Luciano Buso: What’s the point of denying my theory

We mentioned this back in June of last year. At the time the Telegraph and the Daily Mail wrote about it and, not surprisingly, the story died after one day. Now, because of the attention caused by the ENEA report, Marina Tantushyan, a correspondent in Rome for the Voice of Russia, has resurrected the story. It seems that an artist from Treviso, Luciano Buso,  has determined that the shroud is actually a replica of Jesus’ original burial shroud. According to Buso, the Italian artist Giotto di Bondone created the replica in 1315:

Here is an exchange from an interview with Buso by Marina Tantushyan:

[Tantushyan:]  What is your view of the ENEA tests results that in a way contradict your conclusions? Are you ready to insist on your point of view? If yes, what counter arguments are you going to use to prove your point?

[Buso:]  The fact that all theories related to the Shroud of Turin are to be proved invalid to some extent became obvious to me back in 1980s when a group of world renowned scientists who performed carbon dating test on a small piece of the cloth put the Shroud’s origin around 1280-1320. It so happened that even that theory designed by well known scientists who used technology and methods modern for that time collapsed. In my opinion, various theories will always try to deny the existence of the Shroud of Turin. As far as the results of the latest testing that contradict my observations, I can say only this: those who want to doubt my theory will also have to appeal the results of all my work to study hundreds of pictures painted between years 1300 and 2010. In all those I found hidden writing. There is a book about to come out in which I give a precise and detailed account of all examples of hidden writing I have encountered. What I don’t understand is this: what’s the point of denying my theory that proves that Giotto created the Shroud of Turin in 1315 if the existence of these hidden writings is obvious.

This is what you are looking for. It is a stylized “Giotto 15,” meaning of course 1315. And you can find it only by looking at the area just below the chin in an upside down photograph of the shroud, as shown above.

What’s the point of denying?