Carbon dating on the shroud of turin
eighth-century fresco" (and on the other pre-1260 portraits of Christ above) conclusive evidence that the Shroud existed in at least the eighth century! C., 1999, "Judgment Day for the Shroud of Turin," Prometheus Books: Amherst NY, pp.1,141,178,246; Wilson, I., 1998, "The Blood and the Shroud: New Evidence that the World's Most Sacred Relic is Real," Simon & Schuster: New York NY, p.7; Tribbe, F. : Carbon Dating the Turin Shroud," Institute of Physics Publishing: Bristol UK, p.303.
That is, six centuries before the earliest 1260 date given to it by radiocarbon dating! I grant permission to quote from any part of it (but not the whole post), provided it includes a reference citing my name, its subject heading, its date, and a hyperlink back to this page. Wilson, I., 1978, "The Turin Shroud," Book Club Associates: London, p.82e. C., 2006, "Portrait of Jesus: The Illustrated Story of the Shroud of Turin," Paragon House Publishers: St.
[B]Vignon paid particular attention to a topless square (Vignon marking (2) above) on the 8th-century Christ Pantocrator in the catacomb of Pontianus, Rome Artistically it made no sense, yet it appears on [Above (enlarge): Bust of Christ Pantocrator from the catacomb of Pontianus, Rome.
I am persuaded by the evidence that the Shroud of Turin is the burial sheet of Jesus Christ and bears His crucified and resurrected image. In the 1930s, French biology professor and artist, Paul Vignon (1865-1943), began to study a number of oddities that Byzantine portraits of Christ from the fifth century shared in common. Jahrhunderts 001.jpg," Wikimedia Commons, 22 February 2015. Mosaic icon, "Christ the Merciful (1100-1150), in Museum of Byzantine Art, Bode Museum, Berlin, Germany: File: Mosaikikon Bode Berlin 2.jpg, Wikipedia (translated by Google), 3 August 2015. After a painstaking comparison of hundreds of paintings, frescoes and mosaics with the face on the Shroud,[Above (enlarge): Positive photograph of the Shroud face, with Vignon markings numbers 1-15 superimposed. 710".]other Byzantine Christ portraits, including the 11th century Christ Pantocrator in the dome of the church at Daphni, near Athens,[Above (enlarge): Christ Pantocrator mosaic in the church at Daphni, Greece.]has 13 of the 15 Vignon markings. the three-sided, or topless square) are stylized having been rendered more naturalistic by a competent artist.
The 11th century Pantocrator in the apse of Sant'Angelo in Formis church, near Capua, Italy. Compare the above sketch showing the 15 Vignon markings with this photograph of the Shroud face, which is what artists looking at the Image of Edessa/Shroud directly would have seen.]Vignon identified 20 such oddities (reduced by Ian Wilson to a more certain 15 - see below), most of which artistically made no sense, including imperfections in the Shroud's weave, but were repeated slavishly by Byzantine artists from the 5th to the 12th century. Confirmation that the artists were copying the Shroud is evident in that they were trying to make sense of a negative image, for example open staring eyes which were actually closed in death, of which they could have had no concept, the camera using negative film not having been invented until the 19th century. The 10th century Hagia Sophia narthex[Above (enlarge): Extract from the larger mosaic above the narthex of Constantinople's Hagia Sophia cathedral.]mosaic, and the 11th century "Christ the Merciful" mosaic in [Above (enlarge): "Christ the Merciful" mosaic (1100-1150) in the Bodemuseum, Berlin.