The purpose of this essay collection is to recover color's complex and sometimes morally troubling past. By emphasising color's materiality, and how it was produced, exchanged and used, contributors draw attention to the disjuncture between the beauty of color and the blood, sweat, and tears that went into its production, circulation and application as well as to the complicated and varied social meanings attached to color within specific historical and social contexts.

"Men are haunted by the vastness of eternity" The opening line of the film Troy captures the tragic essence of personal mortality: ones' passing into oblivion and fading from all memory. Since the prehistoric dawn of humanity death has shadowed everyone’s footsteps. Even into the current scientific era religion has long been the only defense. The sole comfort against oblivion offering a promise of new life or even immortality. The Geologic Model of Religion is a sympathetic study of this defense from its ancient beginnings, drawing upon archaeology, anthropology and comparative religion to clearly explain one of the most complex subjects known. From the study a new model emerges which: * Decomposes religion into its distinct worldview and afterlife paradigms * Categorizes evidence of belief systems held by prehistoric hunter-gatherers, culminating in the Temples of Rebirth such as Gobekli Tepe * Concludes that spirituality began in the Fertile Crescent 11,000 years ago, spreading with the Neolithic revolution throughout the world * Shows why judgment in afterlife was the keystone in the emerging edifice of civilization, and how it enabled hierarchies overcoming Dunbar's number which limited village sizes * Overviews the interaction between science and religion and projects the ultimate fate of religion itself There might be 100,000 books written about religion but the Geologic Model of Religion is unlike any other. Drawing upon evidence from anthropology, archaeology and scripture religion is divided into worldviews and afterlife paradigms. This new model evidences several long lost prehistoric religious belief systems and explains the origin of spirituality in settled societies.

Nathan Archer is a Professor of Medieval Studies at the University of Chicago, and a forensic historian who believes that Leonardo Da Vinci created a perfect copy of the Sindon, the burial cloth of Christ known as the Shroud of Turin. Citing an unpaid commission by the House of Savoy to paint a replica, he searches for proof that the renaissance master employed techniques that took four centuries to discover the faded image of the crucified Jesus.Divorced by his wife and ridiculed by his peers for what many feel does not take into account its biblical timeline, Archer travels with Sindonologist Amanda Wilkes across Europe at the request of a stranger who insists that he can help them solve the riddle of the Holy Grail, and the fate of the last Knights Templar. What they discovered at the ruins of the Temple of Solomon is bound up with the flight of Joseph of Arimathea from Jerusalem. Everywhere they turn, colleagues are dying or revealing themselves to be something other than what they truly are. No one is to be trusted, as Archer and Wilkes are accused of crimes committed just before or after they find another clue. Others pursuing them will stop at nothing to fulfill biblical prophecy, and bring about the end of the world. The only way the two experts can stop them is to discover the truth about its origins, and prevent its theft.

A story of family secrets and taboos, No Pockets in a Shroud unfolds like a Chinese box, a story within a story. The core story involves two brothers in love with the same woman. In the first generation, the mother, Miss Magg, loved the younger brother, Tigter Godbolt. However, an insecrure orphan, Miss magg wound up marrying the older staid brother, Reverend Godbolt, for secuity. Irnonically, years later, the daughter, Nefertiti, also marries the brother who was her parents' 'pick, ' as the original love triangle is mirrored in the next generation

Vol. 3 adds section "The Entomological monthly."

The human body is both the site of lived experiences and a means of communicating those experiences to a diverse audience. Hominins have been culturing their bodies, that is adding social and cultural meaning through the use pigments and objects, for over 100,000 years. There is archaeological evidence for practices of adornment of the body by late Pleistocene and early Holocene hominins, including personal ornaments, clothing, hairstyles, body painting, and tattoos. These practices have been variously interpreted to reflect differences such as gender, status, and ethnicity, to attract or intimidate others, and as indices of a symbolically mediated self and personal identity. These studies contribute to a novel and growing body of evidence for diversity of cultural expression in the past, something that is a hallmark of human cultures today.

Two decades after radiocarbon dating declared the Turin Shroud a mediaeval fake, brand-new historical discoveries strongly suggest that this famous cloth, with its extraordinary photographic imprint, is genuinely Christ's shroud after all. In 1978 in his international bestseller The Turin Shroud Ian Wilson ignited worldwide public debate with his compelling case endorsing the shroud's authenticity. Now, 30 years later, he has completely rewritten and updated his earlier book to provide fresh evidence to support his original argument. Shroud boldly challenges the current post-radiocarbon dating view - that it is a fake. By arguing his case brilliantly and provocatively, Ian Wilson once more throws the matter into the public arena for further debate and controversy.

After a New Jersey priest has a near-death experience he begins to resemble the image depicted on the Shroud of Turin, prompting a skeptical Vatican representative to investigate the claim and subsequently question the assumptions he has held for so long. THE PRIEST… Brought back to life on an operating room table, Father Paul Bartholomew is haunted by visions of Christ as Golgotha. Then, as he celebrates Mass, blood starts running down his arms. The horrified congregation watches him collapse, his vestments soaked in the blood pouring from wounds on his wrists. Mysteriously, he now resembles in almost every physical aspect the Christ-like figure represented on the Shroud of Turin. THE SKEPTICS… Worried lest Bartholomew’s case be proved a hoax, the Vatican employs two prominent scientists to investigate. Dr. Stephen Castle, an American psychiatrist, is renowned for his book arguing that religion is a figment of human imagination. Professor Marco Gabrielli, an Italian religious researcher and chemist, has made a career of debunking supposed miracles, of explaining the unexplainable. THE MIRACLE… For centuries, the Shroud of Turin has defied science. Is this ancient remnant truly Christ’s burial cloth, or the biggest fraud ever perpetrated? When the priest’s uncanny resemblance to the picture on the Shroud prompts Castle and Gabrielli to investigate the artifact itself, each is finally forced to face mysteries reason alone cannot explain—in a journey of discovery that plumbs the farthest reaches of science and the human spirit.

It was a crime scene investigation like no other. A man was tortured, beaten, and killed. He was popular with the people, but many in power wanted Him dead. After a mock trial, the powerful had their way. He was given a hasty burial, but now the body has disappeared. Was there a clue left behind? A bloody sheet offers evidence of a horrific execution. Was the body stolen? By whom and why? Did it just vanish? What does the cloth reveal about the disappearance? The Shroud of Turin (Italy) bears the faint front and back image of a bearded crucified man with corresponding bloodstains that match the Gospel accounts of what happened to Jesus. It is the most analyzed artifact in the world yet remains an unsolved mystery. While there are no artistic substances on the linen cloth, the blood is real, and testing corresponds with type AB. The blood has soaked through the cloth; however, the image resides only on the top 1 percent of the surface fibers. Could it be the same Shroud that wrapped Jesus in the tomb? The Shroud poses the ultimate either-or proposition as either the actual burial cloth of Jesus or the product of human effort, as a work of devotional art or a masterful hoax. There is nothing in between. The culmination of a lifetime of research, countless presentations, and ongoing associations with Shroud experts worldwide, Russ Breault's Shroud Encounter--Explore the World's Greatest Unsolved Mystery examines the science, history, and theology surrounding this profound enigma. If proven one day to be authentic, the implications could truly shake the world.