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The Divine Proportion of the Shroud of Turin
By John Elias
The mathematics associated with the Divine Proportion or the Golden Ratio (Phi) are fundamental to the science of the physical world. We find the Golden Ratio almost everywhere in nature, from the spiraling swirl of a galaxy deep in space, to the humble nautilus shell and in pervasive patterns in plants and flowers.
A bilateral Golden Division of the Shroud of Turin
The image above was produced using the Phimatrix program
The Golden Ratio is one of the most important measures of history, science and mathematics. Known also as the Divine Proportion it has occupied the greatest minds of history.
Leonardo Da Vinci's Vitruvian Man, also known as the Canon of Proportions, is one of the most famous images in the world.
It has become the defacto icon of historical science, sacred geometry and the Golden Ratio, though it may not actually contain said ratio with any real degree of accuracy.
Leonardo Da Vinci did however illustrate the first and most famous book on the Golden Ratio, the mathematician Luca Pacioli's, The Divine Proportion.
In the interests of full disclose, the author of this article acquired a large tattoo on his back over 20 years ago of Leonardo Da Vinci's Canon of Proportions. This was prior to any study of Biblical mathematics or the Shroud of Turin.
The Shroud of Turin and the Golden Ratio intersect in a wide variety of ways. To learn more about the Golden Ratio itself, go to Gary Meisner's remarkably thorough site:
The Golden Ratio is found in almost every aspect of the physical universe. It is found in the proportions of the human body and in the nanometer scale of our DNA. It is so ubiquitous in nature it has become its own meme. If you perform a google image search on it, your screen will be populated with Golden Ratios from every dark corner of the internet.
One of the tools available from Meisner's site is the Phimatrix program, which allows the layman the ability to detect the Divine Proportion in any image with precision. The images below of the Shroud were all produced with Phimatrix and can be readily reproduced by downloading a free trial of the program, available here:
It can be shown that the Golden Ratio is strongly correlated to primary aspects of the mathematics of the Christian Bible. There are objects in the Bible whose dimensions display this proportion as an integrated part of their design.
This connection between the Divine and the Golden Ratio is much stronger than previously thought. Most importantly we can see it in multiple ways in the name of the most important and contentiously debated human who has ever walked the planet earth.
The mathematics of the Golden Ratio integrate in many ways with primary features of the Judeo-Christian tradition. To see how strong this connection is and how it relates to the Three-Seven Code read 37x73.com's page on:
To learn about how the primary numerical aspects of the Bible all point to a code or alphanumeric fractal based on the numerals Three and Seven read:
Many hold the Shroud of Turin to be Christianity's most holy relic. It more than any other artifact has endured the long centuries and produced more scientific evidence and debate than any other single physical object in the history of the world.
To catch up on where this great debate stands read:
Physically inspecting the Shroud of Turin is clearly not an option for the common man. However, there are many tools online that allow a Sindonologist (one who studies the Shroud) full scientific access to the many minutia of details that is the encyclopedic tapesty of the Shroud.
One of the best is the Shroudscope. The Shroudscope renders interactive scale-able photographs of the Shroud of Turin for scholarly study. The pictures seen below have all been produced using images from the Shroudscope in coordination with the Phimatrix program. In relative short order anyone with an internet connection can for free, reproduce any or all of the images below for scientific reproduction.
The screen capture below from Sindonology.org shows the Enrie Shroud photograph at maximum resolution. By using Photoshop's color range tool and adjusting the image at a fuzziness of 5 or less, regular rectangular tonal voids will appear across the entirety of the Enrie photograph.
Click the image to see full scale
It is this researcher's hypothesis that these tonal voids represent a quilting of individual images that come together to reproduce online the entire interactive photograph. The authorities who operate sindonology.org have failed to respond to any queries as to why or how these tonal voids appear.
The 2017 International Shroud of Turin Conference was held in the city of Pasco, Washington. As it turns out, this is a location I am very familar with, for I am native of Washington State and much of my childhood was spent 40 miles away in the small town of Walla Walla, Washington.
The Blood Code of Jesus Christ was discovered in America on Thanksgiving Day, 2016 in Seattle, Washington. The following year the conference that exclusively studies the Shroud was held in the same state as that discovery. This is a historical fact and should be recorded as part of the history of the Shroud of Turin.
In 2017 this researcher submitted three abstracts to that international conference. All three were subsequently rejected. To read these abstracts click the online documents below.
By employing the default feature of the Phimatrix program, one can search for the Golden Ratio in any image. The default feature of the program is bilateral, meaning that like the Greek name Jesus Christ and its historically proven number, it shows with a high degree of accuracy the Golden Ratio in either direction (bilateral).
The primary evidence of a blood code on the Shroud, is based on the fact that there are only two blood shapes on the Shroud that resemble modern Hindu-Arabic numerals. Both of these numerals not only correspond to the mathematics of the Bible they also are in the 'Headshot' of the man in the Shroud.
The Shroud is a large and expansive cloth. The image of the head (the face being the primary basis of human identity) occupies only a small portion of the entire cloth. So it is highly relevant and highly improbable that two such symbols would be or could be there by chance alone.
The subject of one of my proposed papers was how in a variety of ways the image on the Shroud of Turin displayed an uncanny connection to the Golden Ratio, also known to history as the Divine Proportion. The evidence for this is as simple as it is obvious. By laying a bilateral frame based on the Golden Ratio across the full width of the Shroud, the face of the man becomes framed as in a portrait.
The Golden Portraiture of Christ
When we divide the cloth in a simple one way Golden Ratio of 1 and .618, to the full length of the cloth, we see similar portraiture of the bust of the man, where the division occurs at the neck, the traditional terminus of facial identity.
Click to enlarge the image
Part of the evidence for the Shroud is its unusual weave. The numbers 3 and 1 are the only numbers associated with the Christian theology of the Trinity. The biblical account of the burial of Jesus Christ relates how Joseph of Arimathea purchased a costly linen to wrap the body in for burial. The Shroud was produced using a 3 to 1 'twill weave'.
Historically, the twill weave was a very rare weaving pattern, as it is much more time consuming to produce.
Time Consuming = Costly
By examining the Shroud under a microscope we can see that in some areas this weave reproduces a division according to the Golden Ratio of 1 and .618. The image below is a microscopic photograph of the 3 to 1 twill weave of the Shroud of Turin.
The larger rectangle has a value of 1 and the smaller .618
Curiously, the Church that houses the Shroud of Turin in Italy also displays features that accord to the bilateral portraiture seen on the Shroud and in the name Jesus Christ.
The white line between the first and second story represents a Golden Division of the facade of the Cathedral of St. John the Baptist in Turin Italy, the official repository of the Shroud of Turin.
La Tribuna Reale e la custodia della Sindone -Duomo di Torin
The image above is from the interior of the Cathedral of St. John the Baptist in tribute to the Shroud of Turin.
The white lines in the images below represent a bilateral Golden Division of .618 to 1 in either direction. This division is established by using the edges of the curtain as the perimeter of the rectangle.
The table in the nave shows similar proportionality.
The red center square closely approximates a bilateral division according to the Golden ratio.
This images can be seen at the website for the Cathedral of St. John the Baptist in Turin, Italy.
Cathedral of St. John the Baptist
Other features on the Shroud display similar interactions with the Golden Ratio and the options available through the Phimatrix program. One such feature is the ability to overlay golden spirals on any image.
When we overlay golden spirals on the front side of the Shroud and orientate them in the only four possible ways they can be orientated, we see they each originate at the centers of the fire damage, that the Shroud suffered in 1532. The symmetrical patterns of fire damage are due to folding arrangement of the Shroud at that time (see Ian Wilson's work on that subject).
Lower Right Spiral Origin
Lower Left Spiral Origin
Upper Right Spiral Origin
Upper Left Spiral Origin
The perimeter of the rectangle is determined here by the discernible edges of the cloth and the front/back fold that divides the anterior and posterior images on the cloth.
These images can be reproduced using the official photograph from the Archdiocese of Turin. The color of the image has been reversed in order to highlight the spiral.
Click the images to examine them at full resolution
The Golden Spiral, one of the most common manifestations of the Golden Ratio, can be formulated by a series of squares that continually form the Golden Rectangle. When we follow this same pattern, now using 37 as the base number, we create a Golden Rectangle and Spiral that produces the name of Jesus Christ.
These last images are the anterior and posterior images from the Shroud using the quadrilateral default setting of the Phimatrix program.
Anterior Image
Posterior Image
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