I am an Australian evangelical Christian in my 70s. 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. This is part #10, "Vignon markings: Shroud's 1260-1390 radiocarbon date is against the preponderance of the evidence (2)," in my "Steps in the development of my radiocarbon dating of the Turin Shroud hacker theory," series. For more information about this series see part #1, "Hacking an explanation & Index." References "[A]", etc., will be to that part of my original post. #8" (originally Revised #1) post, which presented historical evidence for the Shroud's existence in the 13th and 12th centuries [see also "Chronology ... The purpose of documenting all this historical evidence of the Shroud's existence from the 13th to the 1st century is to prove, beyond any reasonable doubt, that the 1988 radiocarbon date of the Shroud as "mediaeval ... And then [since the evidence is overwhelming that the Shroud is authentic] the key questions would be (and are): Given that the leader of the Shroud carbon-dating project, Prof. Antonacci, M., 2000, "Resurrection of the Shroud: New Scientific, Medical, and Archeological Evidence," M. The Shroud of Turin, a linen cloth commonly associated with the crucifixion and burial of Jesus Christ, has undergone numerous scientific tests, the most notable of which is radiocarbon dating, in an attempt to determine the relic's authenticity. On May 18 a BBC crew was allowed into the Zurich lab to film the opening of the cylinders and mentioned once again the dating of the control samples.
century Sant'Angelo in Formis [see above] fresco.
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.
As can be seen, this mosaic depicts a Shroud-like, long-haired, fork-bearded, front-facing likeness of Christ.
It has 14 out of 15 Vignon markings (see above), including a triangle between the nose and the eyebrows, concave cheeks, asymmetrical and pronounced cheekbones, each found on the Shroud, and a double tuft of hair where the reversed `3' bloodstain is on the Shroud.