A collection of Essays on aspects of the Shroud of Turin, orginally written for the Post Graduate Certificate in Shroud Studies (A.P.R.A., Rome) and for presentation at the 2019 Shroud conference in Toronto.

https://www.psupress.org/books/titles/978-0-271-09039-9.html WINNER OF THE 2022 ROLAND H. BAINTON BOOK PRIZE FROM THE SIXTEENTH CENTURY SOCIETY AND CONFERENCE In 1578, a fourteen-foot linen sheet bearing the faint bloodstained imprint of a human corpse was presented to tens of thousands of worshippers in Turin, Italy, as one of the original shrouds used to prepare Jesus Christ’s body for entombment. From that year into the next century, the Shroud of Turin emerged as Christianity’s preeminent religious artifact. In an unprecedented new look, Andrew R. Casper sheds new light on one of the world’s most famous and controversial religious objects. Since the early twentieth century, scores of scientists and forensic investigators have attributed the Shroud’s mysterious images to painterly, natural, or even supernatural forces. Casper, however, shows that this modern opposition of artifice and authenticity does not align with the cloth’s historical conception as an object of religious devotion. Examining the period of the Shroud’s most enthusiastic following, from the late 1500s through the 1600s, he reveals how it came to be considered an artful relic—a divine painting attributed to God’s artistry that contains traces of Christ’s body. Through probing analyses of materials created to perpetuate the Shroud’s cult following—including devotional, historical, and theological treatises as well as printed and painted reproductions—Casper uncovers historicized connections to late Renaissance and Baroque artistic cultures that frame an understanding of the Shroud’s bloodied corporeal impressions as an alloy of material authenticity and divine artifice. This groundbreaking book introduces rich, new material about the Shroud’s emergence as a sacred artifact. It will appeal to art historians specializing in religious and material studies, historians of religion, and to general readers interested in the Shroud of Turin.

Most papers about the Shroud of Turin are concerned only with whether it is the authentic burial cloth of Christ or not. This study takes a medieval origin as given, and instead explores its possible purposes, manufacturing processes and artistic provenance within a late medieval context.

Many proponents of the authenticity of the Turin Shroud assert that there are many compelling clues in Christian art/iconography that indicate that the Shroud existed before the AD 1260-1390 date assigned to the cloth in the 1988 C-14 dating test. Some artists and art historians do not believe it is possible for a medieval artist to have produced the image we see on the Shroud. Naturally, there are other researchers who believe the Shroud image is well within the capabilities of a medieval artist. There is some overlap with a previous bibliography I published on academia.edu titled "The Feasibility of a Medieval Artisan Having Produced the Shroud of Turinan Annotated English-Language Bibliography," but this current bibliography has some more obscure sources not listed in the previous one. In addition, I have not included, with one exception, mainline book sources, but only some of the more obscure book sections dealing with art/iconography. Most of the sources will be journal papers, articles and presentations, for which many are accessible online. This bibliography will be divided into four parts: Part I consists of sources from those who believe the image was man-made. While there are quite a few entries in Part I, four of the authors predominantly were responsible for most of the entries found there. Part II consists of sources from those who believe the image could not have been produced by an artisan. Part III consists of sources that address both sides of the question. Part IV consists of videos. Part I: Shroud Image was Man-Made Accetta, Joseph. "Accetta letter to STRP 4 October." [Letter written to STRP membership in 1982 outlining the authors conjecture that the Shroud is most likely the remnants of a 14th century blockprint.]

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 Jesu...

A follow-up to THE MEDIEVAL SHROUD, this time being a thorough review of all the evidence alleged to provide support for the hypothesis that the Shroud of Turin is the authentic burial cloth of Jesus Christ. It will be seen that this evidence is inconsistent and contradictory, and cannot be considered reasonable validation of the hypothesis.

Whether ancient or medieval, the Shroud of Turin poses one of the truly abiding mysteries of all ar-chaeological and art historical artefacts. It is the world’s most famous textile, and probably also the