Saturday, January 23, 2016

GSC MODULE 31; THE TRUE PORTRAIT OF JESUS - THE BURIAL CLOTHS OF THE RESURRECTION [PART TWO]

Superimposed Veil of Manoppello on shroud of Turin


Our Lady by Luke

GOOD SHEPHERD CHURCH SEMINARY
MODULE 31

THE TRUE PORTRAIT OF JESUS -
THE BURIAL CLOTHS OF THE RESURRECTION

[PART TWO]

Objectives; By the end of this Module you should;
  • Know about the Resurrection of the Son of God, Jesus Christ
  • Have knowledge about the archeological and scientific evidence afforded by the burial cloths of Jesus
  • Understand the importance of the Resurrection for global, eternal and spiritual history
  • Be able to preach about the Resurrection

Contents;

The Resurrection of the Son of God
1.   Sudarium of Oviedo; the Head Cloth
2.   Palestine to Toledo 
3.   Cave of Monsacro 
4.   Analysis of Sudarium
5.   Exact fit of stains
6.   Upright Position 
7.   Was Jesus buried with the Sudarium on His Face?
8.   Weave
9.   History of Veil of Manoppello
11. Painting of Mary, Jesus' Mother, by Luke
12. Mary of Nazareth

1. Sudarium of Oviedo; the Head Cloth
  This cloth is held by the Cathedral in Oviedo, Northern Spain.
The cloth measures approximately 84 x 54 cm. 
  No image appears on this cloth. Stains are visible to the naked eye. Tradition claims and scientific studies bear out the claim, that the cloth was used to cover and clean the Face of Jesus after the crucifixion.

  The existence of such a cloth is historically documented in the Gospel of St John, Chapter 20, verses 6 to 7. 
  'Then Simon Peter came along behind him and went straight into the tomb. He saw the strips of linen lying there, as well as the cloth that had been wrapped around Jesus' Head. The cloth was still lying in its place, separate from the linen.'
  The history of the Sudarium is well documented. The twelfth century Bishop of Oviedo Pelagius wrote the historical works, the 'Book of the Testaments of Oviedo,' and the 'Chronicon Regum Legionensium.'

2. Palestine to Toledo 
 According to this history, the Sudarium was in Palestine  until shortly before 614 AD, when Jerusalem was attacked and conquered by Chosroes II, the King of Persia from 590 to 628. 
  The Sudarium was taken away to avoid destruction in the invasion - first to Alexandria by the presbyter Philip, then across the north of Africa when Chosroes conquered Alexandria in 616.
  The Sudarium entered Spain at Cartagena, along with refugees fleeing from the Persians.
  Fulgentius, Bishop of Ecija, welcomed both the refugees and the Sudarium. He transferred the chest [or ark] containing the Sudarium to Leandro, Bishop of Seville.
  Saint Ildefonso eventually became Bishop of Toledo. He took the chest and Sudarium with him from Seville to Toledo, where it stayed until 718.

3. Cave of Monsacro 
 The Sudarium was then taken further north in order to avoid destruction during the conquest of the majority of the Iberian peninsula at the beginning of the eighth century. 
  It was initially kept in a cave now called Monsacro, ten km from Oviedo. King Alfonso II built a special chapel, the 'Cรกmara Santa' to house the chest. This Chapel was later incorporated into the Cathedral. 

  The chest containing the Sudarium was officially opened on 14th March 1075 in the presence of King Alfonso VI, his siter Dona Urraca and Rodrigo Diaz de Vivar [also known as El Cid].
  The chest was covered with silver plating in 1113 AD. An inscription inviting veneration of the relic containing the Holy Blood is on the chest.
  The Sudarium has been in the Oviedo Cathedral ever since. [1]

4. Analysis of Sudarium
  The investigations carried out on the Sudarium were undertaken by the Investivation Team of the Spanish Centre for Sindonology, under the leadership of Guillermo Heras. The medical part of the investigation was carried out by Dr Jose Villalain. [1]

  The Sudarium is a piece of linen stained with blood and bodily fluids. Jewish belief is that the human soul is carried in the blood.
  When someone suffered a violent death in Jesus' time, a sudarium would have been wrapped around the face to catch the blood.

  The Oviedo Sudarium bears a pattern of stains similar to that of the Shroud, and chemical analysis has revealed that the blood on the Sudarium matches the blood on the Turin shroud.
  When the Oviedo Sudarium is compared to the Turin Shroud, the length of the nose through which the pleural oedoema fluid came onto the Sudarium  has been calculated at eight centimeters, just over three inches. This is exactly the same length as the nose on the Shroud Image. [1]
 Pleural fluid would have been caused through the crucifixion process. [2]

5. Exact fit of stains  
The Shroud and Sudarium show the exact fit of the stains with the beard on the Face. As the Sudarium was used to clean the Face, it appears that the cloth was simply placed on the Face to absorb the blood. No wiping movement was used.
  
  A small stain proceeding from the right hand side of the Man's Mouth is visible on the Sudarium. The stain is faint on the Shroud, however Dr John Jackson - using the VP-8 and photo enhancements - has confirmed its presence.
  Thorn wounds on the nape of the neck also perfectly match the Shroud bloodstains. [1]

  The stains on the Sudarium show that when the cloth was placed on the dead Man's Face, it was folded over - but not in the middle. A count of both sides of the cloth show a fourfold stain in a logical order of decreasing intensity. [1]

  The central stain was formed by a body hanging in an upright position with outstretched arms. The Head was leaned to the right and slightly forwards. The Sudarium was first pinned to the back of the Head. Pin holes are extant in the Sudarium that show where it was pinned into the Hair.

  The cloth was then brought around to the front. The concept was to wrap the cloth entirely around the head, but the right Cheek was almost touching the Right Arm. [3]
  This suggests that the Sudarium was put into place while the Body was still on the cross. [1]

  The Sudarium was then folded back on itself in the first position: liquid seeped out through the cloth, causing groups of parallel stains.
  The Body was still alive when blood came out on the back of the Head; it seeped through the cloth after death.
  When the Sudarium is overlaid onto the same area of the Shroud, the actual shape of the stains fits perfectly.

  The Sudarium does not have the detail of the Shroud. Yet Gascon believes that the Sudarium bears the Image of a Man's Face.
  The stain that corresponds to the beard area belongs to a bearded Male. [3]

6. Upright Position  
From the composition of the main stains, it is clear that the Man Whose Face the Sudarium covered died in upright position.
  The stains consist of one part blood and six parts fluid from pleural oedoema.
  This liquid collects in the lungs when a crucified person dies of asphyxiation. If the body thereafter suffers jolting movements, the liquid can come out of the nostrils. These main stains are visible on the Sudarium.

  The nasal area stains are superimposed on each other, with the different outlines clearly visible.
  This means that the first stain had already dried when the second stain was formed, and so on.

  After the Sudarium was wrapped and pinned on the Head, it is thought the Body was still on the cross.
  The second stain was made about an hour later, when the Body was taken down. The third stain was made when the Body was lifted from the ground about forty-five minutes later.
  The Body was lying at the foot of the cross for about forty-five minutes before being buried in the new and yet unused tomb of Joseph of Arimathea.
  The marks [not fingerprints] of the fingers that held the cloth to the Nose are also visible. [1]

  Scientific research has shown that when the Man died His Head was tilted seventy degrees forward, and twenty degrees to the right. This position further suggests that the Man Whose Face the Sudarium covered was crucified.

  There are smaller bloodstains at the side of the main group of stains on the Sudarium. It appears that these spots of blood were from small sharp objects; which would logically be the thorns that caused this type of injury all over Jesus' Head.

7. Was Jesus buried with the Sudarium on His Face?
  In a word, no. The Resurrection marks are on the Shroud and the Veil.  The Sudarium itself has no Image, and none of the facial stains of either dried or drying blood so visible on the Shroud, especially the marked stain on the forehead in an inverted three shape.
  The Sudarium stains were caused by a less viscous - possibly more pleural - mixture.

  This, together with the fact that the fingers which held the Sudarium to Jesus' Nose and left their mark - point to a short term use of the cloth.

  Jewish tradition guided that if a dead person's face was disfigured, it should be covered with a cloth to avoid people seeing the unpleasant sight.
  This would certainly tie in with the battered Visage and Body of Jesus after all His Sufferings.

  So; the Sudarium was probably used before the dead Body of Jesus was taken down from the cross, and discarded in the tomb.   Then the golden colored byssus [sign of Pharoahs, Emperors and Kings] was placed on Jesus' Face and His naked Body wrapped in the Shroud.
  This fits in with the witness account of John in His Gospel, which tells us the Sudarium was rolled up in a place by itself. [1]

8. Weave
  A leading authority on historic textiles, Flurry Lamber, was reportedly called upon to restore the Shroud.
  She noted the distinct celling style of the Shroud. Lambe had only seen such a weave once before, in textiles discovered amid the ruins of Masada on the Dead Sea Coast.
  The Masada cloths were dated to within 70 years of Christ's Birth. [3]  
  The most important physical evidence of a connection between the Shroud and Sudarium is that the cloth of the material is the same; there are differences in the manner of weaving, and the blood on both relics are from the same Person. [4]

  The Shroud of Turin [the cloth in which Jesus was buried] was a burial sheet or winding cloth. This traditionally was the cloth in which Jews were dressed in for burial.
  Burial shrouds are usually made of white cotton, wool or linen. This traditional clothing is known as tahrihim, simple white shrouds. Their use dates back to Rabbi Simeon Ben Gamliel II, who, in the second century CE, asked to be buried in simple inexpensive linen garments. 
  According to the Talmud, Rabban Gamliel observed that the custom of dressing the deceased in expensive clothing put a burden on the relatives of the deceased. [5]

9. History of Veil of Manoppello
  It appears that the Volto Santo is the famed 'Veil of Veronica.'
As proven by a medieval text, 'Veronica' was used in the 13th century as a designation for a relic venerated in Rome as the true Image of Jesus.
  As the Latin word for 'true' or 'authentic' is vera, the theory emerged that the name itself is derived from the Latin phrase 'true image', vera icon. [One Latin word for image is icon, derived from Greek; ฮตฮนฮบฯŒฮฝฮฑeikona.] [6]

  The Volto Santo or Veil of veronica was believed to have been kept in the old St Peter's Basilica until 1608 AD. Pilgrims venerated the Image. [4]
  The Veil disappeared in May 1527 during the Sacco di Roma 
[the Sacking of Rome], as publicly affirmed by Dr Antonio Paolucci, Head of the Vatican Museum, in July 2011. [7]

  The Veil surfaced again in 1506 AD, when an unknown stranger brought the Veil to Manoppello and gave it to Doctor Giacomo Antonio Leonelli.
  The precious Veil was sold to Doctor Donato Antonio De Fabritis who placed the Image in a walnut frame adorned with silver and gold between two plates of glass.
  He presented the Veil to the Capuchins in 1638 AD, as recorded in 1640 AD by Padre Donato from Bomba. [4]

10. Christian Art 
 Christian artists used the physiognomy of the Volto Santo as the blueprint for their icons, artwork and sculptures. Studies have been carried out which clearly show that the measurements of the Face and Figure used in icons and sculptures were based exactly on that of the Veil of Manoppello and the Shroud of Turin. 
  A clear example is given by Josef Lรคufer; the Icon in Katherinenkl. ca 550 AD, corresponds exactly to the measurements of the Veil of Manoppello. When the Veil is superimposed upon the icon, it is the very same. [8]

11. Painting of Mary, Jesus' Mother, by Luke
  The image of Mary as painted by Luke was carried by St Thomas the Apostle to India. The painting is kept at the main altar in the Church of Mount St Thomas in Madras, India, the place where Thomas was martyred.
  This image bears clear resemblance to the Shroud of Turin and the Veil of Manoppello. 
  The same long face, long nose; strikingly similar eyes and ear alignment. The hair has the same upward peak in the mid forehead. Mary's eyebrows - more slender than that of Jesus - appear in similar arch on the brow bone. 
  The picture can be viewed at the following link;
http://www.fatima.org/essentials/requests/ladybyluke.asp

12. Mary of Nazareth
  Mary, the Mother of Jesus, is believed to have treasured the burial cloths of her Son.
  Tradition tells us she kept them close to her up to the year of her death [about 50 AD].
  Mary loved the very fine and easily held veil with the Face of Her Beloved Son. [9]

  An old Georgian manuscript tells us that after the Ascension of Christ, Mary guarded the Image of her Son that had formed on the burial cloths.
  She kept the Image always with her so she could gaze on the Face of her Son.
  Every time that she wished to venerate, she would face eastwards and, unfolding the Image, she would pray in front of it - contemplating her dearly beloved Son.
  
  When Mary was dying, the Apostles laid her on a bier. Mary looked upon the Image of the Face of her Son as she prepared to complete her lifespan on earth. [10] 

13. Are the burial cloths true Images of Jesus?
  A forensic, archeological and scientific approach has been used in examining the veracity of the burial cloths.
  The following has been noted.

  • Exact superimposition evidence
  • Same AB + blood type
  • Corresponding bloodstains
  • Wounds and signs of crucifixional death accurately corresponding to the accounts of eyewitnesses in the Gospels
  • Scientific evidence bearing out historical documentation of the gospels
  • Pollen evidence
  • Textile weave evidence
  • Aromatic resin [myrrh] and Aloe evidence
  • Historic documentation
  • Gospel eyewitness accounts
The reality of the Crucifixion and Resurrection of the Son of GOD Jesus Christ is not only left to faith.
  Quantifiable and tangible evidence has been left post-Resurrection that indeed, the flashpoint of the change of all history left behind indelible marks upon textile and weave.

Rev Catherine




[1]  Guscin, Mark; B.A.M.Phil. 1997. The Sudarium of Oviedo; Its History and Relationship to the Shroud of Turin. 
http;//www.shroud.com/guscin.htm

[2]  Geberth, Vernon J, MS, MPS, P.H.I. Investigative Consultants, Inc. 2008. State Sponsored Torture in Rome: A Forensic Inquiry and and Medicolegal Analysis of the Crucifixion of Jesus Christ
http://www.practicalhomicide.com/Research/042009.htm

[3]  http://www.multimedia-english.com/contenido/ficha/the-shroud-of-turin-the-sudarium-of-oviedo/345

[4]  The Volto Santo of Manoppello
http://www.volto-santo.com/Home_English/The_burial_clothes/Volto_Santo/volto_santo.html

[5] Cryer, AB. 2016. Shroud Explained. 
http://everything.explained.today/Shroud/

[6] Saint Veronica
https://en.wikipedia.org/wiki/Saint_Veronica

[7] Badde, Paul & Christiana-Verlag. 2015. Jesus in His burial cloths. Page 25. Unitedprint.com; Germany

[8] Volto Santo - Ikonenverstรคndnis
http://www.heiliges-antlitz.de/Volto-Ikonenverstaendnis.pdf

[9]  Badde, Paul & Christiana-Verlag. 2015. Jesus in His burial cloths. Page 26. Unitedprint.com; Germany

[10] Nouveaux apocryphes de la Dormition conserves en georgien "Analecta Bollandiena", 90. 1972. Pages 363-369. Dormition de la Vierge


With thanks to Youtube, shroud.com/ practicalhomicide.com/ www.multimedia-english.com/  volto-santo.com/ Wikipedia.org/ Unitedprint.com/  heiliges-antlitz.de/ Analecta Bollandiena

GSC MODULE 30; THE TRUE PORTRAIT OF JESUS - THE BURIAL CLOTHS OF THE RESURRECTION [PART ONE]


Picture based on the Shroud of Turin and Veil of Manoppello

GOOD SHEPHERD CHURCH SEMINARY
MODULE 30

THE TRUE PORTRAIT OF JESUS -
THE BURIAL CLOTHS OF THE RESURRECTION

Objectives; By the end of this Module you should;

  • Know about the Resurrection of the Son of God, Jesus Christ
  • Have knowledge about the archeological and scientific evidence afforded by the burial cloths of Jesus
  • Understand the importance of the Resurrection for global, eternal and spiritual history
  • Be able to preach about the Resurrection

Contents;

The Resurrection of the Son of God
1.   The Burial Cloths of Jesus
2.   Evidence of the Resurrection
3.   Type AB Blood
4.   Superimposition of Three Cloths Coincide Exactly
5.   Veil of Manoppello or 'Volto Santo'
6.   The Disciples Believed
7.   The Burial Cloths themselves; the Facts
8.   Shroud of Turin
9.   Photographic Negative
10. Jerusalem

1. The Burial Cloths of Jesus
  Archeological and scientific evidence of the Death and Resurrection still exist.

  John tells us in his gospel eyewitness account that the burial cloths of Jesus lay in the empty tomb.
  Early on the first day of the Jewish week, Sunday, Mary Magdalene went to grieve at the tomb. It was still dark. [John 20;1].
  Jesus had died through crucifixion and the death was verified by the piercing of His Heart by a spear.
  Experienced guards were posted at the tomb, and the tomb was sealed. This was in order that the Body of Jesus could not be stolen by disciples and a false claim of Resurrection made. 
[Matthew 27; 62-66]. 

  When Mary arrived at the tomb, she saw that the sealings on the stone had been burst and the heavy burial stone had been removed from the entrance. 
  Mary realised that the Body of Jesus was gone, and she ran to Simon Peter and John to tell them that Jesus' Corpse had been taken from the tomb, and she didn't know where the Body had been laid. [John 20;2].

  Peter and John ran to the tomb. John arrived first, and bent over to look into the tomb. He did not go in, but looked at the strips of burial linen lying there. 
  Simon Peter came along behind him, and went straight into the tomb.
  Simon Peter saw the strips of linen lying there, as well as the cloth that had been wrapped around Jesus' Head. The latter cloth was still lying in its place, separate from the linen.
  Finally John also went inside the tomb. He saw [the linen] and believed. [John 20;3-8].

2. Evidence of the Resurrection
  What John saw - as did Peter - was clear scientific evidence of the Resurrection on the cloths that Jesus had been buried in.
  During the Resurrection Process, Jesus' battered Face and Form in His deceased state had imprinted with some characteristics of a photographic negative on the long shroud in which He was finally laid to rest.
  This large cloth is the Shroud which today resides in Turin.

Even more startling, as Jesus resurrected and came back to life, His Face and opened Eyes imprinted on the translucent facial burial Veil of mussel silk or byssus.
  This Veil resides at present in Manoppello.
  When the open eyed Face of the Resurrecting Jesus is superimposed upon the Face of the Image on the Shroud of Turin, both Images match perfectly.

  There is the third cloth - probably that which was placed on the Face of Jesus as He was being taken down from the Cross.
  This is the Sudarium, the cloth that Peter and John saw lying apart.
The cloth that had been on Jesus Head is the cloth now residing in Oviedo; known as the Sudarium of Oviedo.

3. Type AB Blood
  Type AB Blood has been found on both the Shroud of Turin and the Suadrium of Oviedo.
  The blood on both cloths belongs to the same group, namely AB+ [AB Positive]. [1] and [2]
  This was discovered when forensic tests were carried out on both Sudarium and Shroud during the 1980's.
  The AB blood type is a rare one, reportedly found in just 3.4% of the global population. [3] and [4]
  People with AB + blood are potential universal plasma donors.
In addition to being the most rare blood type, AB Plasma is universal and can be used for all patients regardless of their blood type. [4]

4. Superimposition of Three Cloths Coincide Exactly
  When the Face of the Image on the Veil of Manoppello is superimposed on that of the Shroud of Turin, the Face corresponds exactly. [5]
  When the Image and bloodstains on the Shroud are compared to that of the Oviedo Sudarium, they match exactly.
  Dr Alan Whanger applied the Polarized Image Overlay Technique to the Sudarium, comparing it to the Image and bloodstains on the Shroud.
  The frontal stains on the Sudarium show seventy points of coincidence with the Shroud, and the rear side shows fifty.
  The only possible conclusion is that the Oviedo Sudarium covered the same Face as the Turin Shroud. [1]

5. Veil of Manoppello or 'Volto Santo'
  The Veil - also known as the Volto Santo - shows the Face of a Man with open eyes and the mouth slightly open.
  His Face is peaceful, almost as if waking from sleep. [6]
It is said that the mouth is opening almost as if on the first syllable of the word 'Abba' [Jesus' Name for GOD]. 
  This belief stems from local tradition.

  The Face has long hair, beard and mustache with a long nose.
The nasal cartilage appears to have been broken. 
  The features are dark red, and appear beaten and swollen. 
 Both Images - superimposed Image of the Veil over that of the Shroud of Turin - show tufts of hair on the forehead.
  The Veil itself is 17.5cm wide and 24 cm high.
The Face is visible from both sides of the cloth. The cloth itself is so fine that it appears transparent.
  This delicate Veil is made of byssus cloth. Byssus - also known as sea silk or mussel silk, is a rare and delicate fabric woven from a silky filament produced by molluscs.
  The knowledge of byssus making is an ancient one; the last person at present still able to make byssus is Chiara Vigo of Sant' Antioco.

   Byssus is mentioned on the Rosetta stone, and is said to have been found in the tombs of Pharoahs.
  Some believe it was the cloth GOD told Moses to lay on the first altar.
  It was the finest fabric known to ancient Egypt, Greece and Rome.
  One of its remarkable properties is the way it shines when exposed to the sun, once it has been treated with lemon juice and spices.
  The raw material is the silky filament of a large clam, known as Pinna nobilis.
  The skill of byssus weaving was brought to Sant' Antioca by Princess Berenice, great-granddaughter of King Herod, during the latter half of the first century. [7]

6. The Disciples Believed
  When Peter and John saw the linen cloths and the burial veil, suddenly all became clear. 
  The words of Jesus had come to pass. He had indeed risen after three days in the tomb.
  He thus showed that He was indeed the Son of GOD Who has power over both life and death.
  The Promises made by Jesus on behalf of GOD the Father were thus proven trustworthy.
  The way had been paved for the disciples to believe that the miraculous Resurrection had taken place; they had the visual evidence before their own eyes.

  In the first morning light that penetrated through the entrance of the tomb, John saw in the shimmering mussel silk the first traces of the countenance of the Lord Who had been put to death.
  But now the Face appeared in a healing state, the tears dried, still with swelling from the Friday but completely at peace with no trace of vengeance. Alive.
  When he saw the imprint of the Beloved Face on the linen, John had to believe. The evidence of his own eyes impelled him to.

  Prime witness of the undeniable death of Jesus and the final thrust of a spear through the heart, John had become a chief witness to the Resurrection of Jesus.
  And, at last, all the teachings of Jesus fell into place; and became clearly understandable in the light of the shimmering byssus. [8]

  The promises of immortality; of an eternal future with no sorrow, no pain and no death promised by Jesus; it is all true.

7. The Burial Cloths themselves; the Facts
  The Shroud shows Jesus of Nazareth as the Corpse of a tortured Man with severe wounds, and the Veil shows Him healing and living.
  The Shroud shows no sign of color or pigment.  Scientists believe that the color of the Veil originated by an unknown process within the fibers.
  The gradient of the Veil is completely seamless and the Image is not painted.
  In some areas of the Image - such as in the pupils - pigments have been found. These are thought to have been added by a medieval painter in order to refresh the color. [6]

  The Image was not applied before weaving the fibers. If that had been the case, all fibers would have been individually colored before the weaving process started. This is considered impossible to achieve.
  In some lighting, the color shade can be found on both warp and weft of the threads.
  The Veil Image has a 3-dimensional effect which is dependant on the type of lighting and the position of the viewer [local and spiritually].  
  The Veil Image is equally visible from front and back, with the exact shades of color. [6]

8. Shroud of Turin
  Measuring 435cm x 110cm, the Shroud of Turin is a large linen cloth with traces of blood, water stains and holes [caused by a fire in the Chapel of the Palace in Chambรฉry in 1532].

  The double Image - [fore and back] - of a bearded naked Man, Who, after His Death, was placed on the right hand side of the long cloth before being covered with the left  hand side - can be seen on the cloth.
  The Man bears wounds on wrists, feet, head, chest, back, legs and feet.
  The right cheek is swollen. The nose appears to be broken.
Approximately eighty ferocious whip lashes have cut the body. Massive nails have bored through both wrists and feet, a spear has lanced the right side.
  Blood flowed from the hair down His Forehead and the back of the Head. [9]
  The tortured Man's right shoulder has a broad excoriated area in the outer part of the sub-scapular region. This is in the form of a rectangle of about 10 x 9 centimeters.
  In the frontal Image this area extends forwards into the outer clavicular region with with broad patches of excoriation. 
  The shoulders show large imprints in the area of the left scapula and above the right scapula show the slant of the patibulum [20%].
  The patibulum was the cross beam of the cross, and the condemned carried the cross beam to the place of crucifixion.


    The right knee appears more contused, with a number of varying excoriations in the region of the patella [the knee cap]. 
  Dirt on the left knee, left eyebrow and left cheek, and damage to the right eyebrow and center of the forehead indicate a series of falls. There is dirt on the tip of the nose. 
  Whenever the Man fell, He could not protect His Face from the fall. Thus the nose was swollen, slightly displaced and bleeding. [10] 

  The eyes of the Man on the Shroud are closed. Watery blood has flowed from the gaping spear wound in his Chest.
  This water and blood had reached His Back by the time He was laid down. This is clear indication that this was the blood of a corpse.
  The blood from the other wounds indicates He received these whilst still alive. [9]

  The faint silhouette of the Figure that we can distinguish between the traces of blood and water and fire damage reveal neither design, contours nor pigment.
  The silhouette rests only on the upper surface of the fibers.
Beneath the blood traces there is no trace of the Image. This has led to the conclusion that blood was first on the weave, and thereafter came the 'luminous projection.'

9. Photographic Negative
  Secondo Pia, a photographer and lawyer, discovered in 1898 as he developed one of the first Shroud photographs, that the Image bore some characteristics of a photographic negative.
  The linen cloth  is not a light-sensitive film, and is centuries older than the first photograph.
  It was through these first 'negative positives' in 1898 that the Turin Shroud became internationally famous. [11]

10. Jerusalem
  Scientific research on the Shroud revealed pollen from plants which blossom in spring time around Jerusalem, as well as dust particular to the streets and alleys of the Holy City. [11]
  Dr Max Frei analysed pollen samples taken from the Oviedo Sudarium cloth, and found species typical of Oviedo, Toledo, North Africa and Jerusalem. This appears to confirm the historical route taken during the travels of the Sudarium over the centuries, once the cloth left the vicinity of Jerusalem. [1]

  The pollen residues on the Turin Shroud and the Sudarium provide evidence that both were at one point in the Palestine area. [6]
  An International Congress was held in Oviedo in 1994, where various papers were presented about the Sudarium.
  Dr Frei's work with pollen was confirmed, and enlarged on.
Species of pollen called 'quercus caliprimus' were found, which are limited to the Palestine area. [1]
  Quercus caliprimus [or Quercus calliprinos], the Palestine oak, is an oak classified as part of the Cerris section of the species. 
  Quercus calliprinos is a small-to medium size tree or large shrub reaching 5-18 m tall [often only 1-3 m tall when heavily browsed by goats] and 1 m trunk in diameter. 
  It is evergreen, with spiny serrated leaves 3-5 cm long and and 1.5-3 cm broad. The acorns are 3-4 cm long and 2-3 cm diameter when mature about 18 months after pollination, held in a cup covered in dense, elongated, reflexed scales. [12]

  Residues of probable myrrh and aloe have also been discovered on the Sudarium. This would correlate with the Gospel of St John 19;39-40.  "Nicodemus came as well, and he brought a mixture of myrrh and aloes . . . They took the Body of Jesus and bound it in linen cloths with the spices, following the Jewish burial custom."
  Nicodemus brought the myrrh and aloes - some accounts say a hundred pounds - so that Jesus' Body could be wrapped with the spices in the linen in accordance with Jewish burial custom.
  Herodotus, the Greek historian, states that aloe wood at one time was worth its weight in gold, Nicodemus' contribution represented a considerable outlay of money on his part. 
  The quantity is clearly much more than could have been placed in the linen which surrounded the Body, but the offering was one of love. Part of it may have been placed in the sepulchre.
  The enormous quantity of aloes and myrrh, a costly offering, has been accounted for as a rich man's expression of devotion.

  It is possible that the heavy load of myrrh and aloes was carried in more than one container. Nicodemus may already have had it in his possession.
  It appears logical that the mixture would have been put into the shroud enveloping the Body of Jesus. The mixture of aloes and myrrh would mask the odor of putrefaction in the tomb. [13]

  The bloodstains on the Sudarium were also examined from the anthropological point of view. The conclusion was that the Face that had been in contact with the Sudarium had typically Jewish features, a prominent nose and pronounced cheekbones.

End of Part One. See the next blog post for Part Two.



Veil of Manoppello. Photograph by Catherine Nicolette
Veil superimposed on Shroud



[1]  Guscin, Mark; B.A.M.Phil. 1997. The Sudarium of Oviedo; Its History and Relationship to the Shroud of Turin. 
http;//www.shroud.com/guscin.htm

[2]  Shroud of Turin; Rh Negative or Rh Positive?
https://inourimage.wordpress.com/2011/01/11/shroud-of-turin-rh-negative-or-rh-positive/

[3]  http://www.multimedia-english.com/contenido/ficha/the-shroud-of-turin-the-sudarium-of-oviedo/345

[4]  Your AB+ Blood is Important
http://thebloodconnection.org/about-blood/blood-education/blood-types/ab-positive/

[5]  A Tale of Cloths in Three Places - Turin, Oviedo and Manopello. 12th July 2009. 
http://holyfaceofmanoppello,blogspot.ie/2009/07/tale-of-cloths-in-three-places-turin.html

[6]  The Volto Santo of Manoppello
http://www.volto-santo.com/Home_English/The_burial_clothes/Volto_Santo/volto_santo.html

[7]  www.bbc.com/news/magazine-33691781

[8]  Badde, Paul & Christiana-Verlag. 2015. Jesus in His burial cloths. Page 22. Unitedprint.com; Germany

[9]  Badde, Paul & Christiana-Verlag. 2015. Jesus in His burial cloths. pp 6-7. Unitedprint.com; Germany

[10] James, Stephen E. 2015. The Shroud of Turin.
http://theshroudofturin.blogspot.ie/2015/11/carried-their-cross-7-bible-and-shroud.html 

[11] Badde, Paul & Christiana-Verlag. 2015. Jesus in His burial cloths. Page 12. Unitedprint.com; Germany

[12] Quercus calliprinos. Wikipedia. 2015.
https://en.wikipedia.org/wiki/Quercus_calliprinos

[13] Gaudiano, Anthony V. Spices, Myrrh and Aloes. 2007.
http://www.plaza1.net/Anthony/SpicesAloesandMyrrh.pdf

With thanks to shroud.com/ inourimage.wordpress.com/ multimedia-english.com/ thebloodconnection.org/ holyfaceofmanoppello.blogspot.ie/ volto-santo.com/ bbc.com/ Unitedprint.com/ theshroudofturin.blogspot.ie/ Wikipedia.org/ plaza1.net; Youtube