Shroud-like Jesus in a stained glass window (c.1150) in Chartres Cathedral, France

© Stephen E. Jones[1]

This is my post on the Shroud-like Jesus in stained glass windows (c.1150) in Chartres Cathedral, France.

This discovery by Prof. Falcinelli of a realistic depiction of the Shroud's reversed `3' bloodstain (below) in one of three Shroud-like depictions of Jesus in c.1150 stained glass windows in Chartres Cathedral, is at least as significant as the `poker holes' in the Pray Codex [see 21Aug18] in proving the Shroud pre-dated by at least a century its earliest 1260 radiocarbon date. That is because while sceptics can try to dismiss the Pray Codex as merely symbolic, they cannot so dismiss the Chartres Cathedral's literal reversed `3'! And there are at least thirteen unusual features in common between three of these stained glass windows and the Shroud (see below), compared with the Pray Codex's at least fourteen [see 04Oct18a]. Yet I had not heard about it until I read that item in my scanning of Shroud News (below). So I have decided to split my "Chronology of the Turin Shroud: Twelfth Century" (1101-1200) into two parts 1101-1151 (1) and 1152-1200 (2), and insert a summary of these c. 1151 Chartres Cathedral stained glass windows into the first part (1).

[Above (enlarge). Photograph "CHARTRES 1.jpg," of "the crucifixion panel," in the Window of the Passion and Resurrection, Chartres Cathedral, emailed to me by Prof. Roberto Falcinelli[2].]

During my scanning early this month (November 2018) of Rex Morgan's Shroud News, issue #114, June 1999, I read the following:

"Aside from the conference [Rome, May 6-8, 1999] itself I met Roberto Falcinelli who has made the astonishing discovery that in one of the windows of Chartres Cathedral (1150 AD) is a head of Christ with Shroud features including the epsilon bloodflow on the forehead [see below]. This could hardly be a product of artistic imagination and so is a further piece of evidence which places the Shroud image well before the now discredited C14 date of 1350 [sic]. I have Falcinelli's telephotographs and hope to bring more of this to you soon"[3].

On page 13 of that issue is a black and white photograph of Prof. Falcinelli, holding a head-only extract of the above photograph.

A check of the remaining two issues of Shroud News revealed that there was nothing further about Chartres Cathedral. So I emailed Rex Morgan and Barrie Schwortz on 13 November, requesting copies of those telephotographs to post on this my blog, but received no response. So on 26 November I emailed Prof. Falcinelli with the same request and on 28 November he replied in an email attaching copies of same. He later emailed me a PDF of his paper: "https://www.academia.edu/872980/Testimonianze_sindoniche_a_Chartres-Torino_1998". The paper is in Italian, so I will use Google Translate to convert it into English to provide context to the photographs.

I have now converted Falcinelli's Italian PDF to English using Google translate. I have omitted Falcinelli's footnotes. There is a problem in that (assuming the Google translation is correct) Falcinelli's paper says the above ogival window is in "the north wall (Portal of the Kings)":

"Above the portals of the north wall (Portal of the Kings) there are more windows ancient: these are three ogival windows and date back to around 1150"[4].

when the online photos and articles I have seen state that, the Portal of the Kings is at the west wall.

But "the window of the Passion and Resurrection" [Right (enlarge)] that Falcinelli focused on (no pun intended!):

"Physically and ideally they form a triptych, proclaiming that the prophecies have come true and that Christ came from the house of David as it was announced, he was sacrificed, and he is resurrected from death. The author of these masterpieces is unknown. They are named: the Jesse window, the Incarnation window and the window of the Passion and Resurrection. The latter highlights, in various details that we will analyze and believe to report for the first time to the attention of the scholars, singular and interesting relational iconographic parallels to the image of the Shroud of Turin"[6].

is indeed, according to the caption of the photo [right], "on the left side the west wall"[7]. I had sent Prof. Falcinelli a link to this post, and he replied that "the north wall" was "a misprint" and that "the Portal of the Kings is at the west wall"[8].

To help identify each panel in this "Passion and Resurrection" window, I will use a grid reference: "L" and "R" for the left and right columns of panels, and 1 to 7 for the seven rows of panels. Thus "the crucifixion panel" above is grid reference L4.

The western stained glass windows are the oldest, dating from "some time between 1145 and 1155"[9]. This is more than a century before the earliest 1260 radiocarbon date of the Shroud!

That the cathedral (but not the stained glass windows) exists today, is due to the bravery, beyond the call of duty, of one American army officer, Colonel Welborn Barton Griffith, Jr (1901 – August 16, 1944), "The American hero who saved Chartres Cathedral," in World War II:

"All the glass from the cathedral was removed in 1939 just before the Germans invaded France, and it was cleaned after the War and releaded before replacing. While the city suffered heavy damage by bombing in the course of World War II, the cathedral was spared by an American Army officer who challenged the order to destroy it. Colonel Welborn Barton Griffith, Jr. questioned the strategy of destroying the cathedral and volunteered to go behind enemy lines to find out whether the German Army was occupying the cathedral and using it as an observation post. With a single enlisted soldier to assist, Griffith proceeded to the cathedral and confirmed that the Germans were not using it. After he returned from his reconnaissance, he reported that the cathedral was clear of enemy troops. The order to destroy the cathedral was withdrawn, and the Allies later liberated the area. Griffith was killed in action later that day on 16 August 1944, in the town of Leves, near Chartres"[10].

Under the heading, "Iconographic Resources with the Shroud of

[Above (enlarge). "The Flagellation panel," extracted from the PDF of Prof. Falcinelli's paper above. This is located at grid reference R3 in the Window of the Passion and Resurrection, Chartres Cathedral[11].]

Turin," Falcinelli first considered "the Flagellation panel" above (R3):

"In the Flagellation panel we find the first recall [sic] elements [of the] Shroud. The Gospels narrate that Jesus was scourged by Pontius Pilate as established by ... Rome's law. Here it [he] is depicted bare-chested, bound hands and feet to one column and two executioners strike him with enormous flagrum[s]. To note: the crown of thorns to helmet placed in similitude of the Eastern royal one and the crossed arms like the Man of the Shroud that recall the iconography of the so-called `Imago pietatis' ["Man of Sorrows"]"[12].

Shroud-like features in this "Flagellation panel" mentioned by Falcinelli above include: 1) Jesus' crown of thorns is helmet-like (not wreath-like), as is the pattern of head puncture marks on the Shroud [see 08Sep13a]. This could not be derived from the Gospels' accounts of Jesus' crowning with thorns (Mt 27:27-31; Mk 15:16-20; Jn 19:1-5). 2) Jesus' hands are crossed, right over left, at the wrists, as on the Shroud (see below and 13Apr16 & 27Dec15). I have not included "bare-chested" as presumably all scourge victims were first stripped of at least their upper clothing. Additional Shroud-like features not mentioned by Falcinelli above include: 3) Two scourgers, as evident from the pattern of scourge marks on the Shroud [see 15Jul13], but not mentioned in the Gospels' accounts of Jesus' scourging (Mt 27:26; Mk 15:15; Lk 23:16; Jn 19:1). 4) Jesus' hands and fingers are abnormally long (as compared with those of the scourgers), as they are on the Shroud, due to them being xray images of the Shroudman's finger and hand bones [see 20Apr17].

Next, Falcinelli in his paper considered "the crucifixion panel" (L4), which is the first photograph above:

"Let's move on to the crucifixion panel. Afflicted by pain, Maria (at right of the son) and John (left), contemplate Jesus crucified. The eyes closed, the head tilted and the body hanging inert show that it [he] is dead. Further Shroud references: Christ presents a hole in the right wrist, which is the only one visible on the Shroud; the wound of the other nail is on the left palm. Both thumbs are in retraction. This same peculiarity of the nails in the wrist and in the palm of the hand is also present in a miniature of the almost coeval Pray manuscript of Budapest which depicts Christ in Majesty. Furthermore, Jesus is represented with the right foot [leg] shorter than the left and this recalls the iconography of the `Byzantine curve'"[13].

Continuing with my count of Shroud-like features, in this "crucifixion panel", as mentioned by Falcinelli: 5) Jesus has a

[Left (above, showing the nail wound in Jesus' right wrist (see below) and His body bent in a "Byzantine curve" (see below).]

nail wound depiction in his (apparent - because of mirror reversal) right wrist, as on the Shroud [see below]. 6) His thumbs are retracted so they would not be visible from the back of the hand, as on the Shroud [see below]. 7) Jesus' right leg is depicted as shorter than his left, as appears on the Shroud [see below]. This is due to the Shroudman's left leg having been bent at the knee, his left foot placed over his right, and both feet transfixed to the cross by a single nail[14]. And then remaining fixed in that position by rigor mortis[15]. The

[Right (original)[16]: The frontal image of the Shroud (cropped). This is what the Byzantines and King Louis VII of France (r. 1137-80) would have seen (see below, when the Image of Edessa (the Shroud "four-doubled" - tetradiplon) was unfolded full-length. Note the nail wound in the Shroudman's apparent (because of mirror reversal) right wrist (see above); his hands are crossed, right over left, at the wrist (see above); his thumbs are not visible (see above); his hands and fingers appear to be abnormally long (see above); his abdomen is protruding (see above); and his right leg appears shorter than his left (see above).]

Byzantines thought Jesus was lame[17], not realising that the Shroudman's legs only appear to be different lengths, and so they depicted Jesus' body in a compensatory "Byzantine curve"[18] [See "c.1001b"].

A further Shroud-like feature in "the crucifixion panel" above, not mentioned by Falcinelli, is: 8) Jesus' abdomen is protruding, which was identified by French surgeon Dr Pierre Barbet (1884–1961) as evidence of the man's death by asphyxiation[19].

Falcinelli continues in his consideration of "the crucifixion panel" above (L4), with his telephotograph discovery of "a blood stream in the shape of 3" [see below] where the reversed `3' bloodstain is on the Shroud [see 08Sep13b & 30Sep15.]:

"In August of 1997 I went to Chartres to study closely the windows and to take photographs and I could make an important discovery. While I was intent on resuming [sic] some details with a powerful telephoto lens, I have noted that, in the panel of the crucifixion, on the forehead of Christ, it was clearly visible the design of a blood stream in the shape of 3 of the same type of the observable one on the shroud face. It should be noted that the blood stream is drawn as opposed to how it is visible on the Shroud positive. Perhaps the artist has it rightly interpreted as a decal by laying for the Shroud image as contact training [sic] The subsequent analysis of the shots made confirmed definitely as I observed that it is not visible or appreciable on normal typographical reproductions that I consulted in numerous publications. It seems beyond doubt that the master glazier who carried out the work could not "Invent" a detail so peculiar to the Shroud without knowing it."[20].

[Above (enlarge): Falcinelli's telephotograph (left) and his highlighting (right), of the depiction of the Shroud's reversed `3', or epsilon (ε), forehead bloodstain [see below] in the c.1150 Chartres Cathedral stained glass window, "the crucifixion panel" (L4)[21]. This is Shroud-like feature 9) in this overall "window of the Passion and Resurrection" (see above) original stained glass window in the west wall of Chartres Cathedral.]

The original of this reversed `3', or epsilon (ε), bloodstain is found on the forehead of the man on the Shroud (see below). So this depiction of

[Above (enlarge): The reversed `3', or epsilon (ε), and other bloodstains on the forehead and scalp of the man on the Shroud[22]. These bloodstains match the pattern of punctures by a crown (or rather cap) of thorns [see 08Sep13c].]

the Shroud's reversed `3' bloodstain at the exact same location on the face of Jesus in this c.1150 "the crucifixion panel" stained glass window in Chartres Cathedral, is yet another proof beyond reasonable doubt that the Shroud already existed in at least 1150, and therefore the mediaeval ... AD 1260-1390" radiocarbon date of the Shroud[23] was, and is, wrong!

Continuing with my Google Translation of Prof. Falcinelli's paper, "Testimonianze sindoniche a Chartres-Torino 1998" ("Shroud testimonies in Chartres-Turin 1998"):

"The working hypothesis that I formulate, and which I offer to the competence of historians, is the following: it is possible that, given the date of manufacture of the window in question (1150) and the visit to Constantinople by King Louis VII of France (1147), there is one relationship between this and the `model' Shroud? We believe that the hypothesis is not farfetched and that deserves further study"[24].

King Louis VII of France (r. 1137-80), enroute to Jerusalem on the Second Crusade (1147–49), stopped over at Constantinople in 1147 [see "1147a"], where he was entertained lavishly by the Byzantine Emperor Manuel I Komnenos (r.1143-80)[25]. The Emperor took Louis to the Blachernae palace where he was shown the Shroud and venerated it[26]. Louis was both "well-learned and exceptionally devout"[27], and given the Byzantines prohibition of literal depictions of the Shroud image[28], the short timeframe (1149-51), and that stained glass windows originated in medieval Europe in the 10th century[29], not Constantinople, it seems that Louis must have remembered the features he saw on the Shroud and on his return to France in 1149[30], had them depicted in these Chartres Cathedral stained glass windows.

Falcinelli next presents the "anointing panel" (below) in support of

[Above (enlarge): Photograph of "the anointing panel" (L5), in the Window of the Passion and Resurrection, Chartres Cathedral[31].]

his "working hypothesis" (above):

"In the anointing panel we find further and surprising confirmations to our thesis. Under the gaze of Mary and John, Joseph of Arimathea, left bare-headed and Nicodemus on the right, they lay Jesus on a stone slab supported by four columns. One of the central characters holds a yellow cup and anoints the body of Christ with one mixture of aloe and myrrh. The arms of Jesus are unequivocally crossed, on the pubic region, like the Shroud man (the right arm on the left) and not thumbs are visible. Even the facial appearance has obvious references to the Shroud"[32].

Shroud-like features in this "anointing panel" above, mentioned by Falcinelli, include: 10) Jesus' arms are crossed at the wrists, right over left, covering his pubic region; 11) His thumbs are not visible; and 12) Jesus' face has long hair and a forked beard. A shroud-like feature in this "anointing panel" not mentioned by Falcinelli, is: 13) Jesus is naked under his burial shroud. I have double-counted some of these because they are on different panels and the sceptical alternative presumably is that these are merely chance features, not based on any original model. Therefore there are at least thirteen (13) unusual features on these three Chartres Cathedral stained glass window panels, dating from c.1150, that are found on the Shroud. One of these, Shroud-like feature 9), the reversed `3', or epsilon (ε), forehead bloodstain (above), is too specific to be explained away by Shroud sceptics as merely a chance similarity.

Falcinelli concluded his paper by comparing these Shroud-like features in Chartres Cathedral's stained glass windows and other 12th century artworks:

"The iconography of this panel would seem to anticipate chronologically, as regards the Shroud references, the similar one of the Pray manuscript of Budapest which dates back to 1192. Significant iconic references similar have been reported by Prof. Gino Zaninotto [c.1936-2016] about a sketch a drawn pen, by an artist from Saxony, between the years 1230-1240 in a book kept in the Wolfenbuttel Library. In 1991 the prof. [sic] Ian Wilson proposed an interesting recording Byzantine ivory, with Shroud elements, dating back to the eleventh century. The iconographic similarities between the window of Chartres and the manuscript Pray are therefore evident and reveal a common model identifiable with the Shroud of Turin. So far I have not been able to check if even in the panel of the anointing, on the Christ's forehead, there exists the blood stream in the form of three like on the crucifix panel"[33].

Shroud-like features in common between the Pray manuscript [or codex] (1192-95) (below) and these Chartres Cathedral stained glass windows (c.1151) include: 1) Jesus hands are crossed, at the wrists,[Above (enlarge): "The Entombment" (upper) and "Visit to the Sepulchre" (lower) in fol. 28 of the Hungarian Pray Codex (1192-95)[34].]

right over left. 2) His hands and fingers are abnormally long. 3) Jesus' thumbs are not visible. 4) There is a red mark of the same angle and location on Jesus' forehead, as the reversed `3' bloodstain on the Shroudman's forehead [see 04Oct18b]. 5) Jesus is about to be wrapped in a double body length shroud [see 23Sep17].

In another of the Pray Codex's four drawings, fol. 28v (below),

[Above (enlarge): "Christ enthroned with the Angel Holding the Instruments of Torture": fol. 28v of the Pray Codex[35].]

Shroud-like features also in these Chartres Cathedral stained glass windows (c.1151) include: 6) The nail wound in Jesus' right hand is in his wrist, while its counterpart in the other hand (hidden on the Shroud) is in Jesus' palm (as per Christian tradition).

On 8 December I emailed Prof. Falcinelli, asking if he could email me a photograph of this Shroud-like sketch by an artist from Saxony, dated 1230-1240, in a book kept in the Wolfenbuttel [Herzog August] Library. Yesterday (13 December) I received an email from Prof. Falcinelli, apologising for his late response and that he will send me the photograph in few days[36]. When I receive this photograph, I will add it to this post, and if it is after I have started another post, I will add it here in the background and post a note near the top of that current post, with a link to the photograph in this post.

Below is the "Byzantine ivory, with Shroud elements, dating back to the eleventh century," which Falcinelli referred to above. Shroud-like

[Above (enlarge): "Scenes from the Passion of Christ"[37]. Part of a larger carved ivory, late 11th/early 12th century [see "c.1090"] Byzantine icon[38], in the Victoria and Albert Museum, London[39].]

features in this part of a late 11th/early 12th century Byzantine icon include: 1) Jesus' arms are crossed awkwardly at the wrists, right over left, covering His pubic region. 2) He is wrapped in a double-length shroud which may have a herringbone weave. 3) Jesus' hands and fingers are abnormally long. 4) No thumbs are visible.

In the absence of the Shroud-like sketch by an artist from Saxony, dated 1230-1240, in the Wolfenbuttel Library (see above), I have added

[Above (enlarge)[40]: Entombment of Jesus scene, part of the Verdun Altar, Klosterneuburg Monastery, made in 1181 by Nicholas of Verdun (1130–1205)[41]. The three concentric circles represent `portholes' in Jerusalem's Church of the Holy Sepulchre, from the 12th to the 15th century, so that pilgrims could see through them to where Jesus' body had been laid[42].]

the enamel panel entombment scene, by Nicholas of Verdun, dated 1181, in the altar in the Klosterneuburg monastery, near Vienna[43]. Shroud-like features in common between this 1181 altar panel and the above c.1151 Chartres Cathedral stained glass windows include: 1) Jesus hands are crossed, at the wrists, right over left. 2) His hands and fingers are abnormally long. 3) His thumbs are not visible. 4) There is a nail wound in Jesus' right wrist, while the wound in His left hand is covered by His right hand. 5) The reversed `3' bloodstain on Jesus' forehead is represented by a tuft of hair. 6. Jesus is about to be wrapped in a double body length shroud.

The table below summarises the above features in common between

[Above (enlarge): Features in common between the Shroud and Shroud-like 12th century depictions of Jesus, including the above Chartres Cathedral stained glass windows, as a test of Falcinelli's hypothesis (above) that these features in common are best explained by them all having been based on the one "model": the Shroud.]

the Shroud and the above Chartres Cathedral and other Shroud-like 12th century depictions of Jesus. As can be seen above, all four twelfth century depictions of Jesus above, shared four features in common with the Shroud: 1) Hands are crossed awkwardly at the wrists, over the public region. 2) Abnormally long hands and fingers. 3) No thumbs are visible. And 5) The burial shroud is double body length. And three of the four have a depiction of the Shroud's reversed `3' bloodstain, the Victoria and Albert ivory being the exception.

Since the Shroud first appeared in undisputed history at Lirey, France in the mid-14th century, sceptics cannot claim that these depictions of Jesus were copied from the Shroud in the 12th century. So the only remaining sceptical alternatives to Falcinelli's hypothesis would seem to be that either: a) each 12th century depiction was copied from an earlier 12th century one. But not only is there is no evidence of that, they are in different countries, stylistically they are very different from each other, and the Pray Codex for one was unknown even in Hungary until it was discovered by György Pray (1723-1801) in 1770 [see 21Aug18]. The only sceptical alternative left would seem to be that these features in common between the Shroud and these four 12th century depictions of Jesus are the result of chance. But not only are there 24 features including the Shroud ((5 x 5) -1), which means the total improbability of 24 independent events would be astronomical; the reversed `3' bloodstain on the Chartres Cathedral crucifixion panel above and on the Pray Codex (below) are too specific to be reasonably

[Above (enlarge): The Shroud Man's face (left)[44] compared with that of the Pray Codex (above - rotated right 90 degrees). The red mark on Jesus' forehead is exactly where the `reversed 3' bloodstain on the Shroud is, and like it it is angled in a `northeast-southwest' direction!]

explained away as merely the result of chance. Based on the above features in common between the Shroud and these 12th century depictions of Jesus, at least thirteen features in common between the Shroud and the above three c.1150 Chartres Cathedral stained glass window panels (see above), and in the absence of any viable sceptical alternative, Prof. Falcinelli's hypothesis (above), that the Shroud was the original model for these Chartres Cathedral, and other 12th century depictions of Jesus, is therefore confirmed!

Which means the Shroud was already in existence in the middle of the 12th century. The "middle of the [12th] century" is what the late Hungarian art historian Ilona Berkovits (1904-86) noted was likely to have been the date of the "miniatures," i.e. drawings, in the Pray Codex, including those above based on the Shroud:

"The Pray Manuscript was prepared at Boldva in the ancient Benedictine monastery. Its date is considered to be the end of the 12th century, between 1192 and 1195, but the style of its miniatures shows resemblance to the art associated with the middle of the century"[45].

As already pointed out above, this is more than a century before the earliest 1260 radiocarbon date of the Shroud! And, as Ian Wilson observed, "there should be no evidence of our Shroud" before 1260:

"Looking back in time from 1204, we are in a period in which, if the radiocarbon dating is to be believed, there should be no evidence of our Shroud. The year 1260 was the earliest possible date for the Shroud's existence by radiocarbon dating's calculations" (my emphasis)[46].

Both the "Byzantine curve" in the "crucifixion panel" (above), and King Louis VII's viewing of the Shroud in Constantinople in 1147 (above), confirm yet again that the Shroud was in Constantinople in the 12th century.

But then, as I pointed out in my "Open letter to Professor Christopher Ramsey" (sent 6 November 2018), the Shroud, as the Image of Edessa ("four-doubled" - tetradiplon), had arrived in Constantinople from Edessa in 944 [see "944b"], more than three centuries (~316 years) before the earliest 1260 radiocarbon date of the Shroud [see 04Oct18c]! Moreover, before that the Image/Shroud had been continuously in Edessa since 544 [see "544"], that is more than seven centuries (~716 years) before the earliest 1260 radiocarbon date of the Shroud [see 04Oct18d]! I concluded my "Open letter to Professor Christopher Ramsey":

"... as we have seen ... the Shroud of Turin existed not just 65 years [Pray Codex], nor only 316 years, but at least 716 years before the earliest 1260 radiocarbon date of the Shroud! Therefore, the 1260-1390 radiocarbon date of the Shroud of Turin must be wrong and cannot be salvaged" [04Oct18e]

I therefore respectfully requested that Professor Ramsey:

"... commence a process of consultation with your relevant colleagues. The result of which will be a joint communication to Nature advising that the 1260-1390 date of the Shroud in its 16 February 1989 paper, "Radiocarbon Dating of the Shroud of Turin," must be wrong, since it conflicts with the overwhelming weight of the historical and artistic evidence, and that therefore the paper be retracted"[04Oct18f].

I both emailed and airmailed my open letter to Prof. Ramsey on 6 November, so he must have received it. But to date, nearly 6 weeks later, I have had no response from Prof. Ramsey.

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]
2. Email, "My studies on Shroud\Chartres," from Roberto Falcinelli, 28 November 2018, 2:15 am. [return]
3. Morgan, R., 1999, "Editorial," Shroud News, No 114, June, pp.2 & 13. [return]
4. Falcinelli, R., 1998, "Shroud testimonies in Chartres-Turin 1998," Academia.edu, pp.1-12, 2. [return]
5. Geoffrion, J., 2018, "Praying with Stained Glass Windows," Pray with Jill at Chartres. [return]
6. Falcinelli, 1998, p.2. [return]
7. Geoffrion, 2018. [return]
8. Email, "My studies on Shroud\Chartres," from Roberto Falcinelli, 30 November 2018, 6:03 am. [return]
9. "Chartres Cathedral: Earlier buildings and the west façade," Wikipedia, 24 November 2018. [return]
10. "Chartres Cathedral: World War II," Wikipedia, 24 November 2018; "Welborn Griffith," Wikipedia, 8 November 2018. [return]
11. Falcinelli, 1998, p.9. [return]
12. Falcinelli, 1998, p.3. [return]
13. Falcinelli, 1998, p.4. [return]
14. Barnes, A.S., 1934, "The Holy Shroud of Turin," Burns Oates & Washbourne: London, p.64; Brent, P. & Rolfe, D., 1978, "The Silent Witness: The Mysteries of the Turin Shroud Revealed," Futura Publications: London, p.46; Wilson, I., 1979, "The Shroud of Turin: The Burial Cloth of Jesus?," [1978], Image Books: New York NY, Revised edition, p.42; Morgan, R.H., 1980, "Perpetual Miracle: Secrets of the Holy Shroud of Turin by an Eye Witness," Runciman Press: Manly NSW, Australia, p.103; Wilson, I., 1986, "The Evidence of the Shroud," Guild Publishing: London, pp.24-25; Borkan, M., 1995, "Ecce Homo?: Science and the Authenticity of the Turin Shroud," Vertices, Duke University, Vol. X, No. 2, Winter, pp.18-51, 24; Bucklin, R, 1998, "The Shroud of Turin: A Pathologist's Viewpoint," 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.271-279, 274; Iannone, J.C., 1998, "The Mystery of the Shroud of Turin: New Scientific Evidence," St Pauls: Staten Island NY, p.59; Wilson, I., 1998, "The Blood and the Shroud: New Evidence that the World's Most Sacred Relic is Real," Simon & Schuster: New York NY, p.37; Antonacci, M., 2000, "Resurrection of the Shroud: New Scientific, Medical, and Archeological Evidence," M. Evans & Co: New York NY, p.22; Tribbe, F.C., 2006, "Portrait of Jesus: The Illustrated Story of the Shroud of Turin," Paragon House Publishers: St. Paul MN, Second edition, pp.94, 234-235; de Wesselow, T., 2012, "The Sign: The Shroud of Turin and the Secret of the Resurrection," Viking: London, p.145. [return]
15. Barnes, 1934, p.64; Borkan, 1995, p.24; Antonacci, 2000, p.32. [return]
16. Latendresse, M., 2010, "Shroud Scope: Durante 2002: Horizontal" (rotated left 90°), Sindonology.org. [return]
17. Barnes, 1934, p.68; O'Connell, P. & Carty, C., 1974, "The Holy Shroud and Four Visions," TAN: Rockford IL, p.6; Petrosillo, O. & Marinelli, E., 1993, "Shrouded in Mystery," Shroud News, No 76, April, pp.14-21, 16; Petrosillo, O. & Marinelli, E., 1996, "The Enigma of the Shroud: A Challenge to Science," Scerri, L.J., transl., Publishers Enterprises Group: Malta, pp.13, 195-196; Tribbe, 2006, p.234. [return]
18. Barnes, 1934, pp.67-68; Petrosillo & Marinelli, 1996, p.195. [return]
19. Barbet, P., 1953, "A Doctor at Calvary," [1950], Earl of Wicklow, transl., Image Books: Garden City NY, Reprinted, 1963, p.86; 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.45; Meacham, W., 1983, "The Authentication of the Turin Shroud: An Issue in Archaeological Epistemology," Current Anthropology, Vol. 24, No. 3, June, pp.283-311, 285; Cruz, J.C., 1984, "Relics: The Shroud of Turin, the True Cross, the Blood of Januarius. ..: History, Mysticism, and the Catholic Church," Our Sunday Visitor: Huntington IN, p.51; Maher, R.W., 1986, "Science, History, and the Shroud of Turin," Vantage Press: New York NY, p.53; Borkan, 1995, p.27; Wilson, I. & Schwortz, B., 2000, "The Turin Shroud: The Illustrated Evidence," Michael O'Mara Books: London, p.114. [return]
20. Falcinelli, 1998, p.4. [return]
21. File "Chartres-Schema volto1.JPG", emailed to me by Roberto Falcinelli, 28 November 2018, 2:15 am. [return]
22. Extract from Latendresse, M., 2010, "Shroud Scope: Face Only Vertical," Sindonology.org. [return]
23. Damon, P.E., et al., 1989, "Radiocarbon Dating of the Shroud of Turin," Nature, Vol. 337, 16 February, pp.611-615, 611. [return]
24. Falcinelli, 1998, p.4. [return]
25. "Second Crusade: French route," Wikipedia, 3 December 2018. [return]
26. Ricci, G., 1981, "The Holy Shroud," Center for the Study of the Passion of Christ and the Holy Shroud: Milwaukee WI, p.xxxv; Crispino, D.C., 1983, "Louis I, Duke of Savoy," Shroud Spectrum International, No. 7, June, pp.7-13, 12; Petrosillo & Marinelli, 1996, p.178; Iannone, 1998, p.120; 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; Guerrera, V., 2001, "The Shroud of Turin: A Case for Authenticity," TAN: Rockford IL, p.7; Oxley, M., 2010, "The Challenge of the Shroud: History, Science and the Shroud of Turin," AuthorHouse: Milton Keynes UK, p.40; Fanti, G. & Malfi, P., 2015, "The Shroud of Turin: First Century after Christ!," Pan Stanford: Singapore, p.55. [return]
27. "Louis VII of France: Early years," Wikipedia, 29 November 2018. [return]
28. de Wesselow, 2012, pp.180-181. [return]
29. "Medieval stained glass," Wikipedia, 16 July 2018. [return]
30. "Louis VII of France: Early years," Wikipedia, 29 November 2018. [return]
31. File "CHARTRES 2.jpg," emailed to me by Roberto Falcinelli, 28 November 2018, 2:15 am. [return]
33. Falcinelli, 1998, pp.4-5. [return]
34. Berkovits, I., 1969, "Illuminated Manuscripts in Hungary, XI-XVI Centuries," Horn, Z., transl., West, A., rev., Irish University Press: Shannon, Ireland, pl. III. [return]
35. Berkovits, 1969, p.. [return]
36. Email, "Re[2]: Can you email me a photo of the "sketch a drawn pen, by an artist from Saxony, between the years 1230-1240 in a book kept in the Wolfenbuttel Library"?," from Roberto Falcinelli, 13 December 2018, 6:52 pm. [return]
37. "Scenes from the Passion of Christ; The Crucifixion, the Deposition from the Cross, The Entombment and the Lamentation," Victoria and Albert Museum, London. [return]
38. Wilson, 1998, p.147. [return]
39. Wilson, I., 1979, "The Shroud of Turin: The Burial Cloth of Jesus?," [1978], Image Books: New York NY, Revised edition, p.160; Wilson, I., 1991, "Holy Faces, Secret Places: The Quest for Jesus' True Likeness," Doubleday: London, p.151; Wilson, 1998, pp.147, 270. [return]
40. Biddle, M., 1999, "The Tomb of Christ," Sutton Publishing: Stroud UK, p.38. [return]
41. "Klosterneuburg Monastery: Verdun Altar," Wikipedia, 30 October 2018. [return]
42. Biddle, 1999, p.38; Wilson, I., 2008, "II: Nicholas of Verdun: Scene of the Entombment, from the Verdun altar in the monastery of Klosterneuburg, near Vienna," British Society for the Turin Shroud Newsletter, No. 67, June. [return]
43. Wilson. & Schwortz, 2000, p.115; Wilson, 2008; Wilson, I., 2010, "The Shroud: The 2000-Year-Old Mystery Solved," Bantam Press: London, pp.182-183. [return]
44. Latendresse, M., 2010, "Shroud Scope: Face Only Vertical". [return]
45. Berkovits, 1969, p.19. [return]
46. Wilson, 1998, p.141. [return]

Posted 29 November 2018. Updated 3 January 2023.