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Hello Mr. Zias

September 29, 2014 225 comments

A Guest Posting by Yannick Clément
An Exchange of Emails with Joe Zias (Wikipedia Entry)

Hello everyone!

imageHere, I would simply like to share some precious and very pertinent informations I got from a real expert in ancient Jewish burial rituals who’s name is Joe Zias. Mr. Zias [Pictured]  is a well-known and well-respected Jewish archaeologist who also was the former curator of Archaeology and Anthropology for the prestigious Israel Antiquities Authority. I reached him recently via email to discuss with him about some topics related to the Shroud of Turin.

The first subject I wanted to talk with him concerns two hypotheses that have been proposed over the years concerning the possible use of flowers and/or plants during the burial of the Shroud man. These hypotheses propose that these botanical species would have been laid on the Shroud man’s body before the end of the burial procedure.

The first hypothesis is well known in the Shroud world and propose that some images of flowers are visible on the Shroud and that these flowers would have been present inside the cloth at the moment of the body image formation and, for an unknown reason (most probably related to the image formation process itself), would have been also reprinted on the cloth’s surface along with the body of the Shroud man.

The second hypothesis is less known, but have been proposed recently by the archaeologist Paul Maloney in a paper that was published on this blog. It is related to various microscopic debris of plants and flowers that he found in good quantity in some of Max Frei’s pollen samples. Mr. Maloney proposes the idea that these debris would have been left on the Shroud after the deposit of these botanical species on the body of the Shroud man before he was completely enveloped in the Shroud.

I always been very suspicious about the first hypothesis concerning the images of flowers on the Shroud (for the main reason that I don’t see how a natural image formation process could, at the same time, produce a body image AND some images of flowers on a linen cloth) and, after some reflection, I felt the same concerning Mr. Maloney’s own hypothesis.

But in order to better judge the potential validity of these two hypotheses, I decided to contact Mr. Zias (with who I have exchange some emails in the past) and ask him a pertinent question on the subject.

Here’s the email I sent him: “Hello Mr. Zias!

Recently, I read a hypothesis about the Shroud of Turin that I consider truly irrational and I just want you to confirm to me that my reasonning about that is correct.
Mr. Paul Maloney, a Professional archaeologist who study the Shroud since the 1980s and who is in possession of the Max Frei’ collection of sticky tape samples he collected from the Shroud in 1978, propose the idea that the fact that there are a high concentration of microscopic debris of plants and flowers in some samples, this means that they must have come from some deposits of plants and flowers directly on the Shroud at some time during its history.  So far, I have no reason to doubt such a reflection.  But the thing is that Mr. Maloney propose that such a direct deposit of plants and flowers on the Shroud could have happened during the burial ritual of the Shroud man…

That’s where I disagree, because I really think that the deposit of plants and/or flowers WAS NOT part of the common ancient Jewish burial ritual of the Second temple period.
Question for you:  Am I right about that fact?  I’m sure you know the answer!  Thanks in advance for taking 2 minutes to confirm me that I’m right about the fact that there was no deposit of plants and/or flowers on the corpse and/or Inside the burial shroud during the common Jewish burial ritual that was perform in Antiquity.  I know that this is still the case in modern orthodox Jewish burials, but I want to be certain that this was already the case in Antiquity…”

And here’s his short reply: “Shalom, you are absolutely correct on that point. Joe Zias”

Interesting don’t you think? As I said at the beginning of my post, the only goal I seek here is to share these precious information with all of you, because I know that they are very pertinent and come from someone who have no bias on the subject. After reading the confirmation of Mr. Zias that plants and/or flowers were not part of ancient Jewish burials, it’s now up to you to make up your mind about the 2 hypotheses related to the presence of plants and/or flowers inside the Shroud with the body. Personally, I’m now more convinced than ever that there was absolutely no botanical species present inside the Shroud and that all that was there was the bloody and unwashed corpse of the Shroud man and nothing else… If I’m right, this would be in total sync with a real partial burial done in haste, which would correspond exactly with the Gospel accounts! In sum, I can say that what seems to be flower images to some people is most probably a good example of the pareidolia phenomenon that has been described by Barrie Schwortz and Paolo Di Lazzaro in this paper.

And when it comes to Mr. Maloney’s hypothesis, I think the alternative hypothesis he mentioned in his paper, which have been proposed by a palinologist named A. Orville Dahl, is much more rational and viable! This scientist proposed the idea that these debris of flowers and plants came from an event that has not been documented and that could be related to a liturgical ceremony in which the Shroud could have been used as the Sacred cloth on the altar of a church. It is during that kind of ceremony that flowers and plants would have been laid on it and would have left some microscopic debris. Personally, I think it’s truly possible that such a religious event could have happened while the cloth was kept in Constantinople and it is even possible to assume that this could have been the inspiration for the “epitaphios” cloths used during Easter time by the Orthodox Church, which started to appear in the Byzantine capital around 1200 A.D. I also think that it’s also possible to link such a liturgical event with the L-shaped burn holes on the cloth, which could well have been produced during that kind of liturgical ceremony in which the Shroud could have been used as an altar cloth folded in 4 equal pieces. Effectively, the nature and the appearance of the burn holes makes it possible that they were produced by some small drops of a corrosive liquid (note: Al Alder thought this was the most probable scenario to explain these burn holes), maybe coming from the use of incense, or produced by some small drops of very hot wax coming from a candle.

Here, I must say to those who would still be tempted to believe in the presence of images of flowers on the Shroud or to believe in Mr. Maloney’s hypothesis that, if these proposal would be true, then we would have a good reason to seriously doubt the authenticity of the Shroud as the real burial cloth of Jesus of Nazareth, because we know FOR A FACT that, historically, flowers and/or plants were NOT part of a common Jewish burial during the First century A.D.! And think about it : If the use of flowers and/or plants was not part of the normal Jewish burial ritual during the time of Christ, how in the world this would have been the case for his own burial, which was obviously done very partially and in haste?

Personally, I even doubts that some burial substances like aloes and myrrh (which traces has never been found by Adler or Rogers’ chemical investigations) could have been present inside the Shroud with the body, except maybe in solid form (maybe in powder). If that’s the case, it’s possible that this powder would have been placed inside some cloths (used as « bags ») and then disposed all around the Shroud man’s corpse inside the Shroud, which is an interesting hypothesis that was first proposed by doctor Pierre Barbet in his book about the Shroud and which, according to Barbet, would have been done basically for two reasons: 1- To retard a bit the decomposition process of the corpse. And 2- To remove bad smelling inside the tomb. And of course, this would have been done because those who did the incomplete burial of the Shroud man (this is a FACT) would have been well aware that they had to come back to the tomb later on to finish the job properly with a real anointment of the body. That was most certainly the main reason why the women needed to open Jesus tomb on Easter morning and the reason why they get there in a hurry very early was obviously to avoid facing a decomposed body and the very bad smelling that goes with it. But beside this possible presence of aloes and myrrh in powder inside the Shroud at the time of the image formation (which is a hypothesis that will probably never proven), I seriously doubt that there was any other thing, except for the dead and unwashed body of the Shroud man, still covered with blood and serum stains…

Now, after having exchanged some emails with Mr. Zias concerning the idea of flowers and/or plants that could have been used during the burial of the Shroud man, I decided to go further by asking him some questions in link with another well-known hypothesis concerning the possible presence of coins (often mentioned as being authentic « Pilatus coins » from Jesus era) over the eyes of the Shroud man.

Again, here’s parts of our exchange:

First, I send him this email: “Hello Mr. Zias!

Again, I need your knowledge on ancient Jewish burial practice! Along with the so-called images of flowers that some pro-Shroud guys said having seen on the cloth, they also claim that there would be images of coins over both eyes of the Shroud man and many of them goes further by pretending that these coins are Roman coins!

The only thing I would like to know is this : Does it was a common Jewish practice to put coins over the eyes of their deads during the burial ritual?“

And here’s the message he sent me: “It was never a Jewish custom and those coins that were found in the skull in Jericho were probably placed within the mouth, non Jewish Roman practice but in order to cover all bets we find it on rare occasion. Secondly, coins of Pontious Pilatis, sound like Monty Python. Joe Zias.”

Then, I send him the email: “In the case of the few coins that were found in ancient Jewish tombs, don’t you think, like me, that this is probably a pagan ritual done by some Hellenized Jews of that time?”
And here’s what he said to me: “Def. a roman pagan practice in which on occasion, Jews, in order to cover ‘all their bets’ placed coins in the mouth of the deceased.”

Then, I sent him this message: “Since we know that some Jews (many being from the upper class) were hellenized at the time of Christ, it’s not very surprising that archaeologists could find coins in Jewish tombs from time to time but, as you said well, this was surely not a common practice among Jews of that time…  I think it’s fair to say that, when it comes to ancient Jewish burial ritual, the use of coins is the exception that confirms the rule, right?”

And here is reply: “Absolutely correct, in most cases when coins were found colleagues believed they simply fell out of the pockets of those visiting or preparing the tomb. only exceptions were Jericho and the Caiaphas tomb where they were found in situ, the latter is a clear case of hypocracy as this was the tomb of the family of the high priest.”

Then, I asked him one more question: “1- Beside coins, was it a common Jewish burial practice in the time of Christ to cover the eyes of their dead with other things like buttons, pieces of ceramic, pieces of potery, etc. ?”

And here’s his answer: “During the period in question, Jews never used anything to cover the eyes of the deceased as the head was wrapped in a shroud.”

Again, as I said at the beginning of my post, the only goal I seek here is to share these precious information with all of you. And after reading what Mr. Zias had to say about that, it’s now up to you to make up your mind about the idea of a possible presence of coins or some other thing over the eyes of the Shroud man. Personally, I’m now more convinced than ever that there was absolutely nothing present over his eyes at the end of the partial burial procedure… And if the eyes seems to pop-up on the 3D photos, this could simply be due to one of these two natural reasons : 1- For some unknown reason, there would have been a release of a greater quantity of « energy » (which could well be post-mortem gases) in the region of the eyes versus the surrounding area, which would have caused a very high concentration of yellowed fibers there. Or 2- The eyes of the Shroud man were simply very swollen, maybe due to the intense beating he received (which is an hypothesis that have been retained by Mel Gibson when he shoot his movie The Passion of the Christ). This pathological state would have caused a direct contact between the eyes and the cloth, thus causing a very high concentration of yellowed fibers there.

In conclusion, to illustrate better my thoughts on these controversial subjects, I propose you a fictive interview I would make with a reporter:

First question : Do you think there are images of flowers on the Shroud?

My answer : Since the data coming from the Shroud convinces me of the authenticity of the cloth, I’m also convinced that there is no such thing on the cloth, because we know for a fact that, historically, flowers or plants were not part of the common Jewish burial ritual in the days of Christ. And since the burial of the Shroud man was done very partially and in haste, I don’t see why the people who did it would have lose time picking flowers outside the tomb! In sum, I would say that it’s not because some people are seeing some images of flowers that these things are really there on the cloth…

Second question : Do you think there are images of coins on the Shroud over the eyes of the Shroud man?

My answer : Same thing! Since the data coming from the Shroud convinces me of the authenticity of the cloth, I’m also convinced that there is no such thing on the cloth, because we know for a fact that, historically, the use of coins in ancient Jewish burial was truly exceptional and happened only in the case of Jews that were very hellenized, which was obviously not the case for Christ and his followers who were all pious Jews. So much in fact that, even after the Resurrection, they were still going in the Temple of Jerusalem and in synagogues to preach! We also know that, in pagan burial rituals, only one coin was normally used and placed inside the mouth of the dead person and not over his eyes. And we also know that because the dead Jews were all placed inside burial shrouds, there was no need for the use of some other material (like a piece of ceramic or something like this) to cover the eyes of the dead in the case they would open after death. In sum, since the burial cloth was already covering the entire body of the person, there was no need to put something else over the eyes to cover them! Again, it’s not because some people are seeing some images of coins on the Shroud that this is really what’s there…

I hope this post of mine will help some people to make up their minds better regarding these topics! That’s all for the moment… Stay tuned for more! J

imageYannick Clément, independent Shroud researcher, Louiseville, Québec, Canada

P.S.: I really think that those who have proposed these obviously wrong hypotheses should have done the same kind of “homework” I did before proposing them publicly! By getting in touch with a real expert in ancient Jewish burials, they would probably have come, just like me, to the evident conclusion that if the Shroud is authentic, there was most certainly no plants, no flowers, no coins and no other things like that present over the body or the eyes of the Shroud man when he was enveloped in that cloth… Interesting note on this subject: This is exactly what Ray Rogers did when he analyzed the nature of the image chromophore, which proves once again his high level of professionalism! Effectively, during his research on the subject, Rogers got in touch with Anna Maria Donadoni, who was a Conservator at the Turin’s Museum of Egyptology, in order to learn about the most common ancient method of manufacturing linen cloths and if such a technique could really produced a thin layer of carbohydrate impurities on the cloth’s surface, which would include traces of starch like the one detected by McCrone and by himself later on. It’s only AFTER having made this important check-up that he was confident enough to publicly propose an important change in STURP conclusion about the image chromophore, which is, as he said, probably not located inside the structure of the fiber itself but only in this kind of carbohydrate coating which is probably resting over a good portion of the topmost fibers on the cloth’s surface. That’s how good science is done! Obviously, in the cases of the 3 hypotheses I discussed in this post, we cannot talk about “good” science, but much more about “good” imagination!

A Defense of Ray Rogers on the Image at the Thread and Fiber Level

September 14, 2014 24 comments

“ . . . Direct comparison between image and non-image parts of the Shroud
show exactly the same amounts and types of radiation damage in the two
types of areas. This suggests that the image was not produced by any
mechanism that involved heat, light, or ionizing radiation.”  — Raymond Rogers


A Guest Posting by Yannick Clément*

imageHello everybody!

I read the recent quote from Maria da Glóra Moreira on this blog, who said this concerning the Bari conference : “In our humble opinion there were actually few advances in Shroud investigation and one thing is for sure- EVEN IN LABORATORY EXPERIMENTS NAMELY WITH LASER TECHNOLOGY, CORONA DISCHARGE ETC. THE IMAGES OBTAINED ARE FAR FROM THE ORIGINAL.”

Comment: How can someone honest who have read carefully the conclusions of a chemist expert like Ray Rogers about the Shroud image can expect something else than this from these hypotheses that rely on a burst of intense energy, especially when it comes to compare their coloration results microscopically at fiber level?

In his writings about the Shroud, Rogers made it clear that all these processes will ALWAYS produce evident damages on the fibers’ surface, which are not looking at all like the surface of image fibers he analyzed (note: such a difference could probably be hard to detect for the eyes of someone who is not an expert in analytic chemistry like Rogers was). In sum, Rogers was clear about the fact that the image fibers from the Shroud do not presents the oxidative kind of damages these energetic processes ALWAYS caused. No matter if it’s located only in the primary cell wall of the fiber or not, these processes will ALWAYS cause damages that got a “signature look” that doesn’t look at all like the appearance of the colored fibers Rogers saw on the Shroud (and especially their surfaces), which got a signature look that strongly points in direction of a mild dehydration process happening at low temperature.

Here’s an important quote from Rogers paper “Scientific method applied to the Shroud of Turin – A Review” about that: “At high optical magnifications, up to 1000X, no coatings could be resolved on the surfaces of the image fibers; however, the surfaces appeared to be “corroded.” That observation suggests that a very thin coating of carbohydrate had been significantly dehydrated on the outer surfaces of the fibers.”

Here, it’s important to understand why Rogers put the word “corroded” between quotation marks… It’s because this term was used by Adler in a paper he wrote about the body image, which was not the best term that could have been used (remember that Adler, unlike Rogers, was not an expert in these types of surface damages). If we believe Rogers, the right term should have been “surface cracking”. Here’s another quote from Rogers’ book in which he explain this: “Surface cracking (“corrosion” as Adler called it) of the color can be seen, and flakes can be seen in the “ghosts” on the sampling tapes.” And here’s another quote taken from Rogers paper “Scientific method applied to the Shroud of Turin – A Review”, which explain why this kind of surface cracking point in direction of a dehydration process involving only a thin layer of carbohydrate impurities instead of an oxidation process of the fibers’ surfaces: “Dehydration causes shrinkage; therefore, any coating of carbohydrate impurities would “craze” during dehydration.”

And here’s another important quote coming from the 2010 paper “The Shroud of Turin from the viewpoint of the physical science” that was written by Emmanuel Carreira and which describe the kind of “damages” Rogers saw on the surface of the image fibers: “…the crystal structure of the flax image fibers was no more defective than non-image fibers.” And here’s a complementary comment by Rogers that come from another paper he wrote that is entitled “The Shroud of Turin: Radiation Effects, Aging and Image Formation”: “All parts of the Shroud are the same age, and all parts have been stored in the same location through the centuries. Therefore, all parts should have been exposed to the same kinds and amounts of (natural) radiation. Any additional radiation effects found in image areas would indicate excess radiation in that location. Direct comparison between image and non-image parts of the Shroud show exactly the same amounts and types of radiation damage in the two types of areas. This suggests that the image was not produced by any mechanism that involved heat, light, or ionizing radiation.”

So, what people needs to understand (and it’s very important when it comes to analyze any image formation hypothesis that is proposed to explain the Shroud image) is that, from the perspective of a real chemist expert like Rogers, the kind of damages all these high energy processes will ALWAYS causes on a fiber’ surface will NEVER look like the kind of surface cracking he saw on the image fibers he lifted himself from the Shroud’s surface in 1978. IN ROGERS’ MIND, THAT’S THE MOST IMPORTANT SCIENTIFIC ARGUMENT AGAINST ALL THE IMAGE FORMATION HYPOTHESES INVOLVING A HIGH AMOUNT OF ENERGY AND/OR HEAT, LIKE CORONA DISCHARGE, BURST OF UV LIGHT, BURST OF PROTONS OR NEUTRONS AND EVEN A SCORCH. As he clearly said, the only radiation damages he could notice on image fibers was damages that were easily noticeable and which had been caused with time by natural radiations. And as he pointed out, these particular damages are exactly the same as what he saw on the surfaces of non-image fibers, which is a very important observation that many people tend to deny or forget in the pro-Shroud world, especially those in favor of an image formation process in direct link with the Resurrection of Christ…

In sum, for Rogers, all these energetic mechanisms should be discarded because the kind of damages they ALWAYS produced on the surface of a fiber is not the same as what he observed on image fibers taken from the Shroud, BUT ALSO because all these mechanisms are not able to produced a yellowing that would be restricted only to a thin layer of carbohydrate impurities, while leaving the underlying fiber completely free of any coloration and damages, as he was convinced in the case of the image fibers of the Shroud.

So, when we take into account ALL the pertinent data coming from the Shroud (including the very important fact that, as Rogers said, the crystal structure of the flax image fibers is no more defective than non-image fibers, the fact that the diimide reduction of color and the ghosts are leaving a colorless, clean and undamaged fiber behind, the banding effect that show a close correlation between darker threads and an image a bit darker and lighter threads and an image a bit lighter, the fact that starch and pectin deposits have been found on Shroud samples by Rogers and Adler, along with the fact that almost all the image color resides on the topmost fibers at the highest part of the weave, which correspond exactly to the results obtained by Rogers during his evaporation-concentration tests), I really think we should consider the scenario of a still undetermined low-temperature dehydration event that would have caused the yellowing of only a thin layer of carbohydrate impurities on a portion of the topmost fibers of the cloth (and which was most probably related to the biological state of the Shroud man’s corpse during the short time he stayed inside the cloth) as the most probable scenario to explain the Shroud image.

To conclude about Maria’s comment, I would say that unless someone can do coloration tests with linen samples made with the ancient method of manufacturing linen cloths (i.e. causing a concentration of carbohydrate impurities on the cloth’s top-surface) that would be submitted to various kinds of biological substances (i.e. various post-mortem gases, lactic acid , urea, etc.) maybe in association with heat and/or water vapor (which could have been released by the fresh corpse of the Shroud man) and also, why not, to various kinds of ancient known burial products (again, maybe in association with and/or water vapor), I’m afraid there will never be any coloration result that will ever come close to what we see on the Shroud, chemically and even physically speaking. And seriously, I think this has already been done concerning a possible release of post-mortem gases by the Shroud man’s corpse (at least in a preliminary way)!

Effectively, in his book about the Shroud, Rogers reports a coloration experiment he made with a linen sample made the old fashion way that he submitted to ammonia vapors for 10 minutes at room temperature and which he baked afterward to simulate ageing. Here’s what he wrote about the results he obtained: "Experimental manipulations of concentrations and one-dimensional migration of solutions, as in a large cloth, could produce the same front-to-back color separation and color density as observed on the Shroud. The fibers on the top-most surface are the most colored when observed under a microscope, and the color is a golden yellow similar to that on the Shroud (figure XI-5). The coating of Maillard products is too thin to be resolved with a light microscope, and it is all on the outside of the fibers. There is no coloration in the medullas: The color formed without scorching the cellulose (note from Yannick : when Rogers use the word "cellulose" in his writings, we must understand « the whole linen fiber » and in this particular case, Rogers is meaning that the color he obtained did not affected the structure of the fiber in any noticeable way). There is very little color on fibers from the middle of the back surface (figure XI-6). The color-producing saccharides had concentrated on the evaporating surface. Water-stained image areas on the Shroud showed that image color does not dissolve or migrate in water. Maillard products are not water soluble, and they do not move when wetted. As a peripheral, non-scientific comment, several Shroud researchers have wondered why there is no mention of an image on the "cloths" reportedly found in Jesus’ tomb. Assuming historical validity in the accounts, such a situation could be explained by the delay in the development of the Maillard reactions’ colors at moderate temperatures. No miracle would be required."

Personally, I believe this is the closest coloration result on linen that any researcher ever was able to produce at thread and fiber level. Of course, we’re not talking here of any kind of close reproduction of a body image on linen like the one on the Shroud (in fact, that was not at all Rogers’ goal when he made this experiment), but “only” of a close reproduction of the main characteristics of the image color at thread and fiber level, particularly when it comes to the extreme superficiality of the color and it’s concentration on the topmost fibers of the cloth at the highest part of the weave (which was pretty much what Rogers expected to obtain from his theoretical reasoning concerning what could happen when post-mortem gases come in contact with carbohydrate impurities). But in the end, what’s very telling is how quiet the reactions have been in the pro-Shroud world concerning this particular coloration result obtained by Rogers! And when I see all the publicity that was made around Di Lazzaro’s results with UV lasers (which were definitely DIFFERENT than what Rogers saw on his Shroud samples, no doubt about that) in comparison to this very interesting result obtained by Rogers (which is quite similar to what he observed on his Shroud samples and which would deserve to be done again by another researcher in order to confirm Rogers’ observations), that makes me wonder what’s going on in this pro-Shroud world…

Yannick Clément, independent Shroud researcher, Louiseville, Québec, Canada

Read more…

An Experiment with Overlay

September 3, 2014 1 comment

O.K. is going to discuss the following images through comments. Join him. I’ll be interested to see where this goes. (Click on any picture to see it in larger form. 


Fresco

Fresco


Fresco + Vignon Marks

Fresco Vignon Marks


Fresco Marked Up

FrescoMarked


Durante

image


Durante Marked Up

ShroudFaceDuranteMarked


Durante Overlay with Fresco

DuranteFrescoOverlay-4020


Manoppello, Shroud and Durer: A Short Presentation by O.K.

September 2, 2014 15 comments

imageO.K. begins:

Background: Roberto Falcinelli’s in the paper The Veil of Manoppello: Work of Art or Authentic Relic?(from the 3rd International Dallas Conference on the Shroud of Turin in 2005) claims (by citing some ambiguous references about Dürer’s biography from the book of Giorgio Vasari, 16th century painter and architect ) that Manoppello Image may be Dürer’s self-portrait (or portrait of Raphael), instead of image of Christ.

In the thread Matching Faces. Is it possible? on Shroudstory, David Goulet commented:

OK, it would be a interesting experiment to use Dave Hines imaging overlay with the Manoppello image and the Albrecht Durer painting.

So let’s do it.

Now we must go to a PDF file. It is the best way to see it. CLICK HERE or on the picture shown here from the PDF file.

Discussion about the Pray Codex and its relation to the Shroud is over?

June 21, 2014 725 comments

A Guest Posting by O.K.


Pray Codex –a probabilistic approach.

Click on image to enlarge to 895×1297 and see legend for features listed below

PrayCodexElementsThe discussion about the Pray Codex and it’s relation to the Shroud seems to be over.

The question of whether or not the Pray Codex had been inspired by the Shroud of Turin has been hotly debated.

Here I would like to present a probabilistic approach to that matter. I would like to estimate probability of several key elements linking the Codex with the Shroud, to occur ALL AT ONCE by pure chance, instead of being copied from the Shroud.

I take into account only a few INDEPENDENT, NON-TRIVIAL and UNDISPUTED details sharing some alleged similarity with the Shroud.

It should be noted that on the key page of the Codex, there are in fact TWO illustrations not just one. Further we will be calling upper illustration as Illustration I, an bottom illustration as Illustration II. This complicates the matter a little bit, but can be overcome.

There are several key details on both illustrations. Let’s estimate the probability of their occurrence on Entombment/Three Marys scene by random

Illustration I:

· A –the Jesus is naked, with His hands crossed above pelvis (similar on the Shroud) –let’s assume that such portrayal occurs in 1/100 instances.

· B –He has just 4 fingers on each hand, no thumbs visible (the same as Shroud) -1/100 instances

· C –He has His legs cropped by the end of page, without any obvious reason (the same as frontal image on the Shroud) -1/100 instances.

Illustration II:

· D –there is a pyramidal/zigzag pattern on alleged shroud/tomb lid –possible reference to the Shroud and it’s herringbone weave, or merely decorative pattern? Anyway, let’s suppose that we can find such pattern in 1/100 instances.

· E –two red smudges on the surface of shroud/tomb lid (just below angel’s feet). Unless this is reference to the blood belt on the Shroud, there is no obvious reason for them. Anyway, let’s suppose that we can find such pattern in 1/100 instances.

· F –the four L shaped ‘poker holes’, similar to those that can be found on the Shroud –reference to it, or just another (very strange) decorative pattern (or to the holes in the Holy Sepulcher, or anything)? No matter. Let’s estimate chance for their random occurrence as 1/100, but, as someone on the forum once pointedthat the chance for four dots to have proper L shape (instead of single line, 2×2 box, ‘T’, or 2×2 with one row translated by 1 element –recall yourself Tetris) in any orientation are 1/5, so 1/500.

So, the probability for elements A-B-C, to occur on any single illustration can be estimated as 1/(100*100*100), that is 1/1000 000=10^-6

Fine. Let’s estimate the expected number of all Entombment illustrations that could have all the elements A-B-C just by chance. Let’s assume that there were 10 millions of Entombment illustrations in the medieval. Thus expected value, is:

10 000 000/1000 000 =10.

Fine, so far, basing on our assumptions, we can expect an upper limit of 10 Entombment portrayals having elements A-B-C.

Suppose we have one such manuscript, with A-B-C elements occurring just by random (Illustration I). Now let’s estimate the probability that in the Three Mary’s Scene, right below the Entombment Scene (this is is the case of Codex Pray, Illustration II), by pure chance (we assume that both illustrations are in fact, independent on each other, and not related directly to the Shroud), there will be elements D-E-F:

The chance is:

1(100*100*500)=1/5000 000 =0.2*10^-7

Similar reasoning could be performed in the other direction (Three Mary’s Scene -> Entombment). The conclusion would be the same:

The chances that all those features A-F are randomly, and simultaneously portrayed in the Pray Codex, without direct reference to the Shroud, are negligible.

So far I can remember, no sceptic has been able to give example of illustration having two out of six key elements A-F.

The discussion about the Pray Codex and it’s relation to the Shroud seems to be over.

PrayCodexElements

ImageJ Used to Compare the Shroud of Turin and the Manoppello Image

June 14, 2014 25 comments

imageAs a guest posting, O.K. has put together an intriguing image-ladened paper, Shroud of Turin & Manoppello Image Comparison & 3D analysis: Or the magic of ImageJ.  

Jumping to near the end:

Suppose for a moment that both the Shroud and the Manoppello are authentic relics of Jesus. Being so different, they provide complementary information.  The monochromatic Shroud with it’s 3D properties provides a model Jesus outlook. It is essentially like an old sculpture. It provides information about shape of the object, but no other information like skin, eyes, hair colour.

But what [that] model needs is texture. And Manoppello, if genuine may provide it!

It is wonderfully fun to see how powerful ImageJ can be.

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Wilson & Shroudies vs Academia: Another Guest Posting by O.K.

January 18, 2014 126 comments

Shroud/Mandylion in 958 letter of Constantine VII Porphyrogenitus
Wilson & ‘Shroudies’ vs ‘Academia’ scholars.

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imageThe identification of the Mandylion, brought from Edessa to Constantinople in 944, with the Shroud of Turin, is matter of a heated debate. While widely accepted among the Shroud historians, beginning with 1978 book of Ian Wilson at least, nevertheless it is usually ignored or often contested (if not rejected outright) by many Byzantinists and art/Church historians, on various basis (usually on a statement that it has been not accepted by “serious” authorities in that branch of science–Wilson is not considered one of them).

One of the arguments against, is the widely held view that Mandylion is distinct object from all the relics of the Christ’s Passion, stored in the famous Pharos Chapel in Boukoleon Palace in Constantinople. This was raised by Yannick Clément on the recent discussion about Mandylion and Wilson’s ideas on this blog.1 Here I want to show on example of Emperor Constantine VII letter, that the matter is not so simple, as most members of the infamous narrow-minded ‘Academia’ think.

What is this letter? I think the best way is to quote here a fragment of Daniel Scavone’s paper on sources about presence of the Mandylion/Shroud in Constantinople:2

DOCUMENT IV. LETTER OF CONSTANTINE VII 958

A letter of the same Constantine VII to encourage his troops campaigning around Tarsus in 958 is the first explicit introduction of the burial shroud icon of Jesus in this context. The letter announced that the Emperor was sending a supply of holy water consecrated by contact with the relics of Christ’s Passion which were then in the capital. No mention is made of the recently acquired Mandylion: as a relic of Jesus’ ministry it would have been out of place among the relics of the Passion. Reference is made, however, to the precious wood [of the cross], the unstained lance, the precious inscription [probably the titulus attached to the cross], the reed which caused miracles, the life‑giving blood from his side, the venerable

tunic, the sacred linens (σπάργαvα), the sindon which God wore, and other symbols of the immaculate Passion. 20

The term used here for “sacred linens,” spargana, usually means infant’s “swaddling cloths,” but here must mean burial linens, as it does in several other texts. The precise identity of this sindon has been enigmatic, since no mention exists of the arrival in the capital of Jesus’ burial sheet, but it acquires some clarity with Zaninotto’s recovery of Doc. III. Just as in the Gregory Sermon, the words of this text may suggest that the Byzantines could see “blood” from the side of the figure depicted on a cloth.

Document III is strong evidence that the Edessa icon was indeed a larger object, harmonious with the words sindon and tetradiplon of the Acts of Thaddeus, and was seen to be stained red in the correct places. It must thus have been unfolded in Constantinople sometime after its arrival in 944. A possible unfolding is evidenced by the imperial letter of 958 (Doc. IV), where suddenly, without fanfare, Jesus’ sindon is first announced. At the time of its arrival in 944, the status of the Edessa icon must, it seems, be understood as follows: Still enframed or encased as described earlier and as seen by artists, and still generally considered to be the towel of the Abgar narratives, and in the treasury of the Byzantine emperors it was inaccessible to the public (as it had been in Edessa). Its size (larger and folded in eight layers) and nature were not fully known and not often pondered. Certainly its possible identity as Jesus’ bloody burial wrapping was not immediately recognized or, if it was, then by only a few intimates and not generally broadcast. The Byzantines were too much under the spell of the Abgar cycle to have considered the implications of the side-wound. The evidence for this last point is the absence of any hint of a shroud in Gregory’s sermon (Doc. III), though his words hint strongly that he was looking at the entire body on the Edessan cloth. With the Mandylion folded in eight so as to expose only a facial panel, the chest‑with‑side wound section might have been available to the view of Gregory, upside-down on the opposite side, without requiring a complete unfolding with consequent recognition. 21 Footnotes:

20 See A. M. Dubarle, Histoire Ancienne du linceul de Turin jusqu’ au XIII siècle (Paris: O.E.I.L. 1985) 55f. See too Carlo Maria Mazzucchi "La testimonianza piú antica dell’ esistenza di una Sindone a Costantinopoli," Aevum, 57 (1983) 227‑231, which provides the original Greek of the salient portions of the letter of 958. Though the burial cloths emerge quietly and without fanfare or ceremony in the capital from 958 with no mention of an image, the large or main shroud is described with image in the texts of Mesarites and Clari (Documents XI and XII). 21 See above, n. 10. The manner of displaying the Edessa cloth, in a frame wider than it is tall may have been the result of folding the actual burial wrapping in half three times and sealing it in a frame to remove from view the blood and nakedness of the body. In this form it came to Constantinople where only gradually did the Byzantines become aware that a far greater relic was present, one which derived from the actual (Biblical) burial of Jesus, and not from the Abgar story, a mere apochryphal and anachronistic aetiological legend. Indeed, the fact that the arrival in the capital of the burial wrappings, so prominant in the relic collection, was not heralded by the usual great processions and viewings, seems to support a rather unorthodox discovery.

In opinion of Scavone, the cloth mentioned in the document τής θεοφόρου σινδόνος (t s theofórou sindónos) is nothing else than the burial shroud, moreover it is the Shroud of Turin, in contrast to the other burial cloths, (σπαργάνων, sparganon) stored in Constantinople. Scavone claims that No mention is made of the recently acquired Mandylion: as a relic of

Jesus’ ministry it would have been out of place among the relics of the Passion, and further discusses Wilson’s ideas how Mandylion after the transfer to Constantinople in 944 became the Shroud. We wiil not be discussing this, instead mentioning only that Scavone didn’t say us the most interesting thing, we will go to the opinion of another scholar.

Her name is Marta Tycner-Wolicka. In 2009, while she was making her Ph.D. in the Institute of History at University of Warsaw, she wrote a book titled ‘Opowieść o wizerunku z Edessy’:

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It is a literary exegesis of The Narratio De Imagine Edessena, written by (or on behalf) of the Emperor Constantine VII, after arrival of the Mandylion in Constantinople in 944 (it was included as Appendix C in Wilson’s 1978 The Shroud of Turin). While Tycner-Wolicka’s academic dissertation is not actually about the Shroud, it is indirectly related to that issue, and in fact useful in many ways. While Tycner-Wolicka may be called part of the ‘Academia’, she obviously has to express negative views towards Wilson in her book, even though she does not dismiss them outright, and claims that she is not interested what the Image of Edessa actually was. Nevertheless, let’s quote her views about Wilson (she mentions him, his title, or the Shroud maybe 3 times through the whole book):

On pg. 15, about the translations of the Narratio:

„Jako pierwsze powstało tłumaczenie na język angielski, załączone jako aneks do, niezwykle skądinąd bałamutnej, książki Iana Wilsona o całunie turyńskim, której autor najwyraźniej nie wiedział o istnieniu lepszego wydania.” (w przypisie: „Książka, do której załączony został przekład zawiera wiele do tego stopnia kontrowersyjnych tez, że większość badaczy odmawia jej statusu pozycji naukowej. Tłumaczenie jest jednak osobną całością i jest całkowicie wiarygodne”)

Translation: „The first translation was the English one, included as an Appendix in, otherwise extremely confused/misleading/delusory, Ian Wilson’s book about the shroud of turin, the author of which seemingly was unaware about existence of better edition” (and in footnote: “The book to which that translation is included, contains many theses controversial to such a degree, that most scholars deny it a status of scientific book. The [polish] translation however is a separate whole, and is completely reliable”) On pg. 47-48 in footnote:

“Teza Wilsona zdobyła licznych zwolenników wśród osób zajmujących się „tajemnicą całunu” (por. zwłaszcza artykuły D. Scavone na łamach internetowego czasopisma Collegamento pro Sindone) i nielicznych zwolenników wśród naukowców:”

"Wilson’s thesis has gained many supporters among people dealing with "mystery of the shroud "(cf. especially D. Scavone’s articles published in the pages of online magazine Collegamento pro Sindone) and few supporters among scientists:” and next she mentions three of those supporters (A-M. Dubarle, D. Freedberg, J. M. Fiey), and interestingly, no opponents. At least we know she is familiar with Scavone’s ideas (and that ‘ scientists’ and ‘the people dealing with "mystery of the shroud "’ are two different groups). And why Wilson is bad? Because he is bad, obviously, and no explanation needed!

Those are the last words Tycner-Wolicka has to say about the Shroud in her book. Or… maybe not. While making her exegesis, she mentions 958 letter of Constantine VII, and the list of relics included in it. She analyzes the meaning of terms σπαργάνων/sparganon, and τής θεοφόρου σινδόνος/t s theofórou sindónos. While she concludes that the first term refers to the burial cloths (just as Scavone does), the identification of the second item may surprise, after all what was told about her supposed attitude towards Wilson’s ideas. The first thing is the meaning of the words t s theofórou sindónos. While Scavone translates them as the sindon which God wore, Tycner-Wolicka translates it in a much more inspiring way: bogonośna chusta – God-carrying cloth. And she writes further on pg. 172:

Skoro zatem pierwsze z badanych określeń to chusty grobowe, to czym jest owa „bogonośna chusta”? Nie ma chyba większych wątpliwości, że musi chodzić o nasz mandylion. Trudno zresztą wyobrazić sobie, żeby podobny zestaw relikwii, sporządzony w imieniu Konstantyna Porfirogenety (czy też przez niego) pomijał tak ważny dlań przedmiot. […] Ciekawy jest i sam zestaw relikwii, świadczący o tym które z nich uznawane były za pomocne w walce: są to relikwie męki pańskiej. […] I tu zaskoczenie –mandylion został potraktowany jako relikwia, w dodatku relikwia pasji. Jest to zestawienie bardzo ciekawe, które pozwala inaczej spojrzeć na fragment Opowieści mówiący o powstaniu wizerunku w Ogrójcu. [przypis: interpretacja, ze jest to jeszcze jedna z chust grobowych, np. ta która okrywał twarz Chrystusa (przedmiot ten bywa, choć rzadko, wspominany jako osobna relikwia) nie wydaje się być uzasadniony.

Nie wiadomo bowiem wówczas, co mialby znaczyć przymiotnik „bogonośny”.]

So if the first from analyzed terms refer to the burial cloths, then what is that “God-carrying cloth”. There are no greater doubts that it must be our mandylion. It is hard to imagine that similar set of relics, written on behalf of Constantine Porphyrogenitus (or by himself) omitted an item so important for him. […] The set itself is an interesting one, testifying which were considered as helpful in combat: the relics of the Lord’s Passion.[…] And here, surprise –the mandylion has been treated as a relic, in addition a relic of the Passion. This is a very interesting statement that allows for a different look at a fragment of Narratio talking about the creation of the image in the Garden of Gethsemane. [footnote: interpretation that it is another burial cloth, for example the one covering Christ’s face (this item is, although rarely, sometimes mentioned as a separate relic) seems not to be justified. It is unknown what the term “God-carrying” might have referred to then.]

Reading those words written by a scholar who is sceptical to the Wilson’s ideas –

PRICELESS. Because she was one step from the same conclusion as Wilson –and had she only been able to recognize what the term “God-carrying” might have referred to… It is obvious for any ‘Shroudie’ on this planet –the image on the Shroud of Turin. A relic of the Passion. The burial Shroud of Christ. And the Mandylion itself!

At the end of this article it is worthy to mention some other text. In Narratio we have following fragment:

When Christ was about to go voluntarily to death . . . sweat dripped from him like drops of blood. Then they say he took this piece of cloth which we see now from one of the disciples and wiped off the drops of sweat on it

This fairy-tale about creation of the Mandylion in the Gethsemane is a proof that there was a blood on the Mandylion, which everyone could see. We should notice, however that the presence of the blood itself is not directly mentioned –and this is deliberate, as the Narratio gives two accounts of the story creation of Mandylion, traditional one (before the Passion events), and a new one, connected with blood-sweating in Gethsemanne, without actually giving a preference to any of them (thus there couldn’t be a direct mention of the presence of blood, because it would give a clear answer to a reader which version is the correct one).

In another text the sermon of Gregory Referendarius delivered on the day of the arrival of Mandylion in Constantinople (16 August 944), we read:3

This reflection, however–let everyone be inspired with the explanation–has been imprinted only by the sweat from the face of the originator of life, falling like drops of blood, and by the finger of God. For these are the beauties that have made up the true imprint of Christ, since after the drops fell, it was embellished by drops from his own side.

The above is the original Guscin’s translation, following Dubarle, however he later revised his opinion, writing: The thrust of the text is that the sweat of agony (like drops of blood) adorned the Image, just like blood from its side adorned the body from which the sweat had dripped, i.e. two different events at two different times.4

Anyway, although the text is confusing (again, deliberately!), it gives an allusion of the presence of the side wound on the Mandylion (perhaps suggesting to the audience, that the blood from the side wound had been later, perhaps in miraculous way, transferred on that cloth). Just like the story in Narratio, and the description in the Constantine’s letter, this is definitely not accidental! The Emperor and the top hierarchs of the Byzantine Church (theological disputes and conspiracies for power were daily bread for Byzantines) knew perfectly the meaning of the words, and how to choose them. Thus those allusions say for themselves. It is clear what the Mandylion was. There is virtually no room for any conclusion other than that the Shroud of Turin and the Mandylion transferred to Constantinople in 944 are one and the same object.

There is no other viable explanation of those coincidences. For the ‘Academia’ pseudoscholars – blinded, prejudiced, immersed in their dogmas, lacking any imagination – no chance, I think. But as always, I can be mistaken, and someone may come with some brilliant and unexpected solution…

Footnotes:

1 See thread: Yannick Clément on the Letters Between Jesus and King Abgar https://shroudstory.com/2014/01/06/yannickclmentonthelettersbetweenjesusandkingabgar/and the comments below.

2 Daniel C. Scavone, Acheiropoietos: Jesus Images in Constantinople: the Documentary Evidence http://shroudstory.wordpress.com/about/acheiropoietosjesusimagesinconstantinoplethedocumentaryevidence/

3 Mark Guscin, THE SERMON OF GREGORY REFERENDARIUS http://www.shroud.com/pdfs/guscin3.pdf

4 ADDENDUM TO TRANSLATION OF SERMON BY GREGORY REFERENDARIUS http://www.shroud.com/pdfs/guscin3a.pdf

Categories: Guest Posting, History
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