How Valid are the Vignon Markings?

Dan

9 years ago

A reader writes:

I suggest that you only focus on the Shroud of Turin content on Stephen Jones’ site. Ignore what he says about you or your blog.

Others, in comments and emails, have offered similar good advice.

Okay, here goes. On April 14, Stephen wrote:

Vignon paid particular attention to a topless square (Vignon marking 2 above) on the 8th-century Christ Pantocrator in the catacomb of St. Pontianus, Rome[11] Artistically it made no sense, yet it appears on other Byzantine Christ portraits, including the 11th century Daphni Pantocrator, the 10th century Sant’Angelo in Formis fresco, the 10th century Hagia Sophia narthex mosaic, and the 11th century "Christ the Merciful" mosaic in Berlin[12]. And at the equivalent point on the Shroud face, there is exactly the same feature where it is merely a flaw in the weave[13].

I disagree. Artistically, a topless square, or at least the right and left vertical lines of one, are quite common. It makes perfect artistic sense as some of the pictures, below, show. Maybe the artist copied the lines from the faint lines on the shroud or from a statue of Aristotle. Maybe he simply introduced it artistically.

In fairness to Stephen, he is only saying what many before him have said. I had believed it was important. It was something that helped me believe that the shroud was real. Then, one day I was shaving. (I still believe it is real but I’ve discounted this at least.)

Thoughts? Should other Vignon markings be questioned as well? Should the whole concept be reconsidered? Or, am I mistaken?

Bridge of Nose on Shroud of Turin