Friday, November 9, 2007

TSoT: Bibliography "M"

Here is the Bibliography "M" page of my book outline, "The Shroud of Turin: Burial Sheet of Jesus?"

[Left: Rex Morgan, veteran Australian sindonologist, BSTS]

for authors' surnames beginning with "M" of books and journals which I will probably refer to in my book but will remove later if I don't.


THE SHROUD OF TURIN: BURIAL SHEET OF JESUS?
© Stephen E. Jones

CONTENTS

BIBLIOGRAPHY "M"

Maher, R.W., 1986, "Science, History, and the Shroud of Turin," Vantage Press: New York NY.
Maloney, P.C., 1990, "The Current Status of Pollen Research and Prospects for the Future," ASSIST Newsletter, Vol. 2., No. 1, June, pp.1-7.
Maloney, P.C., 1998, "Researching the Shroud of Turin: 1898 to the Present: A Brief Survey of Findings and Views," in Minor, 2002, pp.16-47.
Maloney, P.C., 1999, "A Contribution toward a History of Botanical Research on the Shroud of Turin," in Walsh, 2000, pp.241-266.
McCrone, W.C., 1999, "Judgment Day for the Shroud of Turin," Prometheus Books: Amherst NY.
McNair, P., 1978, "The Shroud and History: Fantasy, Fake or Fact?," in Jennings, 1978.
Meacham, W., 2005, "The Rape of the Turin Shroud: How Christianity's Most Precious Relic was Wrongly Condemned and Violated," Lulu Press: Morrisville NC.
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.
Morgan, R., 1980, "Perpetual Miracle: Secrets of the Holy Shroud of Turin By an Eye Witness," Runciman Press: Manly NSW, Australia.
Morgan, R., 1983, "Shroud Guide," Runciman Press: Manly NSW, Australia.
Moretto, G., 1999, "The Shroud: A Guide," Paulist Press: Mahwah NJ.

PS: See `tagline' quotes below (bolded emphases mine) , from a cross-section of the above books and journals.

Stephen E. Jones, BSc. (Biology).
My other blog: CreationEvolutionDesign


"A fortuitous event, the photographing of the Shroud in 1898, transformed this religious relic into an archaeological artifact that if not a forgery, profoundly affects our knowledge of the last days of Jesus on earth. For the past eighty-five years, this ancient strip of linen has probably been studied and tested to a greater degree than any art object or other archaeological artifact on record. Modern research on the Shroud began after an amateur Italian photographer, Secondo Pia, photographed the 14½ x 3½ foot Shroud of Turin for the first time, around the turn of the century. He made the startling discovery that the complete frontal and dorsal image of the nude man on the cloth is actually a negative image with photographic qualities. ... Since the taking of that first photograph, scientific and historical research have uncovered many facts that support the supposition that the Shroud could be the burial cloth of Jesus Christ" (Maher, R.W., "Science, History, and the Shroud of Turin," Vantage Press: New York NY, 1986, p.1).

"There is no longer any question but that the artist's rendition preserved in the Hungarian Pray Codex [1192- 95 AD] represents the cloth we now recognize as the Shroud of Turin. Moreover, by that rendition we know that this is the earliest firmly documented demonstrable viewpoint that the cloth we know as the Shroud of Turin was the actual burial cloth of Jesus Christ. In color photographs of the Codex even one set of the angular flows of blood down one of the arms is clearly visible-an observation I believe was first made by the Belgian scholar, Jef Leysen (personal communication, Spring, 1998). And here is shown-as already noted-a comparatively accurate portrayal of two different sets of holes that represent the pre-1516 burns at the two ends of the Shroud. Therefore, the pre-1516 burn marks are more accurately termed pre-1192 burn marks. But, most importantly, their existence some 65 years prior to the first bracket of the 1260-1390 radiocarbon date creates a problem for the 95 percent confidence level claimed by the three labs because one must conservatively add at least 100 years onto the above date to allow for the development of a tradition that the cloth portrayed by the artist was in fact the burial cloth of Christ. On the other hand it would be commensurate with a 68 percent level of confidence which expands the window to a 500 year opening that would encompass that date. Still, the labs have insisted that the 95 percent confidence level is the level achieved by their tests." (Maloney, P.C., "Researching the Shroud of Turin: 1898 to the Present: A Brief Survey of Findings and Views," in Minor, M., Adler, A.D. & Piczek, I., eds., "The Shroud of Turin: Unraveling the Mystery: Proceedings of the 1998 Dallas Symposium," Alexander Books: Alexander NC, 2002, pp.33-34).

"On October 13, 1988, the results of the radiocarbon dating of the Shroud were finally announced at press conferences in London and Turin. The age of the cloth was determined to be in the region of 1260-1390 A.D., thus seeming to prove beyond doubt that this object could not be the burial cloth of Jesus. With that announcement the Shroud of Turin morphed in the eyes of most people from being possibly the most important and fascinating archaeological object in the world to a forged medieval relic of little significance. That day back in 1988 is still very fresh in my memory, for it was the culmination of several years of effort, by me and many others, to have the Shroud dated. It was also the sad climax of several years of frustration over the faulty procedures, arrogance, Byzantine intrigues, machiavellian scheming and influence peddling that accompanied the planning of the test. The result was a disaster for the Shroud, and it truly marked the demise of the Shroud in the minds of millions of people who knew something of the fascinating image it held and the puzzle that it posed. The image and its puzzle are still there of course, but only a tiny percentage of those who formerly looked upon the Shroud with a sense of wonder do so today. For the vast majority, the C-14 result was the crowning and defining event in the encounter between the venerable relic and 20th century science. It was found to be medieval, a fake, maybe at best an icon of inexplicable realism, an oddity. But it was medieval, and thus could not possibly be the burial cloth of Christ. The tragedy was that these views were not warranted by the evidence. The dating was a fiasco; the result may well be incorrect. It has not been corroborated by any follow-up testing, which for some inexplicable reason has not been allowed by the Church. Research done in the last ten years has cast grave doubts on the validity of the date as an age for the cloth as a whole. It is quite possible that contamination and/or repair works are responsible for the aberrant age of the single sample selected. The decision to take only one sample, and the location chosen, may well go down in the history of the Shroud as one of the worst single events, behind only the fire of 1532 and the `restoration' of 2002. There is firm evidence available now that the sample taken was not representative of the cloth as a whole, and that it provided what archaeologists and geologists call a `rogue' or `fictitious' date, i.e. one that does not provide a true age of the object or context it purports to date." (Meacham, W., "The Rape of the Turin Shroud: How Christianity's Most Precious Relic was Wrongly Condemned and Violated," Lulu Press: Morrisville NC, 2005, p.53).

"In the real world, anything, including a miracle, is possible but in the realm of science we limit the possible by the use of the highly corroborated working hypotheses of materialism, naturalism, and actualism. We would say that all empirical evidence agrees with the hypothesis (that is, the hypothesis is always corroborated and never falsified) that the material universe exists, therefore its existence in fact is the most reasonable explanation. We would say that all empirical evidence agrees with the hypothesis that an artist produced the Shroud of Turin and that there is no good evidence that it was formed naturally, therefore, its identification as an artifact is the most reasonable explanation. Invariably, the most reasonable explanations are those which agree with most or all of the data and which do not contradict (falsify) other highly corroborated hypotheses or theories. This latter qualification is important; attributing the Shroud of Turin to a miracle (or the origin of life and species to special creation) is a possible explanation which will account for all of the empirical evidence; however, it is not the most reasonable explanation because it conflicts with the highly-corroborated hypothesis of naturalism. In a similar fashion, I will show that Max Frei's pollen data can be most reasonably explained by human fraud because the only other possible explanations are that the Shroud of Turin is authentic, that a miracle occurred, or both. Since we are pretty certain as scientists that the Shroud is not authentic and that miracles don't occur, human deception is the only explanation remaining. Proof is not necessary in this method, the scientific method, at all." (Schafersman, S., in McCrone, W.C., "Judgment Day for the Shroud of Turin," Prometheus Books: Amherst NY, 1999, pp.301-302).

"Another reason why this relic, of all in the world, has been subjected to such unusual debate is, I suspect, because of the awe on the one hand and the fear an the other which it induces. Those who believe in it, like those who believe in God and Christ, are filled with awe at the prospect of the possible truth. Those who profess not to believe in it, who set out to prove its falsity, like those who are atheists and set out to prove the non-existence of God, are filled with an innate tear at the prospect of the possible truth. It is this which has led to the frenetic challenges to its authenticity: that fear by the unbeliever that perhaps the believer is right after all. All cynics and sceptics show that sense of insecurity, no matter what they argue about. When they go against the established tide of human opinion and development, particularly of innate concepts, they display fear. Thus the argument about the Shroud fails into a similar category of insecurity by the doubters and a calm serenity of security and persistent searching by the believers." (Morgan, R., "Perpetual Miracle: Secrets of the Holy Shroud of Turin by an Eye Witness," Runciman Press: Manly NSW, Australia, 1980, pp.30-31).

"Can the Man of the Shroud be identified? (Balance of Probabilities) A number of scholars of critical disposition, intent on solving this mystery, have wondered whether the image imprinted on the Shroud might be that of Jesus Christ. Obviously this enquiry too, for it to be of scientific value, must be based exclusively on objective considerations. Here then is a study on the balance of probabilities, made by Professor Bruno Barberis of the University of Turin, reviving and completing studies by Yves Delage, Paul De Gail and Tino Zeuli. The method of research, while of absolute scientific rigour, is based on extremely simple considerations. The thesis is this: `If you throw a coin up in the air, the odds are two to one (1/2) it will land on the side you have chosen; if you throw a die up in the air, the odds against your getting the face of the die with your selected number on it are six to one (1/6). If you throw coin and die up at the same time, since the two events are independent of each other, the odds of your getting the preselected side of coin and face of die at the same time will be twelve to one (1/2 x 1/6 = 1/12). Now let us examine the seven most significant characteristics common to Jesus of Nazareth (according to the Gospel narrative) and the Man of the Shroud, and see what the odds are against all these characteristics being found at the same time in the same man who had undergone the torment of crucifixion. 1. Both Jesus and the Man of the Shroud were wrapped in winding-sheets after death by crucifixion. Note that not many crucified men can have had a regular burial. (It was the most ignominious of punishments, reserved for slaves, brigands and murderers, and extended after death with contempt for the corpse): one chance in a hundred (1/100). 2. Both Jesus and the Man of the Shroud had a cap of thorns put on his head. No historical document mentions any such usage. Let us limit this very remote probability to one in five thousand (1/5000). 3. The patibulum weighed heavily on the shoulders of the Man of the Shroud as also on Jesus's. Only occasionally was the condemned man made to carry the horizontal beam of the cross to the place of execution: odds of two to one (1/2). 4. Same odds (1/2) on the way the hands and feet were fixed to the wood of the cross. They could be fastened with nails but a simpler and quicker method was to tie them on with ropes. 5. The Shroud displays a wound on the right side of the Man who was wrapped in it. John's Gospel (19:33-34) tells how in Jesus's case `instead of their breaking his legs, one of the soldiers pierced his side with a lance, and immediately out came blood and water.' Odds perhaps of ten to one (1/10). 6. The Man of the Shroud had been wrapped in the sheet as soon as he was lowered from the cross; no washing or anointing of the corpse took place. It was the same with Jesus, since the Jewish Passover was about to begin, during which no manual labour could be performed: odds of twenty to one (1/20). 7. The Shroud bears the imprint of a man's corpse, but no traces of putrefaction. Hence it wrapped a human body for a brief period though long enough for an imprint to be formed on it. And did not the corpse of Jesus rest in the tomb for little more than thirty hours, from Friday evening until dawn on Sunday? This is an extraordinary case of agreement which we may rate at odds of five hundred to one (1/500). From this analysis, Barberis then obtained the aggregate probability; this is given by the aggregate total of the individual probabilities considered, viz: 1/100 x 1/500 x 1/2 x 1/2 x 1/10 x 1/20 x 1/500 = 1/200,000,000,000. In line with the scholars preceding him, he was able to deduce that out of a hypothetical 200 billion victims of crucifixion ONE ALONE could have possessed the same identical characteristics common to Jesus and the Man of the Shroud and the Gospel tells us what his name is: JESUS CHRIST, who suffered under Pontius Pilate, was crucified, died and was buried and who on the third day rose again from the dead." (Moretto, G., "The Shroud: A Guide," Paulist Press: Mahwah NJ, 1999, p.58. Italics & capitals original).

Tuesday, November 6, 2007

TSoT: Bibliography "J"

I have realised that, if I hyperlink inline references (e.g. Wilson, 1979, p.1) to the main Bibliography page of my book outline,

[Above: "Crucifixion," by Anthony van Dyck (1599-1641), Wikipedia. The first representation of the crucifixion of Christ (or indeed any crucifixion) with the nails through the wrist, as in the Shroud, and presumably influenced by it. See `tagline' quote below]

"The Shroud of Turin: Burial Sheet of Jesus?," then if that page became too large and I needed to create sub-pages under it, then I would have to go back and change each in-line reference.

So I am going to create a Bibliography page for the first letter of each authors' surname, as required. Here is the first such Bibliography sub-page for authors' surnames beginning with "J".


THE SHROUD OF TURIN: BURIAL SHEET OF JESUS?
© Stephen E. Jones


CONTENTS

BIBLIOGRAPHY "J"

Jennings, P., ed., 1978, "Face to Face with the Turin Shroud," Mayhew-McCrimmon: Great Wakering UK.

PS: In order to `kill two birds with one stone' on what would otherwise be a boring series of Bibliography posts, I will add interesting `tagline' quotes at the end of them, by author(s) listed. In this case, there is only one book and all the quotes (bolded emphases mine) are from one chapter in it, by a "Professor Philip M. J. McNair, Serena Professor of Italian, Birmingham University" (p.9).

Stephen E. Jones, BSc. (Biology).
My other blog: CreationEvolutionDesign


"This length of ivory-coloured cloth measures 14 feet 3 inches by 3 feet 7 inches, or 4.36 metres by 1.10 metre. ... . From the purely textile angle it can be described as a three-to-one herring-bone twill, the material being linen with a small admixture of cotton (as the Belgian Professor Gilbert Raes reported in 1976 after his microscopic examination of carefully selected and extracted threads of it in his textile laboratory at Ghent University). The presence of cotton fibres in the weave is considered by experts to be conclusive in ruling out a European provenance for the fabric of the Shroud, since cotton was not grown or used in Europe in any possible epoch of the manufacture of this cloth. But it is entirely consonant with a Palestinian provenance, as the fibres are of the Gossypium Herbaceum variety which is cultivated in the Middle East. The total absence of wool in the Shroud's composition is instructive to anyone versed in the Mosaic Law with its prohibition of textile mixture, for Leviticus 19.19 commands: `Thou shalt not let thy cattle gender with a diverse kind: thou shalt not sow thy field with mingled seed: neither shall a garment mingled of linen and woollen come upon thee.' The presence of even one wool fibre would have excluded this cloth from ever having been a Jewish burial shroud." (McNair, P., "The Shroud and History: fantasy, fake or fact?," in Jennings, P., ed., "Face to Face with the Turin Shroud," Mayhew-McCrimmon: Great Wakering UK, 1978, pp.21-22).

"There are marks on the Turin Shroud. Some (the most obvious) are accidental and easily explained. Other are remedial and present no problem. But the central markings seem to be intentional and baffle all natural explanation. The accidental marks are burns and singes caused by molten silver in a fire which broke out in the Sainte-Chapelle at ChambĂ©ry on the night of 3-4, December 1532. The remedial marks are triangular linen patches applied to the worst of these burns by the Poor Clares of Sainte-Claire-en-Ville in April 1534. But the marks down the centre of the Shroud's length are mysterious in the extreme. Quite what they are, or how they were caused, no one can honestly say, least of all the scientists who have examined therm. They are not marks caused by paint or any pigment. They have not penetrated the linen fibres, as paint would have done, nor have they insinuated themselves between the fibres, nor do they appear on the back of the cloth. These marks have shape and figure. At first sight they might suggest two ghostly brass-rubbings of some medieval knight bereft of armour. On closer inspection they are seen faintly but perceptibly to represent the naked body - both back and front - of a mature bearded male with long hair who would have stood about 5 feet 11 inches [178 cms] tall and weighed in the region of 12½ stone, or 175 pounds [79.5 kgs]. It appears that he has been laid supine on one half of the cloth, while the other half has been doubled back to cover him from face to feet, so that the two life-size images lie head to head down the centre of the Shroud." (McNair, 1978, pp.22-23).

"This Shroud-Man has seemingly suffered several sorts of physical violence. Apart from the abrasions, bruises and swellings which minute investigation reveals, there are apparent traces of various and distinct blood-flows: from the head, wrist, feet, and (most marked) from the side - from what is evidently an incision between the fifth and sixth rib. His back, from the shoulders down to the ankles, is liberally spattered with more than a hundred dumbbell shaped scores where the skin has apparently been broken by flagellation, consonant with the application of a leaded whip, such as the Roman flagrum." (McNair, 1978, pp.22-23).

"Painstaking scientific examination by ... forensic experts ... detected no trace of any natural or artificial matter which might have been used to simulate blood, such as Hollywood employs in filming a Western. Art has not improved on Nature. Here again there is no pigment, no seepage, no penetration of the linen fibres, and this established fact is one of the most baffling features of the Shroud. Yet the representation of the various bloodflows on the cloth is, from the forensic and physiological points of view, of a quite unusual degree of verisimilitude." (McNair, 1978, pp.22-23).

"Now it seems to me otiose, if not ridiculous, to spend time arguing ... about the identity of the man represented on the Turin Shroud. Whether it is genuine or a fake, the representation is obviously of Jesus Christ. If the figure is a fake, then the craftsman who faked it has represented the body of a man who has been mocked, scourged, executed and pierced in the manner described in the four Gospels - with one significant variant, which we shall discuss later. He has manifestly intended to portray the Jesus of Nazareth who `suffered under Pontius Pilate, was crucified, dead, and buried', and has made an extraordinarily accurate job of it down to the least detail. If, on the other hand, the figure is authentic, it can only be Jesus for three good reasons: first, because it is most unlikely that the shrouds of any other crucified men - mainly slaves, peasants and crooks - would either have been of this quality or have been considered worth preserving; secondly, because of the thousands of victims of crucifixion which history records, only one is known to have suffered both wounds to the head (consonant with a spiky cap being pressed down upon the cranium) and the side (compatible with a deep jab from a Roman lance) as we see represented on the Shroud; and thirdly, because this man although demonstrably crucified - has not suffered the crurifragium, or breaking of the leg-bones with a heavy mallet, which was an almost invariable concomitant of crucifixion. The Shroud-Man is Jesus Christ or nobody." (McNair, 1978, pp.23-24).

"We are left with no viable alternative: if the Shroud-Man is not the self-signature of Christ, then it must be the work of human ingenuity, with either good or evil intent. And yet, strangely enough, the more we examine this third hypothesis - which at first sight seems so much more rational than the direct intervention of God or Devil - the more it proves the most difficult of them all to swallow. Let us spare a thought at this point for the anonymous artist of genius: who was he? What craftsman during the reign of the first two Valois Kings [1328-1364] had the requisite skills to create so exact a representation of the naked human body? Girard d'Orleans? Jean Coste? Jean Petit called Jean de Troyes? What we know of their work would hardly suggest that any of these leading painters at the court of King John II conceived and executed the portrait of Jesus on the Turin Shroud." (McNair, 1978, pp.33-34).

"In the past, learned historians both clerical and lay have been satisfied that this portrait was subtili modo depicta and have championed the fake hypothesis. But what is so special about this relic that, six centuries after Bishop Henri de Poitiers unmasked it for a fraud, both Catholics and Protestants, Jews and Muslims, rationalists, nothingarians, scientists and even Oxbridge dons are busy discussing it this year, and most of them (as far as I can tell) are admitting that there is more in it than meets the eye? If I had to answer in one word, I should choose the Italian polysyllable which is in the mouth of so many sindonologists today: i n f a l s i f i c a b i l e. The more we investigate this fabulous sheet and the ghostly image it bears, the more we doubt whether any fourteenth-century artist could possibly have faked it. The Shroud-Man appears to be intrinsically unfakeable." (McNair, 1978, p.34. Italics original).

"Let us enumerate some of the difficulties which beset the fake hypothesis. First, as we have seen, the admixture of cotton with the linen of the Shroud seems to preclude a European provenance for its fabric, and Dr Max Frei has found that some of the pollen clinging to it came from Asia Minor and the Middle East. But this in itself is not an insuperable difficulty, because a dedicated deceiver might have used a length of cloth brought back by some crusader, or could conceivably have sought the material for his hoax in Palestine himself - although such a quest would appear to be a trifle over-sophisticated for his day and age. Secondly, and much more problematically, how on earth did the fourteenth-century faker project the image of the Shroud-Man on to the cloth? Monsieur le Truqueur painted it on, stated Bishop Pierre d'Arcis in his memorandum of 1389, and that sounds commonsensical enough until we remember that there are no brushstrokes visible on the Shroud, and no vestige of paint or any other known pigment. Another suggestion (by Dr Joseph Blinzler) is that the hoaxer made a life-size statue of a man and pressed it between the upper and nether halves of the folded linen sheet. But this proposed solution bristles with every sort of difficulty. In the first place, is there any record or tradition of sculpture to this degree of stark anatomical realism in mid-fourteenth-century France? (The first Lirey expositions of the Shroud occurred one generation before the birth of Brunelleschi and Donatello in Florence.) In the second place, the mere act of pressing alone, without pigment applied to the statue, would not have left any image on the cloth; and, in the third place, even if it had, it would have produced an image not perfect in proportion but distorted by physical contact, as anyone can confirm by the simple experiment of blacking his face with burnt cork and then pressing his handkerchief all over it. The basic fact remains: we just do not know by what natural means such an image could have been impressed upon the Shroud. Thirdly, we have to account for the mysterious business of the photographic-type negative. We have already seen that it cannot be explained by `reversal' because there is no paint on the Shroud. Yet there must be some natural explanation if the relic is a man-made fake. It would be an unusually clairvoyant and altruistic scoundrel who would perpetrate a hoax so subtle that none of his own generation, nor his children, nor children's children down to the tenth generation could appreciate it with their naked eyes, but which depended for its full impact and effect on the invention of photography five hundred years later." (McNair, 1978, pp.34-35).

"But perhaps the most staggering clue to the genius of this hypothetical artist is that he has depicted Jesus with the nail-wound in his wrist. In France, Italy, Spain and elsewhere I have studied hundreds of paintings, sculptures and carvings of Christ's crucifixion and deposition from the thirteenth to the sixteenth centuries, and not one of them shows the nail-wound anywhere but in the palm of his hand. It is not until we come to Van Dyck in the seventeenth century that we find the first representation of Christ with the nail-wound through the wrist. His painting hangs in the Palazzo Reale in Genoa, a city in which he lived for some time, and it is possible that he may have been influenced in this detail by seeing the Shroud in passing through Turin. Why did our fourteenth-century faker, against all the cultural conditioning of his times, place the nailwound not in the palm but in the wrist? Anatomy and archaeology have since proved that he was perfectly correct. Dr Pierre Barbet, chief surgeon at the Paris hospital of St Joseph in the 1930s, conducted some revealing if macabre experiments with corpses and amputated limbs at that time. He established the fact that the weight of a human body would cause the nail to tear the flesh right up between the fingers if driven through the palm, because no bone would bar its way; whereas wrist-nailing ensured that the body stayed pinned to the patibulum of the cross when it was hoisted on to the stipes, which was already impaled in the ground at the place of execution. It is surely no dishonour to medieval artists that they did not know this gruesome detail, for only in recent times have archaeologists, historians and medical men begun to rediscover the horrific techniques employed in crucifixion - once all too well known in the Roman Empire; but mercifully forgotten after Constantine abolished this form of capital punishment in 315 AD. Knowledge of the precise physical pains which Christ suffered had been lost long before any medieval artist began to depict them. The Gospels say his hands were nailed, so painters and sculptors naturally represented the wound in the palm. How then did the fourteenth-century faker, who lived a thousand years after the abolition of crucifixion, know this telling and authentic detail of wrist-nailing? For authentic it was proved to be just over ten years ago, when the first known remains of a victim of crucifixion came to light in the outskirts of Jerusalem - a man in his mid-twenties called Jehohanan. His heelbones were transfixed by a single nail and he had suffered the usual crurifragium. Although the nails were missing from his wrists, they had left on the radial bone their telltale marks of scratching and levigation. And now for the most amazing detail of them all, which makes the fake hypothesis virtually incredible: if a nail pierces the wrist between radius and ulna, it touches the median nerve, which automatically causes the thumb to flex across the palm, so that it is invisible to anyone looking at the back of the hand. On the Turin Shroud we see the back of both the hands of Jesus Christ, but there is no sign of either thumb." (McNair, 1978, pp.35-36).

"Authenticity is stamped all over this enigmatic relic, which just goes on springing surprise after surprise at its mysterious perfection from year to year. The impressive matching of the scourge-marks with the pattern of two soldiers administering the flogging, one either side, one taller than the other: the angle of the bloodflows on the forearm, mathematically exact for crucifixion: the dimensions of the side-wound, and its emission of both blood and water: the stupendous witness of the wounds (in total verisimilitude) caused by the spiky cap: all these features of the Shroud-Man and many more compel us to admit the harmonious integrity of this unfakeable image. But it is above all the face which rivets our responsive gaze - `an appearance so marred beyond human semblance, a man of sorrows and acquainted with grief' (Isaiah 52.14, 53.3) - yet a face of tranquil dignity, of royal authority, of divine beauty - a countenance in a million million: unique. If the Shroud-Man looked like this in death, how did he appear in life? Toi, qui-es-tu? - asked Paul Claudel, brought face to face with the Turin Shroud and its haunting image. The answer is unavoidable: it is Jesus Christ our Lord. In the astonished words of the centurion who saw him die: `Truly this man was the Son of God!' (Mark 15.39.)" (McNair, 1978, pp.36-37).

"The Shroud is such a remarkable thing that, in the last analysis, there can be only two honest opinions about it. The first (which occurs most readily to the Protestant and rationalist in me) is that it is a piece of fourteenth-century representational art, and therefore probably a fake - an unusual fake, admittedly, well-intentioned possibly, ingenious certainly, but not* the shroud in which the body of Jesus Christ was wrapped; or, if indeed the length of linen was that shroud, then the image on it has been added later by human hand as a pious fraud, by some process which even modern scientists do not understand. And of course if the image is not authentic, then the veneration of it comes perilously close to breaking the First and Second Commandments The alternative opinion is almost too shattering to the equanimity of most of us to entertain for more than a moment or two. It is that in the Turin Shroud we have not only the linen cloth in which the body of the Lord Jesus was wrapped, but also a representation of that body portrayed by other than human hands, by some supernatural process which confounds all explanation. Either way the thing is a marvel - of illusion if it is a fake, or of reality if it is not. But it is my conviction that in this most mysterious thing - embarrassing in its uniqueness, exciting in its challenge - we face the same reality that confronts us in the Incarnation and Resurrection of Christ. In both those central miracles of world history was manifested the splendour of God: could it be that the radiant incandescence of that almighty act of love and power when the Son of God `was raised by the glory of the Father' has scorched his image and likeness on the Shroud, a sign for our scientific century which demands scientific proof?" (McNair, 1978, p.39).

Friday, November 2, 2007

TSoT: 1.1.1. Names of The Shroud of Turin

Here are my outline notes to subsection 1.1.1. Names of The

[Above: The dead body of Christ being laid on the Shroud, "The Trinity," by Jusepe de Ribera (1591-1652), Reprodart.com]

Shroud of Turin, in my book outline, "The Shroud of Turin: Burial Sheet of Jesus?"

THE SHROUD OF TURIN: BURIAL SHEET OF JESUS?
© Stephen E. Jones

CONTENTS

1. INTRODUCTION

1.1. What is The Shroud of Turin?

1.1.1. Names of The Shroud of Turin
Names of "The Shroud of Turin" in English include also "The Turin Shroud," "The Holy Shroud," or simply, "The Shroud" (McNair, 1978, p.21). In Italy the Shroud is commonly called "La Santa Sindone" ("The Holy Shroud") and in France "Le Saint Suaire de Turin" ("The Holy Shroud of Turin") (Wilson, 1979, p.13; Wilson, 1991, pp.161-162).

BIBLIOGRAPHY

Posted 2 November 2007. Updated 16 April 2024


"The subject of this book is a mysterious length of old cloth preserved in Turin Cathedral. It has been called various names in successive ages by different people. When I first felt its fascination more than twenty years ago, we non-Italians usually referred to it by its traditional Latin name of Sudarium Taurinensis, or sweatcloth of Turin; but other names are more popular today. In Turin and the rest of Italy it is known to millions of Catholics as `la Santa Sindone' or just `la Sindone', and to an ever-increasing number of English-speaking people throughout Christendom and beyond it is becoming known as `the Holy Shroud of Turin', `the Turin Shroud' or simply `the Shroud'. There is something apt and familiar about the simplicity of that monosyllable, and an unspoken claim lies in its juxtaposition with the definite article. Other shrouds are preserved in other places, of course, just as there were other dukes alive in the days of Wellington: but this one - paradoxically - is unique. The Shroud." (McNair, P., "The Shroud and History: Fantasy, Fake or Fact?," in Jennings, P., ed., "Face to Face with the Turin Shroud ," Mayhew-McCrimmon: Great Wakering UK, 1978, p.21. Emphasis original).

"On the face of it, the very idea that the linen cloth in which Jesus Christ was wrapped in the tomb should have survived to this day would seem incredible. It demands even more of human credulity that the cloth bears a photographic likeness which would seem to be that of Jesus as he lay in the tomb. Yet it is on the evidence for these two seemingly impossible facts that this book has been written. The cloth in question is known by the Italians as the Santa Sindone, or Holy Shroud. It reposes within Turin's Cathedral of St. John the Baptist, in the circular, black marble Royal Chapel, designed by Guarino Guarini, which was once the place of private worship for the dukes of Savoy, former rulers of Italy." (Wilson, I., "The Shroud of Turin: The Burial Cloth of Jesus?," [1978], Image Books: New York NY, Revised edition, 1979, p.13).

"However, well over half a century before this particular observation by Dubarle and his correspondent, another Frenchman had been fired by the self-same idea that something along these lines was the way to establish that the shroud really was around during the early centuries. This was Paul Vignon, who as early as 1900 had been shown the shroud photograph by Paris anatomy professor, Yves Delage. Although a biologist by training, Vignon became launched into decades of enthusiastic research into every aspect of the shroud. Late in his life, however, the topic that particularly absorbed him was the incidence in early Byzantine portraits of the Christ Enthroned/Christ Pantocrator type of curious facial markings seeming to derive from equivalent features on the shroud. To present his findings, Vignon compiled a beautifully produced book, Le Saint Suaire de Turin devant la Science, l'Archeologie, l'Histoire, l'Iconographie, la Logique (The Holy Shroud of Turin in the light of Science, Archaeology, History, Iconography and Logic). [Masson: Paris, 1939] But the potential impact of this was tragically blunted by the outbreak of the Second World War within a few weeks of its publication. (Wilson, I., "Holy Faces, Secret Places: The Quest for Jesus' True Likeness," Doubleday: London, 1991, pp.161-162).

Tuesday, October 30, 2007

TSoT: 1.1. What is The Shroud of Turin?

Now that I have at last sent my paper, "A proposal to radiocarbon-date the pollen of the Shroud of Turin" to the

[Above (click to enlarge): "Miniature Shroud Replica" on Cotton (Image Approx. 40" x 10"), Shroud.com]

British Society for the Turin Shroud (BSTS) for publication in its December newsletter, here belatedly, is the next instalment of my book outline, "The Shroud of Turin: Burial Sheet of Jesus?," namely the outline of section, 1.1 Introduction. What is the Shroud of Turin? From now on I will abbreviate the subject line, "The Shroud of Turin: Burial Sheet of Jesus?" to "TSoT" so as to better fit the Blog Archive panel on the right.

I hope to post a new subsection page every few days, which will be linked to the section page above it. To avoid getting bogged down in documenting each point, I will in the first instance write each subsection `off the top of my head' with no, or minimal, documentation, and I will then later in the background `flesh out' each page, complete with documentation. These online pages will then be the basis of a future book.

I am going to do the same over on my other blog, CreationEvolutionDesign, where I will write in parallel the outline of another future book, "Problems of Evolution."

I am setting no time-frame on the completion of these two books, except to say that I expect they will take several years. Basically I am channelling my blogging into a format where I will over time comprehensively cover most of the major points in each major subject (the evidence for and against the Shroud of Turin being the very burial sheet of Jesus, and the major problems of the theory of evolution) and at the end of each I will have something tangible to show for my blogging!


THE SHROUD OF TURIN: BURIAL SHEET OF JESUS?
© Stephen E. Jones

CONTENTS

1.
INTRODUCTION

1.1. What is The Shroud of Turin?
The Shroud of Turin is a linen cloth, held by St. John the Baptist Cathedral, in the Italian city of Turin, which bears the image of a man with wounds matching those of Jesus Christ as described in the Gospels.

1.1.1. Names of The Shroud of Turin

1.1.2. A linen cloth

1.1.3. Held in St. John the Baptist Cathedral, Turin

1.1.4. Bears the image of a man with wounds matching those of Jesus as described in the Gospels

BIBLIOGRAPHY

Stephen E. Jones, BSc. (Biology).
My other blog: CreationEvolutionDesign


What Is the Turin Shroud? In the summer of 1978 three million tourists visited Torino (Turin), Italy. They had come from all over the world to wait in line and to look upon a linen cloth which had been in Turin for more than four hundred years. They knew that the cloth had not been shown to the general public for almost fifty years and that this would likely be its only display in their lifetime. As they entered the cathedral of St. John the Baptist they could see a large, narrow cloth measuring 14.3 feet long by 3.5 feet wide. It was flood-lit and was mounted in front of the main altar at the far end of the church. Gradually, as they neared the altar, they began to notice on the cloth an extremely faint, reddish-colored, life-sized image of a bearded man. The man looked strikingly like traditional images of Jesus Christ. Indeed, the cloth known as the Shroud of Turin is thought by many people to be the actual burial wrapping of Jesus. Both the front and the back of the body can be seen on the cloth. From either end the figure appears feet-head, head-feet. This tells us that he may have been placed on one half of the cloth. The other half would then have been pulled over the front of the body. There are stains on the body that resemble blood stains from an ancient Roman scourging and crucifixion with nails. On the front, there are trickles of blood on the man's forehead, a large stain on his right side, and stains from a wound in one wrist. (The other hand cannot be seen.) Both arms show blood runoffs from the hands to the elbows. On the back can be counted about 120 small stains which conform to the shape of a Roman whip. More blood trickles are seen on the back of the head. The feet are bloodied from apparent nail wounds. In short, the wounds on the image of the Shroud conform to the story of Jesus' crucifixion as told in the Gospels." (Scavone, D.C., "The Shroud of Turin: Opposing Viewpoints," Greenhaven Press: San Diego CA, 1989, pp.6,8. Emphasis original).

"What is the Shroud of Turin? ... The Shroud, often called the `Holy Shroud,' is most commonly referred to as the Shroud of Turin because it has been physically located in the Cathedral of St. John the Baptist in Turin, Italy for over 400 years. This precious cloth is considered by millions of Christians throughout the world to be the actual burial cloth of Jesus Christ - a direct witness to His passion, death and resurrection 2,000 years ago. The Shroud is the holiest relic in Christianity. Physically, the Shroud is a remarkably well-preserved oblong piece of linen cloth 14'3" long (4.36 meters) and 3'7" wide (1.1 meters), weighing approximately 5 1/2 lbs. (2.45 kgs.) . The linen fibers are woven in a three-to-one herringbone twill with a Z-twist and consist of a fairly heavy yarn (34/100 of a millimeter thick) of Near Eastern or Mediterranean basin flax. [Tribbe, F.C., "Portrait of Jesus?," Stein & Day: New York, 1983, pp.30-31] Down the left side of the Shroud is a border approximately 3 1/2 inches wide (8 centimeters from the edge) running the full length of the linen cloth. Once thought to be a side-strip sewn onto the main cloth, it has now been determined to be a selvedge, that is, a piece of cloth woven into the main cloth so that it will not unravel. It is done in such a manner as to require no hem. The reason for adding the selvedge is not known for certain. However, historian and renowned English sindonologist Ian Wilson speculates that the selvedge may have been added at a later date perhaps to center the image on the cloth for viewing. He considers this the most logical explanation and points out that the selvedge was added at the same time as the fringe and gold covering, the overall purpose being to transform the cloth from a shroud to what seems to have been some sort of `portrait.'" (Iannone, J.C., "The Mystery of the Shroud of Turin: New Scientific Evidence," St Pauls: Staten Island NY, 1998, pp.1-2. Emphasis original).

Monday, October 29, 2007

Shroud News - October 2007

Here is my Shroud of Turin news for October 2007 (see also issues Sep-07, Aug-07 & Jul-07). The most important Shroud

[Above: The Templecombe Head:

"The Shroud-like Templar panel painting discovered at Templecombe, England, during the Second World War. This represents the prime clue that the Knights Templar may secretly have owned the Shroud during the period immediately following the capture of Constantinople and up to their suppression in 1307." (Wilson, I. & Schwortz, B., 2000, "The Turin Shroud: The Illustrated Evidence," Michael O'Mara Books: London, p.116).

The Templecombe Head is theorised by historian Ian Wilson (see also `tagline' quote below) to be a painting of the Mandylion on the lid of the chest in which the Templars had once held the Shroud.]

news as far as I am concerned, is that I recently completed my paper, "A proposal to radiocarbon-date the pollen of the Shroud of Turin," and submitted to the British Society for the Turin Shroud for publication in it's December 2007 newsletter!

Vatican paper set to clear Knights Templar, Daily Telegraph, Malcolm Moore, 5 October, 2007 ...

[Left: Replica of minutes of the Vatican's Templar trials, TIME Magazine.]

The mysteries of the Order of the Knights Templar could soon be laid bare after the Vatican announced the release of a crucial document which has not been seen for almost 700 years. ... A new book, Processus contra Templarios, will be published by the Vatican's Secret Archive on Oct 25, and promises to restore the reputation of the Templars, whose leaders were burned as heretics when the order was dissolved in 1314. The Knights Templar were a powerful and secretive group of warrior monks during the Middle Ages. Their secrecy has given birth to endless legends, including one that they guard the Holy Grail. .... The Order was founded by Hugues de Payns, a French knight, after the First Crusade of 1099 to protect pilgrims on the road to Jerusalem. Its headquarters was the captured Al-Aqsa mosque on the Temple Mount, which lent the Templars their name. But when Jerusalem fell to Muslim rule in 1244, rumours surfaced that the knights were heretics who worshipped idols in a secret initiation ceremony. In 1307, King Philip IV "the Fair" of France, in desperate need of funds, ordered the arrest and torture of all Templars. After confessing various sins their leader, Jacques de Molay, was burnt at the stake. Pope Clement V then dissolved the order and issued arrest warrants for all remaining members. Ever since, the Templars have been thought of as heretics. The new book is based on a scrap of parchment discovered in the Vatican's secret archives in 2001 by Professor Barbara Frale. The long-lost document is a record of the trial of the Templars before Pope Clement, and ends with a papal absolution from all heresies. [That the Knights Tenplar was basically an orthodox Christian order (who would have a strong motive for keeping the Shroud for themselves rather than selling it to the highest bidder), is more evidence for Ian Wilson's theory that they were the guardians of the Shroud during the ~150 "missing years" after it disappeared at Constantinople in 1204 and reappeared in Lirey, France in the 1350s (see `tagline' quote below).]

Shroud of Turin exhibit coming to Saginaw, Midland Daily News, Angela E. Lackey, October 13, 2007 ...

[Right: Guidebook to this (assumed) photographic exhibit of the Holy Shroud]

The mysteries and facts surrounding the Shroud of Turin will be explored at a Saginaw exhibit. .... Exhibit times and dates are 1 to 7 p.m. Saturday, Oct. 20 ... through ... Saturday, Oct. 27 until the exhibit is dismantled. ... The exhibit has 32 panels of pictures and explains the findings about the Shroud of Turin, believed to be the burial wrappings of Jesus Christ. There will be a backlit, transparent life-size replica of the original shroud. The shroud is 14 feet, 3 inches tall and 3 feet, 7 inches wide. The exhibit was prepared by the Eastman Kodak Corp. under the supervision of now-deceased Monsignor Giulio Ricci of the Holy Shroud Center in Rome. ... The shroud has been surrounded by controversy for years. It first was displayed around 1355; its whereabouts before that are uncertain. The shroud underwent radioactive dating in 1988. The original results showed the shroud dated from the Middle Ages. However, those results have been disputed by many scholars -- only a single specimen was tested, and that specimen was taken from the dirtiest area of the shroud. That area also had burn marks and a water stain from a 1532 fire. No new dating or testing procedures to determine the shroud's authenticity has been proposed. ... [I assume this is the "large photographic exhibit based on the work of Msgr. Ricci, which is available for churches and organizations to display" that is owned by "The Holy Shroud Center ... Illinois".]

H.B. doctor submits Shroud of Turin to scientific method, The Orange County Register, October 19, 2007, Scott Martindale. Dr. August

[Above (enlarge): Xrays of Dr. Accetta after injecting himself with a radioactive isotope to show its similarities to the Shroud's image.]

Accetta is the first to acknowledge his theory sounds preposterous. The notion that an authentic image of Jesus' crucified body is emblazoned on a church relic known as the Shroud of Turin defies logic and reason, even for a believer like Accetta. But after more than a decade of scientific study on the origins of the tattered burial cloth, which many have derided as an artist's creation, the Huntington Beach physician is convinced it's no hoax. "It's absurd to think that God gave us this image of his Son on the shroud," said the 48-year-old urogynecological surgeon, who opened a Fountain Valley museum dedicated to the shroud 11 years ago. "But I believe there's more evidence for the authenticity of the shroud than any other single artifact in history." .... Accetta's tests don't prove his radiance theory. The nuclear imaging simply shows how the image could have been created. But Accetta is convinced the evidence is all there. ... Scientists have shown that when a high-resolution photograph of the shroud is run through computer analysis software, the computer can generate a 3-D image of the crucified body. The finding startles shroud researchers because if the image had been created by a medieval artist, as skeptics allege, it shouldn't contain hidden 3-D information. Accetta says only a miraculous event fully explains the image's sophistication. He thinks that when Jesus' body turned to light, the shroud that had been covering the body began falling through the body by gravity. As the cloth dropped, Accetta theorizes it picked up corresponding energy - and corresponding 3-D information. Mainstream scientists, meanwhile, have never concluded how the image formed. Accetta's newest research, to be published next year, focuses on the roots of the teeth and a wound on the left cheek, areas of the body that appear in considerable detail on the shroud but that one would not expect to find on a two-dimensional artist's rendering because the features are below the skin's surface. .... "As crazy as it all sounds, what kind of artist could have foreseen that if you wrapped a body in a sheet, you could have created characteristics that we can only see now with 20th-century technology?" ... [See also September's Shroud news and my post on my other blog, "Bogus: Shroud of Turin? #4" for more about Dr Accetta and his nuclear radiance theory.]


"We have then the matter of the cloth's fate after 1204 when according to the Crusader, `neither Greek nor Frenchman knew what became of it.' [de Clari, R., "The Conquest of Constantinople," McNeal, E.H., transl., Columbia University Press: New York NY, 1936] This is the most mysterious period of all. But whoever came to possess it would seem to have possessed vast wealth, or otherwise they would have sold such a valuable relic; also they must have had some motive for keeping it secretly to themselves. To me the prime suspects seem to have been the Order of Knights Templar, who had a great veneration for the Holy Sepulchre, and built for themselves vast fortresses so heavily guarded that they became the banks of Europe, and so mysterious that rumours began to circulate of secret Templar ceremonies at which some great relic was venerated, a relic which had the appearance of the face of an unidentified bearded man upon a panel. In 1307 the rumours were all that were needed to give the King of France the excuse to lay his hands on Templar wealth by arresting every member of the Order, not without a struggle, a struggle in which the mysterious `idol' the Templars were accused of possessing certainly disappeared. Just one clue survives to the appearance of the last Templar `idol,' a clue found in the tiny village of Templecombe in England, once the home of a Templar preceptory. During the demolition of a cottage outhouse in the 1950's there came to light this oak panel painting ..., undoubtedly Templar, answering exactly the documentary descriptions of the `idol' and with the uncanny appearance of being a copy of the face on the Shroud. If the Shroud was indeed the idol possessed by the Templars, one further clue survives as to it's fate. In 1314 two of the last Templar dignitaries were brought out to be burnt at the stake, proclaiming to the last their innocence ....

[Right: The burning of Templar leaders Jacques de Molay (and Geoffrey de Charney)]

One was the Order's Grand Master, Jacques de Molay, the other the Order's Master of Normandy, Geoffrey de Charny. We do not know definitely if there was a family relationship between Geoffrey de Charny the Templar and Geoffrey I de Charny of Lirey, first known owner of the Shroud. But the likelihood is there." [It has since been discovered (see Wikipedia references) that "Geoffrey I de Charny of Lirey" was in fact a nephew of "Geoffrey de Charny the Templar"] (Wilson, I., "The Shroud's History Before the 14th Century," in Stevenson, K.E., ed., "Proceedings of the 1977 United States Conference of Research on The Shroud of Turin," Holy Shroud Guild: Bronx NY, 1977, pp.47-48).

Posted 29 October 2007. Updated 8 March 2025.

Tuesday, October 9, 2007

Shroud News - September 2007

Here, belatedly is my Shroud news for September (see also issues Aug-07 & Jul-07). I should be more up-to-date

[Above: Sistine Chapel, Michelangelo, Tesla Memorial Society of New York (see below).]

now that I have, at last, completed my paper, "A proposal to radiocarbon-date the pollen of the Shroud of Turin," and have sent it off for peer-review!

"Shining a light on the Shroud of Turin," OCRegister, Kari Wilkinson, September 6, 2007 ... Fifteen years ago when Sharon Subia of Westminster was referred to Dr. August Accetta as an obstetrical patient, she didn't know that she was about to witness a life-changing event. ...

[Left: Dr. August Accetta and a life-size negative photo (with its positive image) of the Shroud, OCRegister]

Accetta shared with her that for the past few years he'd been studying the Shroud of Turin. The shroud is a linen cloth with the image of a man who some believe is Jesus. Despite more than a century of scientific research, its origin remains a mystery and is a subject of debate. "At the time, he was a fallen-away Catholic," Subia said. "He began studying it from a scientific point of view to disprove it. The more he studied, the more he became enthusiastic in his faith." Every month she saw him, he had new information. Then after years of research and collecting information, images and articles, Accetta was brought back to the Catholic Church by the shroud. "I was overwhelmed by the amount of scientific support for the shroud," said Accetta, of Huntington Beach. ... Throughout the years following the birth of Subia's daughter, their paths kept crossing. In 1996, she returned to Accetta for her ninth child. By that time, he was a changed man. "It affected my life," he said. .... That same year, Accetta opened the Shroud Center of Southern California, a nonprofit scientific research and exhibition center. In 2004, Subia became a docent at the center. The Shroud Center, which originally opened in Huntington Beach in 1996 and relocated to Fountain Valley in 2002, is one of few of its kind in the nation. ... The purpose of the center is to conduct scientific research on the origin of the shroud and to provide the public with an opportunity to learn more about the image through its exhibits. Accetta, who also owns a medical practice and laser center in Huntington Beach, focuses on nuclear imaging research to better understand how the image was created. Exhibits at the center include a full-size 14-foot replica of the shroud and an image similar to a film negative that displays it in more detail. Also exhibited are photos, maps, enlarged views of pollen and radiographic studies, 3-D evidence, and historical and scriptural references. About 300 to 500 people pass through the center each year. ... [An example of how the Shroud, or rather the image on it, can bring sceptics into a vital personal relationship with Christ. See also my blog post on Dr Accetta, i.e. his "allowing himself to be injected with a radioactive dye and then xrayed" to show that they image on the Shroud has characteristics of an x-ray.]

The Michelangelo Frescoes of the Sistine Chapel Contain Divinely- Encoded Images of the Shroud of Turin, Christian NewsWire, September 13, 2007 ... RALEIGH, NC. ...

[Right: The Last Judgment fresco, Cistine Chapel, Michelangelo, Wikipedia]

A new discovery reveals a "mystery" never before seen. Investigative researcher Philip E. Dayvault, of Raleigh, NC, found in 2003 that the famed Sistine Chapel Ceiling fresco, painted by Michelangelo in 1512 and located at the Vatican in Rome, Italy, is also painted in allegory. Although the central panels of the Ceiling, or "historicals", are illustrated for literal interpretation, they also contain unique symbolic expression. Once decoded, Dayvault discovered that this expression graphically depicts the Shroud of Turin, in full and complete order. .... In addition, Dayvault, through a "divinely-inspired" discovery in 2003, found that the Last Judgment fresco, also painted by Michelangelo in 1541, and a portion of the Chapel Ceiling remarkably portray the encoded Face of the Man of the Shroud, including its distinctive features. ... [Since the Shroud was exhibited at Vercelli, Italy in 1494, and then located at Chambery, France from 1502-1537, which was not far from the Italian border, there is no reason in principle why Michelangelo could not have seen the Shroud, and based his Sistine Chapel frescoes (painted between 1508-1512) on it. But whether he did so, is another matter. I await with interest more details on this. However, I cannot see how it would make any difference to the question of the authenticity, or otherwise, of the Turin Shroud.]

Barrie Schwortz: The man who saw the Shroud, Manila Bulletin, September 22, 2007 ...

[Left: Barrie M. Schwortz with Cardinal Giovanni Saldarini (former Archbishop of Turin and Shroud custodian).]

In 1978 ... the Savoy family under King Umberto II - commissioned a team of international experts to conduct the first in-depth scientific examination of the artifact. Part of that group consisted of the Shroud of Turin Research Project, Inc., (STURP), a team of American scientists and researchers who spent over two years preparing a series of tests aimed to gather a vast amount of Shroud data. The whole process was documented by a man named Barrie Schwortz. Schwortz, who graduated from Brooks Institute of Photography in 1971, admitted that he was hesitant to accept the task. In the earliest stages of my involvement, I wondered whether someone raised as an Orthodox Jew should be a part of such a `Christian' project," Schwortz narrated. ... Schwortz has remained active in Shroud of Turin research. He is the editor and publisher of the internationally recognized website, http://www.shroud.com/, a leading resource on the topic. Schwortz's initial impression of the Shroud was that it was a painting. "Based on the modest amount of information available before 1978, I expected to get to Turin, take one look at the Shroud, see the brush strokes, and come home," Schwortz admitted. ... In 1978, the STURP team spent 120 hours with the Shroud of Turin, performing all possible scientific tests with the technology available at the ... "We came to Turin, to find out how the image on the Shroud was formed," Schwortz noted. "But here we are, 30 years later, and we can tell you that it's not a painting, a photograph, a scorching nor a dust formation. But the mechanism by which the image was formed has still not been determined." The accumulation of empirical data on the Shroud of Turin has led Schwortz to believe the cloth is the authentic burial cloth of Jesus. "There is no singular evidence that can prove the authenticity of the Shroud of Turin. But we have only one existing documentation of a man who was scourged, speared, crowned with thorns, and crucified, and that is the Passion of Jesus Christ, as depicted in the Bible," explained Schwortz. ... [Some Shroud anti- authenticity `sceptics (so-called) like to employ the ad hominem tactic of depicting those who regard the Shroud as authentic, as doing so because they are Christians. But as then Ph.D candidate, now writer, Danusha V. Goska pointed out (see `tagline' quote below), apart from the fact that most Christians are indifferent to the Shroud, a non-religious Jew like Barrie Schwortz, based on "The accumulation of empirical data... believe[s] the cloth is the authentic burial cloth of Jesus" (my emphasis)!]


"I wanted to see if self-identified sceptics who had debunked the Shroud had addressed questions like mine. A Google search lead me to Joe Nickell. He says that those who see anything worth studying in the Shroud are `Shroud partisans' and `good Catholics' or `the faithful.' Well, that's what we English teachers call `ad hominem.' In these instances, Nickell is trying to make his case not by adducing evidence to support his point of view, but by discrediting the person of those with whom he disagrees. And then there's the problem of Nickell's accuracy - `the faithful' don't, for the most part, accept the Shroud. Most Christians I have met have barely even heard of it. I was never told of it in Catholic school; I have never heard it mentioned in a Catholic church. I know about it because the research that scientists did on it gained attention in the secular media. Barrie Schwortz runs a website on the Shroud ... Is Barrie Schwortz, as Nickell alleges, a `partisan Catholic' who came into this research believing in the Shroud? Below is Mr. Schwortz's self-description.
In the earliest stages of my involvement, I wondered whether someone raised as an Orthodox Jew should be a part of such a `Christian' project I am still Jewish, yet I believe the Shroud of Turin is the cloth that wrapped the man Jesus after he was crucified. That is not meant as a religious statement, but one based on my privileged position of direct involvement with many of the serious Shroud researchers in the world, and a thorough knowledge of the scientific data, unclouded by media exaggeration and hype (Shroud.com)."

(Goska, D.V., "The Shroud of Turin???," 11 April 2007).

Posted 9 October 2007. Updated 10 June 2026.

Saturday, September 29, 2007

Shroud News - August 2007

Here, belatedly, is my Shroud of Turin news for August 2007 (see


[Above: "Bust of Christ in the catacomb of Pontianus," Opus Dei Photography.]

also issue Jul-07). I have been so busy writing my paper, "A proposal to radiocarbon- date the pollen of the Shroud of Turin" (which is nearly finished as a first draft) that it was only when I realised that I had better post my September Shroud news this weekend that I realised I had not yet posted my August Shroud news! I will now try to soon post the September news (see issue Sep-07). My comments are bold and in square brackets.

Shroud.com - Major Website Update Posted on July 31, 2007: Review of the Recent National Geographic Channel Documentary [According to Barrie Schwortz, "what started out as a reasonably fair and balanced debate about the Shroud of Turin, finished with a resounding thud"!] New Papers Added to Scientific Papers & Articles Page [This includes a paper, Szarvas, T., et al., "Model experiments and remarks on the radiocarbon dating of the Shroud of Turin," which concluded:

"Our model experiments ... on linen samples proved the probability of 14C contamination of the Shroud of Turin resulting in ... exchange reactions, which could influence ... the results of radiocarbon dating of the Shroud."

More evidence that, even if the Shroud originated in the 14th century, it should not have returned a 14th century date (as the 1988 radiocarbon dating of the Shroud did), but one even younger!]; ... British Society for the Turin Shroud (BSTS) June 2007 Newsletter [See below.]; ... Shroud Exhibit Opens In the Philippine Islands [As reported on in July's Shroud news.]; ... The Shroud Report - Online Streaming Video Interviews With Shroud Experts [Having watched all these online streaming videos at least once (some many times) I recommend them all.]; New Shroud Books and Book Reviews [Brendan Whiting responds to Ian Wilson's review of his book, "The Shroud Story." I own that book, and while I agree with Wilson's criticisms of Whiting's inclusion of material from Maria Valtorta's visions as though they were historical facts, I still think the book is otherwise a valuable resource, albeit overpriced at $52.00AUD.]; BBC Commissions New Shroud Film [Apparently David Rolfe, producer and director of "The Silent Witness" has been commissioned by the BBC to produce a new film on the Shroud, titled, "The Three Shrouds of Christ."

[Left: "The Silent Witness," David Rolfe's award-winning 1978 documentary on the Shroud.]

The press release implies that it will show "new evidence that challenges the validity of the Carbon 14 technique applied to the Shroud." The BBC has also commissioned Rolfe "to make a special 1 hour HD documentary for Easter 2008 - the 20th Anniversary of the carbon dating."] ...

British Society for the Turin Shroud (BSTS) Newsletter No. 65 - June 2007:

[Right: The cover of the June 2007 BSTS Newsletter.]

Editorial - by Mark Guscin; Book Reviews - Three reviews by Joanna Emery and Mark Guscin; Author John Loken's Response to BSTS Review of "The Shroud Was the Resurrection" [Loken's response contains a number of fallacies: 1) Christians, in my ~40 years experience, don't describe themselves or other Christians as "devout"; 2) Loken's claim in his book, "The Shroud Was the Resurrection," that the Jerusalem authorities stole Jesus' body and then disposed of it, is one of the weaker (to put it mildly) naturalistic theories to try to explain away the resurrection of Jesus. That is because (as Mark Guscin wrote in his review):

"Why would the authorities steal a dead body when to all effects and purposes Jesus had come to an end? And why would anybody believe in a physical resurrection from the dead just because they saw an image on the burial cloth?"

Also, if the Jerusalem authorities' aim was to prevent the disciples stealing Jesus' body to `fulfil' His predictions that he was going to be resurrected (Mt 26:61; 27:40; Mk 14:58; 15:29; Jn 2:19-20, then removing His body from the tomb was the worst thing they could do, because it would have the opposite effect! And then when Jesus' disciples started claiming that Jesus had been resurrected, the Jerusalem authorities could have admitted what they had done and produced the body or its remains, but they never did. Finally Loken's theory does not really explain Jesus' resurrection appearances to both His followers (Mt 28:8-10,16-20; Mk 16:9-19; Lk 24:13-51; Jn 20:10-29; 21:1-24) as well as to then non-follower James and arch-enemy Paul (1Cor 15:3-8)]; Interview with Mechthild Flury-Lemberg in Oviedo - by Mark Guscin; The Invisible Mending of the Shroud in Theory and Reality - by Mechthild Flury-Lemberg; [Strong, if not conclusive, evidence against the late Ray Rogers' re-weave theory.] The Second International Conference on the Sudarium of Oviedo by Mark Guscin. [This has the latest information on the Sudarium of Oviedo.]

On "The Physics of Christianity", The Conservative Voice, Timothy Scheiter, August 09, 2007 ... The Physics of Christianity. Doubleday. ... Frank J. Tipler, professor of mathematical physics, University of Tulane, New Orleans, LA ....

[Left: Tipler, F.J., The Physics of Christianity (2007), Amazon.com]

There are many other detailed fascinations of the book. Tipler's treatment of the latest Shroud of Turin evidence, for example, is impressive. I had personally written off the Shroud as a real stretch of credulity, but was impressed with many new facts and arguments surrounding its authenticity as portrayed by the author. ... [I have never read any of Tipler's books (apart from his co-authored with John Barrow, "The Anthropic Cosmological Principle"), the main reason being that, from what I have read, of his earlier book, "The Physics of Immortality," he seems to be attempting the impossible-to prove by advanced physics and mathematics that under his Naturalism (i.e. nature is all there is = there is no supernatural = there is no God) he can have all that Christianity offers, including God and immortality, e.g.:

"immortality and the resurrection of the dead [are] consistent with the known laws of physics, provided by a computer intelligence he ... identifies with God." (Frank J. Tipler, Wikipedia)

I agree with cosmologist "George Ellis's review" of that earlier book " in the journal Nature," [ElIis, G., "Piety in the sky," Nature, Vol. 371, pp.115-115] that it is:

"a masterpiece of pseudoscience ... the product of a fertile and creative imagination unhampered by the normal constraints of scientific and philosophical discipline." (Frank J. Tipler, Wikipedia)

However, I will check out this Tipler's latest book to see what he has about the Shroud.]

Posted 29 September 2007. Updated 5 May 2024


"But there is one example that is almost spectacularly different. ... one of Rome's least-known catacombs, the Catacomb of S. Ponziano, or St Pontianus. ... Importantly, since the whole catacomb was closed down after AD 820, any decoration inside it almost inevitably has to be of an earlier date. On one wall, slightly damaged, but its colours still fresh, is to be seen a very fine fresco ... of Christ Pantocrator iconographically so close to that of the coins of Justinian II that its date is almost certainly the same, the end of the seventh century. But its real feature of interest is the one which lies between Christ's eyebrows, and would be well nigh impossible to convey on anything as small as a coin. This is a sharply delineated topless square ... exactly corresponding in shape and positioning to that so unnatural mark between the eyebrows on the shroud. Now there can be no question of this feature perhaps being the result of some later tampering with the fresco. ... there are many indications that it was the work of the original seventh-century artist. Throughout the work, for instance, the artist used only a very limited range of colours, and it can be seen to have been painted in one of these. Furthermore, it has been created in fresco, thereby having been made integral to the original wall plaster, and can be adjudged as such by any expert. And if this originality is accepted, its significance in relation to the shroud's date is difficult to over-estimate. Just as the viewing of a single footprint on fresh sand provided for Robinson Crusoe the conclusive evidence that there was another human being ... on his island, so the presence of this topless square on an indisputably seventh/eighth-century fresco virtually demands that the shroud must have been around, somewhere, in some form at this early date. Since that form can have been scarcely other than the `holy face' of Edessa, the shroud's history is effectively established at least as far back as the sixth century, with the Abgar story offering a glimmer of how it may have arrived in Edessa back in the first. Of course, there is one alternative scenario that may occur to the more dogged sceptic. It is the inevitable chicken-and-egg one. Perhaps the hypothetical forger, in addition to his brilliance in creating the photographic quality of the shroud image, and his rendering of its bloodflows with such exactness, also knew of the strange markings on Christ portraits in art, and added these for yet more convincing effect? While such a possibility has to be acknowledged, it is equally important to stress its unconvincingness. As in so much else in his methodology, the hypothetical forger would have been alone among fourteenth-century artists, eastern and western, in taking an interest in these markings. Even in the Byzantine world the incidence of them fell away markedly following the Sack of Constantinople in 1204. Furthermore he would have had more than a little difficulty even finding out about the marking on the Ponziano catacomb fresco, for there seems no evidence that anyone knew of this catacomb's existence from its closure in 820 to the time the Italian archaeologist G. B. de Rossi began systematic excavation of all catacombs in 1852. Effectively, while there is a great deal to suggest that in the seventh/eighth century the Ponziano fresco artist might have taken his inspiration from a `holy face' cloth such as the shroud, there is absolutely nothing to suggest that in the fourteenth century the hypothetical shroud forger would or could have known anything of the Ponziano catacomb. Overall then, we have satisfied all the main requirements for confidence that something answering all the essential characteristics of the shroud was in existence as the `holy face' of Edessa between the sixth century and 1204. We have seen that the idea of Jesus imprinting the likeness of his face on cloth, and the physical existence of a cloth corresponding to this idea, goes back at least as far as the sixth century. We have found that the idea of Jesus imprinting wounds from his dead body (notably the wound in the side) onto this cloth, dates back at least as far as the tenth century. We have established that the idea of Jesus imprinting the full imprint of his body on cloth dates at least as far back as the twelfth century. Not least, we have identified markings that virtually fingerprint the shroud to having been in existence at least as early as the eighth century. Against all this we have been able to add virtually nothing to the credibility of the hypothetical fourteenth-century forger. So was there in the fourteenth century a brilliant unknown individual who transmuted the undeniably pre-existent idea of Jesus imprinting his image on cloth into the extraordinary reality that is the Turin shroud, embodying in it features it was virtually impossible for him to know of? Or could the accuracy of the shroud carbon dating somehow be not quite all that has been claimed of it?" (Wilson, I., "Holy Faces, Secret Places: The Quest for Jesus' True Likeness," Doubleday: London, 1991, pp.167-169. My emphasis).