New Discoveries on the Sudarium of Oviedo
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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. -
Constructing the Cámara Santa: Architecture, History, and Authority in Medieval Oviedo
Constructing the Cámara Santa: Architecture, History, and Authority in Medieval Oviedo by Flora Thomas Ward A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Flora Thomas Ward 2014 Constructing the Cámara Santa: Architecture, History, and Authority in Medieval Oviedo Flora Thomas Ward Doctor of Philosophy Department of Art University of Toronto 2014 Abstract My dissertation examines the Cámara Santa of the Cathedral of Oviedo as both a medieval and modern monument, shaped by twelfth-century bishops and twentieth-century restorers. I consider the space as a multi-media ensemble, containing manuscripts, metalwork, and sculpture, arguing that we must view it as a composite—if fragmented—whole. My analysis focuses on the twelfth century, a crucial period during which the structure, decoration, and contents of the Cámara Santa were reworked. A key figure in this story is Bishop Pelayo of Oviedo (d. 1153), who sought to enhance the antiquity and authority of the see of Oviedo by means of the cult of its most important reliquary: the Arca Santa. I argue that this reliquary shapes the form and function of the twelfth-century Cámara Santa, considering the use of the space in the context of liturgy and pilgrimage. Finally, I consider the sculpture that lines the walls of the space, arguing that it animates and embodies the relics contained within the Arca Santa, interacting with the pilgrims and canons who used the space. Thus, this sculpture represents the culmination of the long twelfth-century transformation of the Cámara Santa into a space of pilgrimage focused around the Arca Santa and the memory of the early medieval patrons of the Cathedral of Oviedo, a memory which abides to this day. -
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TECNOLOGÍA NAVARRA DE NANOPRODUCTOS S.L. (TECNAN) THINK BIG, ACT NANO! REFERENCES RESTORATION AND CONSERVATION OF HERITAGE BUILDINGS TECNADIS PRODUCTS - REMARKABLE WORKS Metropolitan Cathedral Seville Cathedral Oviedo Cathedral (Panama City) (Sevilla - Spain) (Asturias - Spain) Mosque-Cathedral of Cordoba La Almudena Cathedral Tui Cathedral Santander Cathedral (Córdoba - Spain) (Madrid - Spain) (Pontevedra - Spain) (Cantabria - Spain) Tarazona Cathedral Burgo de Osma Cathedral Pamplona Cathedral Segovia Cathedral (Zaragoza - Spain) (Soria - Spain) (Navarra - Spain) (Segovia - Spain) TECNADIS PRODUCTS - REMARKABLE WORKS Cologne Cathedral Pisa Cathedral Saint Bavon Cathedral Saint Esteban Cathedral (Italy) (Germany) (Ghent - Belgium) (Wien - Austria) (Bélgica) São João National Theatre Santo Domingo de la Calzada Cathedral Casa Milá – La Pedrera Viana Do Castelo Cathedral (Porto-Portugal) (La Rioja - Spain) (Barcelona - Spain) (Portugal) Buen Pastor Cathedral The Real Alcazar Casa Batlló Valencia Cathedral Museum (San Sebastián - Spain) (Sevilla - Spain) (Barcelona - Spain) (Valencia - Spain) TECNADIS PRODUCTS - REMARKABLE WORKS Bank of Spain Headquarters Santander Bank Headquarters National Library Parador of Leon (Madrid-Spain) (Santander - Spain) (Madrid - Spain) (León - Spain) ) Bank of Spain Building Spain Square Canalejas Complex Prado Museum (Málaga - Spain) (Sevilla - Spain) (Madrid - Spain) (Madrid - Spain) Royal Pavilion - Mª Luisa Park The old Seville Artillery Factory Astorga Episcopal Palace Catalunya Caixa Bank Headquarters -
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. -
The North Way
PORTADAS en INGLES.qxp:30X21 26/08/09 12:51 Página 6 The North Way The Pilgrims’ Ways to Santiago in Galicia NORTE EN INGLES 2009•.qxd:Maquetación 1 25/08/09 16:19 Página 2 NORTE EN INGLES 2009•.qxd:Maquetación 1 25/08/09 16:20 Página 3 The North Way The origins of the pilgrimage way to Santiago which runs along the northern coasts of Galicia and Asturias date back to the period immediately following the discovery of the tomb of the Apostle Saint James the Greater around 820. The routes from the old Kingdom of Asturias were the first to take the pilgrims to Santiago. The coastal route was as busy as the other, older pilgrims’ ways long before the Spanish monarchs proclaimed the French Way to be the ideal route, and provided a link for the Christian kingdoms in the North of the Iberian Peninsula. This endorsement of the French Way did not, however, bring about the decline of the Asturian and Galician pilgrimage routes, as the stretch of the route from León to Oviedo enjoyed even greater popularity from the late 11th century onwards. The Northern Route is not a local coastal road for the sole use of the Asturians living along the Alfonso II the Chaste. shoreline. This medieval route gave rise to an Liber Testamenctorum (s. XII). internationally renowned current, directing Oviedo Cathedral archives pilgrims towards the sanctuaries of Oviedo and Santiago de Compostela, perhaps not as well- travelled as the the French Way, but certainly bustling with activity until the 18th century. -
Proposal for C14 Dating of Charred Material Removed from the Shroud
Proposal for C14 Dating of Charred Material Removed from the Shroud by Robert A. Rucker, MS (nuclear) Rev. 1, October 15, 2018 Reviewed by Mark Antonacci, JD, Author of two books on the Shroud Thurman Cooper, MS (radiochemistry) Jonathan Prather, PhD (biomedical) Kevin N. Schwinkendorf, PhD (nuclear) Abstract In 1988 the Shroud was carbon-14 (C14) dated to 1260 to 1390 AD (Ref. 1), but other evidence (Ref. 2) is consistent with a first century date for the Shroud. To resolve this discrepancy, this proposal recommends that C14 dating be done on samples of the charred material removed from the Shroud in 2002. Nuclear analysis computer calculations based on the neutron absorption hypothesis were used to predict the measured dates for this charred material, as shown in Figure 1. If there is reasonable agreement between the measured dates and the predictions in Figure 1, i.e. about AD 3100 to AD 4800 for samples near the elbows, it would indicate that neutrons were absorbed by the linen, producing additional C14 in the Shroud. This new C14 would explain why the Shroud was C14 dated to 1260 to 1390 AD instead of the first century. Figure 1. C14 Dates Objective Predicted by MCNP To determine whether the 1988 dating of the Shroud to the Middle Ages can be explained by the neutron absorption hypothesis. Hypothesis The neutron absorption hypothesis (Ref. 2 to 4) is: 1. Neutrons were included in the burst of radiation emitted from within the body that formed the image. 2. Some of these neutrons would have been absorbed in the linen to form new C14 atoms on the Shroud. -
Who Is the Man of the Holy Shroud Tri
SCIENTIFIC EVIDENCE ON THE SHROUD OF TURIN DISPLAY INCLUDES Full-size Framed Replica of the Shroud of Turin Photographic Negative of the Shroud of Turin Forensic Model of the Man of the Shroud The Shroud of Turin contains many types of scientific evidence that provide information about its history and environmental Replica Instruments of the Passion: journey. The human blood on the Shroud is Type AB. This rare blood type matches the stains on another known relic, Crucifixion Nails the Sudarium of Oviedo, which many believe to be the cloth that covered the face of Jesus as he was taken down from the Roman Lance cross. In addition to sharing the same blood type, forensic Roman Flagrum experts have identified blood stains that perfectly match on both cloths. This is significant because the Sudarium has been in Oviedo, Spain since the year 611, so any point of contact between the Shroud of Turin and the Sudarium of Oviedo would have occurred before the seventh century. EXHIBIT TOURS Image credit American Confraternity of the Holy Shroud Exhibits tours by appointment. There are numerous To schedule a tour: specific species of plant [email protected] pollens on the Shroud that place it in or near 318-221-5296 the city of Jerusalem, Constantinople, and western Europe, all locations that align with the historical journey scholars believe to be CATHEDRAL OF accurate for the cloth. Image credit American Confraternity of the Holy Shroud PARISH AND SCHOOL sjbcathedral.org A specific soil Cathedral of St. John Berchmans sample from limestone has been identified on the Shroud of Podcast Turin – Travertine WHO IS THE MAN Aragonite – found Who is the Man of the Shroud? in only a few places manoftheshroud.wordpress.com in the Middle East, OF THE SHROUD? including the Old Apple iTunes Store City of Jerusalem. -
The Pennsylvania State University
The Pennsylvania State University The Graduate School College of Arts and Architecture THE CRISTOS YACENTES OF GREGORIO FERNÁNDEZ: POLYCHROME SCULPTURES OF THE SUPINE CHRIST IN SEVENTEENTH-CENTURY SPAIN A Dissertation in Art History by Ilenia Colón Mendoza © 2008 Ilenia Colón Mendoza Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2008 The dissertation of Ilenia Colón Mendoza was reviewed and approved* by the following: Jeanne Chenault Porter Associate Professor Emeritus of Art History Dissertation Co-Advisor Co-Chair of Committee Brian A. Curran Associate Professor of Art History Dissertation Co-Advisor Co-Chair of Committee Elizabeth J. Walters Associate Professor of Art History Simone Osthoff Associate Professor of Art Craig Zabel Associate Professor of Art History Head of the Department of Art History *Signatures are on file in the Graduate School. ii Abstract The Cristo yacente, or supine Christ, is a sculptural type whose origins date back to the Middle Ages. In seventeenth-century Spain these images became immensely popular as devotional aids and vehicles for spiritual contemplation. As a form of sacred drama these sculptures encouraged the faithful to reflect upon the suffering, death, and Resurrection of Christ as well as His promise of salvation. Perhaps the most well-known example of this type is by the Valladolidian sculptor, Gregorio Fernández (1576-1636). Located in the Capuchin Convent of El Pardo near Madrid, this work was created in accordance with Counter-Reformation mandates that required religious images inspire both piety and empathy. As a “semi-narrative”, the Cristo yacente encompasses different moments in the Passion of Christ, including the Lamentation, Anointment, and Entombment. -
Three-Dimensional Interpretation of Sculptural Heritage with Digital and Tangible 3D Printed Replicas
TOJET: The Turkish Online Journal of Educational Technology – October 2017, volume 16 issue 4 Three-Dimensional Interpretation of Sculptural Heritage with Digital and Tangible 3D Printed Replicas José Luis SAORIN Universidad de la Laguna, Spain [email protected] Carlos CARBONELL-CARRERA Universidad de la Laguna, Spain [email protected] Jorge de la Torre CANTERO Universidad de la Laguna, Spain [email protected] Cecile MEIER Universidad de la Laguna, Spain [email protected] Drago Diaz ALEMAN Universidad de la Laguna, Spain [email protected] ABSTRACT Spatial interpretation features as a skill to acquire in the educational curricula. The visualization and interpretation of three-dimensional objects in tactile devices and the possibility of digital manufacturing with 3D printers, offers an opportunity to include replicas of sculptures in teaching and, thus, facilitate the 3D interpretation of the sculptural heritage. In this research, an open access 3D educational resource is created for teaching in the aim of Art and drawing subjects. In Santa Cruz de Tenerife, Spain, fifteen students of High School, worked in a traditional 2D environment and in a 3D environment with sculptural heritage replicas in digital and tangible versions. The three-dimensional interpretation of the sculptures is evaluated with a 3D viewing test created for this experiment, to verify whether the material used does indeed facilitate the 3D interpretation. The results show a greater difference using 3D representations compared with the 2D versions in the three ambits analysed. In modularity, the percentage of correct answers in the 3D viewing test are 84% with 3D technologies, versus 40% with 2D representations, in volumetry, 90,7% versus 72%, but in orthogonal views is where the biggest difference is with a 76,7% of correct answers in the 3D viewing test using 3D technologies versus 0% using 2D versions. -
New Coincidence Between Shroud of Turin and Sudarium of Oviedo
SHS Web of Conferences 15, 00008 (2015) DOI: 10.1051/shsconf/20151500008 C Owned by the authors, published by EDP Sciences, 2015 New coincidence between Shroud of Turin and Sudarium of Oviedo C. Barta1,a , R. Álvarez2, A. Ordóñez2, A. Sánchez3, and J. García2 1 Research Team of Spanish Center of Sindonology (EDICES), Madrid, Spain 2 EDICES, University of Oviedo, Oviedo, Spain 3 EDICES, Murcia, Spain Abstract. The Sudarium of Oviedo and the Shroud of Turin are two relics attributed to Jesus Christ that show a series of amazing coincidences announced in the past. In this contribution, we describe the X-ray fluorescence analysis carried out on the Sudarium. Among the chemical elements detected, calcium shows a statistically significant higher presence in the areas with bloody stains. This fact allows correlating its distribution with the anatomical features of the corpse. A large excess of calcium is observed close to the tip of the nose. It is atypical to find soil dirt in this zone of the anatomy, but it is just the same zone where a particular presence of dust was found in the Shroud. The very low concentration of strontium traces in the Sudarium matches also well with the type of limestone characteristic of the rock of Calvary in Jerusalem. This new finding adds to others recently released and it strengthens the tradition that both cloths have wrapped the body of Jesus of Nazareth. 1. Introduction According to tradition, the Sudarium of Oviedo is a relic of Christ. In fact, it has been called “Sudario del Señor” (Cloth of the Lord) for centuries. -
Journal of Medieval Art and Architecture
Peregrinations: Journal of Medieval Art and Architecture Volume 4 Issue 3 2014 Peregrinations: Journal of Medieval Art and Architecture (Volume 4, Issue 3) Follow this and additional works at: https://digital.kenyon.edu/perejournal Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation . "Peregrinations: Journal of Medieval Art and Architecture (Volume 4, Issue 3)." Peregrinations: Journal of Medieval Art and Architecture 4, 3 (2014). https://digital.kenyon.edu/perejournal/vol4/iss3/15 This Full Issue is brought to you for free and open access by the Art History at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Peregrinations: Journal of Medieval Art and Architecture by an authorized editor of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. et al. Welcome Welcome to the Spring 2014 issue of Peregrinations: Journal of Medieval Art & Architecture. It is with great Current Issue pleasure that we present an issue that goes back to our Photobank roots with a focus on pilgrimage and pilgrimage art. Roger E. Reynolds presents “A Precious Ancient Submission Souvenir Given to the First Pilgrim to Santiago de Guidelines Compostela” which examines Bishop Godescalc’s visit and how it impacted the manuscripts at Albelda in a very Organizations personal way. John K. Moore, Jr. also brings new critical attention to the imposing sculpture of St. James as a Exhibitions pilgrim in “Santiago’s -
Science and the Shroud of Turin
Science and the Shroud of Turin © May 2015 Robert J. Spitzer, S.J., Ph. D. Magis Center of Reason and Faith Introduction The Shroud of Turin is a burial shroud (a linen cloth woven in a 3-over 1 herringbone pattern) measuring 14 ft. 3 inches in length by 3 ft. 7 inches in width. It apparently covered a man who suffered the wounds of crucifixion in a way very similar to Jesus of Nazareth. (Notice the position of the blood stains—the bold brown color—in relation to the image of the body—the fainter sepia hue—in Figure 1 below). Figure 1 The cloth has a certifiable history from 1349 when it surfaced in Lirey, France in the hands of a French nobleman – Geoffrey de Charny.1 It also has a somewhat sketchy traceable history from Jerusalem to Lirey, France – through Edessa, Turkey and Constantinople.2 This 1 This history is recounted in Appendix I (Section I) of a forthcoming book God So Loved the World: Clues to our Transcendent Destiny from the Revelation of Jesus (Ignatius Press -- coming 2016). The history is well captured in Wilson, Ian. 1978. The Shroud of Turin (New York: Doubleday). 2 This history is recounted in Appendix I of my forthcoming book God So Loved the World: Clues to our Transcendent Destiny from the Revelation of Jesus (Ignatius Press – coming 2016). There are six important sources of this history: De Gail, Paul. 1983. “Paul Vignon” in Shroud Spectrum International 1983 (6) (https://www.shroud.com/pdfs/ssi06part7.pdf). John Long 2007 (A) “The Shroud of Turin's Earlier History: Part One: To Edessa” in Bible and Spade Spring 2007 (http://www.biblearchaeology.org/post/2013/03/14/The-Shroud-of-Turins-Earlier-History-Part-One-To- Edessa.aspx).