Posted three days ago on the Diocese of Turin’s 2015 Shroud of Turin
Exhibition Facebook page
For the public exhibition of the shroud, May 3 to 24, 1931 on the occasion of the marriage of Prince Umberto of Piedmont and Princes Maria Jos of Belgium.
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Feet separated and toes pointing outwards. Long flowing hair in the neck. Burnmarks at a safe distance from the body. Large margin from the feet to the end of the garment and so on. The shroud seems to have more in common with earlier exhibition copies than the SOT itself even if photographs of the shroud were accessible in 1931.
Hugh Farey suggested earlier that a category of SOT copies (where the shroud is being held up) descended from a single copy of the original kept in the same place. Perhaps the common features within the tradition can be explained on the basis of mutual inspiration? This was simply the version of the Shroud that belonged to the common mindset during a couple of centuries in the same way as the negative contrast enhanced versions of the SOT, that show up on google, is how people imagine the shroud nowadays.
The majority of artists over the centuries (if not everyone) must have been familiar with this tradition before they contributed with their own works.
Hello Dan, I can’t seem to find page on the Facebook. Precise name of the page, or link?
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