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• Arguments against the Shroud's authenticity are prima facie, supported by carbon 14 dating and a prevailing view of the way things are in the world. ...
• Historians think that the Edessa Cloth, also known as the Mandylion, is what we now call the Shroud of Turin. ...
• Blood stains and forensic analysis link it to the Shroud. ...
• 9  Scholars have found an amazing connection between the Shroud and depictions of Christ. ...
• 12  If the Shroud is indeed the Edessa Cloth, as most Shroud scholars now believe, then what happened to it after the sack of Constantinople? MORE ON THE MISSING YEARS.
• 13  The Shroud was displayed in Lirey, France in the 1350's. ... It is now in Turin, Italy. Nothing in its later history has been more significant than a century of research since Secondo Pia's amazing discovery of its negative image properties in 1898.  MORE ON THE SHROUD'S LATER HISTORY.
• " My best understanding is that the Shroud of Turin is a medieval relic-forgery. ...
• A TIMELINE FOR THE SHROUD.
• 8  The Shroud is an old, blood-stained piece of linen with traces of dirt. The historical  nature of the cloth, the peculiarities of the blood stains, and the particles of travertine aragonite limestone dirt that suggest an origin in Jerusalem, are all significant to understanding the Shroud's origins. ...
• 11  Twentieth century forensic medicine tells us that the image on the Shroud is an anatomically correct picture of man in a state of rigor mortis who was tortured and crucified. ...
• 5  Chemists and art scholars have ruled out the possibility that the Shroud is a painting or any other known form of art, including photography. ...

• RESURRECTION OF THE SHROUD OF TURIN.
• The Shroud of Turin is an ancient piece of fine linen, 14 feet 3 inches long by 3 feet 7 inches wide, with the front and back images of a male who has been scourged, beaten, crowned with thorns, crucified, and pierced in the heart in a manner consistent with the crucifixion of Jesus of Nazareth as described in Scripture. ...
• The last information that most Christians have on the Shroud of Turin is from the 1988 carbon 14 dating studies which announced world-wide, on the basis of a test on a single sample from the Shroud by three laboratories, that the Shroud is a medieval fake dating 1260-1390 A. ... This reinforced a long-standing claim by one individual that the Shroud image is a medieval European painting. He bases this claim on his observation of threads with a pigment coating found on 1978 sticky tape samples from the surface of the Shroud. Also, in 1994, a claim received wide media coverage that some investigators had supposedly been able to replicate all of the features of the Shroud image by a carbon dusting art technique, thus claiming to have driven the last nail into the coffin of the authenticity of the Shroud of Turin. Almost as to sign the death certificate of the Shroud and seal it in a tomb, three books have come out in the past year 1994, all claiming to reveal the truth about the Shroud. Two claimed that the image of the Man on the Shroud showed that he was not really dead, but only in a coma, and hence not needing a resurrection. The third supposedly proved that the Shroud was actually a photograph produced by Leonardo da Vinci. ...
• Recent studies by a number of other investigators have shown these desperate attempts to debunk or discredit or distort the Shroud of Turin are fallacious, and that the Shroud remains the most intensively studied, the most controversial, the most mysterious, and the most remarkable object in existence. ...
• The single sample from the Shroud was taken from the dirtiest corner of the Shroud in an area that was rewoven, probably in the 17th century, in complete violation of the protocol for detailed analysis of seven different samples set up by a commission of 24 carbon dating experts in Turin in 1986. ... Living bacteria and fungi were found growing inside the linen fibers of the Shroud. Tests have shown that atmospheric carbon would have been chemically bonded to the Shroud linen during the fire of 1532 which produced the scorch marks and holes now seen on the shroud. ...
• Most remarkably, studies on the image fibers on the Shroud itself have shown that the image is due to a physical/chemical change in the surface of the fibers themselves, and that there are no pigments, dyes, or stains (other than the obvious blood) to account for the image. Detailed studies on the body image, and of the many non-body objects whose images have been identified on the Shroud, such as the coins over the eyes, the phylacteries or Jewish prayer boxes, the crucifixion nails, the Roman spear, and the hundreds of flowers, indicate that the visible images were formed in part by electron corona, which is a high voltage electrical current which flows over the surface of objects and is discharged from irregularities and high points on the objects. More recent studies of the three-dimensional images produced by superimposing the positive and negative photographs on top of one another show that the underlying skeletal system of the hands, wrists, skull and teeth can be clearly seen on the Shroud. ... , soft X-rays came vertically from the depths of every portion of the body and combined with the coronal images from the surface to produce the body image that we see on the Shroud. ... The appearance of the blood clots shows that the body disappeared from within the Shroud without the cloth being unwrapped. ... Attempts to date the Shroud to the middle ages are absurd, as there are identifiable images of two Jewish coins, the 'leptonsô or widow's mites of Pontius Pilate, one over each eye. ... Eusebius, the early Church historian, dates the transfer of an object (the Shroud, which was rolled and mounted in a frame so that only the face showed) from Jerusalem to King Abgar in Edessa in A. ... There are statues of various divinities in the Middle East which are clearly influenced by the Shroud face 8 mm. ... 692 and showing about 180 points of congruence between the coin image and the Shroud. This shows clearly that the die cutters and iconographers were copying their images directly from the Shroud, and that they considered the image to be of divine origin and to be that of Jesus. Attempts to localize the origin of the Shroud to Europe equally fail.

• Return to CINBVM Table of Contents Fw: Shroud of Turin Report.
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• The description below about the Shroud of Turin resembles those of the .
• MYSTERIES OF THE SHROUD OF TURIN .
• TURIN, APR 9 (ZENIT) - Is the Shroud of Turin actually the burial cloth of .
• The modern interest in the Shroud first arose in May 1898, when the .
• Italian photographer Secondo Pia took pictures of the cloth. ...
• The shroud is displayed only rarely, a few times per century at the most. ...
• recall the first photographs of the shroud, taken in May 1898, as well as .
• The viewing of the shroud is free, but requires preregistration .
• official Shroud of Turin web site: http://sindone. ...
• shroud is its archeological uniqueness. ...
• to photos of the shroud have shown the presence of coins in the eyes of the .
• the man of the shroud appears not to have been a simple "wreath" as shown .
• The nail wounds on the shroud do not go through the palms, but .
• The face of the man on the shroud resembles that of Christ in most .

• Pharmacist Uses Holy Shroud as Aid to Conversion.
• " For the past fifteen years Bill Grimme has presented a 50-minute slideshow on the subject of the Holy Shroud of Turin, long believed to be the sacred burial cloth of Jesus. Grimme believes that when used with the Scriptures, the Shroud "can be the greatest visual aid in existence for bringing understanding and the reality of Jesus Christ toward conversion. " He talks of the Shroud as a visual catechesis.
• " He has believed in the authenticity of the Holy Shroud since his mother gave him a prayer card of the photographic image when he was a boy. As an adult, his scientific background has assisted him in evaluating the scientific research and convinced him of the authenticity of the Shroud. ... " For this reason, he says, scientists sometimes refer to the Holy Shroud as a "fifth Gospel. ...
• , had her students write their reactions to Grimme’s Shroud presentation.
• One student, presumably 13 or 14, wrote after the Shroud presentation: "I learned that Jesus really did walk the earth and is really real. ...
• Many of the men, he said, expressed fully their love for Jesus after hearing about the Shroud. ...
• " Recent history of the Shroud began in 1898 when the Archbishop in Turin was about to relegate the Holy Shroud to a museum. A picture was taken of the cloth for catalogue purposes by Secondo Pia. He found that the image of the Shroud was, in fact, a negative, exactly like that of a black-and-white photo. ...
• The Shroud also shows clear evidence of more than 160 wounds from a severe scourging with a weighted whip, a large wound in the side of the chest as from the thrust of a spear, and streams of blood in the hair and on the brow from a crown of thorns (so far as we know a unique torture invented to mock Christ).
• Air Force Academy in Colorado Springs were stunned when they placed a photograph of the face of the Shroud in a state-of-the-art computerized image enhancer that had been designed for the Mariner Space Program. The Shroud picture was found to contain encoded information which produced an uncanny three-dimensional image. It is therefore possible, say scientists, that the image of the Shroud contains X-ray information. ... Current technology makes possible a computer "map" of the Shroud, which will be very useful when conducting future experiments.

•  Scientific and Historical Research: The Shroud of Turin.
• Scientific and Historical Research: The Shroud of Turin .
• Is the Shroud of Turin the .
• Scientific and Historical Research apropos the Turin Shroud.
• In this article, I outline some of the more prodigious characteristics of the Shroud of Lirey-Chambéry-Turin's image and highlight the inadequacy of the various image formation theories postulated this century. A review is then given of some of the findings of a recently established body of evidence (1) which strongly indicates that the image which appears on the Shroud of Turin was produced by means of a technique which (it is normally assumed), was only invented in the late eighteenth century, viz: negative photography. ...
• High above the altar of the Royal Chapel of Turin Cathedral, reposes a linen cloth which is believed by some to be the actual burial cloth of Jesus Christ. This historically unique relic, known popularly as the Holy Shroud of Turin, and which contains a highly naturalistic (albeit negative), two-fold image of a naked man has a pedigree stretching back to its first recorded exposition in Lirey in 1357 AD. In this regard, carbon dating tests undertaken by the radiocarbon laboratories of Oxford, Tucson and Zurich in 1988 seem to support the interpretation that the Shroud of Turin was produced sometime between 1260 - 1357 AD (Damon 1989:611-615).
• In appearance, the Shroud is an ivory-coloured linen strip, woven in a herringbone twill which measures c. ... Indeed, most authorities who have had the privilege of seeing the Shroud at first-hand, confirm that the image is so faint that it is visually coherent only at a distance of some seven metres (Wilson 1978:9). In addition to this, it is important to keep in mind that only since 1898 (when Secondo Pia took the first photographs of this relic) has it been possible for anyone to appreciate that the image has many of the characteristics of a modern day photographic negative, ie all highlights are depicted as shaded areas, and conversely, all dark and shaded areas are shown as highlights. For example, if the polarity of this image is reversed (eg by making a photographic negative of the Shroud) one can clearly see a positive, seemingly three-dimensional image of a man. ... ) This positive version of the Shroud's image (contrary to its normal negative appearance) is highly naturalistic and detailed. ...
• The frontal image as found on the Shroud of Turin.
• A negative photograph of the the frontal image as found on the Shroud of Turin showing a detailed positive image.

• Jesus and the Shroud of Turin - Questar Inc.
• Starring: Jesus & The Shroud of Turin.
• Ancient Mysteries: The Shroud of Turin - A & E Entertainment.
• The Shroud of Turin: An Adventure of Discovery - Providence House Publishers - Mary Whanger, Alan Whanger.
• Customer Reviews for Jesus and the Shroud of Turin:.
• This video is an excellent documentary of the Shroud's history and scientific investigation. ... The Shroud is not a "dead" issue. ...
• I never knew that In 1898, Secondo Pia took the positive photograph. ...

• Porter for his outstanding and comprehensive synthesis of recent conclusions on the Resurrection problem and the Shroud of Turin. ...
• It makes it even more improbable, in the light of the carbon dating to between 1260 and 1390 of the Holy Shroud, making the latter blatantly obvious as medieval and a "nonsense" to the world in real terms.
• It was never my complete reaction to reject the Shroud. ...
• Which brings me to the Turin Shroud. ...
• So why did this countenance manifest itself with all the characteristics which belonged to him during his lifetime? These are clearly evident, if without prejudice we observe the Secondo Pia 1898 photographs, as Daniel Porter states: "There are blood stains seemingly in the man's hair not in proper registration with the source wounds on the side of the forehead: thus indicating that the cloth was in a different position when the bloodstains and images were formed. ...
• It is possible that the photographs are much more representative of the all pervading life body transmuting the Shroud images into a body of light than even the extraordinary negative of that body as seen on the original cloth.
• It is surely to see the transcendent aspect more clearly through the lens of Secondo Pia and the full-length figure of Enrie in 1931.
• After all, was it not Thomas the doubter to whom the revelation was given of the wounds in the Saviour's side and of his psychophysical presence? Is this in fact a biblical reference to a happening that took place in actuality with regard to the marks on the Shroud that Thomas could see and touch with his own hands? .
• "New and Undisclosed Secrets of the Turin Shroud" (price £8. ...
• The Gallery houses a permanent exhibition on the Turin Shroud and also paintings by Norma Weller.

• Shroud scholar and historian Ian Wilson theorizes that a common set of facial characteristics became the norm following the discovery of the Edessa Cloth concealed in the city's walls in 544 CE. ...
• Apparent Shroud-inspired images of Christ are noticeable on coins struck in 692 CE during the reign of the Byzantine emperor Justinian II. The distinctive front-facing appearance of Jesus on the Shroud is also found on numerous icons, mosaics and frescos from the sixth century on. ...
• Computerized overlay of the Shroud of Turin facial image and the Christ Pantocrator icon from St. ...
• In the 1930's, French Shroud scholar Paul Vignon described a series of common characteristics visible in many early artistic depictions of Jesus. The Vignon marking, as they are known, all appear on the Shroud suggesting that it is the source of later pictures of Jesus. ...
• The Council for the Study of the Shroud of Turin (CSST) website has some excellent movie (AVI) graphics of the Polarized Image Overlay Technique being used. ...
• "Using our Polarized Image Overlay Technique, we have examined hundreds of depictions of Jesus in every type of artistic medium from one-fourth-inch-high faces on coins to gigantic mosaics covering the ceilings of great cathedrals from the sixth century on, and we have been able to show that the Mandylion/Shroud face was used as the prototype for almost all of these images. "Mary and Alan Whanger from their book, The Shroud of Turin: An Adventure in Discovery .
•   Search Shroud. ...
• If indeed the Shroud was the source for many works of art including icons as early as 550 CE and Byzantine period coins struck during the time of Justinian II (685-711 CE), it is inconceivable that the Shroud is a medieval forgery.
• Historians think that the Edessa Cloth, also known as the Mandylion, is what we now call the Shroud of Turin. ...
•  IT IS NOT A WORK OF ART  Chemists and art scholars have ruled out the possibility that the Shroud is a painting or any other known form of art, including photography. ...
• THE CARBON 14 TESTS  Scientists, who have examined the evidence, seriously question results  of 1988 carbon 14 tests that determined that the Shroud had a medieval origin. ...
• Blood stains and forensic analysis link it to the Shroud. ...
• ABOUT THE CLOTH  The Shroud is an old, blood-stained piece of linen with traces of dirt. The historical  nature of the cloth, the peculiarities of the blood stains, and the particles of travertine aragonite limestone dirt that suggest an origin in Jerusalem, are all significant to understanding the Shroud's origins. ...

• New and Undisclosed Secrets of The Turin Shroud.
• During the last decade, simmering beneath the surface of everyday happenings, a growing revelation has taken place in our understanding of Christianity and, in particular, the vastly influential and critically important issue of the authentication, or denigration of the Turin Shroud, the most widely debated Image in the World. ...
• First revealed in 1898 by Secondo Pia from faint markings on a burial cloth, when developed from a photographic negative, it mysteriously manifested as the recognisable countenance of a crucified man.
• To drink from that well is the beginning of understanding, for in the interpretations of what Christ taught to his intimate disciples we might discern how and why the peculiarly mystical nature of Christ's revelation bore a direct relevance to the Man of the Shroud.
• The extraordinary thing is that the Turin Shroud Image in every detail reveals who and what he was by certain telling signs, but regrettably there is little knowledge of Mandean-Nazarene rites, and still less acceptance by orthodox Church teachings of the early Gnostic origins of Christianity. ...
• Therefore now is the time to enumerate and explore the salient features of the Turin Shroud and its relation to early Nazarene burial customs and identify the different Church and Nazarene concepts of resurrection.
• It certainly was not a painting, for no details such as those described could possibly have been known by anyone until this century, so a medieval forgery the Shroud certainly was not.
• New and Undisclosed Secrets of the Turin Shroud, a permanent exhibition at:.
• Ian Wilson had worked with NASA to achieve this effect on the Turin Shroud, but apparently felt that the enclosed intensifications came nearer than any other process to defining the face. He claimed it was a world first at a presentation of them at the Turin Shroud Society in London.

• You are here: Shop Home > Video > Jesus and the Shroud of Turin .
• Jesus and the Shroud of Turin.
• starring: Jesus & The Shroud of Turin.
• Description:Everyone knows the Shroud of Turin is a forgery--right? Didn't scientists establish its age as only a few hundred years with superreliable carbon dating? Not so fast--the producers of Jesus and the Shroud of Turin have another story. Through interviews with Shroud scholars from fields including scientific photography, botany, and medicine, they try to show that the Shroud could only have been made in Jerusalem, and only 2,000 years ago. ...
• Ancient Mysteries: The Shroud of Turin.
• The Shroud of Turin: An Adventure of Discovery.
• Jesus and the Shroud of Turin.
• This video is an excellent documentary of the Shroud's history and scientific investigation. ... The Shroud is not a "dead" issue. ...
• I never knew that In 1898, Secondo Pia took the positive photograph. ...
• You are here: Shop Home > Video > Jesus and the Shroud of Turin .

• The Shroud of Turin. ...
• In this article, we attempt to outline some of the more prodigious characteristics of the Shroud of Lirey-Chambйry-Turin's image and highlight the inadequacy of the various image formation theories postulated this century. A review is then given of some of the findings of a recently established body of evidence which strongly indicates that the image which appears on the Shroud of Turin was produced by means of a technique which (it is normally assumed), was only invented in the late eighteenth century, viz: negative photography. ...
• High above the altar of the Royal Chapel of Turin Cathedral, reposes a linen cloth which is believed by some to be the actual burial cloth of Jesus Christ. This historically unique relic, known popularly as the Holy Shroud of Turin, and which contains a highly naturalistic (albeit negative), two-fold image of a naked man has a pedigree stretching back to its first recorded exposition in Lirey in 1357 AD. In this regard, carbon dating tests undertaken by the radiocarbon laboratories of Oxford, Tucson and Zurich in 1988 seem to support the interpretation that the Shroud of Turin was produced sometime between 1260 - 1357 AD (Damon 1989:611-615).
• In appearance, the Shroud is an ivory-coloured linen strip, woven in a herringbone twill which measures c. ... Indeed, most authorities who have had the privilege of seeing the Shroud at first-hand, confirm that the image is so faint that it is visually coherent only at a distance of some seven metres (Wilson 1978:9). In addition to this, it is important to keep in mind that only since 1898 (when Secondo Pia took the first photographs of this relic) has it been possible for anyone to appreciate that the image has many of the characteristics of a modern day photographic negative, ie all highlights are depicted as shaded areas, and conversely, all dark and shaded areas are shown as highlights. For example, if the polarity of this image is reversed (eg by making a photographic negative of the Shroud) one can clearly see a positive, seemingly three-dimensional image of a man. This positive version of the Shroud's image (contrary to its normal negative appearance) is highly naturalistic and detailed. ...
• In addition, since 1532, the Shroud's image has been marred and visually dominated by unsightly scorch marks caused by an accidental fire.
• If it is to be accepted that the Shroud is, in fact, simply a painted/dyed/stained product of a medieval band of forgers, intent only on profit and gain, then why is our culture (with its highly sophisticated technology and expertise) still unable to explain its means of production, far less duplicate it? Also, (assuming as most people do, that this image was intended to be read as an imprint of Jesus Christ) why did its creators go to so much trouble over this relic when, conceivably, they could have quite easily satisfied the needs of the credulous with a production far less sophisticated than the Shroud actually is. ... However, the Shroud not only shows Christ uncharacteristically naked, but with the marks of the nails in his wrists and with the marks of a `helmet' rather than a `crown' of thorns. ...
• In addition to these non-conformist, possibly heretical depictions of Christ, the image in the Shroud (as revealed by Pia's negative photographs), displays a degree of anatomical/medical/pathological knowledge that simply was not available to even a prominent medieval natural philosopher let alone a medieval artist or forger of relics. Indeed, the depiction by the Shroud of such anatomical details as the reflex action of the thumb when an object is forced into the wrist at the Place of Destot was not documented until this century (ie by Barbet in the early 1930s). ...

• The Shroud of Turin is generally thought to be a remarkable medieval artifact. ... Ever since the 1988 radiocarbon dating, which placed the famous Shroud of Turin as having originated somewhere between 1260 and 1390, the matter has disappeared from our cultural radar screen. ...
• Ever since the 1988 radiocarbon dating, which placed the famous Shroud of Turin as having originated somewhere between 1260 and 1390, the matter has disappeared from our cultural radar screen. The Shroud is generally thought to be a remarkable medieval artifact. ...
• Ian Wilson, author of a previous book on the Shroud, has produced here a magnificent state-of-the-question study, remarkable both for its scholarship and for its philosophical poise. ...
• Wilson is scrupulously fair, although he does hope passionately that the Shroud is genuine. ...
• Documents follow the Shroud very far back in time. ...
• In 1898, Secondo Pia discovered that the Shroud had never been properly seen. ...
• Experts on anatomy, examining Secondo Pia’s negatives and other evidence, have found that the image has details that no medieval artist is at all likely to have guessed. ...
• If this shroud is authentic, the body did not long remain in contact with it. ...
• Where does all this leave the Shroud question today? Mr. ... The Shroud incorporates its history, and we are not going to get a clean shot at dating it on the basis of radiocarbon. ...
• In assessing the probabilities, I find it much easier to consider the Shroud authentic than to hypothesize that it was — somehow — created in 1260-1390. ...
• But if the Shroud is indeed authentic, then what produced the straw-colored image? .
• Wilson has given us a most valuable book about history, about weighing the possibilities, and about the state of the Shroud question.
• The Blood and the Shroud: New Evidence That the World’s Most Sacred Relic Is Real, by Ian Wilson (Free Press, 333 pp. ...

• New: Discuss the Shroud of Turin at ShroudForum. ... And see the new Shroud Topics Blog.
• Arguments against the Shroud's authenticity are prima facie, supported by carbon 14 dating and a prevailing view of the way things are in the world. ...
• Historians think that the Edessa Cloth, also known as the Mandylion, is what we now call the Shroud of Turin. ...
• Blood stains and forensic analysis link it to the Shroud. ...
• 9  Scholars have found an amazing connection between the Shroud and depictions of Christ. ...
• 12  If the Shroud is indeed the Edessa Cloth, as most Shroud scholars now believe, then what happened to it after the sack of Constantinople? MORE ON THE MISSING YEARS.
• 13  The Shroud was displayed in Lirey, France in the 1350's. ... It is now in Turin, Italy. Nothing in its later history has been more significant than a century of research since Secondo Pia's amazing discovery of its negative image properties in 1898.  MORE ON THE SHROUD'S LATER HISTORY ANOTHER SITE WORTH VISITING .
• " My best understanding is that the Shroud of Turin is a medieval relic-forgery. ...
• A TIMELINE FOR THE SHROUD.
• 8  The Shroud is an old, blood-stained piece of linen with traces of dirt. The historical  nature of the cloth, the peculiarities of the blood stains, and the particles of travertine aragonite limestone dirt that suggest an origin in Jerusalem, are all significant to understanding the Shroud's origins. ...
• 11  Twentieth century forensic medicine tells us that the image on the Shroud is an anatomically correct picture of man in a state of rigor mortis who was tortured and crucified. ...

•   A Christmas Lesson & The Shroud.
• Most scholars who have studied the Shroud extensively agree that there is no explanation. ...
• The image is the face on the Shroud of Turin. ...
• Numerous tests including visible, ultraviolet and infrared light spectrometry; x-ray fluorescence spectrometry; and direct microscopic viewing of the Shroud confirm that the images were not painted.   Other tests on particle samples collected from the Shroud’s surface including microchemistry analysis, pyrolysis-mass-spectrometry, and laser-microprobe Raman analyses further confirm this. ...
• A pixel (picture element) can be a dot, a short line or, as with the Shroud, a discrete length of fiber colored by the chemical alteration of the cellulose. ...
• The images on the Shroud are not black and white, but they are monochromatic; that is, they are of a single color. ... It is interesting to note that on a high quality inkjet printer (1200 dots per inch), the ink droplets are about 60 microns across, whereas on the Shroud, the image-bearing fibrils are only about 15 microns thick or about one fifth the thickness of typical human hair. ...
• In this sense, the images on the Shroud are like photographic negatives. In the example shown here, the image of a face on the left is as the image appears on the Shroud. ... This attribute was discovered more than a century ago, when in 1898, a photographer named Secondo Pia took the first-ever photographs of the Shroud with a large box camera. ... For the first time people could see the amazing detail in the Shroud’s images. It is not that the detail is not there on the Shroud. ...   What for centuries had appeared only as ghostlike images now appear to be graphically remarkable front and back pictures of the man on the Shroud – and the face.
• On the Shroud, the face – in fact both body images – look like pictures of reflected light. ...
• We seem to see this in the face of the man of the Shroud. ...

• " My best understanding is that the Shroud of Turin is a medieval relic-forgery. ...
• For an amazing web-based tour of the Shroud of Turin click on the topics below. ...
• Arguments against the Shroud's authenticity are prima facia, supported by carbon 14 dating and a prevailing view of the way things are in the world. ...
• Historians think that the Edessa Cloth, also known as the Mandylion, is what we now call the Shroud of Turin. ...
• Blood stains and forensic analysis link it to the Shroud. ...
• Scholars have found an amazing connection between the Shroud and depictions of Christ. ...
• If the Shroud is indeed the Edessa Cloth, as most Shroud scholars now believe, then what happened to it after the sack of Constantinople? MORE ON THE MISSING YEARS.
• The Shroud was displayed in Lirey, France in the 1350's. ... It is now in Turin, Italy. Nothing in its later history has been more significant than a century of research since Secondo Pia's amazing discovery of its negative image properties in 1898.  MORE ON THE SHROUD'S LATER HISTORY .
• To be convinced, skeptical, or merely intrigued are all appropriate responses to becoming well informed about the Shroud. ...
• A TIMELINE FOR THE SHROUD.
• The Shroud is an old, blood-stained piece of linen with traces of dirt. The historical  nature of the cloth, the peculiarities of the blood stains, and the particles of travertine aragonite limestone dirt that suggest an origin in Jerusalem, are all significant to understanding the Shroud's origins. ...
• Twentieth century forensic medicine tells us that the image on the Shroud is an anatomically correct picture of man in a state of rigor mortis who was tortured and crucified. ...

• Characteristics of the image on the Shroud of Turin: .
• This is how the shroud appears on display. See full front and back photos of the shroud in positive and negative. ...
• Chrysanthemum coronarium sketch, on shroud and as a kirlian image.
• Plant images found on the shroud include: Chrysanthemum cf. ...
• Zygophyllum dumosum Boiss and a pollen grain from the shroud.
• The Sudarium of Oviedo, the burial face cloth documented from the 1st Century and kept in the Cathedral of Oviedo in Spain since the 8th Century, carries pollen from the crown of thorns as well as the same pattern of Type AB blood stains as the shroud.
• The wounds of the crown of thorns on the Shroud of Turin (a) and the Sudarium of Oviedo (b).
• The shroud image also has these characteristics: 1 .
• This image is not visible on the underside of the Shroud. ...
• Detail: The Shroud's negative image, when transformed to a positive by photography, is richly detailed, which has allowed medical experts to claim that they are able to detect the presence of such details as rigor mortis, contusion wounds, excoriations and a variety of facial wounds. 4 It should also be considered that without the medium of modern photography it is uncertain if anyone living before circa 1898 when Secondo Pia made his historic photographic negatives of the Shroud could have seen these details. Another way to see the positive image on the Shroud of Turin is by staring at a single point on its negative image for a minute and then observing the after-image by looking at a blank surface. ...
• Thermal stability: The Shroud's image survived the intense heat of a fire which nearly destroyed it in 1532. ...
• Three-dimensionality: The intensity of the image varies according to the distance of the body from the cloth, strongly suggesting that the body did not in fact come into direct contact with the Shroud. The mathematical ratio is so precise that Jackson and Jumper were able to create a three-dimensional replica from the image of the Shroud taken in 1931 by G. ...

• Jesus & The Shroud Of Turin.
• The only actual image of the face of Jesus Christ that has survived 2000 years! In 1898, Secondo Pia was the first man to photograph the Shroud of Turin, the burial cloth believed to have covered Christ's body after the Crucifixion. shockingly, the shroud created a negative of the face and body of Christ. ...

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• A reappraisal of late thirteenth century responses to the Shroud of Lirey-Chambйry-Turin: encolpia of the Eucharist, vera eikon or supreme relic? .
• Notwithstanding, only ninety years previously (ie in 1898), the amateur photographer, Secondo Pia had (by means of yet another invention of the modern scientific era, viz. , photography), produced evidence which (it was previously believed), supported the remarkable interpretation that the Shroud was a product of divine authorship1. In this context, Pia's negative photographic images revealed such precise physiological information about the man in the Shroud, that it was possible for medical practitioners and sindonologists alike, to claim that they could determine (amongst other things), the man's race and age (Wilcox, 1978 : 129-36; Stevenson, 1981 : 42-5, 153-4), the exact cause of his death and even such facts as the number of men who scourged him (Stevenson, 1981 : 45-6; Rinaldi, 1972 : 28). ...
• However, what seems to have been overlooked here, is that before the advent of modern photography and our supposedly superior scientific understanding of the workings of the natural world, who on earth would have been able to have deciphered the incredible details encoded within the Shroud of Turin? Furthermore, if we are obliged to accept that this artifact is nothing more than a mere medieval forgery of Christ's burial cloth, then how precisely did these `forgers' produce it and what were the circumstances which necessitated them to manufacture it in the way they actually did? Finally, how would a person living in the late thirteenth century have treated with this artifact? After all, the Shroud obviously purports to be the original linen cloth that wrapped the crucified Christ, `imprinted' with his divine image an image (albeit negative) which is miraculously composed of Christ's own blood and sweat 2. As can be appreciated, all of these factors, when viewed together, make it quite difficult to classify the Shroud (in terms of a more logocentric tradition) as being either an eikon, a religious image or a relic. ...
• For example, if viewed as an eikon, one may be tempted to favour the interpretation that the Shroud is of Byzantine origin. This is because, without the benefit of photographic enhancement, the image on the Shroud, (ie as it would have appeared to the medieval viewer), depicts Christ with large owlish eyes, whose feet point downwards, seemingly defying gravity. These factors taken together with the observation that the composition is strictly frontal, vertically symmetrical and appears to the uninformed spectator as a mere two-dimensional design, seem to relate the Shroud more readily with the accepted standards of early Byzantine iconography. ...
• In this modern guise, the Shroud suddenly concurs with many aspects of western art. ...
• In addition, the Shroud seems to refer directly to the Sacrament of the Holy Eucharist and can therefore be shown to date from a time when the Christian faith had become more focussed on the personality of Christ. ...
• Considering that by the thirteenth century, the transubstantiated bread and wine of the Eucharist were believed by the faithful to be far more important than other relics of saints (regardless of their actual manufacture, authenticity or pedigree), one wonders how the faithful, Byzantine or otherwise, would have viewed the Shroud as a relic of the Passion, since it would have had to have been considered as not only the tangible linen burial cloth, which enclosed the Saviour's mortal remains but also as the corporeal remains of Christ's cherished sweat and blood, the self-same blood that was shed at Calvary for the atonement of the sins-of-the-world. ...
• However, in terms of its unique means of production, the Shroud of Turin, regardless of whether it is actually western or eastern in origin, does not compare to any product made by man before the beginning of the nineteenth century, a consideration that has distracted researchers for over a century. If one, for example, briefly reviews the deductions of the famous 1978 STURP commission (Accetta, 1980 : 1921-9; Adler, 1980 : 2742-4; Pellicori, 1980 : 1913-20, 1981 : 39; Culliton, 1978 : 235-9; Weaver, 1980 : 730-752), which subjected the Shroud of Turin to some very impressive scientific testing, including such things as X-ray analysis, micro-photography, organic chemistry and spectroscopy, then one has to consider very seriously the following (verifiable) characteristics of the image, viz. ...
• * Superficiality: The image is essentially the discolouration of the uppermost fibres of the linen threads of the Shroud's fabric. The image has not `penetrated' the threads nor is it visible on the underside of the Shroud. ...

• Scientist who exposed the Piltdown Man fraud and dated the Turin Shroud as a medieval fake.
• The exposure of the Piltdown Man fossils as a fraud, and the debunking of the myth that the Turin Shroud had wrapped the body of Christ after the Crucifixion, were two of the triumphs of the remarkable scientist and inventor, Professor ET "Teddy" Hall, who has died aged 77. ...
• The scale of the laboratory's achievements came to public prominence in 1988, when Hall's team were allowed to examine a fragment of the Turin Shroud. ...
• The case of the Turin Shroud was very different. ... After many journeys, it was brought to Turin in 1578, where, in 1694, it was placed in the royal chapel of Turin cathedral in a specially designed shrine. ...
• Early photographs by Secondo Pia in 1898 revealed an image within the shroud ap parently resembling a photographic negative. Subsequently, it was examined scientifically, in 1969 and 1973, and, in 1978, by the Shroud of Turin Research Project. ...
• Hall's involvement with the mystery began in the sacristy at Turin cathedral on the morning of April 21 1988, when radiocarbon dating samples were taken. Three laboratories - in Arizona, Oxford and Zurich - had been selected to carry out the work by the Archbishop of Turin, pontifical custodian of the shroud. ...
• The age of the Turin Shroud was calculated on the ratio of carbon in the cloth. ...

• (3) Secondo Pia - primul fotograf al Giulgiului.
• Shroud whispers: believe in God's love and flee from the misfortune of sin Discurs al Papei Ioan Paul al II-lea în timpul vizitei de rugãciune fãcute la Giulgiul din Torino în 24 mai 1998. Straight Answers: Shroud of Turin (Part 1): March 25, 1999 Articol de Pr. ... Straight Answers: Shroud of Turin (Part 2): April 1, 1999 Articol de Pr. ... Straight Answers: Shroud of Turin (Part 3): April 8, 1999 Articol de Pr. ... Straight Answers: Shroud of Turin (Part 4): April 15, 1999 Articol de Pr. ...

• Ancient Mysteries: The Shroud of Turin.
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•    In recent years, 3-D images of the Man of the Shroud in Turin have been reported by various researchers. However, most of these images only express the bumps of the surface of the Man of the Shroud.
•    As a result, the rendering of the Man of the Shroud viewed from an angle became possible. ...
• 3-D information hidden in the Shroud and its limits.
•    Since the first photograph of the Shroud was taken by Secondo Pia in 1898, many kinds of researches were undertaken by the various researchers on the image of the Shroud. ...
•  Looking at these images, one must wonder why the computer-generated images of the same Shroud differ so much. ...    The Man of the Shroud has the following basic problems:.
•    That is to say, the primary problem to build 3-D image is that the Shroud has an extremely poor SN-Ratio.
•    When building 3-D data of the Man of the Shroud, under the assumption that the shading is related to the distance (between the fabric and the body), we further have the following problems; .
• 4, 5 and 6 are the output images generated by the same set of the author's programs by using the same source image of the Shroud.
•  After creating numerous images by changing the parameter combination, the author learned that the 3-D information obtained from the Man of the Shroud has certain limitations.
•    While repeating the simulation of the Man of the Shroud, the author recognized that the rendering process is quite similar to the process of bump mapping. That is, the image of the Man of the Shroud is equivalent to the source picture in bump mapping.
•    The data hidden in the Shroud is only for the bumpiness of the surface. The Shroud does not get to hold the whole 3-D data of the object.
• In this case, value X and Y are already fixed according to the image on the Shroud. On the other hand, the sufficient value of Z is hard to obtain from the Shroud, as mentioned in the previous chapter. ...

• THE SHROUD.
• We’ve used two pages going over the “old” evidence about the shroud of Turin. ... From the image itself, to the data it contains, the shroud points to a supernatural event that describes Jesus. ... The shroud was wrapped around the body, but the image is flat. ...
• Before we get into the “can’t be” things about the shroud, I’d like to quickly review the main areas we've covered. The shroud is linen about three half by 14 and half feet long. ... The backside shows no image, even when light is shown through the shroud. ... The first photographs of the shroud taken by Secondo Pia revealed one of the most astounding properties of the shroud. When Pia developed the negatives, he found that the negative image showed that positive coloration. ... The fact of this negative image alone is enough evidence to prove that the shroud is not a painted forgery. ... The shroud therefore contains both positive and negative images. ...
• We know from the pollen and faint flower images that the shroud originated from Jerusalem in the spring of the year. ...
• Historians traced the shroud to Constantinople in 944 and tell us that there was an ancient cloth called the Image of Edessa that goes back to the first century. ...
• The shroud can be historically dated back to the eighth century, and there is no information that tells us that the shroud could not be from the first century. ...
• Lavoie says, “Now that I knew in that the shroud blood marks were a historical possibility, I decided to pursue the study of a blood mark that had always intrigued me: the off-the-body-image blood mark located at the left elbow. ... Once the tracing was completed, we then turned it over and laid it over one of us in the same way that we felt the shroud cloth had been laid upon the body. ... The shroud image is similar to a direct frontal photograph a man; it shows no sides. ...

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