The Turin Shroud Secret Free
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Early Christians Identified Jesus' Shroud with His Royal & Priestly Robe!
Early Christians Identified Jesus’ Shroud With His Royal & Priestly Robe! __________________________ By Larry Stalley1 Copyrighted © 2020 All Rights Reserved ABSTRACT Based on an abundance of scientific and historical evidence that has surfaced in recent years, the author believes the Shroud of Turin is the genuine burial cloth that Joseph of Arimathea purchased and used to wrap the body of Jesus. Peter and “the disciple whom Jesus loved” found the tomb empty of a corpse on Resurrection Day. However, when they found the funeral linens, something about their appearance caused the disciple to “believe” (John 20.8). The cloth was stained with blood and had been defiled by its contact with a corpse. Why then wasn’t the Shroud viewed as “unclean,” discarded and buried? Why did the early Church treasure this piece of linen and seek to safeguard it from opponents and enemies of the Faith? How did they come to perceive this cloth? What beliefs became attached to it? In a former paper2 the author attempted to show that the early Christians likely perceived the Shroud as being the miraculous “sign of Jonah” that Jesus had promised.3 In this paper he will seek to demonstrate that the early Christians also identified Jesus’ Shroud, typologically, as his royal- priestly robe, sanctified by His sacrificial blood! The earthly Shroud was a “type and shadow” of the heavenly robe! With its miraculous image, the Shroud was viewed as being a link between the earthly and heavenly realities. ____________________________________________________ 1. INTRODUCTION Being Jewish and living in Rome during the 1st century had its difficulties! You felt the contempt native Romans held concerning your race! From their unwelcomed glares you could sense their unspoken but heartfelt animosity: Another Jew! I despise you! You despise the customs of our ancestors! You have no idols like all other religions. -
Shroud News Issue #54 August 1989
ISSUE No 54 A NEWSLETTER ABOUT THE HOLY SHROUD OF TURIN August 1989 edited by REX MORGAN Author of PERPETUAL MIRACLE and SHROUD GUIDE CRUSADER PERIOD PAINTING OF CHRIST IN THE CHURCH OF THE NATIVITY, BETHLEHEM. ANOTHER COPY FROM THE SHROUD? Pic: Sr Damian of the Cross (Dr Eugenia Nitowski) 2 SHROUD NEWS No 54 (August 1989) EDITORIAL The last issue of Shroud News was well received in the many countries it now reaches. In the past few years the number of regular newsletters and magazines on the subject of the Shroud has increased as more and more people in different parts of the world come to grips with the inescapable fact that Sindonology - the study of the Turin Shroud - is more than a passing fad or an interest for a few scientific specialists or religious fanatics. Indeed most people in most places now know something about the Shroud as a result of its rather sensationalised recent history since 1978 and particularly since the far from satisfactory carbon-dating tests which took place last year. Thus study groups are still springing up and some of them produce regular communications. Amongst those received at the Shroud News office are the new Belgian Soudarion which is a large format, well printed magazine in Flemish. Another new American news-sheet is Friends of the Shroud Newsletter, a quarterly mimeographed series of notes and offprints of press items. Amongst the more prestigious and authoritative journals, Shroud Spectrum International No. 30, March 1989, contains two important papers: one on medical aspects of the arm-position by Dr Gilbert Lavoie and yet another intriguing historical debate by the indefatigable Dorothy Crispino who has also presented on the front cover a rare and beautiful miniature painting of Geoffroy I de Charny. -
THE SHROUD of TURIN Its Implications for Faith and Theology
I4o THEOLOGICAL TRENDS THE SHROUD OF TURIN Its implications for faith and theology ACK IN I967, a notable Anglican exegete, C; F. D. Moule, registered a B complaint about some of his contemporaries: 'I have met otherwise intelligent men who ask, apparently in all seriousness, whether there may not be truth in what I would call patently ridiculous legends about.., an early portrait of Jesus or the shroud in which he is supposed to have been buried'. 1 Through the 195os into the 196os many roman Catholics, if they had come across it, would have agreed with Moule's verdict. That work of fourteen volumes on theology and church history, which Karl Rahner and other German scholars prepared, Lexikon fiir Theologie un d Kirehe (i957-68), simply ignored the shroud of Turin, except for a brief reference in an article on Ulysse Chevalier (1841-1923). Among his other achievements, the latter had gathered 'weighty arguments' to disprove the authenticity of the shroud. Like his english jesuit contemporary, Herbert Thurston, Chevalier maintained that it was a fourteenth-century forgery. The classic Protestant theological dictionary, Die Religion in Gesehichte und Gegenwart, however, took a different view. The sixth volume of the revised, third edition, which appeared in 1962 , included an article on the shroud by H.-M. Decker-Hauff. ~ The author summarized some of the major reasons in favour of its authenticity. In its material and pattern, the shroud matches products from the Middle East in the first century of the christian era. In the mid-fourteenth century the prevailing conventions of church art would not have allowed a forger or anyone else to portray Jesus in the full nakedness that we see on the shroud. -
El Rostro De Cristo Y La Santa Faz De Alicante
Archivo Ibero-Americano 75, nº 280 (2015): 327-358 ISSN 0004-0452 IMÁGENES DE FACTURA DIVINA: EL ROSTRO DE CRISTO Y LA SANTA FAZ DE ALICANTE IMAGES OF DIVINE CRAFTSMANSHIP: THE PORTRAIT OF CHRIST AND THE HOLY FACE OF ALICANTE (SPAIN) RAÚL MORALES SANES Universidad de Murcia [email protected] RECIBIDO: 7/07/2016 ACEPTADO: 14/11/2016 Para citar este artículo: Morales Sanes, Raúl. «Imágenes de factura divina: el rostro de Cristo y la Santa Faz de Alicante». Archivo Ibero-Americano 75, nº 280 (2015): 327-358. RESUMEN: ABSTRACT: El presente trabajo pretende hacer un repaso por This paper has the primary intention to offer las principales imágenes acheiropoietai refe- an overview of the main acheiropoeitai images ridas al rostro de Cristo con el fin de elaborar related to the portrait of Christ. Secondly, we have un contexto donde estas se pongan en relación analysed the particular case of the Santa Faz in con la Santa Faz de Alicante. Para la construc- Alicante. In order to explore the context in which ción de dicho marco se abordan temas como el these images were created, we have also studied proceso de legitimación de la imagen en la Edad the strategies of legitimization of images in the Media, las principales imágenes milagrosas no Middle Ages, the most prominent acheiropoietai hechas por manos humanas y las leyendas que a images and the legends that justified many estas acompañan. Finalmente, partiendo de estos particular cases. Finally, we have explored the parámetros, se aborda la llegada de estos cultos motifs and features that accompanied this kind of a tierras hispanas y se lleva a cabo una interpre- images in a Hispanic context and have carried out tación sobre el lienzo alicantino tras cotejar las a more thorough study of the Alicante image by versiones que nos ofrecen los distintos cronistas comparing the different local chronicles referring de dicha ciudad. -
Forensic Aspects and Blood Chemistry of the Turin Shroud Man
Scientific Research and Essays Vol. 7(29), pp. 2513-2525, 30 July, 2012 Available online at http://www.academicjournals.org/SRE DOI: 10.5897/SRE12.385 ISSN 1992 - 2248 ©2012 Academic Journals Review Forensic aspects and blood chemistry of the Turin Shroud Man Niels Svensson* and Thibault Heimburger 1Kalvemosevej 4, 4930 Maribo, Denmark. 215 rue des Ursulines, 93200 Saint-Denis, France. Accepted 12 July, 2012 On the Turin Shroud (TS) is depicted a faint double image of a naked man who has suffered a violent death. The image seems to be that of a real human body. Additionally, red stains of different size, form and density are spread all over the body image and in a few instances outside the body. Forensic examination by help of different analyzing tools reveals these stains as human blood. The distribution and flow of the blood, the position of the body are compatible with the fact that the Turin Shroud Man (TSM) has been crucified. This paper analyses the already known essential forensic findings supplied by new findings and experiments by the authors. Compared to the rather minute gospel description of the Passion of the Christ, then, from a forensic point of view, no findings speak against the hypothesis that the TS once has enveloped the body of the historical Jesus. Key words: Blood chemistry, crucifixion, forensic studies, Turin Shroud. INTRODUCTION The interest of the forensic examiners for the Turin Edwards et al.,1986; Zugibe, 2005). The TSM imprint is Shroud Man (TSM) image began with Paul Vignon and made of two different kinds of features: Yves Delage at the very beginning of the 20th century, after the remarkable discovery of the “negative” charac- i) The image itself, which has most of the properties of a teristics of the Turin Shroud (TS) image allowed by the negative “photography” and, as such, is best seen on the first photography of the TS by Secondo Pia in 1898. -
'Blood' Images
The Shroud of Turin’s ‘Blood’ Images: Blood, or Paint? A History of Science Inquiry Author: David Ford <[email protected]>, a graduate of the University of Maryland Baltimore County that majored in history and philosophy. Date: 10 December 2000 Keywords: Shroud of Turin, ‘blood’ images, McCrone, iron oxide and vermilion paint, Heller & Adler, blood tests “It is the essence of scientific investigation to seek to much ‘blood’ and a clear fluid as if from a lance conform thought to the nature of its object, as wound, and seemingly unbroken legs.10 Because of encountered in its interaction with us.” this close similarity, the image is universally believed -- John Polkinghorne1 to depict Jesus,11 yet much controversy remains about whether the Shroud is Jesus’ actual burial shroud or Introduction merely a forgery. A ‘strong-authenticity’ view holds that the body image was produced by supernatural According to the New Testament’s book of means involving Jesus’ body, while a ‘weak- John, Roman soldie rs “flogged” Jesus of Nazareth, authenticity’ view holds that the body image was “twisted together a crown of thorns and put it on his produced by Jesus’ body via unusual natural head,” “struck him in the face,” and, along with two processes. In both the strong- and weak- authenticity others, “crucified him.”2 Because the next day was views, the ‘blood’ images arose via contact of the unsuitable for the display of crucified individuals, a cloth with a bloody Jesus. request that those crucified have their “legs broken” and their “bodies taken down” was made and A point of argument against the Shroud of granted.3 (With their legs broken, victims of Turin being Jesus’ actual burial cloth is that it can be crucifixion could no longer push up their bodies to traced with certainty only from about AD 1355. -
Some Words About Our New Icons…
Some words about our new icons… The Three Holy Youths Mural at Saint Michael Church Greensburg By Nick Papas Why is “The Three Youths” mural appropriate for Saint Michael Church and for this space above the Baptismal font specifically? Actually, I believe it is not merely appropriate, but perfect. It is perfect where it is and why it is. It’s where it is because of The Three Youths’ story’s relationship to Baptism. Its reason for being is perfect because of its relationship to being a memorial for Diana Roberts. The story of this mural comes from The Book of Daniel. It tells of Shadrach, Meshach and Abednego (The Three Holy Youths) and their sure-thing deaths, wherein they are thrown into a furnace to be killed for not submitting to an earthly king. the furnace so hot that the flames of the fire killed the soldiers who took up Shadrach, Meshach and Abednego, and these three men, firmly tied, fell into the blazing furnace. Orthodox Christians hear this story retold every Holy Saturday. It is one of the special, once-a-year, 15 Old Testament readings that are read just hours before, liturgically, the triumphant words “Christ is Risen!” are shouted with unfettered joy! The 15 readings set the stage for what will be experienced liturgically which is a thing which people of faith have experienced throughout the ages... that death is not what it appears to be! Mankind has had this inkling, even to its bones, from the time of the fall in the Garden of Eden. -
Photographing Mary
Photographing Mary Miraculous Photographs in the Global Marian Movement Massimo Introvigne (CESNUR) American Academy of Religion Annual Meeting San Antonio, Texas, November 20, 2016 Miraculous Images ´ “Acheiropoieta,” i.e. icons of the Virgin Mary not produced by human hands, were known since the first centuries of Christianity. Today, there are still images of the Virgin Mary (and Jesus) produced as a result of visions or special spiritual experiences, such as those painted by Illinois’ child prodigy Akiane Kramarik (born in 1994), who produced her most famous works from age 8 to 11 (left) Miraculous Photographs ´ Photography, however, created the possibility of entirely new images: actual photographs of Virgin Mary obtained in different ways ´ The more common were images where Mary was not seen by the naked eye but allegedly appeared when developing photographs and film, normally taken at the sites of Marian apparitions (left, examples from Medjugorje) A Precedent: Spirit Photographs ´ An obvious precedent, but perhaps one the Marian movement would prefer not to hear mentioned, were photographs of spirits. They appeared in pictures taken in the late 19th and early 20th century in the presence of Spiritualist mediums and “spiritual investigators” such as William Hope (1863-1933, right). Spirit photographs were often denounced as frauds, obtained through double exposures and other devious means A Photograph from Venezuela ´ Similar claims started appearing after World War II after developing photographs taken at the sites of Marian apparitions. -
Icons and Saints of the Eastern Orthodox Church Pdf, Epub, Ebook
ICONS AND SAINTS OF THE EASTERN ORTHODOX CHURCH PDF, EPUB, EBOOK Alfredo Tradigo | 384 pages | 01 Sep 2006 | Getty Trust Publications | 9780892368457 | English | Santa Monica CA, United States Icons and Saints of the Eastern Orthodox Church PDF Book In the Orthodox Church "icons have always been understood as a visible gospel, as a testimony to the great things given man by God the incarnate Logos". Many religious homes in Russia have icons hanging on the wall in the krasny ugol —the "red" corner see Icon corner. Guide to Imagery Series. Samuel rated it really liked it Jun 21, It did not disappoint on this detail. Later communion will be available so that one can even utilize the sense of taste during worship. Statues in the round were avoided as being too close to the principal artistic focus of pagan cult practices, as they have continued to be with some small-scale exceptions throughout the history of Eastern Christianity. The Art of the Byzantine Empire — A Guide to Imagery 10 , Bildlexikon der Kunst 9. Parishioners do not sit primly in the pews but may walk throughout the church lighting candles, venerating icons. Modern academic art history considers that, while images may have existed earlier, the tradition can be traced back only as far as the 3rd century, and that the images which survive from Early Christian art often differ greatly from later ones. Aldershot: Ashgate. In the Orthodox Church an icon is a sacred image, a window into heaven. Purple reveals wealth, power and authority. Vladimir's Seminary Press, The stillness of the icon draws us into the quiet so that we can lay aside the cares of this world and meditate on the splendor of the next. -
A Critical Summary of Observations, Data and Hypotheses
TThhee SShhrroouudd ooff TTuurriinn A Critical Summary of Observations, Data and Hypotheses If the truth were a mere mathematical formula, in some sense it would impose itself by its own power. But if Truth is Love, it calls for faith, for the ‘yes’ of our hearts. Pope Benedict XVI Version 4.0 Copyright 2017, Turin Shroud Center of Colorado Preface The purpose of the Critical Summary is to provide a synthesis of the Turin Shroud Center of Colorado (TSC) thinking about the Shroud of Turin and to make that synthesis available to the serious inquirer. Our evaluation of scientific, medical forensic and historical hypotheses presented here is based on TSC’s tens of thousands of hours of internal research, the Shroud of Turin Research Project (STURP) data, and other published research. The Critical Summary synthesis is not itself intended to present new research findings. With the exception of our comments all information presented has been published elsewhere, and we have endeavored to provide references for all included data. We wish to gratefully acknowledge the contributions of several persons and organizations. First, we would like to acknowledge Dan Spicer, PhD in Physics, and Dave Fornof for their contributions in the construction of Version 1.0 of the Critical Summary. We are grateful to Mary Ann Siefker and Mary Snapp for proofreading efforts. The efforts of Shroud historian Jack Markwardt in reviewing and providing valuable comments for the Version 4.0 History Section are deeply appreciated. We also are very grateful to Barrie Schwortz (Shroud.com) and the STERA organization for their permission to include photographs from their database of STURP photographs. -
Mastergroupflyanddrive.Pdf
Monumento al Marinaio di Taranto Dedicated to the sailors of the Italian Navy. Apulia Tour / Apulia Baia delle Zagare - FG 1st Day 4th Day Arrival at Bari Airport. Arrival and check-in at hotel in Bari area. In the Breakfast at hotel. Transfer on your own by car to the Itria Valley - land of afternoon visit of Bari. The program of visit, includes among others, fairy trulli. Drive to Martina Franca, a charming town, where besides the Romanesque Basilica of St. Nicholas, Romanesque - Gothic cathedral of famous trulli there is also the center of the city. Walk around the town and San Sabino, a medieval castle of the Emperor Frederick II, Teatro visit the beautiful Basilica of San Martino. Transfer to Ostuni the white Petruzzelli. Dinner on your own and overnight stay at your hotel picturesque town situated on top of a hill. Walk around the city, a visit to accommodation. the baroque Cathedral and the ruins of the twelfth-century castle. Then 2nd Day drive to Alberobello, a town inscribed on the World Heritage List of Breakfast at hotel. Transfer on your own by car to Trani, visiting the UNESCO, for the famous trulli, unique little houses with conical roofs of beautiful cathedral of St. Nicholas, the most outstanding example of gray slate. In the evening return to your hotel. Dinner on your own and Romanesque apulian architecture and Castello Svevo. Return to Bari. The overnight stay at your hotel accommodation. program of visit, includes among others, Romanesque Basilica of St. 5th Day Nicholas, Romanesque - Gothic cathedral of San Sabino, a medieval castle Breakfast at hotel. -
Biographical Memoirs Saint John Bosco
The Biographical Memoirs of Saint John Bosco by REV. GIOVANNI BATTISTA LEMOYNE, S.D.B. AN AMERICAN EDITION TRANSLATED FROM THE ORIGINAL ITALIAN REV. DIEGO BORGATELLO, S.D.B. Editor-in-chief Volume V \ . 1854-1858 SALESIANA PUBLISHERS NEW ROCHELLE, NEW YORK 1969 27. RT, C A t IMPRIMI POTEST: Very Rev. John S. Malloy, S.D.B. Provincial OBSTAT: Daniel V. Flynn, J.C.D. Censor Librorum IMPRIMATUR: Joseph P. O'Brien, S.T.D. Vicar General, Archdiocese of New York NEW YORK, N.Y., April 19, 1969 The nihil obstat and imprimatur are official declarations that a book or pamphlet is free of doctrinal or moral error. No implication is contained therein that those who have granted the nihil obstat and imprimatur agree with the contents, opinions or statements expressed. Copyright © 1969 by the Salesian Society, Inc. Library of Congress Catalog Card No. 65-3104rev All Rights Reserved Manufactured in the United States of America FIRST EDITION Elebtrateb WITH PROFOUND GRATITUDE TO THE LATE, LAMENTED, AND HIGHLY ES IEEMED "VERY REVEREND FELIX L. PENNA, S.D.R. (1904-1962) TO WHOSE WISDOM, FORESIGHT, AND NOBLE SALESIAN HEART THE ENGLISH TRANSLATION OF THE BIOGRAPHICAL MEMOIRS OF SAINT JOHN BOSCO IS A LASTING MONUMENT This Volume Is Dedicated TO FATHER AMBROSE ROSSI, S.D.B. (1893-1964) Salesian Provincial In The Eastern United States From 1933 to 1941 *** His Stalwart Leadership And Dedication To Salesian Ideals Left An Indelible Mark In North And Central America, His Field Of Labor For Thirty Years Editor's Preface to the First Nine Volumes !SAINT JOHN BOSCO, the central figure of this vastly extensive biography, was a towering person in the affairs of both Church and State during the critical 19th century in Italy.