Customer Reviews

The Shroud of Turin: An Adventure of Discovery

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The images that the Whangers discovered on the Shroud of Turin only once again confirm its authenticity. The discoveries of the various objects conform to the archaeological record of what we should expect to find if the Shroud of Turin is actually authentic. This affirmation is based on my lifetime of research as a biblical specialist, art historian and archaeologist. I am preparing to publish my own manuscript soon on the biblical and archaeological aspects which bear evidence and testimony of what the Whangers have already shown. In some respects my own works turns out to be a complement of theirs. However my own work brings even new revelations to light about the very nature of the Shroud of Turin which settle the argument about it as an authentic burial cloth once and for all. I am in deep debt to the Whangers who through their own work and efforts have brought scientific and visual evidence to what I have come to discover along separate lines of research. Perhaps the most remarkable discovery was the Roman amulet about the neck of Our Lord, something I would never have anticipated, and yet it too is supported by archaeological research. It appears wonderful to me that all of this research is being brought out as we approach the Holy Year of the 21st century. Surely, God in his infinite wisdom is preparing the world for something very special. Congratulations once again to Dr. Alan Whanger and his devoted wife Mary for their excellent and remarkable endeavors in serving Jesus through their faith, science and personal devotion.

It was a joy to read - a story of their 18 yr adventure studying Shroud photos and of helpful coincidences. It brought moving thoughts to me for Our Lord Jesus in His Passion when reading about and seeing images of the instruments and articles associated with the Crucifixion (congruous with the Gospels - including the crown of thorns, nails, spear, sponge on a reed, hammer, pliers, scourges, dice, and sign "Jesus of Nazareth - King of the Jews"!) and Burial (the flowers banked around His Body on the Shroud), and thoughts of praise for The Resurrection when reading the theories of image formation - autoradiation and corona discharge, and dematerialization! Earlier in its history, apparently the images on the Shroud were much clearer (the flower images and articles of Crucifixion are on early icons) but have been fading as the cloth ages and the background becomes the same color as the images - the Whangers' photographic studies and their dedication have enabled re-discovery of the images. Their presentation of history and scientific evidence is amazing. It is so remarkable that the timing of their book and discoveries is just right - 100 yrs after the first photo by Pia in 1898 and in time for this year's exhibition of the Shroud.

I really enjoyed Mr. and Mrs. Whanger's book. It was truly an adventure of discovery. Why? because there are two new things that I learned from the Shroud. Its resemblance with icons from a pre-medieval time (done with with the image overlay technique) and the discovery of new images on the Shroud like: The Crown of Thorns, the lance, the nails, phylacteries and others). If the pictures on the book would've been in color, one could appreciate better the images, which are convincing. I hope to read about updates on those new images found. The book shows evidence that on some art works the instruments of the Passion are sorrounding the image of Christ, just like the Whangers discovered on the Shroud.

A great book for all those interested on the Shroud.

While I am a Christian and was only mildly interested in the Shroud, I never based my faith on the Shroud. I have always been quite skeptical about the claim it was the burial shroud of Jesus. After a careful study of the book, I must confess my skepticism has been severely challenged. Also, the book reads like a well-written mystery. One of the most intriguing works I have read in years. Leon McKenzie

Forget mere defenses of the Shroud! This book is an audacious attempt to connect almost every feature on the cloth to an authenticating image.

The book is aptly titled - it reads as an adventure. The continuing "discoveries" pile up as the book proceeds. At times, it is a little too easy to get caught up in the story.

I have to admit that the grandious "Polarized Image Overlay Technique" is neat, but slightly overemphasized. Still, its application is central to the Whanger's research.

The relation of the Shroud to the Mandylion is particularly interesting, as are the discussion of the flaws in the carbon dating techniques and the discussion of the dimensionality of the image.

Overall, an excellent starting point for a serious investigation of the Shroud.

Dr. Alan and Mary Whanger's book, "The Shroud of Turin: An Adventure of Discovery", broke new ground in at least two areas. One of these is the Whangers' polarized image overlay technique, a means of comparing images that predates the computerized image processing that we see being used today, including by the Whanger group. The 1980s-dated overlay innovation identified "points of congruence" between such diverse objects as Byzantine coins and the Turin Shroud. An 8-millimeter image of Jesus Christ on a cent-sized gold coin may have as many as 175 points of congruence with the Shroud and only a small number of significant points of non-congruence. The same is true of the sixth century icon of Christ the Pantocrator at St. Catherine's Monastery in Sinai, Egypt. It has more than 200 points of congruence with the Shroud. Objects like coins or icons may not prove that the Shroud is ancient, but they help support any existing evidence of an early date.

Such evidence includes a variety of pollens that had clung to the Shroud in times past when it was exposed to the elements. Again, the Whangers led the way. Using sticky-tape samples taken from the Shroud by the late Swiss criminologist Dr. Max Frei in the 1970s, the Whangers examined them with Israeli botanists Dr. Avinoam Danin and Dr. Uri Baruch in the late 1990s. They found a number of pollens that are indigenous to Palestine and one of them dates back to at least the eighth century AD. All of this makes for good reading, whetting the appetite for more. This book is an excellent companion to Ian Wilson's landmark treatment "The Shroud of Turin: The Burial Cloth of Jesus Christ?" (1979 edition with notes on Dr. Frei's pollen samples).
Dennis J. Mercieri, Holy Apostles Seminary, Cromwell, CT, USA

A great, fascinating quest that is more solid than any "codes" found in DaVinci's artwork.

Admittedly, it does seem to overreach. The slightest, most subtle marking on the shroud can be interpreted as this or that object interred with Jesus. All the items catalogued within this book MAY be represented on the Shroud image, but it's all very "iffy."

What seems within reach are the details concerning flowers and leaves, and the would be "x-ray" qualities on the Shroud image.

A worthwhile book!!

Jeff Messenger, author of the novel "The Shroud of Torrington."

The Shroud may or may not be a forgery, but it cannot be a forgery from the fourteenth century because Byzantine coins that match the face on the Shroud were minted between 692 and 695 A.D. See movie files created by the authors here: [...] or [...]
I thoroughly enjoyed Dr. and Mrs. Whanger's book. 5 stars out of 5.

When you discover that: -you used the inadecuate Shroud's photographies -you didn't observe and think and investigate enough -there is a couple working hard to help you understand better the Shroud of Turin and Jesus Christ -there can be seen many objects on the Shroud where you didn't suspect anything -a blessed methodist couple found more news about the Shroud in a few years than millions of people in centuries : then you have read this most valuable book and have now the opportunity to grow

There is a vast difference in the approach taken by the two sides concerning the authenticity of the Shroud. On one side are scientists and historians who have stated plainly why they consider it a fake. On the other side are "true believers" who insist - despite all evidence to the contrary - that it's the real McCoy. Observations of the skeptics sound dry, even dull, since they only deal in subatomic comparisons, chemical makeup, etc. Absent are references to ancient tales, myth, conjecture, wild surmises and pleas to "faith". The authors sound like UFO enthusiasts in their ability to find evidence of aliens in burn marks on trees. The various theories expounded - that it was the serving cloth of the Last Supper - contradict the Bibical story. The linking of the Oviedo cloth (the napkin of Jesus) ignores the fact that there were hundreds of such napkins and that it was stored next to a vial of Jesus's blood!

I began with an open mind but the incredibly detailed tests of McCrone, Rober Hedger of Oxford and especially, the three sites selected by the Vatican in 1988 for authoritative dating (all found a date of 1350) were more than convincing. Plus, if one took the author's viewpoint that the cloth is somehow telling us a story, one must ask the obvious questions:

In an age of relics, where was it? In the fight against the Muslims why was it not used as "evidence"? Why is there no head to head joint as would happen if folded? This book reads like one of Dale Brown's novels about Mary Magdalene, conspiracies, ancient cabals, secret cults, hidden meanings, etc. There is even rivalry over whether the impression was by natural or supernatural causes. If one accepts it as genuine one must necessarily accept that a man rose from the dead, walked through walls, was born from a virgin, was actually God (and his own father)and rose and disappeared in the sky.

What is more likely? That a fire in 1500 changed the dating by 1350 years or that a cloth from the year 30 was carted around the known world, hiding and re-emerging, or that 3 independent labs selected by the Vatican correctly found a date of 1350? You be the judge. Conclusion: All the wishing and hoping and stretching will not change the fact this is a beautiful act of faith by a medieval artist.