Archaeology and the shroud of turin
"Either the Turin Shroud is once of the Vatican's most unusual artist renditions of Christ's suffering and death, or it is one of Christendom's most important archaeological artifacts" (Maloney).
"The evidence from anthropology, archaeology, and art history corroborates in a compelling manner that of medical and scientific analyses. It should now be considered well-established that the Shroud is indeed an archaeological document of crucifixion - a conclusion reached by STURP and most serious students of the Shroud since the 1930s. Attempts to interpret it as a painting (McCrone), a wood-block print (Curto 1976), a bas-relief rubbing (Nickell 1979), a scorch from a hot statue (Papini 1982), or a colored "clay press'' (Gabrielli 1976) are untenable, derive from consideration of only a small portion of the evidence, ignore the vast array of data to the contrary, and need not be discussed further. The confirmation by archaeology of numerous details found in the image and of hypotheses deduced therefrom - nailing of the wrist, single nailing of both feet together, seesaw motion on the cross, coins on the eyes, burial posture, and Middle Eastern origin, even the UCAI "misspelling" - give the Shroud an undeniable ring of authenticity as an archaeological object" (Meacham).
"The evidence from anthropology, archaeology, and art history corroborates in a compelling manner that of medical and scientific analyses. It should now be considered well-established that the Shroud is indeed an archaeological document of crucifixion - a conclusion reached by STURP and most serious students of the Shroud since the 1930s. Attempts to interpret it as a painting (McCrone), a wood-block print (Curto 1976), a bas-relief rubbing (Nickell 1979), a scorch from a hot statue (Papini 1982), or a colored "clay press'' (Gabrielli 1976) are untenable, derive from consideration of only a small portion of the evidence, ignore the vast array of data to the contrary, and need not be discussed further. The confirmation by archaeology of numerous details found in the image and of hypotheses deduced therefrom - nailing of the wrist, single nailing of both feet together, seesaw motion on the cross, coins on the eyes, burial posture, and Middle Eastern origin, even the UCAI "misspelling" - give the Shroud an undeniable ring of authenticity as an archaeological object" (Meacham).