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Radiocarbon dating of the Shroud of Turin
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To obtain independent and replicable results, and to avoid conflict between the laboratories, it was decided to let all interested laboratories perform the tests at the same time. However, a disagreement between the S. In the end, a compromise solution was reached with the so-called “Turin protocol”,   which stated that: These deviations were heavily criticized.
Shredding the samples would not solve the problem, while making it much more difficult and wasteful to clean the samples properly. However, in a paper Gove conceded that the “arguments often raised, … that radiocarbon measurements on the shroud should be performed blind seem to the author to be lacking in merit; … lack of blindness in the measurements is a rather insubstantial reason for disbelieving the result. We are faced with actual blackmail: Among the most obvious differences between the final version of the protocol and the previous ones stands the decision to sample from a single location on the cloth.
Testore performed the weighting operations while Riggi made the actual cut. Also present were Cardinal Ballestrero, four priests, archdiocese spokesperson Luigi Gonella, photographers, a camera operator, Michael Tite of the British Museum, and the labs’ representatives. An outer strip showing coloured filaments of uncertain origin was discarded.
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Oxford and Cambridge also share a common collegiate structure: Applicants must choose a specific college when applying to Oxford or Cambridge, or allow the university to select one for them, as every undergraduate and graduate student must be a member of one of the colleges. Degrees are also awarded by the central university and not by the individual colleges.
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Welcome to Oxford Welders
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Liz Grant: The Dating Game Gets a New Head Coach in Oxford
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Merton College Chapel interior By the late s the old church of St John the Baptist had fallen into “a ruinous condition”,  and the college accounts show that work on a new church began in about The present choir , with its enormous east window, was complete by The window is an important example because it is so well dated of how the strict geometrical conventions of the Early English Period of architecture were beginning to be relaxed at the end of the 13th century.
The great tower was complete by The chapel replaced the parish church of St. John and continued to serve as the parish church as well as the chapel until It is for this reason that it is generally referred to as Merton Church in older documents, and that there is a north door into the street as well as doors into the college. This dual role also probably explains the enormous scale of the chapel, which in its original design was to have a nave and two aisles extending to the west.
The choir is directed by Peter Phillips , currently also director of the Tallis Scholars , and Benjamin Nicholas, a former director of music at Tewkesbury Abbey. A spire from the chapel has resided in Pavilion Garden VI of the University of Virginia since , when “it was given to the University to honor Jefferson ‘s educational ideals.
The hall is still used daily for meals and houses a number of important portraits. It is not usually open to visitors. Front quad itself is probably the earliest collegiate quadrangle , but its informal, almost haphazard, pattern cannot be said to have influenced designers elsewhere. A reminder of its original domestic nature can be seen in the north east corner where one of the flagstones is marked “Well”.
The Best Shots Fired in the Oxford Comma Wars
Like everything about him the playwright, not the proxy , the actual dates of his plays are simply not there in the record. Half the plays in the Folio were published there for the first time. Information about the plays is scarce, almost nonexistent.
Shakespeare’s Stratford Monument Shortly after Shakespeare’s death, a monument was erected to his memory in his home town of Stratford. However, many Oxfordians believe that the monument originally depicted Shakespeare holding a sack, and that it was subsequently altered to depict him as a writer. Their basis for thinking this is an engraving of the monument which appeared in William Dugdale’s Antiquities of Warwickshire in , and which depicts a monument significantly different from what we see today; Charlton Ogburn writes in The Mysterious William Shakespeare that “there seems scant room for doubt that the subject of the original sculpture was not a literary figure but a dealer in bagged commodities” p.
However, the evidence is overwhelmingly against the Oxfordian scenario. Spielmann’s detailed discussion of the monument , and his demonstrations of the many errors and inconsistencies to be found in seventeenth-century engravings. Then read David Kathman’s discussion of 17th-century references to the monument, which shows that it was always seen as representing a famous poet and not a grain dealer. We have also put up illustrations of both the Stratford monument and Dugdale’s rendition.
Why It’s Not Queen Elizabeth Antistratfordians since the mid s have found something fishy about the famous Droeshout engraving that graces the title page of the First Folio. In , Lillian Schwartz tried to put a scientific gloss on such speculations when she wrote an article for Scientific American which used computer modelling to suggest that the Droeshout portrait is actually of Queen Elizabeth. But as Terry Ross shows in this article , Schwartz’s methods left a lot to be desired, and although her very tentative conclusions have been accepted as gospel by eager antistratfordians, a fresh look shows just how different Shakespeare and Elizabeth were.
Why It’s Not the Earl of Oxford More than half a century before Schwartz, Oxfordian Charles Wisner Barrell wrote another article for Scientific American, in which he attempted to use X-rays to show that the so-called “Ashbourne Portrait,” often taken to be of Shakespeare, is actually a painted-over portrait of the Earl of Oxford. Yet even though Barrell’s results were conclusively debunked more than 20 years ago, they’re still accepted uncritically by many antistratfordians. Read David Kathman’s brief article for the full story.
Tudor Aristocrats and the Mythical “Stigma of Print” Oxfordians claim that Edward de Vere could not have been named as the author of Shakespeare’s works because doing so would have violated the Elizabethan social code, which prohibited aristocrats from having works published under their own names.