Cari amici, bloggers e semplici curiosi,
in questo periodo moltissimi lettori e alcuni giornalisti televisivi e della carta stampata mi chiedono di esprimere un’opinione sulla Sacra Sindone, soprattutto in relazione all’ipotesi che fosse una reliquia taken into custody by the Knights of the Order of the Temple.
I have given interviews about the case and many of you have responded privately, but I want to dedicate a post to this topic.
First, the Shroud of Turin is unquestionably a false copyright. Who manufactured obviously wanted the Christian pilgrims felt that that figure was impressed by the body of Jesus Narazeth. On the canvas, in fact, appear unequivocal signs of a Roman crucifixion and flagellation with a lot of signs on the forehead of the condemned, "as was put on a crown of thorns . An obvious parody of the martyrdom of Jesus
The cover of the medieval period (as shown in datazione con radiocarbonio C14) ma ciò non esclude che l’immagine possa essere stata “fabbricata” anche nel Rinascimento. Difatti, possiamo dire che il telo sindonico, che sarà di nuovo mostrato a Torino a partire da questo mese, è lo stesso che fu rattoppato dalle suore Clarisse di Chambery nel 1534/35, dopo che aveva subito un parziale incendio.
Da dove venga questo telo, non possiamo stabilirlo con certezza. Possiamo ipotizzare (alcuni lo hanno fatto) che il falsario fosse un genio del Rinascimento e che utilizzasse materiale di recupero di epoca medievale, che fosse esperto di anatomia umana, che sapesse scrivere al contrario, che s’intendesse di studi di chiari e scuri e di processi chimici. Uno al quale fosse commissioned a hoax, a parody of the image of Jesus, in spite of the believers (no data, even the Gospels tell us that Jesus had a beard was up 1.85, or, as in the Man of the Shroud).
A name that comes to mind, as the probable author of the false, is that of Leonardo Da Vinci, perhaps because the Clare nuns enter in their journal the beginning and the end of the mending, April 16 and May 2, dates of birth and death of the Florentine genius. But there is an interesting detail regarding the diary of the nuns who, for now, because it will not reveal the subject of my article to be published in May, in a magazine.
Some people managed to "remake" the Shroud using tools that were in use during the Middle Ages / Renaissance. I think Irene Corgiat or prof. Garlaschelli
who produced "works" pretty much as the original.
Regarding the relationship of the sheet with the Templars, not hide behind a finger: all of us who are scholars of the history of the Order of the Temple, we have engaged with the arguments of the British historian Ian Wilson. A thesis, Jurassic now ... I would say.
There are some who want to continue on that old winding road, looking for evidence on the cloth and confirmation of that thesis, written in turkish and type in the Byzantine Empire. Well, as stated by prof. Balosssino, sindonologists Italian, any writing that could be seen in the photos of the Shroud in 1931, are no longer visible ... now that we have advanced technology ... I wonder why?
I come to the gist of this post. The Templars guarded the Shroud? Or rather, the Templars were custodians of the Shroud?
Not really, I'd be inclined to say, reading the facts from the historical point of view and disregarding the legends on the case. If anything, some noble families in Europe, which had at their disposal the cavalry Templar since 1118, held in custody that could be called a sacred burial cloth. I refer to as the De La Roche, which brings the curtain (which is not that of Turin) in Athens and then in Besançon, or to Lusignan, who bought a curtain-Savoie in 1453 (we do not know whether to Turin) by the descendants of the de Charny. Another question: De Charny but those who possessed the Shroud are the same who had responsibility De Charnay Templar Order? Is unknown, nothing is confirmed and no rule it out. We know, however, that the bishops of Lirey, Henry de Poitiers and his successor, Pierre d'Arcis, declared publicly that the cloth that was in possession of the de Charny had been done "on purpose" by a skilled artist and was a kind of painting.
bishops accused the De Charny and the Dean to take advantage of Lirey of this scam to enrich the people's shoulders. By order of the antipope Clement VII, the de Charny family eventually and reluctantly had to admit that the Shroud was a fake, a reproduction of the real cloth that wrapped Jesus, a painting. But if we think the Shroud of Turin is a painting, then it is clear that we are not talking about the same cloth.
We know that the Shroud image is caused by alterations of flax fiber or heat or chemical process and then, at least for searches that were performed up to now, there is no color.
probably the "real Shroud" was in the hands of De La Roche and was, in fact, that in Besançon is close to Lirey. This fabric was lost during the French Revolution (nobles took him away from the movement of de-Christianization of 1789). A representative of De La Roche, prior of the temple in Paris, began in 1265 Jacques De Molay Order but the Templars, as we know from historical records, did not worship the shroud but a bearded idol and terrifying, a head and kissed encircled with cords.
As it is written in the minutes of the Inquisition of 1308, " Templars had idols in every province .
not an idol but many idols and in many provinces, many skulls remind us that the pumpkins of Halloween, the celebration of the Living Dead the Celtic festival of the Underworld.
According to the Celtic tradition, heads brought luck and magic were dispensers of wealth to those who worship. A woman's head was even found in the Temple of Paris. It is idolatry, rites in honor of the powers of hell that the Templars practiced during their chapters secrets.
And do not forget that it was tradition for the Templars spit on the cross and deny the divinity of Jesus (see Chinon document).
If the Templars had possessed the cloth of Jesus, the Dominican inquisitors, the Templars were acquitted from charges of heresy and idolatry as the true Church encouraged the veneration of relics, while condemning the veneration of and trafficking in quelle false (Concilio Laterano del 1210).
In questa storia turbinosa, come ci è dato sapere, entra in campo la famiglia Lusingano.
Come è risaputo, i Lusignano sono i signori di Stenay (il comune che ha come stemma un diavolo rosso e cornuto). Il nome della cittadina viene, secondo gli storici, dal nome del dio Saturno, il dio dell’inversione e della sovversione, dalla Chiesa paragonato a Satana, la cui festa, a Roma, era celebrata, il 25 dicembre (i Saturnalia).
I Lusignano pretendevano di essere i discendenti di una essere mostruoso ma dispensatore di fortune. Stiamo parlando della celebre sirena o fata Melusina (Mérè Lusine, madre perduta o madre dei Lusignano). La fata che si accoppiò con Raymond of Lusignan, whose offspring will be a head temple and the king of Jerusalem, changed, every Saturday, in a sea serpent.
His sons were bad but invincible similarly to the Titans.
Melusina had even a castle, whose tower, every Saturday, saliva and drew the district werewolves with his cry of sirens, hovering in the air. Before the Middle Ages, Melusina was considered by the French people, be a good steward of wealth. It is only with the advent of the Holy Inquisition that Melusine is depicted as a being in hell. The
Flattered, as history teaches us, they were not partisans of the Catholic Church had the reputation of being witches and wizards, were related with the Merovingian kings and the Hautpoul, lords of Rennes-le-Château. Supported the Cathars against the papal troops during the Albigensian Crusade. They are not interested in the figure of Jesus
The Lusignan was a pagan and had a strong devotion to the legendary Merovee, the king miracle worker, the son of a woman and a sea monster, the Quinotauro. According to some legends
widespread in the South of France, Switzerland and Belgium, the Lusignan guarded in a cave under a mountain, the body of an immortal, a god-king who would be able to awaken from the sleep of death, whose tomb is represented in the famous painting by Nicolas Poussin, The Shepherds of Arcadia ... complete with a motto Et in Arcadia ego… (l’Arcadia, per i Greci, era l’entrata nel regno dei morti).
Che un telo in possesso ai Lusignano abbia avvolto quel corpo che “nascosto in una grotta, attende di resuscitare”?
