text:
Shroud of Turin Blog
Latest news and views on the Turin Shroud
Watertight Evidence
Just this morning Charles Freeman was writing in a comment:
… I shall not be the first nor the last to say that this was originally a painted linen. MacCrone, of course, and then we have the late and lamented expert on painted linens, Caroline Villers, who talks of the Shroud as 'one of the best-known surviving medieval images on a textile support'….
And just this morning the Duluth News Tribune ran this letter from one of its readers, Kenneth L. Johnson, a retired chemist who was trained in microscopic analysis by Dr. Walter McCrone at the McCrone Research Institute in Chicago.
On Nov. 1, the News Tribune published an article headlined, "Shroud of Turin mystery deepens."
The mystery to me is how this subject continues to get press coverage. In the 1970s, Dr. Walter McCrone examined a portion of the shroud that was purported to contain dried blood. He found no blood, but he did find red ochre and vermillion paint particles. Dr. McCrone, who literally wrote the book on the analysis of microscopic particles ("The Particle Atlas," published in six volumes from 1973 through 1979), was eminently qualified to conclude that the shroud was a 14th century painting. The "scientists" who refuted his work had no qualifications to perform the analyses on which they claimed to rely.
In fairness to Charles, he writes:
I have had several responses that say that my views are plausible or that i seem to be on the right lines so I can only sow seeds . One day I hope some expert will come up with the watertight evidence!
I, too, would like watertight evidence. But I doubt it will be what Charles hopes for. Colin Berry has certainly demonstrated how weak Charles' argument is. I also doubt, even with watertight evidence, that the belief it is a painting will ever fade – no pun intended, Charles.
Author DanPosted on December 13, 2015 Categories Image Theory
42 thoughts on "Watertight Evidence"
Not even the Shroud of Arquata shows evidence of the presence of gesso.
Colin Berry says:
Quite. Gesso is/was needed as a base for paint on either canvas or fine herringbone linen, with the end-product then being stretched taut in a permanent frame for display. It's hard to see why anyone would choose to use a gesso/paint combination for something that was to be folded or rolled up between intermittent displays, with the near certainty of shedding flakes of paint, though probably less of the weave-penetrating gesso. One would seek some other means of creating the image, probably one that dispensed with both paint, as the term is normally understood, ie. some kind of ground solid pigment dispersed in a liquid vehicle AND gesso. Indeed, one might reasonably conclude that in the absence of analytical evidence for either calcium carbonate*i.e. chalk or limestone or calcium sulphate*, i.e. gypsum there was no gesso, and logically no conventional paint either.
(The well-known presence of abundant calcium ions, Ca++, on the TS is necessary but not sufficient to demonstrate conclusively the presence of gesso, especially as calcium pectate is an important component of flax bast fibres, a variable fraction of which survives the retting process, depending on the technology employed – pond, dew etc).
Charles Freeman says:
But Colin, welcome out from the shed! They actually did gesso painted linens and it was a very skilled job. How else do you think they managed to get paint onto flags, banners an veils that were such a prominent part of medieval life?
It is all well documented so why not do some homework on this?
We do h ave a quotation from the 1570s ( in the bible Beldon Scott) with someone actually talking of the dangers of folding and unfolding the Shroud. This was common in the circumstances and we know of the very high attrition rate among painted linens. The few survivors we have today were usually pasted onto boards to stop the paint flaking. Of course in many cases the linens were painted for one big ceremonial occasion and were never designed to last.
All there to find out about if you start on your homework!!
David Goulet says:
Charles, with most painted linens of the period, if the paint started to come off it was easily reapplied. Why in the case of the Shroud was this not done?
David. It will need careful examination of all the depictions of the Shroud over the centuries , not copies , to determine if it was repainted. The best bet would be in the 1570s when the loin cloth appears to have been added and possibly the legs repainted further apart. This may have been to make the Shroud more visible to the large crowds now wanting to see it after its transfer to Turin. However, an enormous amount of research would need to be done on the depictions of expositions to see if this was the case .
The layers of any repainting are easily detectable on surviving painted linens. Whether the latest scanners would be able to detect layers of pigments on the Shroud I don't know
One more area where research needs to be done!
I actually did some research to get to know if gesso was present on the shroud of Arquata since the allegation is that this material was used to paint the Turin Shroud. The answer was negative, no gesso was detected.
I prefer to consult professionals in their fields as there are just too many amateurs around here and my field is not science.
Hopefully, another Shroud article should be ready by next week.
The above comment was directed to CB.
We will see- no rush. These things tend to reveal themselves in time. The speed of research is so quick, especially on these art history objects as so much money is involved – we just hope for spin-offs relating to the Shroud.
As yet I have seen nothing in any of Colin's posts which refutes the once painted hypothesis. Hugh is clearly thinking about it even if he does not agree with me. No doubt when Colin starts reopening his e-mails he can set out why he is so certain that this was never a painted linen but I have never seen any evidence that he has read up on them. I think he does need to know something about them and why they disintegrated so easily before he comments further. Villers (ed.) The Fabric of Images is such a good starting point.
And I was hoping too whether Colin could confirm that aragonite, as apparently found on the Shroud, is related to calcium carbonate. Perhaps Hugh can stand in on this if Colin is still out in his shed with his flour.
I also assume that Colin believes himself to be the courier that everyone is keen to hear. I will leave others to judge that!
It is important to get professionals to comment. Sometimes even top scholars leave their field to proffer opinions on topics on which they are not exactly qualified to comment. If one is an expert in NT (martyrdom, for instance) it does not exactly mean that that is a green school to comment on artefacts in the field of biblical archaeology. Sometimes it can even demonstrate that the scholar is not really that well qualified in his/her field either. Take, for instance:
http://www.thedailybeast.com/articles/2015/12/13/is-this-stone-the-clue-to-why-jesus-was-killed.html
The best scholars and archaeologists are aware that Jesus was nailed to the cross because he dared to challenge the Sadducees who worked hand in hand with the Romans when it ws convenient to them. When Jesus threatened the existence of the Temple, and consequently the moneybags that the Sadducees had, it was a sign that he had gone beyond the limits in their view. Raymond E. Brown was clear about this point in his classic "The Death of the Messiah".
Actually Jesus was not really tied to any monument, be it Temple or synagogue, as they were not essential to his message, which was purely spiritual. He could therefore preach in the fields, near the sea, on a mount and so on.
Jesus did not reveal everything he knew; he spoke in parables which are riddles. Developments in OT archaeology can provide us with clues about why he could be cryptic: https://www.academia.edu/18994343/The_key_role_of_Biblical_Archaeology_in_Exegesis_An_Interview_with_Professor_Israel_Finkelstein
Hugh Farey says:
Aragonite is one of the crystalline forms of calcium carbonate, less common and less stable than the more common calcite. Gerard Lucotte has identified numerous particles of calcite and a few of aragonite among the vacuumed debris of the Shroud.
Colin could well use his considerable scientific knowledge to look at the analyses of the gesso that does survive on the medieval painted linens that have been studied. I think it is from this that we know that calcium carbonate was used in gesso north of the Alps and calcium sulphate for gesso south of the Alps.
Anyway there is no problem in locating and analysing surviving medieval gesso and someone will eventually be able to tell us whether the calcium on the Shroud is sufficient evidence of an original gesso. Colin knows for certain that it is not but he will strengthen his case if he can provide some evidence that he has looked at the existing gesso from this period.
I cannot see the relevance of the gesso not being on the Shroud of Arquata. We know from the medical treatises ,such as that of the Tuscan Cennino Cennini, that gesso was used to seal linen and he gives the instructions for it. Hard to know how you can paint on linen without selling it in some way- you will find lots of instructions in modern textbooks and calcium carbonate still features!
Hugh. So are we justified in saying that there is calcium carbonate on the Shroud?
Dolimetic Limestone is common in Jerusalem.
Gian Marco Rinaldi says:
Louis: "Dolimetic Limestone". Probably you mean "dolomitic", but dolomite (calcium nagnesium carbonate) is differente from both calcite and aragonite.
'Aragonite gesso' is worth googling.
Hello Gian Marco
Havê a look at http://www.jerusalemstoneusa.com
jmarino240 says:
Kenneth Johnson has picked up another skeptic's annoying habit of putting certain words in quotes when they shouldn't be, like "The 'scientists' who refuted his work had no qualifications to perform the analyses on which they claimed to rely" and "One 'scientist' seriously theorized that holy radiation from the resurrection might have transferred the image of Jesus to the cloth." STURP had chemists, blood experts and experts in many other disciplines, including from some of the most prestigious scientific institutions in the U.S. It's highly improbable that McCrone's judgments would be more accurate than the combined efforts of about 40 other highly scientists (without quotes). If McCrone is extrapolated to the story of the blind man and the elephant, he would say that his perspective is the only one worth considering.
Kenneth Johnson also says, "You might better ask how red ochre and vermillion particles get on a real burial cloth." Johnson is apparently unaware that many artists were allowed to touch their painted copies to the Shroud to sanctify them. My guess is that Johnson has done very little reading about the Shroud.
Dcn Andy says:
McCrone did the best scientific analysis available. Looks like red ochre, must be red ochre.
JGiordano says:
Exactly Dcn Andy, I was thinking the same thing -McCrone looked through a microscope, that's it – and that is supposed to carry more weight than blood experts running actual chemical tests, who say it is blood. If gesso and paint or iron powder made the image, why can't we see any gesso in the imaged fibres or those adjacent? Why do close ups of the fibres show very fine coloring of the fibres as by dehydration (or is it proven, so I can leave out the word "as"?). And I thought only 'climate scientists ' were hacks…
It is obvious that as Kenneth Johnson trained with Dr. Walter McCrone he has to chant the red ochre mantra and ignore the research of dozens of other qualified scientists.
I am rereading David Sox's 1988 book "The Shroud Unmasked" (which incidentally was published and ready to go when the official announcement was made, despite the fact that the labs were supposed to have maintained confidentiality). In his introduction he says, "There were times when I thought I would never live to see the day the Turin Shroud faced its obvious test. The road to carbon dating has been long, contentious and convoluted. There are those who will not appreciate mine and others' effort to have this test. That's their problem. When you open Pandora's box, you have to be prepared for whatever comes out. I have always wondered why many so fascinated with the Shroud mystery were afraid to see the end of the story." Sox is right about the dating having been contentious and convoluted, and it's for that very reason that many people feel that the 1988 results are not the end of the story.
Pandora's box could be closed, simply by asking the custodians of the TS to allow a return visit by one or more radiocarbon daters, using more sensitive 21st century methods. The latter could use single excised t threads (the damage being scarcely visible) rather than disfiguring snipped-out rectangles ( I thank Hugh Farey for making that observation).
Those tiny threads could be taken from central locations, closer to image areas, reducing the chance that the sampled areas (minimally handled by clerics, bishops etc,) had been 'invisibly mended' at some time in the distant past.
Personally speaking, I do not understand the failure of the Shroud's custodians to commission a repeat C-14 dating, taking into consideration the controversy and accusations of there having been a "fix" as regards the first, despite three different labs having each done separate analyses by their preferred techniques.
I think Turin, the Vatican etc owe it so science to put an end to all the dark whispers and accusations, having invited different teams of scientists in 3 independent labs to give it their best shot in 1988.
https://www.shroud.com/nature.htm
+1 to Colin, I don't understand the lack of new testing either – unless it is because, as Roy Rodgers stated in that documentary just before he died, the TS is now saturated in insecticide that was sprayed into its storage box. If there is no way to reliably separate out all that extra C from that or from centuries of candle smoke, then maybe testing the charred bits of TS that were removed during that big 'cleaning'in 2002. Those bits from the big burn holes would also be subject to extra C from burning candles and CO2 flowing through it when exposed to the faithful. That would be from the time it was made (AD30+ or medieval ) to the time of the big fire. After that I don't think those pieces would be affected much by anything, so it would serve as a good indicator. If it came out as 1290-1360, then all the labs really did a good job. If it came out 1st century ….. But I have a feeling it might come out with something else, in between probably. I'm saying that, having heard of a mummy that was 1000 years older than the linen wrappings – even though it doesn't look like it was rewrapped since the blood and other decay fluids had penetrated it. Anyways testing it is better than not testing it, and no one is going to miss a few threads from here and there (the 2002 cleaning did more damage…). And labs should refuse to do the testing unless the proper protocols are followed.
Aside to Colin – do your images fluores (?) in UV? If they do, do you see that as the end of the road for your experiments, or do you have a plan for more experiments to deal with that.
Insecticide? That's presumably a reference to thymol – which in connection with radiocarbon dating was chemical scaremongering from someone who should have known better.
I'll update on the fluorescence and (maybe) future research priorities in the next week or two.
That's it thymol. But please save the attitude, and stick to the facts. If you think the thymol would be easy to remove and new c14 tests can be done reliably, just state so and let us know why, adding to the body of knowledge. Rodgers, in the documentary revealing the re-weaving hypothesis and the dyed fibres, seemed to think the thymol kills any chance for new tests, other than on the removed charred pieces.
I have nothing further to add to what I have said previously on this site re the thymol scaremongering. Google and ye may find.
I think Rogers was being overtheoretical here. I have mentioned "The Late Glacial and Holocene development of vegetation in the area of a fossil lake in the Skaliska Basin (north-eastern Poland) inferred from pollen analysis and radiocarbon dating", by Piotr Kolaczek et al, in Acta Palaeobotanica, 53(1), in which the possible effects of thymol on radiocarbon dating are discussed but not found significant.
Here's a thought, and maybe it's unfair, maybe not….perhaps the Church don't want to retest, because if it gave another medieval age, it would essentially be "game over" for the authentic case. There is some benefit to only having been one test, because all sorts of conspiracies (credible or not) can be cast over the one carbon dating process. That preserves the hope of authenticity, and the associated mystique.
On balance, I slightly favor the authentic case. But I think another test needs to be done. I just want o know the truth. Either way, it doesn't affect my faith.
Ian Wilson didn't present the Rev. David Sox in favourable light when he was the BSTS newsletter editor. The reader was given to understand that he had something to do with the leaked results and it seems that he resigned from the society.
Anyway, tell us about your views after you finish the book.
From the books by Sox and Gove, respectively, one learns what follows. Gove and his secretary Ms Brignall were in London from 15 to 19 June 1988 and met Sox. Immediately after they left, on 20 June, Sox went from London to Turin for informing Rinaldi about the result of the radiocarbon test. It is tempting to suppose that Sox was informed by Gove or Brignall or both. I would suspect of Brignall. Indeed Gove, without Brignall, had been in London on 12 May, and the following days, and had met Sox, but that time Sox did not travel to Turin. Therefore Gove, when alone, had not informed Sox. Of course all of this is only hypothetical but it seems to be an interesting clue.
I got the impression that David Sox was up to mischief making after reading Ian Wilson's report. The fact that he left the scène leads to more mystery.
Regarding the C-14 controversy, I recommend the documentary "Night of the Shroud," which includes interesting revelations from Gonella's correspondence files. It's available at amazon.com for $13.38 but it won't play on most DVDs sold in the U.S. I think it will play on most computers. The link is: http://www.amazon.com/Shroud-Sindone-NON-USA-FORMAT-Import/dp/B00B67CFMC . The description is: SYNOPSIS: THE NEW INVESTIGATION-documentary THE NIGHT OF THE SHROUD produced by RAI and directed by Francesca Saracino, seeks to clarify, with new and unpublished documents, the mountain of doubt about the dating of the Shroud by the carbon 14. It was already known to the carelessness with which they were performed in the late 80s, but radiocarbon testing of this investigation brings to light, with the help of unpublished papers and interesting interviews in world premiere a voluntary controlled, almost fraudulent, in errors and approximations, To enrich the film, the presence of Rosalinda Celentano ( The Passion of the Christ) who read questions in search of answers. Lost among the columns of a medieval church, the actress stimulates the curiosity of the viewer less experienced, refresh his memory on one of the most fascinating topics of Christianity.
I think that Saracino's is one of the worst documentaries ever produced. I have written a criticism here:
http://sindone.weebly.com/uploads/1/2/2/0/1220953/notte_complottopart_1.pdf
It is a 67 pages pdf and I have considered only one aspect, the conspiracy theories. Sorry it is in Italian.
Ms Saracino, with whom I have been in contact by mail, has not attempted any reply.
My computer accepts PAL SECAM and I'll try to find out more about the production in Italy. One wonders just how many gaps were filled. The Church continues to be suspicious and that is evident in the last q/r in the interview with Professor Paolo Di Lázaro.
That was also what I gauged in my interviews with Daniel Raffard de Brienne and Father Heinrich Pfeiffer.
Dan's blog from June 8, 2012 had the following: "New York Film Academy graduate Francesca Saracino's film, The Night of the Shroud, recently won Best Documentary, Best Director, and Best Visual Effects at the Los Angeles Movie Awards. The controversial documentary investigates the authenticity of the Shroud of Turin, a centuries-old linen cloth that bears the image of a crucified man, believed by some to be the cloth in which Jesus was buried. The investigation is hosted by Italian actress Rosalinda Celentano, known for her role as Satan in Mel Gibson's The Passion of the Christ. It uncovers previously unseen research papers, audio files, videos, and correspondence from researchers, cardinals, and Pope Benedict XVI.
Yes, I remember now.
piero says:
I want to remember what
I have read:
has died in Madrid father Héctor Guerra LC,
president of "Othonia" and professor of
the Regina Apostolorum.
Born in 1953, Legionary of Christ priest,
scholar of the Shroud, Father Guerra
had devoted the last decade of his life also
to promote awareness of the Holy Cloth
of Turin, as a relic and as an instrument
of evangelization…
… He with Father Rafael Pascual LC,
director of the Institute on Religion and
Science, founded in 2009 Othonia, an
international NGO, non-profit organization,
whose objective is "to contribute to the
improvement, development, training,
promotion and dissemination of knowledge
related to Shroud between different
peoples and cultures of the world. "…
Here I try to return on the discussion with a strange problem.
A madder treatment (see also the particular claims by Adrie van der Hoeven) can be scraped off or removed with adhesive or diimide.
Unfortunately (until now) I never saw the inherent experiments…
Another particular problem linked to "Madder treatment":
I would be curious to know what is the result obtained from an experiment based on hemocyainin and Madder (see also the Biochemistry of metal – protein and Oxygen transport in molluscs). Perhaps another shade of red or violet ….?
Final comment. Dan ends his post by saying that the ' watertight evidence ' might not be what I hoped for. I have read this blog for some time and no one has come up with any satisfactory explanation for the images – certainly none that anyone outside the Shroud community would accept,
There is,I believe, a fundamental problem in assuming, by Colin and STURP and many others, that the Shroud is now as it was when it was made whether in the fourteenth century or earlier. This is extraordinarily unlikely unless the Shroud had been sealed in an Egyptian tomb. In fact, we know it has been exposed in the open air many many times. Fanti has got as far as accepting that linen degrades over time( although he has the bizarre idea that it degrades at a common rate- does a linen stored in a container really degrade at the same rate as one left out in the rain?) Yet Fanti and others, including Colin, never imagine that images in that linen will also degrade over time. Until this is recognised Shroud studies are in limbo.
One you look for alternative examples of images on linen, you find that painted images on linen were very common- thousands are recorded in inventories ,etc.yet the attrition rate of the images was very high especially if the linen is folded and unfolded. This is why most painted linens were thrown away after they had fulfilled an immediate purpose. The question remains whether a painted linen, sealed and painted according to the medieval treatises, left any discolouration of the linen just below where the sealant was, and thus only on the top fibres of the linen
Research on painted linens is comparatively recent as so few have survived but scanners are now able to analyse gessoes, pigments, repaintings, far beyond anything possible in 1978. At this point I have to hand over to conservationists who deal with these linens to see how far the Shroud fits as a once painted linen. I think it is promising and that with further research the Shroud will actually seem quite typical of the fourteenth century and while very rare of its type, not that much of a mystery at all. The iconography, with the pattern of bloodstains and the scourge marks both front and back, is certainly very typical of the fourteenth century. The Holkham Bible illustrations are helpful here.
So we shall see but it certainly will not be a historian but linen conservationists who will provide the solution, one way or the other. Good luck to them and to Dan in his retirement!
Reblogged this on Best of Shroud Story.
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THE RESURRECTION is Just Too Mysterious to Be Described.
NO BASIS for concluding that the cloth covered a body.
TEDx TALK: Barrie Schwortz, an Orthodox Jew, educating Christians about the Turin Shroud.
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Is the Shroud Real? Possibly.
The Shroud of Turin may be the real burial cloth of Jesus. The carbon dating, once seemingly proving it was a medieval fake, is now widely thought of as suspect and meaningless. Even the famous Atheist Richard Dawkins admits it is controversial. Christopher Ramsey, the director of the Oxford Radiocarbon Laboratory, thinks more testing is needed. So do many other scientists and archeologists. This is because there are significant scientific and non-religious reasons to doubt the validity of the tests. Chemical analysis, all nicely peer-reviewed in scientific journals and subsequently confirmed by numerous chemists, shows that samples tested are chemically unlike the whole cloth. It was probably a mixture of older threads and newer threads woven into the cloth as part of a medieval repair. Recent robust statistical studies add weight to this theory. Philip Ball, the former physical science editor for Nature when the carbon dating results were published, recently wrote: "It's fair to say that, despite the seemingly definitive tests in 1988, the status of the Shroud of Turin is murkier than ever." If we wish to be scientific we must admit we do not know how old the cloth is. But if the newer thread is about half of what was tested – and some evidence suggests that – it is possible that the cloth is from the time of Christ.
No one has a good idea how front and back images of a crucified man came to be on the cloth. Yes, it is possible to create images that look similar. But no one has created images that match the chemistry, peculiar superficiality and profoundly mysterious three-dimensional information content of the images on the Shroud. Again, this is all published in peer-reviewed scientific journals.
We simply do not have enough reliable information to arrive at a scientifically rigorous conclusion. Years ago, as a skeptic of the Shroud, I came to realize that while I might believe it was a fake, I could not know so from the facts. Now, as someone who believes it is the real burial shroud of Jesus of Nazareth, I similarly realize that a leap of faith over unanswered questions is essential.
My name is Dan Porter. Please email me at DanielRobertPorter@gmail.com
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Chapter 6: Local winners and losers
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In each of these stages, journalists have a vital role in raising issues, broadening the debate, engaging new audiences and holding those with commercial or political power to account.
"Covering Extractives" is made possible with the support of:
In addition, NRGI would like to thank Anya Schiffrin, the Global Investigative Journalism Network (GIJN), The African Centre for Media Excellence (ACME), Maria Sarungi Tsehai, Yan Naung Oak, Gideon Ofosu Peasah and Nick Matthiason for their valuable contributions to this guide.
The Natural Resource Governance Institute (NRGI) works to ensure that countries rich in oil, gas and minerals achieve sustainable, inclusive development, and that people receive lasting benefits from the extractive sector. A not-for-profit organization, we provide technical advice and capacity development, and carry out advocacy, applied research and policy analysis. We also generate datasets and tools to help key stakeholders, including journalists, navigate the recent avalanche of extractives disclosures. Working with innovative agents of change within government ministries, civil society, the media, legislatures, the private sector and international institutions, we promote accountable and effective governance in the extractive industries.
As part of our work to strengthen local accountability, we support journalists and media houses in a selection of countries. "Covering Extractives" builds on NRGI's many years of experience in developing the capacity and confidence of reporters and investigative journalists to cover resource governance issues.
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This year's Arts Week will take place from 23rd June – 2nd July and will give members the opportunity to open their studio, take part in our annual AitTV exhibition in Oriel Lliw Gallery, put on their own exhibition or run workshops and be a part of this exciting week.
Members who wish to be involved please email Jane Carpenter at aittv@hotmail.com. There is no charge for this as it is part of the membership.
We look forward to another successful week where we can showcase the talent in our area and give people a chance to connect with to artists and creatives.


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text:
De Jachin en Boazkerk is het kerkgebouw van de Gereformeerde Gemeente aan de Taghof in Genemuiden.

Omschrijving van het gebouw
De kerk is in 2003 gebouwd naar een ontwerp van architectenbureau Valk te Soest. Het gebouw heeft meer dan 1800 zitplaatsen en behoort daarmee tot de grootste kerken van Nederland, gemeten naar het aantal zitplaatsen. Er bevinden zich 1300 zitplaatsen op de begane grond en 500 op de galerij. De bakstenen zaalkerk heeft een 38 meter hoge toren en heeft behalve de grote kerkzaal ook een centrale ontmoetingsruimte (hal), een consistoriekamer, een vijftal vergaderruimten, een uitvaartruimte en de nodige voorzieningen zoals een keuken. Onder de vergaderruimten bevindt zich een kelder, waarin fietsen geplaatst kunnen worden. De vorige kerk aan de Julianastraat uit 1981 was in de jaren 90 te klein geworden voor de groeiende gemeente. Ook het kerkelijk verenigingsgebouw De Rank dat voor 1981 als kerk fungeerde was te klein geworden. De eerste plannen voor een nieuwe kerk dateren uit 1995. Op 11 mei 2002 werd de eerste steen voor de kerk gelegd door ds. P. Melis (die de gemeente gediend heeft van 1996 tot 2002). Een week na deze eerstesteenlegging nam ds. Melis een beroep aan naar Veen.
Op 17 april 2003 is de nieuwe kerk in gebruik genomen. De oude kerk aan de Julianastraat is in 2005 afgebroken. Op de vrijgekomen plaats zijn appartementen en een medisch centrum gebouwd.

Naam van de kerk
Het kerkgebouw heet Jachin en Boaz, naar de twee pilaren in de tempel van Salomo te Jeruzalem (1 Koningen 7:21). Jachin betekent "Hij (namelijk de Heere) zal bevestigen".  Boaz betekent "in Hem is kracht."

Kerkdiensten

De kerkdiensten in de Jachin en Boazkerk staan in de bevindelijk Gereformeerde traditie, waarbij de verkondiging van het Woord centraal staat. De gemeente zingt de psalmen in de berijming uit 1773. De Gereformeerde Gemeente van Genemuiden is opgericht in 1910 en telt in totaal circa 2170 leden. Een bijzonderheid in de Genemuider kerkdiensten is dat bij het zingen gebruik wordt gemaakt van de zogenoemde bovenstem.

Iedere zondag worden er twee kerkdiensten gehouden. In de ochtenddienst wordt gepreekt over een vrije tekst. 's Middags wordt er uit de Heidelberger Catechismus gepreekt. Naar aanleiding van het 100-jarig bestaan (op 30 november 2010) van de gemeente is een herdenkingsboek uitgebracht onder de titel Aldaar zal gras met riet en biezen zijn. Schrijfster van het boek is mw. E. Beens-van Schothorst.

Op kerkelijke feestdagen, zoals Pasen, Pinksteren en Kerst worden er ook kerkdiensten gehouden. In de wintermaanden vindt op donderdagavond, eens per zoveel weken, een kerkdienst plaats. Deze kerkdienst wordt een Bijbellezing genoemd. In een Bijbellezing wordt gepreekt over een doorgaande geschiedenis. Op Bid- en Dankdagen worden er net als op zondagen twee kerkdiensten gehouden. De predikant was tot en met 2019 Cornelis Hogchem. Na een periode waarin in verband met de vacature een andere predikant (of toegelaten student) van het kerkverband of ouderling voorging in de diensten is er sinds 11 mei 2021 een nieuw voorganger benoemd, Ds. A. Verschuure.

Zwarte Dauw
In januari 2011 verscheen het boek Zwarte Dauw van Rachel Visscher. Zij heeft getracht in dit boek te beschrijven hoe het leven binnen de Gereformeerde Gemeente van Genemuiden is, zonder daarbij overigens namen te noemen. Verschillende gemeenteleden zijn echter van mening dat Visscher onder valse voorwendsels aan informatie gekomen is, dat ze veel informatie verkeerd geïnterpreteerd heeft en/of verdraaid weergegeven.

Orgels

De kerk heeft twee orgels: het hoofdorgel en het koororgel. Het hoofdorgel werd uit de oude kerk overgeplaatst door de fa. Hendriksen & Reitsma uit Nunspeet en werd bij die gelegenheid uitgebreid en grondig gerestaureerd. Het nieuwe orgel werd op 18 februari 2004 in gebruik genomen.

Van het oude rugwerk werd een eenklaviers koororgel gemaakt, dat tien stemmen telt. Het orgel staat in een van de vergaderruimten. Dit orgel wordt vooral gebruikt bij catechisatielessen en koorrepetities.

Zie ook
 Lijst grootste Nederlandse kerkgebouwen naar zitplaatsen

Externe links
 Jachin en Boazkerk op Reliwiki.nl
 https://www.gergeminfo.nl/gemeenten/genemuiden

Kerkgebouw in Zwartewaterland
Kerkgebouw van de Gereformeerde Gemeenten

redpajama_set_name: RedPajamaWikipedia


From 31 May to 1 June the BioBased Live Europe event will be taking place at the Amsterdam Science Park. BioBased Live aims to take biobased innovations from laboratory to market through best practice sharing and making biobased products a key part of sustainable strategies.
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text:
Don Francisco (nacido el 28 de febrero de 1946) es un cantante estadounidense, compositor y cantautor especializado en la música cristiana contemporánea. A lo largo de su carrera, ha ganado dos premios Dove: en 1980 por la canción del año (por He Is Alive "¡Él está vivo!"), y en 1980 como compositor del año.

Su canción "He's Alive" (1978) llegó a ser un gran punto de referencia en la ola de música cristiana contemporánea a finales de los 70's. Posteriormente, fue reinterpretada por cantantes como Johnny Cash y  Dolly Parton.

En el 2008 participó en un concierto llamado "The Beginnings Concert" que reunió a otros nueve músicos cristianos legendarios, incluyendo a Steve Archer..

Biografía
Don Francisco nació en Louisville, Kentucky, hijo de un pastor bautista llamado Clyde T. Francisco. La carrera temprana de Francisco se centró en la música folk-rock durante la década de 1960, abrazando el movimiento hippie; pero después Francisco asegura haber tenido una experiencia sobrenatural en la que escuchó a Dios audiblemente.
A partir de esto, volvió a dedicar su vida a Dios y cambió su dirección musical. Después de haber estudiado en la Universidad de Nashville, a sus 28 años comenzó a producir música de alabanzas cristianas.

En 1977 Don Francisco grabó "I Don't Care Where You've Been Sleeping" para el álbum "Forgiven". Dicho tema se convirtió en una de sus canciones más conocidas.

En 1982 fundó el ministerio "Rocky Mountain Ministries".

En 2003, Francisco publicó "The Promises", que consiste casi enteramente en lecturas seleccionadas y paráfrasis de la Biblia.

Algunas de las canciones de Don Francisco lidian con lo que su sitio llama "Iglesianismo" o "Churchianity" que entiende como el hábito que centra la vida en la iglesia y reemplaza al cristianismo real.

Don Francisco conserva plenamente los derechos de autor de todas su obra, pero ofrece tablas de acordes y letras de la mayoría de sus canciones y muchas de ellas estpan disponibles gratuitamente desde su sitio web.
Francisco está casado y vive en Colorado con su esposa, Wendy, quien también es artista.

Discografía
 1976 Brother of the Son
 1977 Forgiven
 1979 Got to Tell Somebody
 1981 The Traveler
 1982 The Live Concert
 1984 Holiness
 1985 One Heart at a Time
 1987 The Power (EMI CMG)
 1988 High Praise  (EMI CMG)
 1989 Live in the UK
 1991 Vision of the Valley
 1992 Come Away (EMI Digital)
 1994 Genesis and Job
 1999 Grace on Grace
 2001 Only Love is Spoken Here
 2003 The Promises (Spoken Word)
 2005 That I May Know You
 2007 The Sower
 2009 Let It Ride
 2012 Carols on Guitar

Álbumes compilatorios
 1985 The Poet
 1991 Early Works
 1996 Word Pictures
 1999 Balladeer Tales
 1996 He's Alive, Collection Vol. I
 1998 Beautiful To Me, Collection Vol. II
 2004 The Package, Collection Vol. III

En vivo
 1986 The Live Concert
 1992 Live in the UK

Referencias

Bibliografía
 Barnabas Cristóbal (2011), Don Francisco (Christian Musician), Cede Publishing, 09/08/2011 , 88 pp.

Enlaces externos
 Sitio Oficial: contiene discos, MP3's, letras, acordes y actualizaciones del ministerio

Músicos cristianos
Cantantes de música cristiana de Estados Unidos
Cristianos de Estados Unidos


text:
The legacy of literacy practices in colonial Taiwan. Japanese-Taiwanese-Chinese: Language interaction and identity formation
Ann Heylen*
This paper offers a historical and sociolinguistic interrogation of Taiwanese to demonstrate the significance of language continuum in relation to identity formation. To this end, Taiwanese is discussed as a particular variety of language. Literacy practices in the Japanese colonial period (1895-1945) are contrasted with the precolonial and post-Japanese colonial period. The paper maintains that policies of Japanese linguistic colonialism strengthened the sociosemiotic cohesion amongst speakers of Taiwanese, and discusses how this experience resonated with the new reality after Japanese colonial rule in 1945 when Taiwan was reunited with its Chinese historical and cultural heritage. It suggests that in the post-Japanese colonial period, spoken Taiwanese continued to be a convincing vehicle of struggle for an alternative national identity. A proper appreciation of this situation depends on how we define literacy practices and comprehend these in the context of Taiwan's sociolinguistic landscape, past and present. Special reference will be made to diglossia, the connotation between script and language, criteria of literacy (functional and cultural), Chinese language standardisation and Japanese linguistic colonialism.
Journal of Multilingual and Multicultural Development
Dive into the research topics of 'The legacy of literacy practices in colonial Taiwan. Japanese-Taiwanese-Chinese: Language interaction and identity formation'. Together they form a unique fingerprint.
Colonial Taiwan Arts & Humanities 100%
Literacy Practices Arts & Humanities 98%
Language Interaction Arts & Humanities 90%
Taiwanese Arts & Humanities 73%
Chinese Language Arts & Humanities 72%
Taiwan Social Sciences 50%
Heylen, A. (2005). The legacy of literacy practices in colonial Taiwan. Japanese-Taiwanese-Chinese: Language interaction and identity formation. Journal of Multilingual and Multicultural Development, 26(6), 496-511. https://doi.org/10.1080/01434630508668422
The legacy of literacy practices in colonial Taiwan. Japanese-Taiwanese-Chinese : Language interaction and identity formation. / Heylen, Ann.
In: Journal of Multilingual and Multicultural Development, Vol. 26, No. 6, 2005, p. 496-511.
Heylen, A 2005, 'The legacy of literacy practices in colonial Taiwan. Japanese-Taiwanese-Chinese: Language interaction and identity formation', Journal of Multilingual and Multicultural Development, vol. 26, no. 6, pp. 496-511. https://doi.org/10.1080/01434630508668422
Heylen A. The legacy of literacy practices in colonial Taiwan. Japanese-Taiwanese-Chinese: Language interaction and identity formation. Journal of Multilingual and Multicultural Development. 2005;26(6):496-511. doi: 10.1080/01434630508668422
Heylen, Ann. / The legacy of literacy practices in colonial Taiwan. Japanese-Taiwanese-Chinese : Language interaction and identity formation. In: Journal of Multilingual and Multicultural Development. 2005 ; Vol. 26, No. 6. pp. 496-511.
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title = "The legacy of literacy practices in colonial Taiwan. Japanese-Taiwanese-Chinese: Language interaction and identity formation",
abstract = "This paper offers a historical and sociolinguistic interrogation of Taiwanese to demonstrate the significance of language continuum in relation to identity formation. To this end, Taiwanese is discussed as a particular variety of language. Literacy practices in the Japanese colonial period (1895-1945) are contrasted with the precolonial and post-Japanese colonial period. The paper maintains that policies of Japanese linguistic colonialism strengthened the sociosemiotic cohesion amongst speakers of Taiwanese, and discusses how this experience resonated with the new reality after Japanese colonial rule in 1945 when Taiwan was reunited with its Chinese historical and cultural heritage. It suggests that in the post-Japanese colonial period, spoken Taiwanese continued to be a convincing vehicle of struggle for an alternative national identity. A proper appreciation of this situation depends on how we define literacy practices and comprehend these in the context of Taiwan's sociolinguistic landscape, past and present. Special reference will be made to diglossia, the connotation between script and language, criteria of literacy (functional and cultural), Chinese language standardisation and Japanese linguistic colonialism.",
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AB - This paper offers a historical and sociolinguistic interrogation of Taiwanese to demonstrate the significance of language continuum in relation to identity formation. To this end, Taiwanese is discussed as a particular variety of language. Literacy practices in the Japanese colonial period (1895-1945) are contrasted with the precolonial and post-Japanese colonial period. The paper maintains that policies of Japanese linguistic colonialism strengthened the sociosemiotic cohesion amongst speakers of Taiwanese, and discusses how this experience resonated with the new reality after Japanese colonial rule in 1945 when Taiwan was reunited with its Chinese historical and cultural heritage. It suggests that in the post-Japanese colonial period, spoken Taiwanese continued to be a convincing vehicle of struggle for an alternative national identity. A proper appreciation of this situation depends on how we define literacy practices and comprehend these in the context of Taiwan's sociolinguistic landscape, past and present. Special reference will be made to diglossia, the connotation between script and language, criteria of literacy (functional and cultural), Chinese language standardisation and Japanese linguistic colonialism.
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text:
Instrumental teaching: Language and action in learning processes and embodiments
1.1 Social, cultural, linguistic and educational mediation
Paper in a Symposium (Symp)
Partie de:
SYMP 087 - Thinking tensions between learning and development in a Vygotskian perspective (part 2/2)
Quand:
mercredi 30 août 03:50 PM à 04:10 PM (20 minutes)
Convention Center - 2105
For Vygotsky (1935/1997), the relations between a subject and an object are widely determined by cultural and historical significations. In other terms, it's quite unthinkable to imagine a subject and an object immediately linked, in an immediate relationship. When this relationship is conceived in order to include an action and a dynamic, a third element appears: corporeality. Already constructed corporeality and emerging corporeality – in a learning or training context – allow us to think works of art and artistic practices as breaking elements which produce development. Jaques-Dalcroze (1981, p. 22) makes this sort of statement: "artists are not doing anything else than (…) transforming the physical rhythms in mental rhythms". To him, that means that attitudes and movements – including the most prosaic of them – provide musical experience. He says that "the way a pupil walks reveals", for instance, "physical, but also spiritual dispositions of this pupil" (Jaques-Dalcroze, 1981, p. 21). In a way, the aim of the Dalcrozian pedagogy is to specialize certain movements in order to construct technical and musical knowledge, but in continuity with the everyday body. How? In developing the performing body on the basis of the everyday body. We shall analyze other constructions about musical and artistic teaching, which aim to take a distance with the everyday use of the body.
Dr. Isabelle Mili
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Read Next Claudine Little Says Deborah Dugan is Spreading a 'False Narrative'	Send Us a Tip	Subscribe
October 24, 2019 1:37PM ET
Jason Isbell's October Tradition: Songwriter Is Surefooted and Sturdy at Nashville Residency
Americana star goes deep into his catalog for fifth night of seven shows at the Ryman Auditorium
Andrew Leahey
Andrew Leahey's Most Recent Stories
Flashback: Watch Willie Nelson and Stephen Colbert's 'Little Dealer Boy'
Fourth of July Concerts: Who's Playing, How to Watch
Jason Isbell and the 400 Unit went way back in his songwriting catalog for the fifth night of his 2019 Ryman Auditorium residency.
The Washington Nationals walloped the Houston Astros during Game Two of the World Series last night, but for the 2,362 fans who packed the pews at Nashville's Ryman Auditorium, there was only one October tradition worth watching: the fifth show of Jason Isbell's yearly residency at the Mother Church.
Isbell's annual Ryman gigs have become as familiar a part of Nashville's modern-day makeover as construction cranes — which is appropriate, given that the songwriter is clearly building something here. In a city whose rapid growth spurt has resulted in soaring housing costs and ever-worsening traffic congestion, Isbell's Ryman run — which will find the frontman taking the stage for seven sold-out shows this year, flanked (as always) by the 400 Unit — feels like one of those rare, latter-day Nashville traditions that actually nod to the spirit of the town and the ghosts of its past.
From the downbeat to the encore, guitar strummers ruled the roost last night. Jimmy "Duck" Holmes kicked off the evening with an opening set of loose, greasy, horn-dog blues, delivered from a single chair planted center stage. Dan Auerbach and Marcus King both contributed to Holmes' newest record, Cypress Grove, but the Bentonia, Mississippi, bluesman's Ryman performance was hauntingly bare, accompanied by nothing more than an open-tuned acoustic guitar and a mood-setting smoke machine. Virtually every song was about sex, wayward women. . .and sex with wayward women, which would've been harder to swallow if Holmes wasn't so likable, like the friend you'd take home to meet your parents but would never introduce to your sister. "Roll me just like your grandma roll her biscuit dough," he sang at one point, mixing humor and hormones in equal doses.
Jason Isbell and Amanda Shires: The Rolling Stone Country Interview
Inside Jason Isbell's Blues Revue at the Ryman
Neil Young's Essential Albums
Hank Williams' Five Most Haunting Performances
Jason Isbell and the 400 Unit took the stage sometime after 9 o'clock, looking like Americana superheroes with their Mike Campbell scarves (guitarist Sadler Vaden) and floor-length, Watchmen-worthy trench coats (fiddler Amanda Shires). This isn't a band of showboaters — Vaden's Townshend-sized windmills remain the only rockstar gestures of the show — but it was nice see the 400 Unit leaning into their status as larger-than-life bandmates, a move that echoed iconic backing groups like the E Street Band. That would make Isbell the Boss, and he ran his office last night with workmanlike professionalism, palpable respect for his co-workers, and a setlist that reached all the way to the early days, from the expected Drive-By Truckers cuts ("Goddamn Lonely Love," "Decoration Day") to deep-dive solo material (2009's "Streetlights," 2011's "We've Met"). Also included in the mix was "Overseas," a new, unreleased song whose atmospheric swirl channeled "Face in the Crowd"-era Tom Petty.
The result was an 18-song show that felt more like a career retrospective than something tailored to a recent album release, with deeper readings of now-familiar songs. "White Man's World" stomped with more pissed-off menace than The Nashville Sound's original recording, while Here We Rest's "Tour of Duty" wore its bluegrass stripes proudly, with nary an electric guitar in sight. Even the expected moves packed a punch. The band's epic treatment of "Cover Me Up" — with marching-band percussion punctuating the final chorus like an over-amplified heartbeat — remains a highlight of the show, with Isbell reaching into the rafters of his register to bellow the chorus. And there's absolutely nothing in Americana music like the roar of approval that erupts from the audience once Isbell delivers the song's declaration of sobriety, promising Amanda Shires that he "swore off that stuff, forever this time."
Great songs never get old. They just get familiar. And last night, Jason Isbell and the 400 Unit reminded Nashville — a city whose very landscape seems to change every year — that familiar ground is a solid place to stand.
Set List:
"Hope the High Road"
"White Man's World"
"Last of My Kind"
"Goddamn Lonely Love"
"Flying Over Water"
"If It Takes a Lifetime"
"We've Met"
"Cover Me Up"
"Brothers in Arms" (Dire Straits cover)
In This Article: direct,	Jason Isbell,	VSCountry


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text:
War Department Letters to Harold's Parents
Harold's parents, Bernice and Nina McCarn were devastated to find out that their son had been killed in action. In this section are digitized copies of the three letters the family received after their son was killed in action on 16 March 1945. One can only imagine much sorrow, hurt, and heartache that each one of these letters brought.
2 April 1945 - The War department sent a telegram notifying Harold's family that he is missing in action on 16 March 1945.
5 April 1945 - The War department sent a letter to Harold's family confirming that he is missing in action on 16 March 1945.
6 April 1945 - The War department sent a telegram notifying Harold's family that he has been killed in action on 16 March 1945.
7 April 1945 - The War department sent a letter to Harold's family confirming that he has been killed in action on 16 March 1945.
26 September 1945 – The War department informs Nina McCarn that her son Harold was killed in action at Aegidienberg, Germany and that is all the information they can provide.
14 June 1949 – The department of the Army informs, Bernice McCarn that his son will be permanently interred at Henri-Chapelle Military Cemetery in Belgium. It appears that Harold's wife, Helen did not sign the request to have Harold brought back to the USA for burial. This cannot be confirmed since a fire in 1973 destroyed the records of the request.


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Your curbside finds look very interesting, Kim - and no matter what you do with them, with an initial investment of zero, you can't lose.
I looked up the caryopteris and it appears you have a winner - dark green glossy foliage and doesn't need too much water.
What great trash your neighbors throw out. If you want to fix the two cracks in the glass panes, you could try the automotive store. They have windshield crack and chip repair kits. The resin used in the repair kit has the same refractive index as glass so if you can force it into the crack you shouldn't be able to see it anymore. I repaired a bullseye chip in our windshield using the kit so the car would pass safety inspection and it did. I did some dumpster diving too and picked up a bamboo screen in which the bamboo part came out of the wood frame. I glued it all back together and it looks quite elegant. That was a great find. It's quite amazing what great stuff people throw out. But, I got word from the rear admiral not to pick up junk anymore. ;) The captain of my ship.
Ki, thanks for the idea--I wouldn't have thought of the car windshield repair kit, but that would be perfect! I laughed at your comment about the euphorbias. I was waiting on the same thing, so when I found out that my favorite garden center had gone from 50% to 75% off of all perennials I figured I'd better jump on it.
Great finds, dear Kim. I wish there are more of such garage sales in India too.
'Petite bleu' is an excellent caryopteris that shouldn't ever get huge and ungainly - ours has been holding steady at about 24-30". And around here everyone puts the good stuff out early for trash day in hopes that someone will want it - so there's no shame in taking it! A former housemate once put something out that was taken by a fancy-mercedes-pants. And we are all very proud of our trashday finds just like you. Score!
Yeah for you!! I am thrilled for you!! How fun to find great stuff in the trash!!
Lucky you! The best thing I found curbside was a clean blacktopping bucket. To add insult to injury, my dad claimed it was his, so I had to give it to him. :) Great end of season bargins - I've been avoiding my favorite nursery for fear of impulse purchases. As for Coco's contribution to the photo, well, you know, everyone's a critic.
Awesome finds, Kim! The Petit Bleu caryopteris IS a dandy plant; I've become a big fan of caryopteris and now have three of them, various cvs. The only thing I ever pick up from curbside is bags of leaves....I just don't have the bargain hunting gene when it comes to garage and yard sales, flea markets, or dump days, I guess.
Nice finds. I can't believe anyone would throw out that window. I trash pick as well (but not as often as I like). Sometimes I am too shy. Two days ago a farmhouse with 5 acres put out an auction sign (Nov. 10) and family members are cleaning up and throwing stuff out in huge rollback dumpsters Every day I drive by and see old doors and windows sticking out of the dumpsters. I desperately want to stop and ask permission to sift through their trash. Perhaps today is the day. Great plants too. I will have to post soon on my clearance section finds.
Your comment about people setting things out ahead of time in the hopes that someone will take it reminds me of the time I trashpicked one of those old sewing machines--you know, wrought iron base, heavy carved wooden top with a sewing machine inside. I lifted that thing 4 different times, trying to figure out how to actually fit it into my car... and every time I caught sight of the house I could see the curtain swing closed because someone was watching! I thought about knocking on the door and asking for help, but I finally managed to upend it into my trunk, upside-down... lol.
me, wouldn't that be FUN?! I agree with your rear admiral that you need a separate studio. We all do, I think... just having someplace devoted to creativity is such a wonderful support.
jodi, I have admired caryopteris from afar but this is my first! Which one is your favorite--I might be amenable to trying on more. Or two more. You know how that goes. lol.
Dumpster diving is a fine hobby. My DH is way better than I am. Spotting something great and then thinking fast enough to stop and get it is a special gift, girl!
I still love your garden assistant!
Wonderful window! It even compliments the plants you have it sitting next to in the photo, so I am sure it will look great...whatever you decide to do with it. Good score!
What a great find! Lovely old door.
If I were you I would listen to your garden assistant's advice as to what to plant against the new fence :). No doubt it will be something edible.
There's an old police station near my house that was converted into apartments a long time ago. Last year the new owners took out all the old windows, lead and stained glass and put in new windows.
One day I was looking out the window and saw the pile of "cool" windows at in the alley and put on some clothes to run out and pick them up.
By the time I got down there two men that drive around in pickups looking for junk were fighting over the windows. I didn't feel like adding to the mix.


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Since that Venice is located not far from the enchanting islands of the lagoon, staying at the Hotel Corte Loredan in Venice it is worth visiting the colorful Burano, famous for its lace, the historical Torcello and Murano, the island of the glass.. On the page "How To Get To Burano" you'll find useful information about the itineraries to follow after you went to San Marco square or to Fondamente Nove, starting from Cannaregio 1863/d in Venice.
If you arrive to the Venice Marco Polo Airport or to the Treviso Canova Airport, it's possible to book a taxi transfer to reach Cannaregio 1863/d in Venice where Corte Loredan is located, by clicking on this link: taxi transfers in Venice.
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