The Shroud Of Turin Analysis

At first, they saw a perfect hole at the base of his skull, leading them to believe it may have been caused by a spear. Although, with further analysis, it is evident that the hole was caused by a drill that the embalmers used. Then, they found that his leg had been severely broken before he died.

Discovered in a burial site labelled Grave Circle A, shaft Grave IV on the citadel of Mycenae by an archaeologist named Henrich Schliemann (1876), the original mask has been claimed to belong to the grave of King Agamemnon of Mycenae. This claim has since been questioned for it verity since the grave was likely dug as much as three centuries before Agamemnon is thought to have lived and ruled. Nevertheless, the death mask has an aura of romance and mystery about it since it reveals so much about the cultural and social practices of the civilization of Mycenae, who like other ancients such as the Egyptians made funerary masks for their powerful and wealthy dead.

The images clearly illustrate that he wasn’t strangled as the tongue would have been damaged but it wasn’t and that the tongue was distended a characteristic often seen in a person who is hung.

Further allusion to Christ's life comes when McMurphy and the Chief are disturbed following the incident in the shower room protecting George from the violence of the aides. This trial and punishment mirrors that of Christ's. A patient on the ward is heard to say ` I wash my hands' repeatedly, the words of Pontious Pilate. As McMurphy is given EST his head is `anointed' with conductant before he is given a `Crown of Thorns'.

"The night waned, and I worked hastily, but in silence. First of all I dismembered the corpse. I cut off the head and the arms and the legs."

In the 7th Century AD, an important individual was buried inside a ship in East Anglia. The ship most likely hauled up from the nearby river, a burial chamber was built in the center of the massive vessel. Luckily grave robbers did not reach the ship burial as they did other nearby burial mounds, because the ship was rich in history and artifacts including gold, silver, bowls, spoons, weapons, drinking horns and much more. Originally discovered in 1939, the artifacts and ship burial have been closely examined another 2 times. The artifacts found within the magnificent burial site have created a lot of stir over the past 80 years. Theories have changed on the significance and origins of the artifacts due to changing hypothesis or the arrival of new and different evidence. Because there are dozens of artifacts within Sutton Hoo, this paper will be focusing on a select four of them including; the ‘baptismal’ spoons, the Merovingian coin hoard, the whetstone, and the scepter. According to scholars over the past 80 years, how have opinions, evidence, or assumptions changed relating to these exact artifacts? This paper will be taking a contemporary look at the perspectives of different scholars on different artifacts and, finally, analyze why these perspectives have shifted or changed over time. To my knowledge, scholars do give credit to previous perspectives, but no scholar has every brought all the perspectives together and analyzed their findings.

Greene, Richard Allen. “Scientist Re-Creates Turin Shroud to Show It's Fake.” CNN, Cable News Network, 7 Oct. 2009, www.cnn.com/2009/WORLD/europe/10/07/italy.turin.shroud/.

I believe that the shroud is not the real burial cloth of Jesus. One reason for this is because research that a man named Charles Freeman did shows that the cloth looks very different today than it did in the 17th century. An engraving done in 1613 by Antonio Tempesta shows that originally, the images found on the shroud were much more pronounced. Some of the features visible in this engraving, such as the Crown of Thorns and the loincloth, are no longer visible when one looks at the shroud today. Another reason for this opinion is that there has been no discovery of significant evidence that the shroud existed before 1355, which is when it appeared in a chapel being advertised as Christ’s burial shroud. The granddaughter of the chapel’s owner,

Vittore Carpaccio’s symmetrical input truly served it’s purpose. Focusing on the center third of the painting, there’s a mere perfect symmetrical contrast of life and death top to bottom. Most impacting is the symmetrical division of the malnourished and tortured body of Jesus Christ, The left side of his body is in a lively sitting posture on the throne. While his right side is the embodiment of death, his punctured ribs and dangling arm. From the ground up, Carpaccio illustrates the contrast of life and death with minimal details in the painting. The supporting stones of the throne, directly below the arm rests, are divided by breakage, the left stone is cracked and falling apart, while the opposing stone appears to be intact. Vittore Carpaccio managed to capture the cycle of life with many elements one wouldn’t think of comparing life and death with. The top left portion of the throne is a half broken, followed by Jesus’s deadly posture to the falling apart ground stone of the throne, Death is captured in a very recognizable minimalistic form.

The act of crucifixion itself became recognised and popularised and remains in modern cultures internationally despite its particularly gruesome and nasty nature. It could be arguably considered ironic in the sense of its literal and metaphoric meaning/symbolism, with Micael Symmons Roberts (2011) on the cross and its symbolism, stating ‘Paradoxically a symbol of suffering and defeat but also of triumph and salvation, the cross is the universal Christian symbol, acknowledged by all denominations as the single visual identifier of faith.’ Roberts confirms his knowledge and understanding that crucifixion was a horrific form of execution in ancient times, but goes on to articulate the reasons for which to separate the crucifixion of Christ and why its message resonates with individuals the world over and why the attitudes towards it are the way they are and will continue to

"Lift not the painted veil", an 1818 sonnet by the British Romantic poet Percy Bysshe Shelley, depicts a world covered by a "painted veil". Even though this veil presents "unreal shapes", everybody accepts it as it is, except for one individual lifting it to seek love. However, this act plunges him into a state of disorientation and forlornity, since it has not lead him to discover truth or love. Therefore the sonnet's admonitory first line strongly discourages us from lifting the veil. By focussing on the connotatively contrasting use of metaphors, this essay aims at demonstrating how Percy Bysshe Shelley's sonnet "Lift not the painted veil", despite its deceptive, seemingly admonitory first line, actually encourages the individual to defy religion and to adopt atheism.

The film also depicted that crucifixion was typically a form of death that was harsh, violent, and humiliating, which is accurate in comparison to crucifixions in history. In the film, Jesus was spit on, and the Romans mocked him, saying that if were really the king, that he would save himself. This picture of the Jesus’ crucifixion, and the violence that forced upon him, that was displayed in the film, The Passion of the Christ was an accurate description of what actually happened during crucifixions during the ancient times (Religions).

The piece of art is a statue that portrays Jesus’ body laying on his mother Mary’s laps at the time after the crucifixion having been removed from the cross (Lewis & Lewis, 2008) which is evidenced by the marks of small nails and the indication of the wound located in Jesus’ side. It revolves around the major theme of Northern origin which during that time was present in France but not in Italy. According to (St. Peters Basilica, 2009) Michelangelo offered a unique interpretation of the pieta to the models since it is a significant piece of work that balances the ideals of a new beginning incorporated in typical beauty and a touch of naturalism which is illustrated by the relationship exhibited by the figures. This is made possible by his skill to prove to both the viewers and himself of the supernatural beauty.

Throughout history, the mummy has been stereotyped as no more than an egyptian deceased wrapped in cloth, whose spirit returns from the dead in order to haunt mankind. However, as literature and mythology present, Mummies exist in modern context promptly as scorned lovers, scientists, past rulers, wronged souls, or a combination of all. In deconstructing the Mummy, the statement of “We are creatures that require social interaction” often comes to mind. After all, even in death we are infrequently capable of surviving without the companionship of family, loved ones, friends, or the presence of another soul.

These findings as well as findings in layer 1 and layer 5, figure 3.3, in the western mound, seem to add some support of the Brothers of the Abby Church of St. Vincent of finding the tomb of their patron saint. While not necessarily the bones of a saint, there is indication of Roman occupation/ activity of the site. Labeled a and e in layer 7 of Figure 3.2 of the eastern mound, a is a fragment of bronze, highly polished on one side, inscribed “Avgvsta” and e a fragment of glass that is undated and unsourced. In the western mound, figure 3.3 in layer 1 a Roman coin of Constantine the Great dating between 288-337. Also in the western mound in figure 3.3 labeled g, 18 sherds of early Medieval pottery from about 1200 AD. The western mound is viewed and excavated at the road that was cut into the barrow in 1136. Evidence of this being of the work in the building of the church is seen in the pottery from this time period. There seems to be a possibility of the brothers stumbling on a Roman burial in their activities. It is to note that there is claims that the burial uncovered was contained in a sepulcher of marble carved with scenes from the life of Christ and inscribed VINCENZO VIVATIS IN CHRISTO. According to Brother Wilfrid in a letter this burial and stones from it were moved to under the alter in the nave of the church. In an interesting study of the bones and relics with the bones could shed light in if the site did at one point contain a Roman era burial. There is a shadow of doubt concerning the burial as described due to the era’s relic trade and need to draw pilgrims to the church to help with their income. Research in the Roman, burial practices after Constantine the Great’s conversion to Christianity should also be research. In the final layers, layer 1 in figures 3.2 and figure 3.3 of both sides of the barrow are now covered with modern topsoil showing no more