By Julie LaBrecque And Walid Shoebat
The evidence for the Shroud of Turin being divinely made is overwhelming; not only is it beyond doubt that it is the very burial cloth used to bury Christ, but the Shroud survived throughout the ages from fires and the scrutiny of science and the slander of men it put an end to several hotly debated issues (as we shall see here). The Shroud was no manmade relic, for it possesses attributes that defy science proving it conforms to no known law of physics (more on that later). It even etched the Gospel message putting an end to theological disputes by debunking the iconoclast and the opposition to the veneration of images. It ended the debate whether Christ was crucified on a stake or a cross and it even confirmed Christian theology regarding the Holy Trinity leaving the ardent skeptic with no answer but to slander it by saying that it was made by the devil himself:
some of the inexplicable anomalies that the shroud seems to posses: the 3-dimensional quality of the image; the laser-like transmission of the image that is beyond our present technology, etc? Frankly, I can’t explain them. Neither do I care to. Satan has been very good at getting our attention off of God and getting us to waste our time on trivialities. If Satan, as the father of lies, can disguise himself as an angel of light (2 Corinthians 11:14), then he’s probably clever enough to provide some trickery in this world
The ardent hater cannot deny it. We “can’t explain them,” they say of the miraculous nature of the Shroud. They stipulate that 2 Corinthians 11:14 and 1 Kings 22:23 go against the Shroud attributing its miraculous nature to being the works of the devil while intentionally forgetting that Jesus Himself warned that the devil would never use miracles that advance the Kingdom of Christ.
The key to knowing whether God was in it or the devil was clearly addressed by Jesus when He healed a blind man and was accused by the Pharisees of being of the devil. He responded with: “If Satan drives out Satan, he is divided against himself. How then can his kingdom stand?” Jesus gave the key: “But if it is by the Spirit of God that I drive out demons, then the kingdom of God has come upon you” (see Matthew 12:22-28).
God’s true miracles always leads to the Gospel truth while fruit is the measure of knowing if something is of God or if it was of the devil.
The Shroud of Turin in one icon created by God tells the very Gospel story. Why would the devil want proven instead of denounce Psalm 22:18, Matthew 27:35, Luke 23:34 and John 19:24: “They divide My garments among them, And for My clothing they cast lots”?
The Shroud proves Christ was crucified nude without His garments!
Why would the devil want Psalm 34:20, John 19:33-36 proven, that Christ Kept all His bones?
Why would the devil want Colossians 1:15, John 14:9 and John 1:18 proven, that Christ is the invisible image of God?
Why would the devil want to prove Isaiah 52:14 “His appearance was marred more than any man”?
Why would the devil want to prove the “crown of thorns” in Genesis 3:18, Mark 15:17, John 19:5, and Matthew 27:2 that Christ was the King of the Jews?
Why would the devil want Christ’s crucifixion proven as prophesied in Psalm 22:14-16 and in Zechariah 12:10 when it says “they will look upon Me whom they have pierced”?
Why would the devil ever preach the true Gospel and then etch it on a cloth preserving it for all to see?
The Shroud is not only a Gospel summary but it responds to the crowds who always ask “where is this and where is that in my Bible?”
The very Shroud was included in the Gospels themselves. From the Gospel of St. John we are told that Peter and John run to the tomb, John arrives first, he stoops down and looking in, saw the cloths lying, but waits until Peter arrives before going in. Peter goes into the tomb, sees the linen cloths lying there, the napkin (Mandylion) which was about his head lying separately from the linen cloths. John then goes into the tomb ‘and he saw and believed.’(John 20:8).
So why can’t multitudes who call themselves “Bible believers” believe in the Shroud mentioned in their bibles?
According to the gospel accounts of the death and burial of Jesus (St. Matthew 27:57, Mark 15:43-46 , Luke 23:50-53, John 19:38-40), Joseph of Arimathea, a ‘rich man’ (Matt 27:57) who was awaiting the Kingdom of God, bought a linen cloth (Mark 15:46) with which to wrap the body of Jesus after Pontius Pilate granted him permission to take the body of Jesus from the Cross. St. Matthew’s statement that Joseph of Arimathea was a ‘rich man’ has prompted some to arrive at the conclusion that the linen cloth he purchased was of a meticulous workmanship requiring many hours of labor to construct.
Is all this denial because God chose that the Shroud be entrusted to Catholics given in succession, and by this the Shroud also proves that God designed an apostolic succession?
Even more, the Shroud is not only a Gospel summary, which includes evidence of the resurrection, it has the signature of the author of all truth on how every Christian will resurrect as well “in the twinkling of an eye”.
THE RESURRECTION OF JESUS: A NEW EVENT HORIZON
It is here that we begin to see what baffles science. In 2004, Dame Piczek, a physicist, became fascinated by the total absence of distortion of the Shroud image, a physical impossibility if the body had been lying on solid rock. Piczek’s work strongly suggests that the image of Jesus was projected as a quantum hologram onto the cloth as His body underwent the process of Resurrection.
Piczek perhaps best known for her study of the Shroud of Turin was baffled “The entire Resurrection process is akin to the Big Bang creation of the universe when something was created from nothing,” explains Piczek. “You can read the science of the Shroud, such as total lack of gravity, lack of entropy (without gravitational collapse), no time, no space—it conforms to no known law of physics.”
She further explains:
“The Body is hovering between the upper and the lower sheet and there is NO TRACE OF GRAVITY. The lack of gravity is also further proven by the Shroud linen. The linen does not fall on top of the Body, but remains in its unnaturally stretched condition at some distance from the body.”
To fathom or even scientifically explain “no time” “no space” “no gravity” is an impossibility:
“According to the nature of event horizons the dead body must have left its image on the two surfaces of the event horizons. At the time of the explosion (when time stopped) of the event horizons these images were ejected onto both sides of the Shroud, with the body hovering parallel to the event horizons. This explains why the image shows a dead man, not the risen body, and also explains why the image is negative (went from a positive body image to the negative image like a camera film negative). This indicates how the image got onto the cloth.”
The complicated physics behind the image on the Shroud explained: “As quantum time collapses to absolute zero (time stopped moving) in the tomb of Christ, the two event horizons (one stopping events from above and the other stopping the events from below at the moment of the zero time collapse) going through the body get infinitely close to each other and eliminate each other.’
And why would the devil, who loves death, want known that the transference of the Image to the cloth even speaks of a future resurrection event? In the words of St. Paul:
“Behold, I tell you a mystery; we will not all sleep, but we will all be changed, in a moment, in the twinkling of an eye, at the last trumpet; for the trumpet will sound, and the dead will be raised imperishable, and this mortal must put on immortality. But when this perishable will have put on the imperishable, and this mortal will have put on immortality, then will come about the saying that is written, ‘Death is swallowed up in victory. O Death, where is your victory? O death, where is your sting?’” 1 Corinthians 15:52-54.
The very war with the devil who caused death is defeated as evidenced in the Shroud. Again:
“For if we believe that Jesus died and rose again, even so God will bring with Him those who have fallen asleep in Jesus. For this we say to you by the word of the Lord, that we who are alive and remain until the coming of the Lord, will not precede those who have fallen asleep. For the Lord Himself will descend from heaven with a shout, with the voice of the archangel and with the trumpet of God, and the dead in Christ will rise first. Then we who are alive and remain will be caught up together with them in the clouds to meet the Lord in the air, and so we shall always be with the Lord,” 1 Thessalonians 4:14-17.
Jesus’ face-up body was laid onto the ‘lower’ half of the linen cloth upon the rock ledge inside the tomb, feet at the bottom edge of the cloth, head at the top, then remaining half of the cloth brought over the head, covering the length of the body to the feet as depicted below.
The side by side ventral and dorsal images of the Shroud of Turin as they appear on a photographic negative.
HISTORY PROVES THE SHROUD IS OF DIVINE ORIGIN
Doubt is introduced by isolating evidence and by introducing newer isolated evidence. History existed prior to the 1260-1390 date range of 1988 carbon-dating test results debunking the new find that based the authenticity of such dating.
Triumphant announcement by Prof. E. Hall, Dr. M. Tite and Prof. R. Hedges in 1988 that the Shroud was carbon-14 dated to “1260-1390!”
Had the Shroud been of the devil, why would the devil in AD 33, when the Shroud was taken by Jude Thaddeus from Jerusalem to Edessa (now Urfa) in Turkey, that when the image was shown to Abgar V, King of Edessa (13 –50 CE), that the King was healed of an incurable disease of leprosy and the entire city of Edessa was declared Christian by King Abgar? This similar story parallels what Christ did when He healed the blind in Matthew 12 while Christ’s detractors, the Pharisees, accused Him of being of the devil. The devil will never turn the entire Kingdom of Edessa for Christ. Yet even the Shroud shows how such Pharisees still exist in our times who always are quick to accuse “beelzebub”!
And if one argues that a Shroud could not heal the sick, how could one argue to what Scriptures announced when St. Peter’s shadow did not stop the earliest Christians when they “brought forth the sick into the streets, and laid them on beds and couches, that at the least the shadow of Peter passing by might overshadow some of them.” (Acts 5:15) Yet these were healed. And if aprons and handkerchiefs are physical objects, these did not prevent the Apostles, since they “brought unto the sick handkerchiefs or aprons, and the diseases departed from them, and the evil spirits went out of them.” (Acts 19:12)
The Shroud of Christ’s burial should suffice to being greater than mere handkerchiefs. Jesus’ garment was physical, and when a woman who was subject to bleeding touched it, “immediately her bleeding stopped.” (Luke 8:43)
Oh how many would love to rip these verses out of Scripture not knowing they serve the devil.
St. Amrbose of Milan (4th century), the mentor of Augustine, and the one who brought Augustine into the Church, declared that the souls of the martyrs protect the Church, and that the relics owned by these saints bring miracles and heal the sick:
I do not say whether they have risen for themselves, for us certainly the martyrs have risen. You know — nay, you have yourselves seen — that many are cleansed from evil spirits, that very many also, having touched with their hands the robe of the saints, are freed from those ailments which oppressed them; you see that the miracles of old time are renewed, when through the coming of the Lord Jesus grace was more largely shed forth upon the earth, and that many bodies are healed as it were by the shadow of the holy bodies. How many napkins are passed about! how many garments, laid upon the holy relics and endowed with healing power, are claimed! All are glad to touch even the outside thread, and whosoever touches will be made whole. Thanks be to Thee, Lord Jesus Christ, that at this time Thou hast stirred up for us the spirits of the holy martyrs, when Thy Church needs greater protection. (Ambrose, letter 22, chs. 9-10)
So is Christ’s garments which the woman who was healed touched it, any different from His burial Shroud? Had these verses not been etched in Scripture the ney-sayers would object and they still do. Amazingly, even with Scriptures, this rebellious generation that seeks other signs and wonders will always object. Have any of them healed the blind and the leper? Never. Not a shred of evidence.
And no matter how many calamities faced the Shroud, it miraculously survives. In AD 525, a severe flood destroyed most of Edessa. The Shroud was contained in a metal box found in a niche of wall during rebuilding of the walls of Edessa in 544. Then we had a newly discovered linen cloth which becomes known as “The Image of Edessa”, later known as the Mandylion, noted by Syrian historian Evagrius (527-600) as ‘the divinely made image not made by the hands of man’ (Ian Wilson ‘The Shroud of Turin, p. 116).
From the Shroud until today, the typical Christ look stems from the very same image. Artistic depictions of the Face of Christ after 544 even the first known coins minted in 692 during the reign of Emperor Justinian II and appear to be based on the image on the Shroud as indicated by 180 matching points of congruence between them.
So revered were these images that one sermon by Pope Stephen III (reigned 752-757) refers to the Mandylion as ‘the glorious image of the Lord’s face and the length of his whole body was so divinely transformed that it was sufficient for those who could not see the Lord bodily in the flesh, to see the transfiguration made on the cloth.’ (Ian Wilson, ‘The Shroud of Turin’ p. 135).
And way prior to the carbon dating of the Shroud, history proves it was of no late invention as some falsely speculated. Throughout history, the Shroud is an intriguing corroboration to the known existence of the image of Christ on the Shroud as revealed in the Mozarbic Rite in the Preface for the Saturday of Holy Week, which dates from the 6th Century:
“Peter ran with John to the tomb and saw the recent imprints (vestigia) of the dead and risen man on the linens.” [Underline added.] (M. Green. “Enshrouded in Silence” (The Ampleforth Journal, Vol. 74, Part 3 ( p. 329).
The Mozabaric Rite is still used in the Roman Catholic Cathedral of St. Mary of Toledo, Spain and in the Anglican Communion churches in Spain. Mozarabics are Catholics of Arab descent that lived in the region of Spain.
And just as we see detractors today, the iconoclast movement from Muhammad during the 6th century to the so-called Protestant reformers Andreas Karlstadt, Huldrych Zwingli and John Calvin during the 16th century, the Shroud debunked the fathers of the Iconoclasm that God hated images. Iconoclast belief was causing havoc throughout Europe. And unlike the later divisions, in 730 AD, St. John Damascene’s wrote his anti-iconoclastic movement thesis, On Holy Images, used the Shroud describing the cloth as an himation, which is translated as an oblong cloth or grave cloth. This may be the first mention, among extant manuscripts, of it being a grave cloth.
Had the Shroud been of the devil, why would the Shroud, an icon, be used throughout church history to unify, while the iconoclast hated images and used such hatred to divide?
It was the iconoclast who divided Europe in the 16th century, reeking havoc and division through reprobates who did not heed the warnings from Christ that the devil seeks to divide and conquer. Yet the Shroud, the very image way before the skeptics attacked it, unified Christians to combat the devil of Islam in 944 AD when the Byzantine Imperial Army invaded Edessa which had fallen to Islam. The Shroud was exchanged for gold and 200 prisoners of war then arrives in Constantinople with great fanfare where the General of Imperial Army presents Shroud to Emperor Romanus. Gregory Referendarius the Arch-deacon of Hagia Sophia in Constantinople then delivers a sermon (1) which declares the face and side wound on the cloth to be that of Christ.
From the Hagia Sophia. The Virgin and Child mosaic was the first of the post-iconoclastic mosaics. It was inaugurated on 29 March 867 by Patriarch Photius and the emperors Michael III and Basil I. This mosaic is situated in a high location on the half dome of the apse. Mary is sitting on a throne without a back, holding the Child Jesus on her lap. Her feet rest on a pedestal. Both the pedestal and the throne are adorned with precious stones. The portraits of the archangels Gabriel and Michael (largely destroyed) in the bema of the arch also date from the 9th century. The mosaics are set against the original golden background of the 6th century. These mosaics were believed to be a reconstruction of the mosaics of the 6th century that were previously destroyed during the iconoclastic era by the Byzantines of that time, as represented in the inaugural sermon by the patriarch Photios. However, no record of figural decoration of Hagia Sophia exists before this time.
History debunks all doubt that the Shroud was made of a later date. The Hungarian Pray Manuscript (aka Codex), named for György Pray (1723-1801), a Jesuit scholar historian who performed the first important study of it, resides in the Budapest National Library and is the oldest known surviving text of the Hungarian language. It serves as an additional important historical document to prove the Shroud’s existence prior to the 1260-1390 date range of 1988 carbon-dating test results since it was written between 1148–1196 (Wilson, 1998, p.160)
There are two illustrations with several key details on both illustrations. In the first Illustration Jesus is naked, with His hands crossed above pelvis (similar on the Shroud) He has just 4 fingers on each hand, no thumbs visible (the same as Shroud). He has His legs cropped by the end of page, without any obvious reason (the same as frontal image on the Shroud). In Illustration II it reveals there is a pyramidal/zigzag pattern the herringbone weave including red smudges on the surface of shroud
Within this document are illustrations, one that depicts the preparations for the burial of Christ and another that depicts the burial cloth with Jesus’ body laid face-up on it. This later illustration depicts the herringbone weave pattern and four ‘L’-shaped holes near one of the edges. These holes are referred to as ‘poker holes’, are of unknown origin, possibly the result of incense embers falling on it. The Shroud has four sets of these ‘poker holes’ in the same ‘L’-shape pattern, each set of holes differing in size. The explanation for the differing sizes is that at the time the holes were made, the Shroud was folded in such a manner that the top layer suffered the worst damage with each successive layer receiving progressively less damage, resulting in smaller holes in the subsequent layers.
The illustration of Jesus’ body being prepared for burial depicts a nude body with folded arms over the groin area and fingers that are unusually long. The most striking depiction is that the man is shown with no visible thumbs – characteristic as that of the image on the Shroud. The missing thumbs are believed to be the result of a nail being driven through what is known as Destot’s space, which causes the thumbs to draw in under the palm of the hand by the contraction of the thenar muscles.
Hungarian Pray Manuscript or Pray Codex (1192-1195). No visible thumbs
Shroud: No visible Thumb
And before the carbon dating, history also records that the Christians in 1204 AD took the Shroud during 4th Crusade from Constantinople to Athens, Greece, headquarters for French forces. Then it was taken by French Templar Knight Geoffrey de Charney, later to France. Diary excerpt dated to the early 1200’s of French crusader Robert de Clari states:
‘There was another of the churches which they called My Lady St. Mary of Blachernae, where was kept the Sydoine (shroud cloth) in which Our Lord had been wrapped, which stood up straight every Friday so that the figure of Our Lord could be plainly seen there.’ (Wilson, p. 135).
About a year after Constantinople was plundered, Theodore Ducas Anglelos wrote in a letter to Pope Innocent III:
‘The Venetians partitioned the treasure of gold, silver and ivory, while the French did the same with the relics of saints and the most sacred of all, the linen in which our Lord Jesus Christ was wrapped after His death and before the resurrection.’
In 1353 AD the Shroud was revealed to the public in Lirey, France, owner Geoffrey de Charney believed to be descendant of Templar Knight of same name.
In 1453 AD, Margaret de Charney transferred possession of the Shroud to the House of Savoy then it was taken to Chambery, France.
In 1506 AD, Pope Julius II institutes Feast of the Holy Shroud May 4th.
In 1509 AD, New Reliquary for the Shroud is created in silver by Flemish artist Lievin van Latham having been commissioned by Marguerite of Austria.
In 1532 AD, the Shroud survives another onslaught when a fire erupts at Holy Chapel of Chambery, molten silver from reliquary drops onto Shroud causing holes, efforts to extinguish fire leave water stains.
In 1534, Poor Claire Nuns sew on patches to damaged areas and attach backing cloth (Holland cloth) to Shroud. Then in 1578 AD, the Shroud moved to Turin, Italy, new capital of the House of Savoy.
In 1694 AD, it was Placed in a chapel in Turin Cathedral and in 1898 AD, it was photographed by Secundo Pia, attorney and amateur photographer which the photographs reveal an amazing negative image of the Shroud.
In 1931 AD, Guiseppe Enri photographs Shroud with advanced film technology, confirms Pia’s photos that Shroud image is a negative image.
In 1939 AD, the Shroud taken to Benedictine Abbey near Naples for safekeeping during Second World War, remains there until 1946.
In 1983 AD, King Humberto II of the House of Savory, last King of Italy, wills possession of the Shroud to the Holy See of the Catholic Church.
Then in 1997, April 11th/12th shortly after 11 p.m. another fire breaks out that threatens the Shroud. This time in the Turin Chapel which quickly threatened the Shroud’s bulletproof display case. Fireman Mario Trematore uses a sledge hammer to break open the case, he then takes the Shroud to Cardinal Saldarini’s residence. Signs of arson are found in the Chapel where walls were badly damaged. Also damaged are the whole High Altar end of the Cathedral and the part of the Royal Palace directly adjoining the Chapel.
Heroic Fireman Mario Trematore: “God gave me the strength to break the [bullet proof] glass”
THE TRINITY REVEALED IN THE WEAVE PATTERN OF THE SHROUD
There is a trickle of blood shaped like an inverted number 3 on the forehead. As Christians, we recognize the number “3” from its signature association with the Trinity. This is a photograph of The Holy Shroud of Turin photographed for the first time in 1898. When developed, the image was much clearer than that on the Shroud. The Holy Shroud is a reverse image of Our Lord’s Holy Face as though he was looking into a mirror.
And as we stated, the Shroud speaks the Gospels. Our Divine Lord’s Precious Blood forms the number 3 on His Sacred Forehead in honor of the Most Holy Trinity. Saint Paul in Colossians 1:14-15 writes:
“In whom we have redemption through his blood, the remission of sins: WHO IS THE IMAGE OF THE INVISIBLE GOD, the firstborn of every creature.”
The Most Holy Face of Jesus is the Perfect Reflection of the Father.
A distinct number 3 on the forehead
And here we come to another amazing discovery. Jesus, our High Priest before His crucifixion, they placed a crown of thorns on His forehead causing His forehead to bleed which left the blood stains looking like the number 3. The number “3” is used in many languages resembles this mark. Connecting we will introduce some of our observations linking the Cohen Ha-Gadol (High Priest) in the Temple (who resembled Jesus being our High Priest) wore a crown of pure gold in accordance to Exodus 28:36. And then we find in Josephus, Antiquities 3:7:6 records an amazing insignia on the head-dress of the high priest which was to be of fine white linen (shêsh) and appears by the description of Josephus (Ant. Jud. iii. 7, § 3) to have been a turban, made of several thick swathes or folds which adorned in front with a plate of pure gold bearing the inscription “Holiness to Jehovah,” which was to be attached to the linen fabric by a ribbon or “lace” of blue. The crown of gold which encircled the mitre was described to having three rows resembling the Trinity:
“On the forehead “The high priest’s mitre was the same….above which there was another, with swathes of blue embroidered, and round it was a golden crown polished, of three rows, one above the other; out of which arose a cup of gold, which resembled the herb which is called Saccharus; but those Greeks that are skilful in botany call it Hyoscyamus, …which fruit…send out a flower that may seem to resemble that of poppy.”
The Council For The Study of The Shroud of Turin revealed that flower species were intertwined in the crown of thorns:
There are two other flower species whose images are immediately above and below the images of the crown of thorns. These flowers, of the Hyoscyamus genus, may have been attached to the crown of thorns, mocking, not as King but as High Priest. On certain ceremonial occasions, it was customary for the Jewish High Priest to wear a floral crown with Hyoscyamus flowers, as recorded in the first century by the historian Josephus.
From braided candles (the Havdalah candle) to braided bread (Challah) the Jews were given customs to show God was The Trinity: one candle 3 flames, one bread 3 braids … these traditions never died. Jewish weddings still use the tradition resembling even when Christ snatches His Bride resemble the virgins with oil lamps always filled and ready to meet the bridegroom.
Replica of a beautiful terracotta Roman clay pottery oil lamp imprinted with early Cross symbol and 3 Wicks. Dated from, 3rd- 4th Century AD “Time of Emperor Constantine” son of queen Hellena and first Roman Emperor
Even the very pattern of the Shroud is made of fine linen woven in a 3-over-1 herringbone pattern, a pattern known to exist in the 1st century, a weave that requires meticulous skills and an inordinate amount of time compared to lesser quality weave patterns. The OT reveals that Holy garments were to be woven from fine linen:
Exodus 39:27 – “And they made the tunics for Aaron and his sons by weaving them of fine linen.”
Exodus 28:39 – “You shall skillfully weave the tunic of fine linen thread, you shall make the turban of fine linen and you shall make the sash of woven work.”
According to the Temple Institute:
“No priest, neither lay nor the High Priest himself, is fit to serve in the Temple unless he is wearing the sacred garments. As the Talmud states, “While they are clothed in the priestly garments, they are clothed in the priesthood; but when they are not wearing the garments, the priesthood is not upon them” (BT Zevachim 17:B).
Conducting the service without these garments would render the priests the same as those who are not descendants of Aaron – all of whom are unfit for service in the Temple.
Why does the Bible attach so much significance to the garments? Because their quality is such that they elevate the wearers – Aaron and all his descendants – to the high levels of sanctity required from those who come to serve before G-d in the holy place. These garments themselves possess a certain holiness; powerful enough to sanctify all those who merely come in contact with them, as we read in the prophets: “… so as not to hallow the people with their garments” (Ezekiel 44:19).
The Hebrew expression which we are translating as “sacred” or “holy” garments also means “garments of the Temple;” that is, the garments themselves show that their wearers are standing in the Divine service.” (www.templeinstitute.org).
“After the conclusion of the Day of Atonement, he will never again wear the white garments in which he officiated on this day. They are hidden in the place where he removes them, as the verse indicates “And Aaron shall come into the Tent of Meeting, and he shall take off the linen garments, which he put on when he went into the holy place, and he shall leave them there.” (www.temple institute.org)
In 2002 a team of experts did restoration work on the Shroud, replacing the backing-cloth and the patches that had been sewn on in 1534. One of the specialists was Swiss textile historian Mechthild Flury-Lemberg. She was surprised to find a peculiar stitching pattern in the seam of one long side of the Shroud, where a three-inch wide strip of the same original fabric was sewn onto a larger segment.
The stitching pattern, which she says was the work of a professional, is quite similar to the hem of a cloth found in the tombs of the Jewish fortress of Masada, which dates to between 40 BC and 73 AD. This kind of stitch has never been found in weavings of Medieval Europe. She stated: “The linen cloth of the Shroud of Turin does not display any weaving or sewing which would speak against its origin as a high-quality product of the textile workers of the first century. Corroborating her findings is the appraisal of Gilbert Raes of the Ghent Institute of Textile Technology in Belgium, who stated that the weaving pattern of the Shroud is consistent with first century Syrian design.
THE CROSS REVEALED THROUGH THE SHROUD
Many cults like Jehovah’s Witnesses or the Hebrew Roots Movement (which favors the old Jewish symbols over the Cross) say that Jesus died on a stake and not a cross:
“Messiah, dying on an execution stake in our place …” (Messianic claiming Rabbi Jonathan Cahn, The Mystery of the Shemitah, pg 251).
The Shroud, amongst a multitude of other evidence debunks such myth. In addition to the many bloody wound marks on the front and back of the body, the back (dorsal) image has friction marks across the shoulder area, indicative of the Patibulum (horizontal wooden beam) having been carried across the shoulders.
Further evidence reveals that Jesus was hung on a Cross consisting of a cross-beam (patibulum) attached to an upright beam (stipes) is provided from the studies of Dr. Pierre Barbet (1884-1961), battlefield surgeon during WWI and Chief Surgeon of Saint Joseph’s Hospital in Paris. Dr. Barbet studied the Enri Photographs and had direct experience with the Shroud during the Turin exposition in 1933. He was on the steps of the Cathedral, and with the help of the light of day, he saw the following:
‘From a distance of less than a yard, and I suddenly experienced one of the most powerful emotions of my life. For, without expecting it, I saw that all the images of the wounds were of a color quite different from that of the rest of the body; and this color was that of dried blood which had sunk into the stuff. There was thus more than the brown stains on the shroud reproducing the outline of a corpse. The blood itself had coloured the stuff by direct contact, and that is why the images of the wounds are positive while all of the rest are negative.’ (Barbet, ‘A Doctor at Calvary’ p.17).
Dr. Barbet calculated the position of the forearms to have been at 65 degrees from the vertical (“A Doctor at Calvary’. p.107) based on his study of the flow of blood as indicated on the left wrist and assuming that the flow of blood followed the laws of gravity.
Shroud Wound showing blood flow toward the outer side of the wrist
As a result of the amazing finds, the Shroud of Turin became the most studied artifact in all of known history. If it is the works of the devil, why would it daily add more doubting Thomases to believe in the Gospel. Here we have a Shroud which many believe by faith to be the linen cloth that covered Jesus while His body was in the tomb. God drew His evidence on a piece of cloth measuring 14’ 3” x 3’ 7” and contains the image of a crucified nude man with beard, mustache, long hair falling to the shoulders and drawn back into a pig-tail, 5’9″ to 5’11” tall and 165 -180 lbs, muscular build.
In conclusion, we must say that detractors prove one thing:
He that commmitteth sin is of the devil: for the devil sinneth from the beginning. For this purpose, the Son of God appeared, that he might destroy the works of the devil.
The Gospel destroys the works of the devil. For it is for this reason that “the Son of God appeared, that he might destroy the works of the devil”. It is for this reason that Christ became the image of the invisible God. Why then would the devil create an icon to destroy his own work? This only makes devil-sense which leaves us with one conclusion: he that commmitteth sin is of the devil, these include all who denounce God’s miracles that approves the Gospels.
The issue of believing the Shroud was “divine” or “not divine” is not an issue of evidence. A prejudiced person who is intolerant of any opinions differing from his will never be convinced since it is not the issue of evidence that many look for, but it is an issue of bigotry that one side pushes their view over the other by use of slander. And so when it comes to the bigot, the saying applies, that “you can tell a bigot, but you can’t tell him much.”
SOURCES
1 THE TEXT OF THE SERMON. A sermon by Gregory the Archdeacon and Referendarius of the great church at Constantinople, about how incredible things are not subject to the laws of praise, and about how three patriarchs have declared that there is an image of Christ which was brought from Edessa 919 years afterwards by the zeal of a pious emperor, in the year 6452 (944AD). Lord bless us. . . .
[Relating the legend and creation of the Image of Edessa to the congregation] . . . .But Jesus, undergoing the passion of his own free will, believing that human nature fears death – indeed death comes upon the very nature that was made to live – taking this linen cloth he wiped the sweat that was falling down his face like drops of blood in his agony. And miraculously, just as he made everything from nothing in his divine strength, he imprinted the reflection of his form on the linen. . .
The Image of Edessa is not a painting
# 21 He will do this straight away for us if we so desire, if we look upon the reflection and the immense beauty it is depicted with. For this is not the art of painting, which provides a door for the mind to consider the original and depicts images. This reflection was imprinted from a living original. Painting establishes a complete form with various beautiful colours, representing the cheeks with a blooming red, the encircling of the lips with red, it paints the beard with flowery gold, the eyebrow with shining black, the whole eye in beautiful colours, the ears and nose in a different way, overshadowing the flanks of the imprint with a compound of qualities and showing the chin with hair.
#22 This reflection, however – let everyone be inspired with the explanation – has been imprinted only by the sweat from the face of the originator of life, falling like drops of blood, and by the finger of God. For these are the beauties that have made up the true imprint of Christ, since after the drops fell, it was embellished by drops from his own side. Both are highly instructive – blood and water there, here sweat and image. Oh equality of happenings, since both have their origin in the same person. The source of living water can be seen and it gives us water, showing us that the origin of the image made by sweat is in fact of the same nature as the origin of that which makes the liquid flow from the side .
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