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To every honest seeker of historical truth

April 10, 2015 9 comments

The body is Greek, but the soul is Semitic.

Only the Gospel accounts are the key that can decode and interpret the Shroud.

imageFrancesco Agnoli offers us a fascinating perspective, Gospels and Shroud, an extraordinary coincidence in La Nuova Bussola Quotidiana. (The article title above and the extracts below are from a Google translation):

Philology has deepened the study of "linguistic forms" ancient identifying some typical structures of Aramaic (oral language, the dialect of Galilee) and Hebrew (written language, used by the scribes of Judea), the original language spoken by Jesus.

These structures language are foreign to Greek literature, so they are a clear sign of Semitic origin of the Gospels.We can say that the gospels were thought in Aramaic and then translated into Greek.

The body is Greek, but the soul is Semitic.

[…]

We thought, Emanuela Marinelli and myself, to enhance the display of the Shroud to be held in Turin from 19 April to 24 June 2015, offering to every honest seeker of historical truth, in one book, the most important historical knowledge of Jesus of Nazareth.

It is clear that the Shroud without the Gospel accounts remains an indecipherable enigma.

Only the Gospel accounts are the key that can decode and interpret the Shroud.

Then it becomes essential scientific investigation and documented not only on the Shroud, but also the authenticity of the Gospels.

Hat top to Joe Marino

Emanuela Marinelli’s 73 Slides

December 23, 2014 2 comments
Categories: Art Tags: ,

Another St. Louis Conference Paper Available

November 3, 2014 1 comment

imageEmanuela Marinelli has just added The Shroud and the iconography of Christ to Academia.edu. (There is also a version in Italian: La Sindone e l’iconografia di Cristo)

The abstract reads:

The similarity between the Shroud face and most of the depictions of Christ known in art, both Eastern and Western, is clear and cannot be attributed to pure chance; it must be the result of a dependency, mediated or immediate, of an image from the other and of all from a common source. We can identify several elements on the Shroud that are not regular, hardly attributable to the imagination of the artists, that make us understand how the ancient representations of Christ’s face depend on the venerated relic. It is reasonable to think that in the early days of the Church, the Shroud has been kept hidden for various reasons. During this period, for the representation of Christ they only used symbols or they applied to the figure of Christ appearances derived from other religions. After the victory of Christianity, sanctioned by Constantine in 313 with the Edict of Milan, a new image of the face of Jesus began to spread, which is characterized by not too long beard, mustache, narrow, tall and stately face, with long hair, falling on His shoulders, and sometimes with a middle line that divides them. Numerous testimonials, both written and iconographic, confirm that in Edessa (Şanliurfa today, in south-eastern Turkey) there was an impression left by Jesus on a cloth with His sweat and His blood. This sacred cloth, hidden for centuries and rediscovered in the sixth century, became the inspirational model for the iconography of Christ. All the legends, the traditions, the references to the existence of such an image are important for reconstructing an itinerary of the Shroud in the dark ages prior to its appearance in Europe and to understand why there are so many references to the existence of an image of Christ on a cloth.

This caught my attention:

In the past years a vivid debate inflamed, among the scholars that do not accept the identification of the Edessa image with the Shroud, like the expert in Patrology Pier Angelo Gramaglia, the historian Antonio Lombatti and the historian Victor Saxer, and who, on the contrary, supports this identification, like the historian Karlheinz Dietz, the historian Daniel Scavone and the historian Gino Zaninotto.

The discussion is still going on nowadays, among who, like the historian Andrea Nicolotti, thinks that the Edessa image is «a little piece of cloth, the size of a towel» and who, like Mark Guscin, expert of Byzantine manuscripts, thinks that from the sources can be drawn different conclusions: «It should be stressed that there are no artistic representations of the Image of Edessa as a full-body image or with bloodstains and the majority of texts make no reference to either characteristic; but at the same time it is undeniable that at some point in the history of the Image of Edessa, some writers were convinced, for whatever reason, that it was indeed a full-body image on a large cloth that had been folded over (possibly in such a way that only the face was visible) and that it did contain bloodstains».

Categories: St Louis 2014 Tags:

Emanuela Marinelli: Fantacies! Non Existent Objects

August 30, 2014 8 comments

Flowers, tools of crucifixion, double impression of the right hand showing movement.

visionaries discredit the serious research on the Shroud

imageRobert Vitale over at the Amici della Sindone Facebook page, ( tell us (in Italian) about a new book (in Italian) which, as we read in the Bing translation:

It’s definitely one of the most controversial books written in relation to the shroud. The author, from Palermo Giuseppe Maria Catalano, Claims That Are Clearly visible on the Turin linen, traces of the resurrection of Jesus (in double impression of the right hand in the "movement" Among other things.) Not only. The author, as he Stated in His work, working on high magnifications Enrie photos, he noticed the presence of the fabric flowers, plants, (also on the helmet of thorns !!!), even of the tools used to crucify Christ. I have personally met Catalan, but blackberries than convinces me, I was confused blackberries. Have you ever read this book? And then, what do you think of the Sicilian scholar claims?

What the blackberries? Just ignore the fruit references; Bing is far from perfect.

Emanuela Marinelli, one of the world’s most respected shroud scholars,was quick to respond:

Fantasies! Catalano is not the first to see non-existent objects in every spot of the Shroud.http://people.duke.edu/~adw2/shroud/whanger.htm Unfortunately, these visionaries discredit the serious research on the Shroud.

Notice that Emanuela is pointing to the Duke University based site of Alan Whanger.

Roberto Vitale replies:

also add my testimony. Naturally skeptical of these claims, I just tried to figure out who he really was the "character" Catalano, visiting the photographic exhibition on the Shroud actually a commercial for his book,he set up in Palermo. Catalan is definitely an interesting character in his own way highly educated, but, and here I fully agree with Emanuela Marinelli, definitely imaginative. Just think of his thesis, definitely out of the ordinary, with which Catalan claims that the Earth’s axis has shifted due to an asteroid. There were also problems with the Center for Sindonologia, as Catalano wanted to use his lawyers accusing him of defamation that the Centre had allowed himself to define "questionable" his thesis. As far as I know, his only threats were not carried out. What impressed me though, was the great journalistic attention turned to a study of this kind, reflecting the fact that the press is thrown a dead weight on the sensational, not investigating the goodness of the content of what they publish.

And, of course, we have someone in Australia who sees the eyes opening in order to take a quick peek around the room.

Photo Rich, Wonderful Presentation by Emanuela Marinelli

August 4, 2014 22 comments

imageYou must see, read and appreciate Emanuela Marinelli’s Valencia 2012 PowerPoint presentation, The setting for the radiocarbon dating of the Shroud, now easily found on the Valencia page at shroud.com. Writes, Joe Marino:

Another item Barrie added to the Valencia page that I think warrants a separate posting (instead of me just commenting on the previous post) is Emanuela’s Power Point slides to her excellent C-14 paper. . . .

Let’s be clear:

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