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objective indications that the 1988 radiocarbon dating was invalid due to
erroneous sampling; and repeated peer-reviewed analyses of the image mode which
strongly contradict McCrone's assertions.
Both skeptics and proponents tend to have entrenched positions on the cause of
image formation on the shroud, which has made dialogue very difficult. This may
prevent the issue from ever being fully settled to the satisfaction of all
sides.
See the official Shroud Website here:
The Shroud
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Watch
the fascinating 3 part video below! |
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The
Shroud of Turin (or Turin Shroud) is an ancient linen cloth bearing the image of
a man who appears to have been physically traumatized in a manner consistent
with crucifixion. It is presently kept in the royal
chapel of the Cathedral of Saint John the Baptist in Turin, Italy. Some believe
it is the cloth that covered Jesus of Nazareth when he was placed in his tomb
and that his image was somehow recorded on its fibers at or near the time of his
proclaimed resurrection. Skeptics contend the shroud is a medieval hoax or
forgery — or even a devotional work of artistic verisimilitude. It is the
subject of intense debate among some scientists, believers, historians and
writers, regarding where, when and how the shroud and its images were created.
Arguments and evidence cited against a miraculous origin of the shroud images
include a letter from a medieval bishop to the Avignon pope claiming personal
knowledge that the image was cleverly painted to gain money from pilgrims;
radiocarbon tests in 1988 that yielded a medieval timeframe for the cloth's
fabrication; and analysis of the image by microscopist Walter McCrone, who
concluded ordinary pigments were used.
Arguments and evidence cited for the shroud's being something other than a
medieval forgery include the unusual properties of the image itself which some
claim could not have been produced by any image forming technique known before
the 19th century;
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* upward gouge in the side penetrating into the thoracic
cavity. Proponents claim this was a post-mortem event
and there are separate components of red blood cells and
serum draining from the lesion
* small punctures around the forehead and scalp
*
scores of linear wounds on the torso and legs.
Proponents claim that the wounds are consistent
with the distinctive dumbbell wounds of a Roman
flagrum.
* swelling of the face from severe beatings
* streams of blood down both arms. Proponents
claim that the blood drippings from the main
flow occurred in response to gravity at an angle
that would occur during crucifixion
* no evidence of either leg being fractured
* large puncture wounds in the feet as if
pierced by a single spike
More recent photo of
the face, positive left, negative right. Note:
Negative has been contrast enhanced.
Other physical characteristics of the shroud
include the presence of large water stains, and
from a fire in 1532, burn holes and scorched
areas down both sides of the linen due to
contact with molten silver that burned through
it in places while it was folded. Some small
burn holes that apparently are not from the 1532
event are also present. In places, there are
permanent creases due to repeated foldings, such
as the line that is evident below the chin of
the image.
On May 28, 1898, amateur Italian photographer
Secondo Pia took the first photograph of the
shroud and was startled by the negative in his
darkroom.[3] Negatives of the image give the
appearance of a positive image, which implies
that the shroud image is itself effectively a
negative of some kind. Pia was immediately
accused of forgery, but was finally vindicated
in 1931 when a professional photographer,
Giuseppe Enrie, also photographed the shroud and
his findings supported Pia
Image analysis by scientists at the Jet
Propulsion Laboratory found that rather than
being like a photographic negative, the image
unexpectedly has the property of decoding into a
3-D image of the man when the darker parts of
the image are interpreted to be those features
of the man that were closest to the shroud and
the lighter areas of the image those features
that were farthest. This is not a property that
occurs in photography, and researchers could not
replicate the effect when they attempted to
transfer similar images using techniques of
block print, engravings, a hot statue, and
bas-relief |
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Characteristics
Secondo Pia's 1898 negative of the image on the Shroud
of Turin has an appearance suggesting a positive image.
It is used as part of the devotion to Holy Face of
Jesus.
The shroud is rectangular, measuring approximately 4.4 ×
1.1 m (14.3 × 3.7 ft). The cloth is woven in a
three-to-one herringbone twill composed of flax fibrils.
Its most distinctive characteristic is the faint,
yellowish image of a front and back view of a naked man
with his hands folded across his groin. The two views
are aligned along the midplane of the body and point in
opposite directions. The front and back views of the
head nearly meet at the middle of the cloth. The views
are consistent with an orthographic projection of a
human body, but may also be the work of an artist.
The "Man of the Shroud" has a beard, moustache, and
shoulder-length hair parted in the middle. He is
muscular and tall (various experts have measured him as
from 1.75 m, or roughly 5 ft 9 in, to 1.88 m, or 6 ft 2
in). For a man of the first century (the time of Jesus'
death), or of the Middle Ages (the time of the first
uncontested report of the shroud's existence and the
proposed time of a possible forgery), these figures
present an above-average although not abnormal
height.[10] Reddish brown stains that have been said to
include whole blood are found on the cloth, showing
various wounds that, according to proponents, correlate
with the yellowish image, the pathophysiology of
crucifixion, and the Biblical description of the death
of Jesus:[11]
* one wrist bears a large, round wound, claimed to be
from piercing (the second wrist is hidden by the folding
of the hands)
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