Copyright © Stephen E. Jones[1]
This is #48, "Prehistory of the Shroud (5)," 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: Tenth century." For more information about this "overwhelming" series, see the "Main index #1."
[Main index #1] [Previous: Prehistory of the Shroud (4) #47] [Next: Prehistory of the Shroud (6) #49]
943 In the Northern Spring of 943, Byzantine usurper Emperor Romanos I Lekapenos (r. 920–944)[OM10, 31; WI79, 255; W198, 267] sent an army led by his best general, John Kourkouas (aka Curcuas) (bef. 915 – aft. 946)[WI79, 148; W198, 148], to Edessa to negotiate with its Muslim emir ruler for possession of the Edessa Cloth/Shroud[SD89a, 84; OM10, 31], to add to his collection of Christian relics[MR90, 36; SD89a, 84; DA99, 4]. In exchange for the Cloth, Kourkouas 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[MR90, 36; W198, 267-268; AM00, 130; GV01, 4; SJ01, 215; TF06, 24; WI10, 300].
944a After lengthy consultations with his superiors in Baghdad[W198, 48; AM00, 130; SJ01, 215; TF06, 24; OM10, 31; WI10,158.], in the Northern Summer of 944[TF06, 24], Edessa's emir accepts Kourkouas' terms, and Bishop Abraham of nearby Samosata[WI79, 149, 255; AM00, 130; TF06, 24; OM10, 32; WI10, 159], enters Edessa to receive the cloth, and despite the resistance of Edessa's Christians[WI79, 149-150, 255; OM10, 32; WI10, 159-160], he is satisfied that he has the
[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)[CFW]. 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. Note that behind the face-only Image of Edessa is depicted the full-length Shroud[WI90, 10; FM15, 54-55]! So by at least the 12th century the Image of Edessa/Mandylion was known to be the full-length Shroud[SD91, 193-194; SD06]!]
original, as well as two copies of the Image[WI79, 255; AM00, 130; TF06, 24; 39] and Abgar V's letter from Jesus (see "50" and 08Jan19)[WI79, 255; TF06, 24], the bishop travels with the Image, escorted by Kourkouas' army[W198, 148; WI10, 159] across Anatolia back to Constantinople[WI79, 149, 255; TF06, 24; 39; OM10, 32; WI10, 159].
944b On Thursday 15 August 944 the Image of Edessa/Shroud arrives in Constantinople[MW86, 92; W198, 268; GV01, 4]. It is carried in its framed portrait, fastened to a board and embellished with gold[WI79, 282; DR84, 35, 57; SD89a, 84; AM00, 131], through the streets of the city amidst great celebration[SD89a, 84; SD91, 194; WI10, 300]. The Image is then taken to the church of St Mary at Blachernae[W198, 148-149, 268; GV01 4-5], where it is viewed by members of the imperial family[W198, 149, 268]. Romanos I's two sons Stephen (r. 924-45) and Constantine (r. 924-45) find the face blurred and cannot distinguish its features[WI79, 116; MW86, 92; SD91, 192; W198, 268; AM00, 130; TF06, 25] (further evidence that this was the Shroud: its image is faint and difficult to see close-up[WI79, 116, 122; SD91, 192; AM00, 130!). But the legitimate Emperor, Constantine VII (r. 913-59), son of the late Emperor Leo VI (r. 886–912), is artistic and readily discerns them[WR77, 94; SD91, 192; W198, 268; TF06, 25; WI10, 300.]. The Image of Edessa/Shroud is then taken to the Imperial (Boucoleon) Palace where it is placed overnight in the Pharos chapel[W198, 149, 268].
944c The next day, Friday 16 August 944, the Image is carried around the walls of Constantinople[WI79, 256; WI98, 149, 268], thereby establishing it as the city's new palladium (guarantee of a city's Divine protection)[CN95, 57; WI98, 149]. The Image is then taken to Constantinople's Hagia Sophia cathedral[WI79, 256; WI98, 149, 268], where it is placed on the "throne of mercy"[WI79, 256; MW86, 92; CN95, 57; WI98, 149, 268]. During that enthronement of the Image ceremony[RC99, 58], Gregory Referendarius (overseer of relationships between the Patriarch and the Emperor[GM09, 4]), Archdeacon of Hagia Sophia[SD91, 192; WI91, 143; OM10, 13], an eyewitness of these events[SD91, 192; DT12, 185], delivers a sermon[SD91, 192; WI91, 143; IJ98, 115; OM10, 13, 36; DT12, 185; FM15, 56] 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"[GM09, 85; OM10, 36].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), before Jesus' death on the cross[WI98, 268]. 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[ SD91, 192]. 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[OM10, 36.], and hence knew that the Cloth was full-length rather than merely a face-cloth[IJ98, 115; RC99, 58; OM10, 36]. And to know that, Gregory must have seen that under the Image of Edessa face was a full-length, bloodstained, body image of Jesus[SD98, 63; WI98, 268. SD91, 192; GV01, 5-6; SD06, xxvii]. This is a further corroboration of Ian Wilson's insight that the Image of Edessa was the Shroud ("four-doubled" - tetradiplon)[SD91, 192; GV01, 5-6; SD06, xxvii]!
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[RLW], forced him to abdicate[MW86, 92].
945a On 27 January 945, with the help of his wife, Romanos I's daughter Helena Lekapene (c. 910–61), Constantine VII exiled Stephen and Constantine (Helena's brothers!) and became sole emperor at the age of 39[CSW; WI79, 154; WI98, 268; WI10, 166-167]. Within weeks of his accession, Constantine VII had a new gold solidus coin struck[WI79, 154; MW86, 92; TF06, 164; WI10, 300], bearing 
[Right (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"[LM07].]a Shroud-like Christ 'Rex Regnantium' (King of Kings) portrait, inspired by the recently arrived cloth of Edessa[WI98, 268]
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[WI79, 256; MW86, 92; WI98, 149; GV01, 6; WI10, 300], which it continues to celebrate to this very day, even though the Image has been lost to them since 1204[WS00, 113; WI10, 167]!
945c Soon after becoming sole Emperor, Constantine VII commissioned[WI79, 116-117; WI10, 167, 174] an Official History of the Image of Edessa[WI79, 272; WM86, 112; WI98, 151, 268; OM10, 34], the "Narratio de Imagine Edessena"[WR77, 95; WI98, 256, 268], or "The Story of the Image of Edessa"[SH81, 207; AM00, 130; DT12, 185]. Indeed it may have been written by Constantine himself[WI10, 167, 174]! 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[WI79, 155; AM00, 130], hence it is also known as the "Festival Sermon"[DR84, 115]. 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'"[WI79, 280; OM10, 34].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"[WM86, 112; WI98, 152-153; OM10, 34; WI10, 140, 174].
The Official History gives two mutually exclusive versions of the origin of Jesus' image on the Cloth[WI79, 117, 256; WI98, 150, 268; WI10, 174-175]. The first version is the traditional explanation since the sixth century[DT12, 185], 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"[WI79, 117, 276-277; DR84, 35, 56; WI98, 150, 268; WI10, 174-175; DT12, 185].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"[WI79, 117, 277-278; WI10, 175].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)[WI79, 117, 123; DR84, 35, 57; SD91, 190; WI98, 150, 153, 268; WS00, 111; WI10, 175]. See also Gregory Referendarius' sermon above. This second version would be inexplicable unless drops of blood could be seen on the face of the Image of Edessa[WI79, 123; DR84, 35; SD89b, 315; SD91, 190; DT12, p185-186], as they are on the Shroud face[DR84, 35], but which
[Left (enlarge): Face of the man on the Shroud showing major bloodstains outlined in red[27Feb14].]
could not be explained by the first version[SD89b, 315]. This second version may be the parent of the tradition of Veronica's veil[WI79, 117; SH81, 25; CN88, 59] - or it may be the other way around [see 06Mar17 and "1011"].
The Official History described the Image as "a moist secretion without coloring or painter's art"[WR77, 95; WI79, 115, 255, 273; SD91, 192; DT12, 185], "it did not consist of earthly colors ... and ... was due to sweat, not pigments"[WI79, 115, 279; WI98, 268; WS00, 111]. This fits the Shroud image which is extremely faint[SD98b, 315]. 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"[DT12, 187]. Wilson, who has seen the Shroud many times, agrees that these "water/sweat details" sound "uncannily like the characteristics of the Shroud's image"[WI98, 150]. Wilson also asks of the late 10th/early 11th century copy of the Edessa cloth, painted above
[Above (enlarge): The Image of Edessa (late 10th-early 11th century), Sakli church, Goreme, Turkey[WI10, pl. 22b].]
an arch in the Sakli church in the Goreme region of central Turkey:
"... 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[WI98, 151]?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"[TF06, 25], 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"[SS81] (i.e. which constitutes the image).
945d Soon after he became sole Emperor in January 945[WI79, 154; PH83, 8], 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 Jesus' disciple Thaddeus[WI79, 154; SD89a, 88; WW98, 5]. That icon survives as the 
[Right (enlarge)[IH12]: King Abgar V (r. 4 BC-AD 7, AD 13 - 50) of Edessa is depicted in this 10th century icon at Saint Catherine's Monastery, Mount Sinai[AVW], receiving the Image of Edessa (the Shroud "four-doubled" - tetradiplon) from Jesus' disciple Thaddeus[WI79, 154-155] [see "50"]. Abgar's face is that of Byzantine Emperor Constantine VII Porphyrogenitus (r. 913-59)[WI79, 151,154], to commemorate the arrival of the Image of Edessa/Shroud in Constantinople on 15 August 944[WI79, 116, 151, 255; W198, 148,268; GV01, 4-5; TF06, 24; WI10, 165, 300; WI79, 255; W198, 267OM10, 31].]
top right-hand quarter of a diptych[WM86, 110E, 118] (see 13May17).
946 On 16 August 946, the first anniversary of the Image's enthronement ceremony in Hagia Sophia Cathedral (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[DR84, 40]. This particular lection was prepared soon after the Image's arrival in time for this first anniversary festival[DR84, 40]. 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"[DR84, 40; IJ98, 105]According to former Cambridge University Prof. Geoffrey Lampe (1912-80), editor of A Lexicon of Patristic Greek (1961), in all of Greek literature the word tetradiplon is found only twice, here in the 10th century Monthly Lection and in the 7th century Acts of Thaddeus (see "c. 620"), and both times it is in connection with the Image of Edessa/Mandylion[WI79, 307; WM86, 112-113; IJ98, 105; AM00, 132-133]! Moreover, that the Image of Edessa is the Shroud "four-doubled" (tetradiplon), was proved experimentally by Wilson, in that, when a full-length photograph of the Shroud is four-doubled (tetradiplon), kepeing the face uppermost, the result is, "the Shroud face, front-facing and disembodied-looking on a landscape aspect cloth, exactly as on the earliest artists' copies of the cloth of Edessa" (see my "Tetradiplon and the Shroud of Turin")!:
"For me a crucial breakthrough in overcoming this objection surfaced in the 1960s, when I noticed how a sixth-century Greek version of the Abgar story, the `Acts of the Holy Apostle Thaddaeus', describes the Edessa cloth as a tetradiplon. In all the corpus of Greek literature tetradiplon is an extremely rare word, and totally exclusive to the Edessa cloth. Yet, because it is a combination of two common words, _tetra_ meaning `four' and _diplon_ meaning `two fold' or `doubled', its meaning is actually very clear: `doubled in four', suggesting four times two folds. This immediately raised the thought: `What happens if you try giving the Shroud four times two folds?' When I tried this, using a full-length photograph of the Shroud, I was dumb-founded by the result - as I continue to be today. There was the Shroud face, front-facing and disembodied-looking on a landscape aspect cloth, exactly as on the earliest artists' copies of the cloth of Edessa" (my emphasis)[WS00, 110-111]In 1984, STURP's John Jackson (c. 1946-) examined STURP's 1978
raking light photograph of the Shroud and found a pattern of foldmarks at one-eighth intervals[08Dec22], which is consistent with the Shroud having been "doubled in four" for much of its history.[Left (enlarge): Diagram of raking light photograph of the Shroud, taken in 1978 by STURP photographer Vernon Miller (1932-2009)[JP84, 10; WM86, 123].]
Classics Prof, Prof. Robert Drews (1936-) has shown how the Image of Edessa could have been "fastened to a board" and yet known to be "doubled in four" from its side view:
"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: [Below (enlarge)]The above is further evidence that the Image of Edessa was the Shroud "four-doubled" (tetradiplon), which first appeared in history during the 544 Siege of Edessa (see "544"). That is ~716 years before the earliest 1260 radiocarbon date of the Shroud and ~811 years before the Shroud first appeared in c. 1355, in undisputed history at Lirey, France!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" (my emphasis)[DR84, 41]!
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"[SD89b, 317-318; WI91, 153; WI98, 268-269; WI10, 169; DT12, 177]. This can only mean that by 958 Constantine VII had seen unfolded the full-length Shroud behind the face of the Image of Edessa[SD89b, 318]. Moreover Constantine made no mention of the Image of Edessa, despite his previous close identification with it[SD89b, 317-318; WI10, 169]. 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[WI98, 269; WI91, 153; WI10, 169]. 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[SD91, 194-195]! And there is no record of the Image of Edessa/Mandylion leaving Constantinople or ceasing to exist-it just quietly faded away[MW86, 93]. This is inexplicable unless the Edessa cloth and the Shroud are one and the same[WI98, 269], more than three centuries before the earliest 1260 radiocarbon date of the Shroud[DT12, 178]!
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[WI10, 177; DT12, 186].
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[WI98, 269; ARW]. 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[WI98, 269; ARW] (Mt 27:59; Mk 15:46; Lk 23:53)! [see "c1050a"]
c. 980 Leo the Deacon (Leo Diaconus) (c. 950-992) was a Byzantine historian and a deacon in the imperial palace[LDW]. 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)[LDW]. Leo's history was based on his experiences as an eyewitness to events[LDW]. Leo wrote of the Cloth as being a peplos, which was a full-length robe[WI98, 152; AM00, 136; OM10, 36; DT12, 383 n.53]!
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)[DR84, 39; GV01, 4; WI98, 151, 268; OM10, 36], 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'"[DR84, 39; GV01, 5; WI98, 151, 268; OM10, 36.]. "Mandylion" originally derived from the Latin word mantile which meant "hand-cloth"[WI79, 118; DR84, 39], and by the tenth century it had been borrowed by several languages including Arabic, Turkish, and Greek[DR84, 39; GV01, 5; OM10, 33] as mandil, "handkerchief"[WI79, 118; DR84, 39; OM10, 33; WI10, 176]. The Byzantine Greeks attached to mandil the diminutive suffix -ion as a colloquial name for the Image of Edessa[DR84, 39]. It clearly was not a descriptive name because the Image of Edessa definitely was not a "little handkerchief "[DR84, 39]! The existing word "mandylion" was evidently applied by the Byzantines to the Cloth since it was no longer of Edessa but Constantinople[WI10, 176]. However "mandylion" was not used of the Image by the cloth's official custodians[DR84, 39; WI98, 151], and in fact the word only appears three times (including the Paul of Latros reference) in the Greek texts of that period[DR84, 39; WI98, 151].
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. [ret urn]
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RTB. Reference(s) to be provided.
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SD89b. Scavone, D.C., "The Shroud of Turin in Constantinople: The Documentary Evidence," in Sutton, R.F., Jr., 1989, "Daidalikon: Studies in Memory of Raymond V Schoder," Bolchazy Carducci Publishers: Wauconda IL, 311-329.
SD91. Scavone, D.C., 1991, "The History of the Turin Shroud to the 14th C.," in BA91, 171-204.
SD98. 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 MM02, 58-70.
SD06. Scavone, D.C., "Underscoring the Highly Significant Historical Research of the Shroud," in TF06, xxvii.
SH81. 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.
SJ01. Segal, J.B., 2001, "Edessa: The Blessed City," [1970], Gorgias Press: Piscataway NJ, Second edition, Reprinted, 2005.
SS81. "A Summary of STURP's Conclusions," October 1981, Shroud.com.
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.
WI90. Wilson, I., 1990, "Correspondence," BSTS Newsletter, No. 25, April/May 1990.
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.
WR77. Wilcox, R.K., 1977, "Shroud," Macmillan: New York NY.
WS00. Wilson, I. & Schwortz, B., 2000, "The Turin Shroud: The Illustrated Evidence," Michael O'Mara Books: London.
WW98. Whanger, M. & Whanger, A.D., 1998, "The Shroud of Turin: An Adventure of Discovery," Providence House Publishers: Franklin TN.
Posted 15 September 2024. Updated 10 November 2024.
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