including Israel and Urfa (Edessa). The book well deserves translation into English to make it more accessible to British, Commonwealth and American readers. WERNER BULST, Betrug am Turiner Grabtuch.

shows the scene of the arrival of the Mandylion of Edessa [identified by some as one and the same as the present-day Shroud] in Constantinople in 944. The then reigning emperor of Constantinople, Romanus

De La Warr camera, 118 De La Warr images, 108, 118 Diocesan Commission of the Holy Shroud, 155, AL297 Digital recording, (intervention of 2002), AL307 Discovery Channel, 102, 177, 179f, 182

showing the frontal and dorsal negative life-size images of a naked dead man with obvious signs of crucifixion, whipping and wounding.i It dates to at least the middle 14th century, and such indeed

Whanger has superimposed the icon on the Shroud facial image (and vice versa), and finds 45 points of congruence which he claims as proof that the Shroud was the source of inspiration for the icon,

floats' that the image on the Shroud has been formed. On the opposite side of the fabric the weft predominates and the warp is lifting over one weft thread and dipping under three (1/3). The Shroud

Mandylion of Edessa were one and the same, Drews argues that the Shroud image was man- made from Jesus' actual body back in the first century A.D., thereupon becoming preserved by the Gnostics. At face

formation of the Shroud's body image. Professor Bulst, lecturer in Theology, Ancient Church History & Roman History at Darmstadt, was responsible for the highly definitive Das Grabtuch von Turin published

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and his research into the Mandylion of Edessa has stimulated a mass of concomitant investigation, both for and against his hypothesis; and Mark Guscin’s work on the Sudarium of Oviedo has opened