wilson, 1998, p.269; Wilson, 1991, p.153; Whiting, 2006, p.257; Wilson, 2010, p.169. [return]
99. Scavone, 1991, pp.194-195. [return]
100. Wilson, 1998, p.269. [return]
101. de Wesselow, 2012, p.178. [return]
102. Wilson, 2010, p.177; de Wesselow, 2012, p.186. [return]
103. Wilson, 1998, p.269. [return]
104. Wilson, 1979, p.132; Currer-Briggs, 1988, p.71; Antonacci, 2000, p.136; Whiting, 2006, p.256. [return]
105. Wilson, 1979, p.168; Currer-Briggs, 1988, pp.72, 185; Scavone, 1989b, p.321.Currer-Briggs, 1995, p.74; Oxley, 2010, pp.34-35. [return]
106. Wilson, 1998, p.273; Tribbe, 2006, p.25. [return]
107. Wilson, 1998, p.269; "Alexius of Rome: Veneration," Wikipedia, 23 July 2017. [return]
108. Wilson, 1998, p.269; "Alexius of Rome: Veneration," Wikipedia, 23 July 2017. [return]
109. "Leo the Deacon," Wikipedia, 18 October 2016. [return]
110. Ibid. [return]
111. Ibid. [return]
112. Wilson, 1998, p.152; Antonacci, 2000, p.136; Oxley, 2010, p.36; de Wesselow, 2012, p.383 n.53. [return]
113. Drews, 1984, p.39; Guerrera, 2001, p.4; Wilson, 1998, pp.151, 268; Oxley, 2010, p.36. [return]
114. Drews, 1984, p.39; Guerrera, 2001, p.5; Wilson, 1998, pp.151, 268; Oxley, 2010, p.36. [return]
115. Wilson, 1979, p.118; Drews, 1984, p.39. [return]
116. Drews, 1984, p.39; Guerrera, 2001, p.5; Oxley, 2010, p.33. [return]
117. Wilson, 1979, p.118; Drews, 1984, p.39; Oxley, 2010, p.33; Wilson, 2010, p.176. [return]
118. Drews, 1984, p.39. [return]
119. Ibid. [return]
120. Wilson, 2010, p.176. [return]
121. Drews, 1984, p.39; Wilson, 1998, pp.151. [return]
122. Ibid; Ibid. [return]
Posted 13 May 2017. Updated 23 September 2024.
