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Tours Program TOURS PROGRAM 7th September 2012 – Friday Morning: Time: 9:30 am - Walking to city centre with guide from hotel Time: 10:00 am - Guided visit oF the First Floor oF the Royal Palace oF Turin Royal Palace of Turin or Palazzo Reale, is a palace in Turin, northern Italy. It was the royal palace of the House of Savoy and it was modernized greatly By the French Born Madama Reale Christine Marie of France (1606-1663) in the seventeenth century. The palace was worked on By Filippo Juvarra and it includes the Palazzo ChiaBlese. Its rooms are decorated with rich tapestries and a collection of Chinese and Japanese vases. The Royal Armory houses an extensive array of arms, including examples from the 16th and 17th centuries. The Scala delle ForBici is a staircase By Filippo Juvarra. The Chapel of the Holy Shroud, with its spiral dome, was Built in the west wing of the palace, joining the apse of the cathedral of St. John the Baptist, to house the famous Shroud of Turin which Belonged to the family from 1453 until 1946. - After the Royal Palace tour of city centre - The group will see the Following places: - Piazza Castello square - Madama Palace (included earth floor) - Duomo of Turin with the holy Shroud - Carignano Palace Time: 1:00 pm - Lunch close to Quadrilatero area in a typical restaurant – la Basilica Afternoon: Time: 2:50 pm - Guided visit of the Egyptian Museum The Museo Egizio is a museum in Turin, Italy, specializing in Egyptian archaeology and anthropology. It houses the second world's largest collections of Egyptian antiquities after Cairo. The first oBject having an association with Egypt to arrive in Turin was the Mensa Isiaca in 1630, an altar taBle in imitation of Egyptian style, which Dulu Jones suggests had Been created for a temple to Isis in Rome.[2] This exotic piece spurred King Carlo Emmanuele III to commission Botanist Vitaliano Donati to travel to Egypt in 1753 and acquire items from its past. Donati returned with 300 pieces recovered from Karnak and Coptos, which Became the nucleus of the Turin collection. In 1824, King Carlo Felice acquired the material from the Drovetti collection (5,268 pieces, including 100 statues, 170 papyri, stelae, mummies, and other items), that the French General Consul, Bernardino Drovetti, had Built during his stay in Egypt. In the same year, Jean-François Champollion used the huge Turin collection of papyri to test his Breakthroughs in deciphering the hieroglyphic writing. The time Champollion spent in Turin studying the texts is also the origin of a legend aBout the mysterious disappearance of the "Papiro Regio", that was only later found and of which some portions are still unavailable. In 1950 a parapsychologist was contacted to pinpoint them, to no avail. In 1833, the collection of Piedmontese Giuseppe Sossio (over 1,200 pieces) was added to the Egyptian Museum. The collection was complemented and completed By the finds of Egyptologist Ernesto Schiaparelli, during his excavation campaigns between 1900 and 1920, further filled out the collection. Its last major acquisition was the small temple of Ellesiya, which the Egyptian government presented to Italy for her assistance during the NuBian monument salvage campaign in the 1960s. Through all these years, the Egyptian collection has always Been in Turin, in the Building projected for the purpose of housing it, in Via Accademia delle Scienze 6. Only during the Second World War was some of the material moved to the town of Agliè. The museum Became an experiment of the Italian government in privatization of the nation's museums when the Fondazione Museo delle Antichità Egizie was officially established at the end of 2004. The building itself was remodelled in celebration of the 2006 Winter Olympics, with its main rooms redesigned By Dante Ferretti, and "featured an imaginative use of lighting and mirrors in a spectacular display of some of the most important and impressive Pharaonic statues in the museum collection." Time: 5:30 pm - Free time 8th September 2012 – Saturday Morning: Time: 9:30 am - The group will reach the Mole Antonelliana by walking Time: 10:15 am - Guided visit oF the Mole Antonelliana and Cinema Museum + Panoramic elevator The Mole Antonelliana is a major landmark of the Italian city of Turin. It is named for the architect who built it, Alessandro Antonelli. In Italian "Mole" (literally, "size") indicates a Building of monumental proportions. Construction Began in 1863, soon after Italian unification and was completed 26 years later, after the architect's death. Today it houses the National Museum of Cinema, and it is believed to be the tallest museum in the world. - Walking to the restaurant Time: 1:00 pm - Lunch at restaurant Coco’s – typical hostaria Afternoon: Time: 2:00 pm - Metro to Lingotto Area Time: 2:45 pm - Visit oF the Lingotto Area Lingotto is a district of Turin, Italy, that named the Lingotto building in Via Nizza, which once was a huge automobile factory, constructed by Fiat. Built from 1916 and opened in 1923, the design (By young architect Matté Trucco) was unusual in that it had five floors, with raw materials going in at the ground floor, and cars Built on a line that went up through the building. Finished cars emerged at rooftop level, where there was a rooftop test track. It was the largest car factory in the world at that time. For its time, the Lingotto Building was avante-garde, influential and impressive—Le Corbusier called it "one of the most impressive sights in industry", and "a guideline for town planning". 80 different models of car were produced there in its lifetime, including the famous Fiat Topolino of 1936. The factory Became outmoded in the 1970s and the decision was made to finally close it in 1982. The closure of the plant led to much puBlic deBate aBout its future, and how to recover from industrial decline in general. An architectural competition was held, which was eventually awarded to Renzo Piano, who envisioned an exciting public space for the city. The old factory was reBuilt into a modern complex, with concert halls, theatre, a convention centre, shopping arcades and a prestigious hotel. The eastern portion of the building instead, is the headquarter of the Automotive Engineering faculty of the Polytechnic University of Turin. The work was completed in 1989. The track was however retained and can still Be visited today on the top floor of the shopping mall and hotel. Time: 4:00 pm - Guided tour in English oF the Museum oF Automobile of Turin The Museo Nazionale dell'AutomoBile (The National AutomoBile Museum), named after Carlo Biscaretti di Ruffia, is an automoBile museum in Turin. The collection has almost 200 cars among eighty automobile brands representing eight countries (Italy, France, Great Britain, Germany, Holland, Spain, United States of America, Poland). The museum is situated in a Building dating from 1960, it has three floors. After restructuring in 2011 the museum is open again, and its exhibition area has been expanded from 11,000 square metres (120,000 sq ft) to 19,000 square metres (200,000 sq ft). The museum also has own library, documentation centre, bookshop and auditorium. The collection includes the first Italian cars, Bernardi 1896 and 1899 Fiat, the Rolls Royce Silver Ghost 1914, and racing cars by Ferrari and Alfa Romeo. Also other older cars is included like 1893 Benz Victoria, 1894 Peugeot, 1904 OldsmoBile, 1907 Itala (Peking - Paris), 1913 De Dion-Bouton, 1916 Ford T and 1928 Isotta Fraschini Tipo 8A. Time: 5:30 pm - Metro to the city centre .
Recommended publications
  • Finding Jesus: the Shroud of Turin Episode There Is No Record of What Jesus Looked Like in the New Testament. There Are No Conte
    Finding Jesus: The Shroud of Turin Episode There is no record of what Jesus looked like in the New Testament. There are no contemporary descriptions at all. However, the Bible does record how Joseph of Arimathea, a member of the Jewish council and a sympathizer with Jesus, wrapped his dead body in expensive linen, and buried it in his own family tomb. In the 14th Century a shroud, bearing the image of a crucified man, surfaces in France, before eventually finding a home in Turin. Is this the very shroud that Joseph wrapped Jesus in? Is the image of the man Jesus Christ? The shroud appears to tell the whole story of Jesus’ Passion in one image – the scourging; the Crown of Thorns; carrying the cross; the Crucifixion; the spear in his side. For centuries, the shroud is a source of great controversy – many Christians believe it is genuine, but others have their doubts. In 1978 a team of scientists lead by former US Navy physicist Dr. John Jackson spend five days intensively studying the shroud, before ultimately concluding it is genuine. It isn’t a forgery or the work of an artist. But a decade later, in 1988, the shroud is subject to Radiocarbon 14 dating – scientists at three separate laboratories date the samples of the Shroud to some point between AD1260–1390. This strongly suggests the shroud is a medieval fake after all. In a final twist, the film visits the Cathedral of San Salvador, in Oviedo, Spain, where there is another burial cloth venerated as having covered the face of Jesus.
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  • Why Is the Turin Shroud Not Fake?
    Short Communication Glob J Arch & Anthropol Volume 7 Issue 3 - December 2018 Copyright © All rights are reserved by Giulio Fanti DOI: 10.19080/GJAA.2018.07.555715 Why is the Turin Shroud Not Fake? Giulio Fanti* Department of Industrial Engineering, University of Padua, Italy Submission: November 23, 2018; Published: December 04, 2018 *Corresponding author: Giulio Fanti, Department of Industrial Engineering, University of Padua, Via Venezia 1 - 35131Padova, Italy Summary The Turin Shroud [1-11], the Holy Shroud or simply the Shroud (Figure 1) is the archaeological object, as well as religious, more studied in it is also religiously important because, according to the Christian tradition, it shows some traces of the Resurrection of Jesus Christ. A recent paperthe world. [12] From showed a scientific why and point in which of view, sense it is the important Shroud becauseis authentic, it shows but manya double persons image still of a keep man onup statingto now thenot contrary,reproducible probably nor explainable; pushed by important Relic of Christianity based on their personal religious aspects thus publishing goal-oriented documents. their religion beliefs that arouses many logical-deductive problems. Consequently, some researchers influence the scientific aspects of the most Figure 1: The Turin Shroud (left) and its negative image (right) with zoom of the face in negative (center) with the bloodstains in positive. This work considers some debatable facts frequently offered during the discussions about the Shroud authenticity, by commenting a recent The assertions under discussion are reported here in bold for clearness. paper [13]. Many claims, apparently contrary to the Shroud authenticity, appear blind to scientific evidence and therefore require clarifications.
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  • CENTRO INTERNAZIONALE DI STUDI SULLA SINDONE the Magazine of the International Center of Shroud Studies
    N: 0 - gennaio 2020 SINDON LA RIVISTA DEL CISS: CENTRO INTERNAZIONALE DI STUDI SULLA SINDONE The magazine of the International Center of Shroud Studies indice 4 EDITORIALE - di Gian Maria Zaccone 6 6 IN EVIDENZA I : CISS, la storia 12 IN EVIDENZA II: L’ostensione della Sindone a Montevergine 18 NON SOLO SCIENZA: le tracce lasciate dall’imbalsamazione sulla sindone 27 IL SANGUE 34 WORKSHOP al Politecnico di Torino 18 40 La Cappella del Guarini REDAZIONE Gian Maria Zaccone Nello Balossino Enrico Simonato Paola Cappa Francesco Violi Rivista storico-scientifica e informativa SINDON 40 periodico promosso dal Centro Internazionale di Studi sulla Sindone Indirizzo: Via San Domenico, 28 – Torino Numero telefonico: +39 011 4365832 E-mail: [email protected] Sito Web: www.sindone.it 2 SINDON 3 SINDON EDITORIALE A 60 anni dalla spesso destituite di ogni fondamento non solo scientifi- co, ma anche logico. L’affastellarsi di informazioni che fondazione, Sindon provengono da svariate fonti, in particolare attraverso la rete, spesso contraddittorie ed inesatte, confondono e of- rinasce frono un panorama talora sconcertante. Inoltre le ricer- che e considerazioni che vengono pubblicate su riviste scientifiche accreditate – non moltissime per la verità – per lo più risultano di difficile fruizione e comprensione per il lettore non specializzato, e rendono necessaria una corretta divulgazione. Sindon vorrebbe portare un con- tributo alla conoscenza della Sindone, e ambisce a porsi quale punto di riferimento in questo agitato oceano di informazione. Non pubblicherà quindi articoli scientifici nuovi o inediti – che dovranno seguire i consueti canali di edizione su riviste accreditate – ma si occuperà di ren- dere comprensibili tali testi, e farà il punto sullo sviluppo della ricerca e del dibattito sulle tante questioni aperte nella multidisciplinare ricerca sindonica.
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  • Scheda Galletti English
    An Important Royal Piedmontese Centre-Table en Commode made in 1788 for the personal use of King Vittorio Amedeo III of Savoy by Giovanni Battista Galletti, the immediate successor to Pietro Piffetti as principal cabinet-maker to the King (Primo ebanista di S.R. Maesta) on the latter’s death on 6th May 1777. The rectangular top with rounded corners with a central oval reserve bearing a complex trophy symbolising the triumph of love comprising a crossed quiver and flaming torch with Cupid’s bow on a laurel branch and two doves in ivory, one clasping a bunch of grapes, the trophy on an amaranth ground within a pear-wood reserve with kingwood spandrels and cross-banding in various woods, the front and back of the piece ornamented with similar trophies within reserves with greek-key panels above and below, the sides decorated with oval foliate rosettes, the front with a slide above two drawers sans traverse fitted for a collection of veneer samples, the right hand side with a frieze drawer with ink and sander compartment, the rounded corners decorated with garlanded flambeaux, on turned tapering legs, the fluting simulated in scorched sycamore veneers with ormolu ring-capitals and toupie feet with casters. Height: 73 cm Width: 57,5 cm Depth: 44 cm Provenance: The House of Savoy, Recorded Document of the payment in 29 January 1789 and in 1788 R.R.C. Royal Books. French Private Collection. Published related document in G.Ferraris, Pietro Piffetti e gli Ebanisti a Torino, 1678-1838, a cura di Alvar Gonzales Palacios, Torino 1992, Pag.239, Document N.46.
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  • Comparitive Study of the Sudarium of Oviedo and the Shroud of Turin
    III CONGRESSO INTERNAZIONALE DI STUDI SULLA SINDONE TURIN, 5TH TO 7TH JUNE 1998 COMPARATIVE STUDY OF THE SUDARIUM OF OVIEDO AND THE SHROUD OF TURIN By; Guillermo Heras Moreno, Civil Engineer, Head of the Investigation Team of the Spanish Centre for Sindonology (EDICES). José-Delfín Villalaín Blanco, DM, PhD. Professor of Forensic Medicine at the University of Valencia, Spain. Vice-President of the Investigation. Spanish Centre for Sindonology (CES). Member of the Investigation Team of the Spanish Centre for Sindonology (EDICES). Jorge-Manuel Rodríguez Almenar, Professor at the University of Valencia, Spain. Vice-President of the Spanish Centre for Sindonology (CES). Vicecoordinator of the Investigation Team of the Spanish Centre for Sindonology (EDICES). Drawings by: Margarita Ordeig Corsini, Catedrático de Dibujo, and Enrique Rubio Cobos. Spanish Centre for Sindonology (CES). Translated from the Spanish by; Mark Guscin, BA M Phil in Medieval Latin. Member of the Investigation Team of the Spanish Centre for Sindonology (EDICES). Revised by; Guillermo Heras Moreno CENTRO ESPAÑOL DE SINDONOLOGÌA. AVDA. REINO DE VALENCIA, 53. 9-16™ • E-46005-VALENCIA. Telèfono-Fax: 96- 33 459 47 • E-Mail: [email protected] ©1998 All Rights Reserved Reprinted by Permission 1 1 - INTRODUCTION. Since Monsignor Giulio Ricci first strongly suggested in 1985 that the cloth venerated in Oviedo (Asturias, Northern Spain), known as the Sudarium of Oviedo, and the Shroud of Turin had really been used on the same corpse, the separate study of each cloth has advanced greatly, according to the terminology with which scientific method can approach this hypothesis in this day and age. The paper called "The Sudarium of Oviedo and the Shroud of Turin, two complementary Relics?" was read at the Cagliari Congress on Dating the Shroud in 1990.
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  • DO AS the SPANIARDS DO. the 1821 PIEDMONT INSURRECTION and the BIRTH of CONSTITUTIONALISM Haced Como Los Españoles. Los Movimi
    DO AS THE SPANIARDS DO. THE 1821 PIEDMONT INSURRECTION AND THE BIRTH OF CONSTITUTIONALISM Haced como los españoles. Los movimientos de 1821 en Piamonte y el origen del constitucionalismo PIERANGELO GENTILE Universidad de Turín [email protected] Cómo citar/Citation Gentile, P. (2021). Do as the Spaniards do. The 1821 Piedmont insurrection and the birth of constitutionalism. Historia y Política, 45, 23-51. doi: https://doi.org/10.18042/hp.45.02 (Reception: 15/01/2020; review: 19/04/2020; acceptance: 19/09/2020; publication: 01/06/2021) Abstract Despite the local reference historiography, the 1821 Piedmont insurrection still lacks a reading that gives due weight to the historical-constitutional aspect. When Carlo Alberto, the “revolutionary” Prince of Carignano, granted the Cádiz Consti- tution, after the abdication of Vittorio Emanuele I, a crisis began in the secular history of the dynasty and the kingdom of Sardinia: for the first time freedoms and rights of representation broke the direct pledge of allegiance, tipycal of the absolute state, between kings and people. The new political system was not autochthonous but looked to that of Spain, among the many possible models. Using the extensive available bibliography, I analyzed the national and international influences of that 24 PIERANGELO GENTILE short historical season. Moreover I emphasized the social and geographic origin of the leaders of the insurrection (i.e. nobility and bourgeoisie, core and periphery of the State) and the consequences of their actions. Even if the insurrection was brought down by the convergence of the royalist forces and the Austrian army, its legacy weighed on the dynasty.
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  • The Mystical Shroud - the Images and the Resurrection an Ecumenical Perspective by James E
    The Mystical Shroud - The Images and the Resurrection An Ecumenical Perspective by James E. Damon Collegamento pro Sindone Internet – March 2002 © All rights reserved* ABSTRACT Many believe the Holy Shroud of Turin is the linen burial shroud of Christ cited in the Gospels. The images of a crucified man appear on the Shroud. The identity of the man on the Shroud is unproven and the process that formed the images is unknown to modern science. For the most part, twentieth century research on the Shroud has been western in perspective and limited to the death and burial of Jesus Christ. This paper complements this perspective by adding the light mysticism and iconography of the Byzantine East to extant Shroud research. This leads to the positive identification of the Shroud man and a mystical understanding of the Resurrection that explains the image formation. This effort also demonstrates that the ancient icons of the church indicate that the Church Fathers knew of the Shroud and understood its mysteries. It also theorizes that the Shroud is the basis of the Pantocrator icon tradition in the East. The Holy Mandylion’s relationship to the Shroud is discussed. The Shroud as the “icon of icons” is discussed as a summary of the Gospel and proof of the glorious body promised to the faithful on the last day. The mystical, eschatological relationship of the Sun of Justice miracle, which occurred in Turin in 1453, to the Shroud, is also discussed. Furthermore, the mystical meaning of the 1898 positive Shroud images is briefly addressed. Finally, the paper explains the mystical means to authenticate the Shroud both spiritually and scientifically.
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  • Geography of the Shroud
    GGeeooggrraapphhyy ooff tthhee SSiinnddoonnoollooggyy by Emanuela Marinelli and Maurizio Marinelli Collegamento pro Sindone – Rome – Italy http://www.shroud.it © 2005 All rights reserved Originally presented at the 3rd International Dallas Shroud Conference on the Shroud of Turin Dallas, Texas (USA) - September 8-11, 2005 In the past the knowledge of the Shroud in the world, in any case more devotional than scientific, was very poor. The copies of the Shroud, paintings witnesses of an ancient devotion, are about seventy. Outside Italy they are spread only in Spain in about twenty exemplars. The rest of Europe hosts other few copies in France and Portugal; only one respectively in Belgium, Malta and Switzerland. But some of them are lost. Outside Europe, only the American Continent can boast four copies (respectively in Argentina, Canada, Mexico and USA); nothing in Africa, Asia, Australia and Oceania1. Fifty years ago only two Shroud centers were in existence in the world: one in Turin, the association Cultores Sanctae Sindonis, that in 1959 was transformed in Centro Internazionale di Sindonologia2, and one in USA, the Holy Shroud Guild at Esopus, New York3. Looking at the list of the Shroud books4 on Collegamento pro Sindone website http://www.shroud.it, we can consider that only about eighty in about 700 were in existence before 1960; similar the situation for the Shroud scientific articles5 in that period, about ten in about 300. In that time, only one national congress, in 1939, and an international congress, in 1950, were held, both in Italy6; the proceedings of the national congress obviously are only in Italian and only the abstracts of the international congress were published in the proceedings, all in the original language without a translation.
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  • The History of Painting in Italy, Vol. V
    The History Of Painting In Italy, Vol. V By Luigi Antonio Lanzi HISTORY OF PAINTING IN UPPER ITALY. BOOK III. BOLOGNESE SCHOOL. During the progress of the present work, it has been observed that the fame of the art, in common with that of letters and of arms, has been transferred from place to place; and that wherever it fixed its seat, its influence tended to the perfection of some branch of painting, which by preceding artists had been less studied, or less understood. Towards the close of the sixteenth century, indeed, there seemed not to be left in nature, any kind of beauty, in its outward forms or aspect, that had not been admired and represented by some great master; insomuch that the artist, however ambitious, was compelled, as an imitator of nature, to become, likewise, an imitator of the best masters; while the discovery of new styles depended upon a more or less skilful combination of the old. Thus the sole career that remained open for the display of human genius was that of imitation; as it appeared impossible to design figures more masterly than those of Bonarruoti or Da Vinci, to express them with more grace than Raffaello, with more animated colours than those of Titian, with more lively motions than those of Tintoretto, or to give them a richer drapery and ornaments than Paul Veronese; to present them to the eye at every degree of distance, and in perspective, with more art, more fulness, and more enchanting power than fell to the genius of Coreggio. Accordingly the path of imitation was at that time pursued by every school, though with very little method.
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  • Dating the Shroud of Turin: Weighing All the Evidence
    1 Dating The Shroud Of Turin: Weighing All The Evidence Raymond J. Schneider Bridgewater College (Emeritus) Department of Mathematics and Computer Science Bridgewater, VA 22812, USA Abstract When the Carbon 14 (C14) dating of the Shroud of Turin result was announced in 1988, the tests concluded that the shroud was woven of flax whose age was estimated to be between 1260 and 1390 A.D. This result flew in the face of many expectations of authenticity but was welcomed by many as revealing the shroud to be simply inauthentic and it was then popularly heralded as a "fake." However, this rush to judgment contradicted most of the science and scholarship previously invested in the shroud. It is perhaps a measure of the respect in which C14 dating is held that the finding tended to discredit the earlier work, yet it is a questionable scientific practice to vest one kind of result with such weight as to completely discount the results of a large body of prior work. The present paper seeks a larger perspective by providing an objective account of as many factors as possible to put the issue of dating in a more complete balance. Both the positive and negative evidence for authenticity from a variety of historical, archeological, religious, and scientific domains are presented and weighed based on review of the literature. Diagrammatic forms are used to present the evidences and gain a semi-quantitative assessment of the confidence one can have in the various dating perspectives. Introduction The announcement of the Carbon 14 dating result on October 13, 1988 led to a frenzy of negative publicity describing the shroud as a forgery or a fake.
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  • Commonalities Between the Shroud of Turin and the Sudarium of Oviedo
    SHS Web of Conferences 15, 00007 (2015) DOI: 10.1051/shsconf/20151500007 C Owned by the authors, published by EDP Sciences, 2015 Commonalities between the Shroud of Turin and the Sudarium of Oviedo Alfonso Sánchez Hermosilla Medical Examiner, EDICES Director (Spanish Sindonology Researh Centre Team), Spain Abstract. In 1989 EDICES (Spanish Sindonology Research Centre Team) started researching about the Sudarium of Oviedo, developing the pioneer research started in the sixties by Monsignor Giulio Ricci, who was a member of the Papal Curia and President of the “Roman Centre of Sindonology”a, and furthermore, he was a scholar of the Gospel of Saint John, the reading of chapter 20, Bible verses 4-8: “4 They were running together, but the other disciple ran faster than Peter and was the first to arrive at the tomb.5 Bending down to take a look, he saw the linen cloths lying there, but he didn’t go in.6 Following him, Simon Peter entered the tomb and saw the linen cloths lying there.7 He also saw the face cloth that had been on Jesus’ head. It wasn’t with the other clothes but was folded up in its own place.8 Then the other disciple, the one who arrived at the tomb first, also went inside. He saw and believed.” This made him look for a second funerary linen used to wrap the corpse of Jesus of Nazareth. This seek led him to the Sudarium of Oviedo. The similarity of the shape of the stains and its size with the Shroud of Turin made him think that he had really found the relic which Saint Joan mentions.
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