The Shroud of Turin EXTRAORDINARY evidence of Christ's resurrection

https://reasonandscience.catsboard.com/t1688p75-the-shroud-of-turin-extraordinary-evidence-of-christ-s-resurrection#9976


Claim:  Why the Shroud in question is NOT the image of Christ? Let's go:
Total European Caucasian features - WRONG. Christ was middle eastern and looked like them, not white Caucasian.
Response:
The image on the Shroud is of a man. He is powerfully built, has a beard, and is about 181 cm (5 ft 11 in) tall. Jesus was a man. (Mt 26:72; Mk 15:12; Jn 19:5; Acts 2:22; Rom 5:15; 1Tim 2:5) He was a carpenter (Mk 6:3) which is consistent with His muscular physique.

The man on the Shroud was a Jew, according to the late Harvard physical anthropologist Carleton S. Coon. The man on the Shroud has shoulder-length hair which is parted in the middle, but of the numerous Greek and Roman portraits we have, there is not one of a man with middle-parted hair falling to the shoulders. Similarly, a full beard like that on the Shroud is rarely found in a Greek or Roman portrait, but Jews regarded a full beard as a mark of manhood. Also, the manner of burial was first-century Jewish, with the deceased lying on his back, his hands crossed in front covering his pelvic region, and his body covered with a single linen sheet.

Claim:  Long hair - WRONG.
"Doth not even nature itself teach you, that, if a man have long hair, it is a shame unto him?" ~ I Corinthians 11:14
We have no paintings of Christ, not Da Vinci, nor Raphael, El Greco, Caravaggio, Diego Velazquez or even Michelangelo. All these and many more have depicted Christ as an effeminate long haired Caucasian, all of these artists were living in the Middle ages, and to include this shroud thing.
The only real depiction of men in the days that Christ walked the earth are sculptures, mostly in stone, and they show men of that era with short hair.
Response:  We know from archeological materials such as Middle Eastern carvings and Egyptian tomb paintings that Jews wore what we would consider today as long hair and beards. Hair reached down to the shoulders on men. Women wore hair down to the waist.
https://www.catholic.com/qa/if-st-paul-says-long-hair-is-unnatural-for-men-why-do-our-portraits-of-jesus-show-him-with-it

Barrie Schwortz (2016):  Skeptics will often quote to me from 1 Corinthians 11:14 – “Doth not even nature itself teach you, that, if a man have long hair, it is a shame unto him?” (this and other verses in this article are from the KJV translation). Well, yes, that is what it says. But when exactly was that written? I am not a New Testament scholar, but I know that Paul wrote that about twenty years after the death of Jesus! So this rule would NOT  have applied to him or his disciples, since it had not been written yet! What laws did they follow? The best way to address that is to look to the Old Testament, which was the law in Jesus’s time. Here is what it says about long hair and beards: Numbers 6:5 (Re the Nazarite’s vow) – “All the days of the vow of his separation there shall no razor come upon his head: until the days  be fulfilled,  in which he separateth himself unto the LORD, he shall be holy, and shall let the locks of the hair of his head grow.” And in Leviticus 19:27 – “ Ye shall not round [i.e., cut] the corners of your heads, neither shalt thou mar [i.e., cut] the corners of thy beard.” Jews were literally forbidden to cut their hair and beards and you can still see that today in any  Orthodox or Hassidic Jewish communities where all adult males have long hair and beards. Jesus followed the Law of Moses! 2

Claim: Visage - WRONG.
The shroud, like the paintings if Christ, show a man that would be considered handsome, in a rugged sort of way. But Scripture, in the Messianic Prophecies of Isaiah, describes the appearance of Christ as not so good looking, homely even.
"For he shall grow up before him as a tender plant, and as a root out of a dry ground: he hath no form nor comeliness; and when we shall see him, there is no beauty that we should desire him." ~ Isaiah 53:2
Response:   It's not a painting  If this were true, it should be possible to identify the pigments used by chemical analysis, just as conservators can do for the paintings of Old Masters. But the Sturp team found no evidence of any pigments or dyes on the cloth in sufficient amounts to explain the image. Nor are there any signs of it being rendered in brush strokes.
Obviously, a scourged and crucified man would not look attractive , and the man on the Shroud shows the wounds inflicted - he indeed does not look attractive.

Claim: Visage - WRONG.
Idolotry - WRONGNESS.
Why would God allow such a sign? Why has the Ark of Noah never been found, regardless of some baseless claims to the contrary? Why has the grave of Moses never been found? The Ark of the Covenant or the 'Holy' Chalice aka 'Holy' Grail?
Why would God allow it? He wouldn't. Why? Beause mankind would venerate a piece of cloth over the very Christ. Man would worship it, with the worship that is reserved for the "Living" Christ!
Don't believe me? Think of all the purported sightings of Mary. Why, you can see her just about everywhere these days, even on a piece of toast!!! And it causes such a fervor among those who seek a sign.
Why you can purchase a certified authentic (how is that done?) piece of the actual Cross of Christ right here on the internet, only $19.99 plus shipping! But hurry, stock is limited.
Response: Mark Niyr (2020): Isn’t the Shroud a violation of the commandment that forbids making a graven image? This is one of the most common objections that some Christians have raised regarding the Shroud. The prohibition comes from one of the Ten Commandments: Thou shalt not make unto thee any graven image, or any likeness of anything that is in heaven above, or that is in the earth beneath, or that is in the water under the earth (Exod. 20:4 KJV). But of course, if the Shroud is authentic, then man did not make the image—God did. Nonetheless, sincere intentions motivate this question. It is helpful to understand this commandment from the Jewish perspective. The Hebrew Scriptures sometimes articulate a style of Hebraism known as a Hebrew doublet. It is a Hebrew manner of expression wherein a statement is made, but then immediately following that statement a subsequent restatement of the matter is provided that is designed to provide further clarification or understanding as to the meaning of the prior statement. This is what is found with this prohibition against graven images (Exodus 20:5‐6). The subsequent restatement following this prohibition provides the Hebrew doublet which clarifies the meaning of the prior statement. Below is the subsequent Hebrew doublet statement:
Thou shalt not bow down thyself to them, nor serve them: for I the LORD [YHVH] thy God am a jealous God . . . (Exod. 20:5‐6 KJV, emphasis added).
The above Hebrew doublet (Exodus 20:5‐6) explains that the prohibition against graven images applied to making images for the purpose of idolatrous worship. If it were not for this Hebrew doublet clarification, then all images would be prohibited (including all photographs, paintings, statues, etc. of anything in heaven above, the earth beneath, or in the ocean).3 

Claim:
This shroud is a FRAUD for the gullible, and for those who cannot be satisfied with the revealed Word of God, for those who seek a sign beyond that of Jonah.
". . . An evil and adulterous generation seeketh after a sign; and there shall no sign be given to it, but the sign of the prophet Jonas:" ~ Matthew 12:39
Believing in this cloth is IDOLATRY. Pure idolatry.
How much time and effort has gone into trying to prove that the shroud is the real deal? All for naught, all disregarding the obvious in appearance, in Scripture and rational thought.
All these futile and outright comical attempts to grasp straws! As my momma used to say, like trying to scratch your right ear with your left elbow.
THE SHROUD IS DEMONSTRABLY AND OBVIOUSLY NOTHING MORE THAN A PIECE OF CLOTH WITH THE IMPRINTED FACE OF A DEAD EUROPEAN.

Response:  How was the image made?

Enea (2010): The mysterious images of a crucified man on the Shroud of Turin are inexplicable ( by natural, - human-made means). Despite what has been written in the largely clueless press, no one, not even with state-of-the-art technology, has ever duplicated the images. The experimental STURP results proved the images embedded into the linen cloth are not the result of painting or a contact print, and the color is very superficial, as it resides on the topmost fibers in the cloth weave. For lack of a proven explanation, they are best described as photographic-like, although the characteristics of the Shroud image at microscopic level are not compatible with photographic techniques.1

1. It's not a painting:  If this were true, it should be possible to identify the pigments used by chemical analysis, just as conservators can do for the paintings of Old Masters. But the Sturp team found no evidence of any pigments or dyes on the cloth in sufficient amounts to explain the image. Nor are there any signs of it being rendered in brush strokes.
2. The entire image is very superficial in nature, Around 20 - 30 microns in-depth is approximately 0.2 thousandths of a millimeter (about 0.000008 inches) only on the uppermost surface of the fibrils, the inner side is not, thus it could not have been formed by chemicals, The image resides on the outermost layer of the linen fibers. 
3. It's not a photograph: Secondo Pia's photograph showed that the image on the cloth is a negative: dark where it should be bright. 
4. It was not made by a natural chemical process: It has been confirmed that the image is the result of oxidation, dehydration, and conjugation of the fibers of the shroud themselves. It is like the imaged areas on the shroud suddenly rapidly aged compared to the rest of the shroud. The image on the shroud is the only one of its kind in this world, and there are no known methods that can account for the totality of the image, nor can any combination of physical, chemical, biological, or medical circumstances explain the image adequately (S.T.U.R.P's conclusion) 
5. The image was not produced by vapors from chemicals or vapors from the corpse itself. Vapors from chemicals, or from the corpse itself, do not explain how the image is present on parts of the body where the cloth clearly did not touch the body (i.e. areas on either side of Christ’s projected nose).
6.  A burst of 34 thousand billion Watts of vacuum-ultraviolet radiation produced a discoloration on the uppermost surface of the Shroud’s fibrils (without scorching it), which gave rise to a perfect three-dimensional negative image of both the frontal and dorsal parts of the body wrapped in it.” We currently do not know of any natural cause for a human corpse producing ultraviolet radiation like this. A very short and intense flash of directional VUV radiation can color the linen fabric. The total power of the VUV radiation required for instantly color the surface of a linen corresponding to a human body of medium height, equal to the corporate body surface area = 2000 MW / cm2 x 17000 cm2 = 34 thousand billion Watts.

ormai in tutto il mondo il termine sindone sta ad indicare un lenzuolo di lino lungo e media 4 metri e 42 cm e largo un metro e 13 cm conservato a torino dal 1578 sino ad oggi.  
Sul telo di colore giallo ocra chiaro sono visibili impronte che riproducono l'immagine frontale a sinistra e quella dorsale a destra di una figura umana.
Appaiono inoltre numerosi altri segni e tracce lasciate dalle vicissitudini subite dalla sindone durante la sua storia.
Nell'immagine anteriore si vedono il volto incorniciato da lunghi capelli da una folta barba il torace e le braccia incrociate sul pube le gambe distese.
Nell'immagine posteriore si vedono la nuca la schiena le gambe distese la pianta dei piedi.
Si notano in particolare due righe nere parallele al lato maggiore segni delle bruciature provocate da un incendio scoppiato nel 1532 nell'assenza pella chambery dove si trovava a quell'epoca la sindone che era allora conservata ripiegata in una cassetta d'argento.
Le due linee nere strinati sono dovute al contatto con la parete surriscaldata della cassetta.
Durante l'incendio una goccia di metallo fuso caduta sul lenzuolo né trapasso tutti gli strati distruggendo il tessuto.
Questo spiega il ripetersi simmetrico lungo le due linee nere di numerosi fori a forma di triangolo.
Tali lacune furono riparate nel 1534 dalle clarisse di chambery che provvidero a coprirle con delle toppe per rinforzare la struttura del lenzuolo danneggiato dall'incendio le suore cucirono inoltre la sindone le toppe su di un tessuto di lino dettotelo d'olanda.
Per motivi di conservazione del telo sindonico tali top sono state rimosse nel 2002 e il telo d'olanda sostituito con un nuovo tessuto di supporto riconoscibile sotto le bruciature per il diverso colore e la differenza tra ma rispetto alla sindone stessa.
Nella zona centrale del lenzuolo si ripetono più volte delle grandi macchie dai margini frastagliati a forma di rombo.
Si tratta di aloni che sono stati provocati da acqua che ha bagnato il tessuto della sindone in qualche momento della sua storia.
Vi sono poi quattro gruppi simmetrici di bruciature tondeggianti di dimensioni più piccole delle precedenti che sono sicuramente anteriori all'incendio di chambery.
Anche in questo caso sotto i fori compare il nuovo tessuto di supporto riconoscibile per colore e trama differenti.
Lungo il margine superiore è stata anticamente cucita una striscia dello stesso tessuto della sindone larga 8 cm.
Presenta ai due bordi estremi delle vistose lacune sotto le quali compare il nuovo tessuto di supporto.
Lungo il margine inferiore della lacuna di sinistra di alla zona da cui vennero effettuati per motivi di studio i due prelievi di tessuto più recenti nel 1973 e nel 1988.
Il telo della sindone è fatto con un lino pregiato e appare tessuto a mano con un caratteristico tipo di tessitura detto a spina di pesce.
Le striscelongitudinali larghi circa un centimetro appaiono molto evidenti quando il tessuto viene illuminato con luce radente.
Su ingrandimento si riconosce chiaramente la tessitura a spina di pesce.
Il volto dell'uomo della sindone presenta numerose lesioni contusive che i medici legali hanno studiato attentamente.
Sono state individuate delle tumefazioni che sembrano potersi identificare con ematomi particolarmente visibili sulla parte destra del volto che si presenta più gonfia di quella sinistra.
Si riscontrano inoltre evidenti segni attribuibili a ferite lacero contuse.
Il setto nasale e deviato a causa di una frattura.
Nel complesso l'uomo della sindone risulta essere stato selvaggiamente percosso nelle ore precedenti la sua morte.
Sulla fronte sulla nuca e lungo i capelli si apprezzano numerose colature di sangue ad andamento sinuoso che sgorgano da ferite da punta di piccolo diametro.
Sono disposte a raggiera intorno a capo e sembrano provocate dall imposizione sul capo stesso di un casco di aculei acuminati.
Le caratteristiche della colatura del sangue che fuoriesce dalle ferite permettono di distinguere tra lesioni di vasi arteriosi e di vasi venosi.
Particolarmente singolare è la colatura al centro della fronte sgorgata da una ferita della vena frontale che assume la caratteristica forma di tre rovesciato poiché segue l'andamento delle rughe della fronte stessa.
Sulla parte destra del petto spicca una grande chiazza di sangue che fuoriesce da una ferita di forma ovale provocata da un oggetto appuntito e tagliente che ha colpito tra la quinta e la sesta costola e che è penetrato in profondità.
Le caratteristiche di questa ferita sono importanti in quanto mostrano che essa fu inferta dopo la morte del soggetto.
Anche il sangue che ne scorga si presenta circondato da un alone sieroso come avviene per il sangue uscito da un cadavere in cui si è già separata la parte sierosa da quella corpuscolata.
Sull'immagine anteriore della sindone sono ben identificabili le impronte lasciate dagli arti superiori
Le braccia sono distese mentre le mani si incrociano a livello del pube.
Su entrambi gli avambracci sono visibili lunghe colature di sangue che partono ndai polsi per risalire sino all'altezza del gomito
Il loro andamento appare innaturale in quanto sembrano correre verso l'alto.
Bisogna invece pensare che si tratta di colature di sangue formatesi quando il corpo era appeso alla croce e pertanto i polsi si trovavano più in alto dei gomiti.
Sul polso sinistro è ben visibile una caratteristica chiazza di sangue formata da due colature divergenti riferibili alle due diverse posizioni assunte dal condannato sulla croce, quella accasciata e quella sollevata.
Il sangue fuoriesce da una ferita di forma ovale provocata da uno strumento da punta quale un chiodo.
Particolare e la localizzazione di tale ferita che non si presenta nel palmo della mano come viene raffigurata nella tradizione iconografica della crocifissione ma nel polso.
Da rilevare l'assenza dell'immagine dei pollici sulla sindone che potrebbe essere dovuta all'interessamento del nervo mediano oa una contrazione tetanica.
La cute del torace e del dorso presenta oltre un centinaio di ecchimosi escoriate consistenti in figure tondeggianti e abbinate lunghe circa 2 cm visibili anche sugli arti inferiori.
Sembrano lesioni provocate dal flagello strumento romano di tortura costituito da un manico di legno da cui si dipartono delle corde al termine delle quali sono fissati dai piccoli che un dia forma di matri.
E difficile stabilire il numero di colpi di flagello inflitti poiché non si conosce il numero di corde del flagello.
E invece certo che il supplizio vene inferto a schiena curva e sul corpo nudo.
All'altezza della zona scapolare sinistra e sovra scapolare destra si osservano delle ecchimosi a forma quadrangolare riferibili ai segni lasciati da un oggetto pesante e ruvido che può essere identificato con il patibulum l'asse orizzontale della croce che a volte il condannato portava su di sé fino al luogo dell'esecuzione.
Infine all'altezza delle reni si osserva una colatura di sangue trasversale che attraversa tutto il dorso.
Si tratta del sangue sgorgato dalla ferita al costato qui defluito quando il cadavere una volta deposto dalla croce è stato messo in posizione orizzontale.
Gli arti inferiori dell'uomo della sindone sono ben individuabili sia nella figura anteriore che in quella posteriore.
Entrambe le ginocchia presentano delle escoriazioni molto probabilmente dovute a cadute poiche in queste zone come sulle piante dei piedi sono state individuate tracce di terriccio.
Da notare ancora che il ginocchio sinistro è stato fissato dalla rigidità cadaverica in posizione più flessa rispetto al destro e perciò l'artosinistro risulta nell'immagine più corto.
La pianta del piede destro è nitidamente impressa mentre del sinistro è visibile solo la parte posteriore in prossimità del tallone.
Ciò suggerisce che la crocifissione si è avvenuta utilizzando un solo chiodo e sovrapponendo il piede sinistro al destro.
Sulla pianta di quest'ultimo si nota e il foro di uscita del chiodo da cui si dipartono dei rivoli di sangue che scendono verso le dita.
Le impronte corporee che si vedono sulla sindone sono oscure in corrispondenza a zona in rilievo mentre sono chiare nelle altre.
L'immagine si presenta quindi con una distribuzione di luminosità opposta a quella che percepiamo nella realtà impronta si comporta pertanto come un negativo fotografico.
Trasformando l'immagine della sindone nel suo negativo fotografico invece i chiaroscuri sono ovviamente invertiti e pertanto in esso appare il vero aspetto dell'uomo della sindone come potremmo osservarlo se si trovasse di fronte a noi


The term "Shroud of Turin" is known to refer to a linen sheet that is 4 meters and 42 centimeters long and 1 meter and 13 centimeters wide, preserved in Turin since 1578.
On the light ochre-yellow cloth, there are visible imprints reproducing the front image on the left and the back image on the right of a human figure.
Additionally, there are numerous other signs and traces left by the vicissitudes suffered by the shroud throughout its history.
In the front image, one can see a face framed by long hair and a thick beard, the chest, and the arms crossed over the pubis with legs extended.
In the back image, one can see the nape, the back, legs extended, and the soles of the feet. In particular, two parallel black lines are noticeable along the longer side, indicating burn marks caused by a fire that broke out in 1532 in the absence of the shroud from Chambéry, where it was being kept at the time, folded in a silver casket.
The two black lines are due to contact with the overheated wall of the casket. During the fire, a drop of molten metal fell on the sheet and penetrated all the layers, destroying the fabric.
This explains the symmetrical repetition of numerous triangle-shaped holes along the two black lines.
These gaps were repaired in 1534 by the Clarisses of Chambéry, who covered them with patches to reinforce the structure of the damaged sheet.
The nuns also sewed the patches on a linen fabric called "tessuto d'olanda." For conservation reasons, these patches were removed in 2002, and the "tessuto d'olanda" was replaced with a new supporting fabric, recognizable under the burns due to its different color and texture compared to the shroud itself.
In the central area of the sheet, large stains with jagged edges in the shape of diamonds are repeated several times.
These are halos caused by water that wet the shroud fabric at some point in its history.
There are also four symmetric groups of small, round burn marks that are certainly older than the fire in Chambéry. Again, underneath the holes, the new supporting fabric appears, recognizable by its different color and texture.
Along the upper edge, a strip of the same fabric as the shroud, 8 centimeters wide, was sewn in ancient times.
It has noticeable gaps at the two extreme edges, underneath which the new supporting fabric appears.
Along the lower edge, the left gap corresponds to the area from which the two most recent tissue samples were taken for study in 1973 and 1988.
The shroud is made of fine linen and appears to be handwoven with a characteristic herringbone weave.
The longitudinal strips, about one centimeter wide, are very evident when the fabric is illuminated with oblique light.
On enlargement, the herringbone weave can be clearly recognized.
The face of the man on the shroud has numerous contusive injuries that forensic doctors have carefully studied.
Swellings have been identified that seem to be identifiable with hematomas, particularly visible on the right side of the face, which appears more swollen than the left.
There are also clear signs attributable to contused lacerations. The nasal septum is deviated due to a fracture.
Overall, the man on the shroud appears to have been savagely beaten in the hours before his death.
Numerous sinuous bloodstains can be seen on his forehead, the back of his neck, and throughout his hair, emanating from small wounds with pointed diameters.
These stains radiate out from his head in a spoke-like pattern and appear to have been caused by a helmet of sharp, pointed thorns being pressed onto his head.
The characteristics of the blood stains that are flowing from the wounds allow for distinguishing between injuries to arterial and venous vessels.
Of particular interest is a bloodstain on the center of his forehead that flows from a wound in the frontal vein, taking on the characteristic shape of an inverted "3" as it follows the contours of his forehead.
On the right side of his chest, there is a large bloodstain that flows from an oval-shaped wound caused by a pointed and sharp object that struck between the fifth and sixth ribs and penetrated deeply.
The characteristics of this wound are important as they show that it was inflicted after the subject's death.
The blood around this wound is surrounded by a serum halo, as is typical of blood that has exited a corpse where the serum has separated from the corpuscular portion. On the anterior image of the shroud, the imprints left by the subject's arms are clearly identifiable. His arms are outstretched, with his hands crossing at the level of his pubic area.
Long bloodstains can be seen on both forearms, starting from the wrists and running up to the elbows. Their course appears unnatural, as they seem to run upwards.
However, it is important to note that these stains were formed when the body was hung on the cross and therefore the wrists were higher than the elbows.
On the left wrist, a characteristic bloodstain is clearly visible, formed by two divergent streaks that can be attributed to the two different positions assumed by the condemned on the cross - one slumped and the other raised.
The blood flows from an oval-shaped wound caused by a pointed instrument, such as a nail.
Particular attention should be paid to the location of this wound, which is not in the palm of the hand as depicted in the traditional iconography of crucifixion, but in the wrist.
It is noteworthy that the image of the thumbs is absent from the shroud, which could be due to damage to the median nerve or tetanic contraction.
The skin on the chest and back has over a hundred ecchymoses and abrasions consisting of round, approximately 2cm long figures that can also be seen on the lower limbs.
These appear to be injuries caused by a flagellum, a Roman torture instrument consisting of a wooden handle with cords at the end to which small metal balls were attached.
It is difficult to determine the number of lashes inflicted as the number of cords on the flagellum is not known.
It is known, however, that the punishment was inflicted on a bent back and on a naked body.
At the height of the left scapular area and the right suprascapular area, quadrangular bruises can be observed, which can be attributed to the signs left by a heavy and rough object that can be identified with the patibulum, the horizontal beam of the cross that the condemned sometimes carried on himself to the place of execution.
Finally, at the height of the kidneys, a transverse trickle of blood is observed that crosses the entire back.
This is the blood that flowed from the wound in the side and drained here when the corpse, once removed from the cross, was placed in a horizontal position.
The lower limbs of the man on the shroud are clearly visible both in the front and in the back view.
Both knees have abrasions most likely due to falls, as traces of soil have been identified in these areas as well as on the soles of the feet.
It should also be noted that the left knee was fixed in a more flexed position than the right due to cadaveric rigidity, and therefore the left limb appears shorter in the image.
The sole of the right foot is clearly imprinted, while only the posterior part near the heel is visible on the left foot.
This suggests that crucifixion was carried out using a single nail and overlapping the left foot on the right foot.
On the sole of the latter, a nail exit hole can be seen from which rivulets of blood flow down towards the toes.
The body imprints visible on the shroud are dark in the raised areas and light in the other areas.
The image therefore has a brightness distribution opposite to what we perceive in reality, and the imprint behaves like a photographic negative.
By transforming the image of the shroud into its photographic negative, the brightness is obviously inverted, and therefore the true appearance of the man on the shroud appears as we would observe it if he were in front of us.



The term "Shroud of Turin" is known to refer to a linen sheet of specific dimensions: 4 meters and 42 centimeters long by 1 meter and 13 centimeters wide. This particular sheet has been preserved in Turin since 1578. 

The ochre-yellow cloth bears visible imprints on both its front and back surfaces, which reproduce the image of a human figure. 

The front image shows a face framed by long hair and a thick beard, with arms crossed over the pubis and legs extended. 

The back image shows the nape, the back, the legs extended, and the soles of the feet.

The shroud has undergone numerous vicissitudes throughout its history, leaving behind many signs and traces. Two parallel black lines along the longer side of the shroud are indicative of burn marks caused by a fire that broke out in 1532. During the fire, the molten metal fell on the sheet and penetrated all the layers, destroying the fabric. This resulted in the symmetrical repetition of triangle-shaped holes along the black lines. 

The damaged sheet was repaired in 1534 by the Clarisses of Chambéry, who covered the holes with patches made from a linen fabric called "tissue from holland." The patches were removed in 2002 for conservation reasons, and a new supporting fabric was put in their place.

In the central area of the shroud, large stains in the shape of diamonds with jagged edges are visible, caused by water that wet the fabric at some point in its history. 

There are also four groups of small, round burn marks, which are older than the Chambéry fire. 

A strip of the same fabric as the shroud, 8 centimeters wide, was sewn along the upper edge in ancient times, with noticeable gaps at the two extreme edges. The lower edge has a gap that corresponds to the area from which two tissue samples were taken in 1973 and 1988 for scientific study.

The shroud is made of fine linen, with a characteristic herringbone weave. The longitudinal strips, about one centimeter wide, are very evident when the fabric is illuminated with oblique light. On enlargement, the herringbone weave can be clearly recognized. 

The man on the shroud bears numerous contusive injuries that have been carefully studied by forensic doctors. The right side of his face appears more swollen than the left, with visible hematomas and contused lacerations. His nasal septum is deviated due to a fracture, indicating that he was savagely beaten in the hours before his death.

Numerous sinuous bloodstains can be seen on his forehead, the back of his neck, and throughout his hair, emanating from small wounds with pointed diameters. These stains radiate out from his head in a spoke-like pattern, suggesting that a helmet of sharp, pointed thorns was pressed onto his head. The characteristics of the bloodstains allow for distinguishing between injuries to arterial and venous vessels. Of particular interest is a bloodstain on the center of his forehead that flows from a wound in the frontal vein, taking on the characteristic shape of an inverted "3" as it follows the contours of his forehead.

On the right side of his chest, there is a large bloodstain that flows from an oval-shaped wound caused by a pointed and sharp object that struck between the fifth and sixth ribs, penetrating deeply. The characteristics of this wound indicate that it was inflicted after the subject's death. All of these details contribute to the intrigue and mystery surrounding the Shroud of Turin, and have captured the interest and fascination of people around the world.

The description of the bloodstains on the subject's body is a detailed and thorough examination of the wounds inflicted upon him. The sinuous bloodstains on his forehead, neck, and hair suggest that the subject had a helmet of thorns pressed onto his head, causing small pointed wounds. The spoke-like pattern of the stains radiating from the head indicates the uniformity of the injury, possibly caused by the same object.

The bloodstain on the center of the forehead flowing from a wound in the frontal vein is particularly interesting as it takes on the shape of an inverted "3" as it follows the contours of the forehead. This type of bloodstain pattern can be useful in identifying the direction and force of the injury.

The large bloodstain on the right side of the chest flowing from an oval-shaped wound caused by a pointed and sharp object that struck between the fifth and sixth ribs and penetrated deeply is of particular interest as it was inflicted after the subject's death. 

The serum halo around the blood indicates that the blood had separated from the corpuscular portion, a common occurrence in blood that has exited a corpse.

The imprints of the subject's arms on the anterior image of the shroud are clearly identifiable, with his arms outstretched and his hands crossing at the level of his pubic area. The long bloodstains on both forearms that appear to run upwards are actually formed when the body was hung on the cross, and therefore the wrists were higher than the elbows. The characteristic bloodstain on the left wrist formed by two divergent streaks is particularly noteworthy as it indicates two different positions assumed by the condemned on the cross - one slumped and the other raised.

The absence of the image of the thumbs on the shroud is significant as it could indicate damage to the median nerve or tetanic contraction. The location of the wound on the wrist rather than in the palm of the hand, as depicted in traditional iconography of crucifixion, is also noteworthy.

The ecchymoses and abrasions on the chest, back, and lower limbs consisting of round, approximately 2cm long figures suggest injuries caused by a flagellum, a Roman torture instrument consisting of a wooden handle with cords at the end to which small metal balls were attached. The punishment was inflicted on a bent back and naked body, causing over a hundred such injuries.

In conclusion, the detailed examination of the bloodstains and injuries on the subject's body provides valuable insights into the manner of his death and the torture he endured. The information gleaned from this examination can help to provide a better understanding of the historical context and cultural practices of the time.

The description of the wounds on the man on the shroud continues with more details on various parts of his body. At the height of the left scapular area and the right suprascapular area, quadrangular bruises can be observed. These marks are believed to have been left by the patibulum, the horizontal beam of the cross that the condemned sometimes carried on himself to the place of execution. The object was likely heavy and rough, causing the bruises to be quadrangular in shape.

Another notable feature is a transverse trickle of blood that crosses the entire back at the height of the kidneys. This blood flowed from the wound in the side and drained here when the corpse, once removed from the cross, was placed in a horizontal position. This observation provides further evidence that the man depicted on the shroud was indeed crucified.

Moving to the lower limbs, both knees have abrasions that are most likely due to falls, as traces of soil have been identified in these areas as well as on the soles of the feet. The left knee was fixed in a more flexed position than the right due to cadaveric rigidity, resulting in the left limb appearing shorter in the image. The sole of the right foot is clearly imprinted, while only the posterior part near the heel is visible on the left foot. This suggests that crucifixion was carried out using a single nail and overlapping the left foot on the right foot. On the sole of the right foot, a nail exit hole can be seen from which rivulets of blood flow down towards the toes.

The body imprints visible on the shroud are dark in the raised areas and light in the other areas, creating an opposite brightness distribution to what we perceive in reality. The imprint behaves like a photographic negative. By transforming the image of the shroud into its photographic negative, the brightness is obviously inverted, and the true appearance of the man on the shroud appears as if he were in front of us. This finding has helped to enhance the details and features of the man's body, providing more insight into his physical characteristics and the wounds he suffered.

The Bible, in both the Torah (the first 5 books) and in Paul call for two or three EYEWITNESSES, who can be questioned by anyone, thus written accounts do not count, to establish the truth. Please direct me to a single eyewitness that I may question about the physical resurrection, I already know of three that I may question regarding a resurrection by 1st century standards, which do not require a physical resurrection, but not any about a physical one. As for the gospels and Acts, at least two gospels, Matthew and Luke, are dependent on Mark, and one of them admits to being hearsay at best, so they are inadmissible by Biblical standards. Luke, who admits to hearsay, also wrote Acts, so Acts is out also, not mentioning that one cannot reconcile the timeline in Acts with what Paul claims happened, so one of those two is lying. Of the two remaining gospels, Mark and John, both have clear signs of editing, specifically ADDING accounts of a physical resurrection. Do you trust the unknown editor who added those accounts and cannot be questioned? As for science, the science I see advanced most often ASSUMES the physical resurrection and then seeks to find a way to explain it, via whatever means it can find, including ASSUMING special laws of physics as no known ones will meet the criteria. It justifies this by promissory science, we will discover the laws at some unspecified future date, aka, never today always tomorrow. Now there is a possible scientific explanation for the image formation, but to the best of my knowledge, to date no one has attempted it in a full test. Partial tests have yielded promising results, the same as exist for the proposed explanations behind a physical resurrection, and accomplish it without requiring some new hypothesized process, but that is all. Now, if the physical resurrection was an invention to protect the Shroud of Turin from the Romans, editing the gospels and writing a fictionalized history (Acts) then what we have today makes perfect sense, but who really wants to follow that all the way through. Following that all the way through will require a change in Christianity. By the way, were you aware that according to an existing Catholic prophesy, Pope Francis will be the last pope as a change to Catholicism will come?


Hi William, Thank you for your response. I am interested in your perspective about the truth of the resurrection, which you disagree with or have dismissed because of the reference by Paul that three eyewitnesses must be used in order to validate the truth of something. Have you considered that the statement Paul said, about witnesses is the same person who was Saul, who became one of the greatest Apostles, who also claims that Jesus Christ came to him after his death and blinded him on the road to Damascus humbling him and making him arguably one of the greatest apostles And witness of Jesus’ resurrection? I don’t understand how you can use Paul as your example of why the resurrection isn’t true, when the same person spent his whole life and was martyred for his belief that Jesus Christ is the risen Lord.
I don’t agree with you that Shroud science assumes resurrection first and then seeks to prove this theory. There are 17 known characteristics of the Shroud image, and these have been peer reviewed and tested and we know they are true about the Shroud. Shroud scientists in the STURP project have been looking for a hypothesis to explain the cause of the image based on the 17 known image characteristics.
The hypotheses of how the image was formed are of 3 categories: Number one caused by a dead body and natural causes. To human artefact, the image is the work of a human artist. 3. Radiation – electric field, the images formed by radiation or the presence of an electric field. None of these assume resurrection from the get go even the radiation electric field hypotheses do not claim that resurrection is the cause. Hypotheses one and two have been ruled out, based on the 17 known image characteristics relating to the cloth and the body. These range from, the superficial image, no paint or pigment, no capillary flow or evidence of liquid etc, three-dimensional, high resolution reverse negative image, no body- side images, blood and serum, of image blood, no image under the blood and no image damage, a real dead human body, No purification and evidence of bone structure. )
The Corona discharge Siri comes close to satisfying all of the 17 image characteristics, but there are questions around the high resolution nature and three-dimensional image characteristics which are less likely to be caused by Corona discharge. There is only John Jackson’s fall through – radiation theory which satisfies all of the image characteristics. John Jackson never set out to prove resurrection but has stated that the fall through theory is compatible with a Christian understanding of resurrection. Science has been able to ascertain that the image is not man-made and is of a real human body it was crucified under Roman torture, The man is anatomically and physiologically Jewish and received a traditional Jewish burial and fits the description of the gospel account, with extra details that were not known in the middle ages. I believe it was the Italian research scientists who were able to replicate a small coloration on linen using exomar UV lasers which are currently the closest thing to the Shroud image. What still fascinates me is that the image on the shroud is a negative, produced with distance information which is perfectly uniform in strength, but the dark and light areas are simply caused by an additional number of coloration, non contact dots. I also find it astounding that the hidden photograph like image we see today was only discovered in 1898 which then produced the scientific quest to work out how the image was made.
Yes I am aware of the prophecy about Francis being the last Pope, interesting times indeed!
Check out The shroud of Turin- A critical summary of observations, data and hypotheses, Page 81+, available on www.shroud.com.

In modern times, the Shroud of Turin is widely recognized as the burial cloth of Jesus. 

The ochre-yellow cloth bears visible imprints on both its front and back surfaces, which reproduce the image of a human figure. Additionally, there are numerous other signs and traces left by the vicissitudes suffered by the shroud throughout its history.

In the front image, one can see a face framed by long hair and a thick beard, the chest, and the arms crossed over the pubis with legs extended.

The back image shows the nape, the back, legs extended, and the soles of the feet.

The shroud is made of fine linen, with a characteristic herringbone weave. The longitudinal strips, about one centimeter wide, are very evident when the fabric is illuminated with oblique light. On enlargement, the herringbone weave can be clearly recognized. The man on the shroud bears numerous contusive injuries that have been carefully studied by forensic doctors. The right side of his face appears more swollen than the left, with visible hematomas and contused lacerations. His nasal septum is deviated due to a fracture, indicating that he was savagely beaten in the hours before his death.

The description of the bloodstains on the subject's body is a detailed and thorough examination of the wounds inflicted upon him.  Numerous sinuous bloodstains can be seen on his forehead, the back of his neck, and throughout his hair, emanating from small wounds with pointed diameters. These stains radiate out from his head in a spoke-like pattern, suggesting that a helmet of sharp, pointed thorns was pressed onto his head. The characteristics of the bloodstains allow for distinguishing between injuries to arterial and venous vessels.The bloodstain on the center of the forehead flowing from a wound in the frontal vein is particularly interesting as it takes on the shape of an inverted "3" as it follows the contours of the forehead. This type of bloodstain pattern can be useful in identifying the direction and force of the injury. The sinuous bloodstains on his forehead, neck, and hair suggest that the subject had a helmet of thorns pressed onto his head, causing small pointed wounds. The spoke-like pattern of the stains radiating from the head indicates the uniformity of the injury, possibly caused by the same object.

In the Gospel of Matthew, it is written that soldiers of the Roman governor, Pilate, twisted together a crown of thorns and placed it on Jesus' head, causing him to bleed:

"Then the soldiers of the governor took Jesus into the Praetorium and gathered the whole garrison around Him. And they stripped Him and put a scarlet robe on Him. When they had twisted a crown of thorns, they put it on His head, and a reed in His right hand. And they bowed the knee before Him and mocked Him, saying, 'Hail, King of the Jews!' Then they spat on Him, and took the reed and struck Him on the head." (Matthew 27:27-30)

The bloodstain on the center of the man's forehead, flowing from a wound in the frontal vein, takes on the characteristic shape of an inverted "3", which could be consistent with the description of the crown of thorns causing injury to the forehead.

The ecchymoses and abrasions on the chest, back, and lower limbs consisting of round, approximately 2cm long figures suggest injuries caused by a flagellum, a Roman torture instrument consisting of a wooden handle with cords at the end to which small metal balls were attached. The punishment was inflicted on a bent back and naked body, causing over a hundred such injuries. The detailed examination of the bloodstains and injuries on the subject's body provides valuable insights into the manner of his death and the torture he endured. The information gleaned from this examination provides a better understanding of the historical context and practices of the time.

The gospel of Matthew states:  Then he released Barabbas to them. But he had Jesus flogged, and handed him over to be crucified." And Mark: "Wanting to satisfy the crowd, Pilate released Barabbas to them. He had Jesus flogged, and handed him over to be crucified." And Luke: "Therefore, I will punish him and then release him,” he said. But the whole crowd shouted, “Away with this man! Release Barabbas to us!” For the third time he spoke to them: “Why? What crime has this man committed? I have found in him no grounds for the death penalty. Therefore I will have him punished and then release him.” So Pilate decided to grant their demand. He released the man who had been thrown into prison for insurrection and murder, the one they asked for, and surrendered Jesus to their will.


The description of the wounds on the man on the shroud continues with more details on various parts of his body. At the height of the left scapular area and the right suprascapular area, quadrangular bruises can be observed. These marks are believed to have been left by the patibulum, the horizontal beam of the cross that the condemned sometimes carried on himself to the place of execution. The object was likely heavy and rough, causing the bruises to be quadrangular in shape.

That coincides with the gospel of John: "Carrying his own cross, he went out to the place of the Skull (which in Aramaic is called Golgotha)."

Moving to the lower limbs, both knees have abrasions that are most likely due to falls, as traces of soil have been identified in these areas as well as on the soles of the feet.

The 14 Stations of the Passion, also known as the Way of the Cross or Via Crucis, are a series of events that depict the journey of Jesus from his condemnation to his crucifixion and burial.  At station three,  Jesus falls for the first time. At station seven, he falls the second time. And at Station three, the third time.  The Gospel accounts do mention that Simon of Cyrene was enlisted to help Jesus carry the cross to Golgotha, which may imply that Jesus was weak or struggling under the weight of the cross. However, the Gospels do not provide any specific details about Jesus falling or stumbling on his way to the crucifixion.

It is noteworthy that in 1941, a single-chamber burial cave was found just southeast of the Old City of Jerusalem in the Kidron Valley. Archaeologists were able to determine this was a family tomb for a family of Jews from Cyrene, and it was dated to the 1st century CE. One of the eleven ossuaries was inscribed several times with the names Simon and Alexander–identified as Cyrenians.  Simon of Cyrene is famous for helping Jesus carry his cross to the place of execution. Roman Catholics commemorate his act as the fifth station of the cross. But the gospel of Mark significantly adds that this Simon was the father of “Alexander and Rufus,” naming his two sons, as if ancient in the Christian community might know them (Mark 15:21).

Mark 15:21, ESV: And they compelled a passerby, Simon of Cyrene, who was coming in from the country, the father of Alexander and Rufus, to carry his cross. 

 It is entirely possible that they were drawn to take up residence in Jerusalem to be with the followers of Jesus, including James and the brothers of Jesus, Mary their mother, and the Twelve, along with all the disciples. But why would Mark name them in this way–even if they were known? It seems likely, that this family was understood to be “first witnesses” of the events surrounding Jesus’s death and resurrection. Is it likely that archaeologists have stumbled upon the family tomb of Simon of Cyrene’s son Alexander–and possibly, depending on how one reads the inscription–of Simon himself, the very one mentioned in the New Testament gospels.  



The imprints of the subject's arms on the anterior image of the shroud are clearly identifiable, with his arms outstretched and his hands crossing at the level of his pubic area. The long bloodstains on both forearms that appear to run upwards are actually formed when the body was hung on the cross, and therefore the wrists were higher than the elbows. The characteristic bloodstain on the left wrist formed by two divergent streaks is particularly noteworthy as it indicates two different positions assumed by the condemned on the cross - one slumped and the other raised. The absence of the image of the thumbs on the shroud is significant as it could indicate damage to the median nerve or tetanic contraction. The location of the wound on the wrist rather than in the palm of the hand, as depicted in traditional iconography of crucifixion, is also noteworthy.

Matthew:  They came to a place called Golgotha (which means “the place of the skull”). When they had crucified him, they divided up his clothes by casting lots. Mark:  They brought Jesus to the place called Golgotha (which means “the place of the skull”). And they crucified him.  Luke: When they came to the place called the Skull, they crucified him there, along with the criminals—one on his right, the other on his left. John: "Finally Pilate handed him over to them to be crucified. So the soldiers took charge of Jesus. Carrying his own cross, he went out to the place of the Skull (which in Aramaic is called Golgotha). There they crucified him, and with him two others—one on each side and Jesus in the middle."

On the right side of his chest, there is a large bloodstain that flows from an oval-shaped wound caused by a pointed and sharp object that struck between the fifth and sixth ribs, penetrating deeply. The characteristics of this wound indicate that it was inflicted after the subject's death.  The large bloodstain on the right side of the chest flowing from an oval-shaped wound caused by a pointed and sharp object that struck between the fifth and sixth ribs and penetrated deeply is of particular interest as it was inflicted after the subject's death. The serum halo around the blood indicates that the blood had separated from the corpuscular portion, a common occurrence in blood that has exited a corpse. The mention of "blood and water" coming out of Jesus' side is a medical phenomenon that occurs when a person dies from asphyxiation, which is the most likely cause of death in a crucifixion. When a person dies from asphyxiation, the lungs fill with fluid, and the piercing of Jesus' side caused this fluid to mix with blood and come out of the wound.

The passage in John 19:34 describes an event that took place during Jesus' crucifixion. After Jesus had died, one of the Roman soldiers pierced his side with a spear.  The soldiers who carried out the crucifixion were familiar with the signs of death, and the piercing of Jesus' side was a way of confirming that he had truly passed away.

The piercing of Jesus' side was a fulfillment of a prophecy in the Old Testament. In the book of Zechariah, there is a prophecy that says, "They will look on me, the one they have pierced". This prophecy is a prediction of the crucifixion of Jesus, and the piercing of his side with a spear.

Another notable feature is a transverse trickle of blood that crosses the entire back at the height of the kidneys. This blood flowed from the wound in the side and drained here when the corpse, once removed from the cross, was placed in a horizontal position. This observation provides further evidence that the man depicted on the shroud was indeed crucified.

The left knee was fixed in a more flexed position than the right due to cadaveric rigidity, resulting in the left limb appearing shorter in the image. The sole of the right foot is clearly imprinted, while only the posterior part near the heel is visible on the left foot. This suggests that crucifixion was carried out using a single nail and overlapping the left foot on the right foot. On the sole of the right foot, a nail exit hole can be seen from which rivulets of blood flow down towards the toes.

The body imprints visible on the shroud are dark in the raised areas and light in the other areas, creating an opposite brightness distribution to what we perceive in reality. The imprint behaves like a photographic negative. By transforming the image of the shroud into its photographic negative, the brightness is obviously inverted, and the true appearance of the man on the shroud appears as if he were in front of us. This finding has helped to enhance the details and features of the man's body, providing more insight into his physical characteristics and the wounds he suffered.

https://www.youtube.com/watch?v=ktXxXkj5qtM




Professor fanti lei è da molto che studia la sindone da cosa nasce questo suo interesse ma è dunque si sono circa 20 anni che studierà se non è però questo interesse c'era avuto da quando ero bambina ragazzina è stato invitato a vedere qualche cosa della sindone che quando durante un viaggio che ho fatto a torino eccetera però il punto di partenza diciamo è stato proprio negli anni 90 quando ho incominciato a insegnare ai miei studenti di misure meccaniche e termiche anche sistemi di visione elaborazione d'immagine e proprio in questa occasione ho pensato c'è da sin è un'immagine che ancora non ha spiegato perché non proviamo a studiarla meglio con i sistemi di visione con le nuove tecniche che c'erano allora e con quello sono partito sono andato un congresso sulla sindone a nizza e da quel momento ho avuto talmente tanto materiale bibliografico e non solo che mi è stato dato senza che lo chiedessi anche e ancora oggi non posso fermarmi perché la sindone è uno dei teli più studiati al mondo nel corso dei secoli ha richiamato la devozione di tantissime persone eppure ci sono tante controversie scientifiche a partire dalla datazione di questo telo io devo dire che secondo me questo è l'unico telo che è stato studiato così in modo approfondito dal punto di vista scientifico tant'è vero che ci sono decine e decine di pubblicazioni scientifiche a livello internazionale sulla sindone e questo non mi risulta che ci sia per altre reliquie quindi già c'è un notevole interesse da parte di scienziati sia credenti che non credenti ma perché questo soprattutto perché l'immagine impressa sulla sindone ancora oggi non è né riproducibile inspiegabile dal punto di vista scientifico e questo vuol dire che ad esempio noi non possiamo dire di che cosa è fatta l'immagine come è stata prodotta qualcosa possiamo dirlo cosa possiamo dare perché la sindone è un oggetto che si può toccare studiare e quindi analizzare anche nel dettaglio di conseguenza possiamo vedere in che cosa consiste questa immagine questa immagine non è prodotta da pigmenti quindi non sono colori non è dipinta ovviamente no apro una parentesi se uno pensa che sia di penta che sia stata fatta da un artista così mi fa semplicemente ridere e questo lo dico ufficialmente perché con questo voglio anche sfidare qualcuno che mi dimostri è quello che vorrebbe sostenere assolutamente non può essere un dipinto e neanche un opera d'artista tra l'altro neanche oggi riusciamo a riprodurre in laboratorio altamente specializzato quindi come si può pensare che un artista così possa fare queste cose ma quello che è interessante non ci sono pigmenti e la colorazione che noi vediamo è una colorazione è legata a un cambiamento chimico cioè la cellulosa e il lino checompongono appunto questo tessuto si sono hanno avuto una reazione chimica ben selezionata punto per punto che ha prodotto questi chiaroscuri dell'immagine la reazione chimica è ossidazione e disidratazione dellino ma quello che è interessante non so se abbiamo tempo possiamo andare creati nel dettaglio allora pensiamo idealmente di togliere ed alla sindone un filo colorato lo ingrandiamo circa 100 200 volte e otteniamo questo modellino qui che rappresenta un filo di lina ingrandita punta vediamo le cannucce ogni cannuccia è una fibra di lino del diametro di circa 20 micrometri ingrandita ovviamente come si vede qua allora l'immagine fibre fibre rosse è un'immagine estremamente superficiale se guardiamo infatti in sezione vediamo che tutto il filo è costituito da fibre non colorate le gialle vediamo le fibre colorate solo da una parte ma c'è di più la singola fibra è uniformemente colorata lungo la circonferenza però ci sono fibre colorata affiancate a fibre non colorate pensiamo un ipotetico pittore che cosa dovrebbe fare per ottenere sarebbe impossibile pensatore prendere un pennello con un'unica setola più sottile della singola fibra dovrebbe intingere non nel colore perché non c'è colore quindi nell'acido che trasparente qualche problema di questo tipo dovrebbe dipingere i milioni di fibre una per una con la lente ovviamente con un microscopio ma dovrebbe col pennello andare anche dietro senza toccare le fibre adiacenti che non sono colorati e questo già ci fa capire uno degli aspetti eccezionali della sindone lei ha prodotto tante pubblicazioni scientifiche l'ultimo invece è unagile libretto appena uscito che si intitola il tesoro sindonico e io leggo qui che la sindone è il quinto vangelo della passione come la definì lindner cosa vuol dire cosa ci dice di questo uomo la sindone allora dal punto di vista strettamente scientifico noi vediamo una doppia immagine corporea di un uomo quindi possiamo dedurre scientificamente che la sindone abbia certamente avvolto un cadavere ma non troviamo il nome di questo cadavere e se anche ci fosse questo nome uno potrebbe essere l'ho scritto dopo quindi dal punto di scientifico non conosciamo quest'uomo però se noi andiamo a fare un confronto fra sindone vangeli e b b e in genere troviamo talmente tante corrispondenze che è estremamente difficile se non impossibile pensare che è quest'uomo non fosse proprio gesù descritto dai vangeli qualcuno dice sì ma chi conosceva la bibbia poteva riprodotto questa immagine a parte fatto chenon si può riprodurre questa immagine era ancora più difficile se non impossibile riprodurre tutte queste cose anche perché sulla sindone abbiamo informazioni aggiuntive che integrano quello che ho scritto nel vangelo ecco perché è berliner era dichiarò quinto vangelo scientifico perché per esempio sulla sindone noi andiamo a vedere i segni di fragiello di un modellino è qui riprodotto i vari segni di flagello è un corpo martoriato perché ha avuto moltissimi colpi di flash e io ne ho contati più di 370 pensiamo poi che la cena ha avvolto la parte dorsale e frontale non le parti laterali e quindi se noi andiamo a pensare quanti colpi effettivamente può avere subito quest'uomo potrebbero essere anche il 500 600 una crudeltà terribile questo non viene scritta nei vangeli viene riportata gesù fu flagellata prima di studiare a cena io pensavo per esempio che gesù avesse avuto quei dieci venti colpi di frusta come tante volte fanno vedere televisione non una schiena martoriata da di questo tipo e con un flagello che lei ha ricostruito questo un modellino di flagello che ho ricostruito sulla base delle ferite che vedo sulla sindone manico adesso non so se tre o quattro core di celle però alla fine c'erano questi due piombini probabilmente dalla superficie molto ruvida che colpendo producevano alle cosiddette ferite lacero contuse cioè colpo e la conclusione e quindi versamente il sangue sotto pelle strisciamento lacerazione e questo si vede e questo si vede è certo ma si vede e non si capisce allora le dico perché non si capisce perché la lacerazione chiaramente è un graffio che fa fuoriuscire sangue ma come le sa la conclusione è un versamento di sangue sotto pelle bene il problema che ancora da risolvere ci sono ipotesi ma come il sangue che si è versato sottopelle pd non è solo uscita non è entrato in contatto con la sindone come questo sangue si e trasporto sulla sindone perché noi vediamo la ferita lacero contusa ecco voi leggete tante cose dalla sindone passiamo a quella che è stata la ferita inferta dai chiodi chiodi terribilmente lunghi e grossi come lei allora innanzitutto dagli studi che abbiamo fatto sulla sindone devo dire che i chiodi utilizzati furono tre si sa che i bizantini e pensavano che i chiodi fossero quattro tanto i crocifissi i bizantini riporta due piedi paralleli effettivamente invece fu utilizzato un unico chiodo questo modellino quanto a lungo quel che a doni ma è lungo un 30 centimetri ma perché perché bisogna pensare e lo spazio di un piede accavallato su quell'altro che passa attraverso della croce e poi lo spazio qua ribattere chiove ma nota che non fuoriesca tra l'altro sembra che la tortura fosse stata ancora più elevata in quanto per fare per ottenere questo risultato prima fu inchiodato un piede poi il chiodo fu estratto fu inchiodato l'altro piede e nel foro precedente fuori infilato al chiodo quindi procedimenti i dolorosissimi altra cosa che posso anticipare anche perché è stata pubblicata in questo articolo che è uscito a gennaio in corrispondenza del della mano polso il chiodo non è necessariamente stato messo in corrispondenza del polso come si pensava fino a ieri ma fuoriesce quanto meno in questa posizione qua quindi fuori dal polso per ottenere questo risultato specialisti del mio gruppo che hanno appunto analizzato questi specialisti medici hanno ipotizzato che il chiodo forse stato infilato in direzione non perpendicolare a manama inclinata perché è inclinata perché forse il foro che era stato fatto sul patibolo non perché si sa che non si poteva inchiodare direttamente un chiodo di ferro dolce su un legno senza preformato il foro di entrata se il foro di entrata era stato fatto più distante dalla posizione della mano cosa hanno fatto i soldati hanno infilato così il chiodo e una volta che era qua per cercare e il foro di entrata hanno fatto questa operazione estremamente dolorosa una cosa che devo sottolineare studiando nel dettaglio e varie ferite dell'uomo della sindone ho capito un po di più quanto quest'uomo ha sofferto per noi quanto amato nella scimmia in quanto ha sofferto perché non è un'arte scientifica ecco il dopo ma guardi sono venuta fuori talmente tante cose che non ci immaginiamo meno io fino a qualche anno fa non mi immaginavo quante sofferenze fossero stati inferti in aggiunta a quelle che noi vediamo su questo ritorno e questo ci fa capire che è stata una persona eccezionale è stata inferta una passione straordinaria questa persona che è stata flagellata incoronata con una corona di spine e infine crocifissa che non era una cosa fatta per tutti condannare infatti migliaia e migliaia di crocifissi ma non mi risulta che altri fossero stati incoronati di spine perché è stato incoronato di spine quest'uomo perché era r il re dei giudei tant'è vero che titolo sclusi veniva riportata quindi è una croce si sa che le crocifissioni erano molto particolari e adattate al singolo condannata e qui infatti come condanna aggiuntiva c'è stata messa anche questa corona di spine che tra l'altro anche qui c'è qualche novità perché molti pensano appunto è ferita delle spine che sono dolorose eccetera eccetera ecco io sono entrato in contatto con docente della città di gerusalemme di botanica e mi ha spiegato che questa corona di spine non era è fatta di di rami di una pianta di spina christie eccetera eccetera ma delcosiddetto rhamnus litoide perché per che gerusalemme non c'era la spina e la spina christie altre piante e questo rhamnus licio adesso è una pianta molto spinosa sicché particola tra l'altro sappiamo che le sacre spine che sanguinano o che danno manifestazioni particolari anno la punta rossa punta rossa che è caratteristica del raduno su di ciò c'è anche la conferma per altra via ma quello che è interessante quanto meno dal punto di vista scientifico è che questa punta rossa della spina verranno cede solide contiene sostanze altamente urticante che aggiungono dolore al dolore provocato presenta mente e io l'ho sperimentato perché ha fatto una conferenza in meridione nel nord italia non c'è questa pianta si meriti non l'ho trovata e ne ho preso un ramo così per ricordo per studiarla e mi sono stati a non fermarmi sono appunto i police e non sa che dolore che mi è venuta fuori dopo 23 minuti senta la sindone ci dice anche che c'è stato un momento in cui questo corpo è scomparso cioè non è stato spostato trascinato via già perché da quello che leggiamo proprio su questo libro aperto che la sindone c'è un fattore di mistero a un certo punto tanti misteri tanti liz neri o è spiegabile appunto dal punto di vista scientifico tra l'altro se noi andiamo a vedere proprio le ferite da flagello hanno questa caratteristica presentano una fuoriuscita di sangue ma non vediamo la minima sbavatura soprattutto in corrispondenza della schiena e dalla zona delle spalle dei glutei dove chiaramente se un uomo fosse stato manomesso o se lo stesso uomo se fosse svegliata come qualcuno si inventa e se fosse fosse uscito da sepolcro certamente ci sarebbe stato uno sfregamento fra pelle croste di sangue quindi e tessuto che non c'è stato non vediamo la minima sbavatura qualcuno dice e sangue era in crosta e quindi non poteva essere ma assolutamente no perché in un ambiente umido come quello adesso è poco tra l'altro i medici dicono che il sangue siri dissolse per fibrinolisi certamente il sangue era quantomeno molliccia e uno sfregamento avrebbe prodotto sbavature la non troviamo la minima sbavatura quindi cosa può essere successo quindi è come dice lo scienziato americano john jackson l'uomo divenne meccanicamente trasparente e uscita lenzuola ed ecco perché poi quando giovanni entrano nel sepolcro vide e credette che cosa vide e perché credete probabilmente vide la sindone lui sapeva era stato di venerdì santo sapeva come era stato avvolto il corpo centrale vedere la sindone afflosciata afflosciata ma non toccata quindi oltre a questo poi vide il sudario che ancora avvolgeva il corpo e la testa che non c'era vedendo queste cose lui si rese conto che quest'uomo era si era smaterializzato ecco che da lì cominciò crederanno l'associazione è qualcuno parla di un'esplosione di energia se allora vedendo le caratteristiche estremamente particolari dell'immagine per esempio se noi andiamo a vedere la singola fibra di lino la singola fibra non ha la cellulosa colorata e colorato solo uno strato di 0,2 millesimi di millimetro ecco per ottenere questo bisogna che la sostanza che produce questo colore o l'esplosione di energia come molto probabilmente è sì è abbia avuto un intervento estremamente breve io parlavo di qualche secondo millisecondo quello di questo tende e questo tipo sono stato corretto da qualche scienziato ai miei da noi si deve parlare di micro o nanosecondi cioè milionesimi di secondo più veloce di un flash della macchina fotografica perché sia così breve e se estremamente intenso però e per ottenere questo ovviamente anche per questo abbiamo difficoltà riprodurre in laboratorio a questa cosa perché energie così intensa e così brevi non sono semplici da ottenere ecco questo ovviamente sulla sindone non dimostra niente questo però fa pensare dal punto di vista più generale è l'esplosione è legata alla resurrezione certo senta alle sue spalle vediamo delle monete particolari si può spiegare che cosa ci dice in più la numismatica sulla sindone galera è accennato all'inizio il problema della dotazione nel 1988 è stata fatta una datazione al carbonio 14 che ha dichiarato la cena è del tardo medioevo ha lasciato tutti molto perplessi perplessi sì perché siamo ignoranti siamo ignoranti non sappiamo interpretare bene le cose secondo me addirittura questo risultato potrà essere una uno degli indici principali a favore della resurrezione perché perché è stata fatta una datazione per fare lattazione a carbonia 14 a considerare il rapporto fra isotopi di carbonio 12 e carbonio 214 che sono presenti appunto anellino da questi rapporti si può risalire in base ad opportune tabelle normali al una datazione che è risultata diciamo del 1300 ma non si è pensato a una eventuale contaminazione dovuto a fattori ambientali se noi pensiamo un'esplosione di energia comprendente anche un esplosione di neutroni ecco i neutroni potrebbero avere interagito con l'azoto presenta nellina per raggiungere il carbonio 14 ecco siccome poi non quindi avrebbe sfalsato alzato notevolmente la data proprio per visto che non si può rifare è un'attrazione quindi brucia erano troppo di sindone abbiamo pensato di fare e datazioni alternative e proprio qui nella storia di padova ho avuto un finanziamento di ateneo per sviluppare questa trattazione siamo interessati data azioni meccaniche cioè abbiamo costruito una macchina che permette di singolo nel singolo pellicola singola fibra di lino tirarla ciclicamente determinare caratteristiche meccaniche vado al dunque e con questo abbiamo ottenuto che la cena è adattabile al primo secolo dopo cristo quindi coerente con l'età in cui gesù visse in palestina e queste morales eleggono invece un'altra ricerca che ho fatto che pubblicata proprio in quel libro che fare una ricerca sul sulla monetazione bizantine questa è una moneta bizantina cognata giustiniano secondo nel 690 ii dopo cristo e qui c'è scritto gesù cristo re dei regnanti questo è il volto di cristo che chiaramente è molto simile al volto sindonico viene riportato qua ovviamente qualcuno dice sì ma non è uguale eccetera ma dobbiamo pensare anche all'incisore bizantina che doveva fare una moneta grande così senza lenti particolari e non era certo facile produrre interessante è che ci sono notevoli e punti di somiglianza con l'asi non è per esempio la barba bipartita parzialmente strappata sulla destra in coerenza anche con qualche scritto nei vangeli tumefazione della guancia destra capelli più lunghi da una parte eccetera eccetera e tra l'altro ha fatto un calcolo probabilistico confrontando le due immagini e risulta che l'incisore ipotetico incisione bizantino che doveva ottenere quel risultato aveva solo 7probabilità su un miliardo di miliardi di ottenere quel risultato quindi la sindone era stata vista in quel pari ma è proprio per mettere in evidenza questo questo questo risultato adesso sto coniando questi gettoni gettoni che da una parte hanno il volto sindonico presso la ex sicut dixit e qui invece il volto di riportato dalla moneta di ripristinarla secondo il 20 marzo ci sarà una presentazione particolare dell'uomo della sindone con una ricostruzione tridimensionale cosa vuol dire cosa aggiunge allora primo problema che mi sono posto ancora 20 anni fa qui vediamo= sulla sindone due immagini frontale e dorsale tra l'altro un'immagine dorsale più lunga di più di dieci centimetri rispetto a quella frontale e qualcuno dice certamente l'ha fatta un artista perché ne ha sbagliata una lunghezza eccetera eccetera primo problema che ho affrontato commette esiste che si sono laureati in ingegneria meccanica stato proprio quel esiste un manichino corrispondente a una forma umana che possa essere avvolta in un certo modo sulla sindone tale da formare le due immagini in modo coerente la risposta è stata subito sì se noi pensiamo alla particolare posizione ginocchia parzialmente piegate testa chinata in avanti a parte le braccia che state molto movimentata e questa è la posizione di un crocifisso dotato di notevole rigidità cadaverica quindi noi abbiamo impronta non di un uomo disteso supino normale cose ma un particolare uomo che ha assunto la sua residenza in croce e non è questa però l'immagine che prevedono di notte ecco questo è il punto di partenza cioè una volta kate esiste dimostrato questo con un modello numerico noi abbiamo costruito diverse stato è sempre più verosimili rispetto a quello che vediamo ma proprio ultimamente ho trovato una equipe colleghi ed i medici dello study palo dell'ospedale di padova che mi hanno aiutato a ricostruire questa immagine come lo scultore sergiano della è proprio il 20 di questo mese presenteremo questo risultato che è un po migliore a questo perché perché dopo due anni di studi proprio punto per punto è venuto fuori che grosso modo la posizione e questa non cambia più di tanto però posso anticipare per esempio che le ginocchia sono un po più piegate le mani messe in questa posizione ma appena appena in modo diverso e soprattutto il risultato è che c'è una lussazione notevole della spalla destra grazie professor fanti per il suo studio appassionato per questa questo tesoro veramente che rappresenta la sindone come immagine come testimonianza impressa di un uomo che ha sofferto tanto e che rappresenta tanto per l'umanità grazie grazie per questa intervista

Professor fanti lei è da molto che studia la sindone da cosa nasce questo suo interesse?

Fanti:  ma è dunque si sono circa 20 anni che studierà se non è però questo interesse c'era avuto da quando ero bambino ragazzino è stato invitato a vedere qualche cosa della sindone che quando durante un viaggio che ho fatto a torino eccetera però il punto di partenza diciamo è stato proprio negli anni 90 quando ho incominciato a insegnare ai miei studenti di misure meccaniche e termiche anche sistemi di visione elaborazione d'immagine e proprio in questa occasione ho pensato c'è da sindone che è un'immagine che ancora non ha spiegato perché non proviamo a studiarla meglio con i sistemi di visione con le nuove tecniche che c'erano allora e con quello sono partito sono andato un congresso sulla sindone a nizza e da quel momento ho avuto talmente tanto materiale bibliografico e non solo che mi è stato dato senza che lo chiedessi anche e ancora oggi non posso fermarmi 

perché la sindone è uno dei teli più studiati al mondo nel corso dei secoli ha richiamato la devozione di tantissime persone eppure ci sono tante controversie scientifiche a partire dalla datazione di questo telo

Fanti:  io devo dire che secondo me questo è l'unico telo che è stato studiato così in modo approfondito dal punto di vista scientifico tant'è vero che ci sono decine e decine di pubblicazioni scientifiche a livello internazionale sulla sindone e questo non mi risulta che ci sia per altre reliquie quindi già c'è un notevole interesse da parte di scienziati sia credenti che non credenti ma perché questo?  soprattutto perché l'immagine impressa sulla sindone ancora oggi non è né riproducibile, ne spiegabile dal punto di vista scientifico 

e questo vuol dire che ad esempio noi non possiamo dire di che cosa è fatta l'immagine come è stata prodotta 

Fanti: qualcosa possiamo dirlo cosa possiamo dare perché la sindone è un oggetto che si può toccare studiare e quindi analizzare anche nel dettaglio di conseguenza possiamo vedere in che cosa consiste questa immagine questa immagine non è prodotta da pigmenti 

quindi non sono colori non è dipinta 

Fanti: ovviamente no apro una parentesi se uno pensa che sia di penta che sia stata fatta da un artista così mi fa semplicemente ridere e questo lo dico ufficialmente perché con questo voglio anche sfidare qualcuno che mi dimostri è quello che vorrebbe sostenere assolutamente non può essere un dipinto e neanche un opera d'artista tra l'altro neanche oggi riusciamo a riprodurre in laboratorio altamente specializzato quindi come si può pensare che un artista così possa fare queste cose ma quello che è interessante non ci sono pigmenti e la colorazione che noi vediamo è una colorazione è legata a un cambiamento chimico cioè la cellulosa e il lino che compongono appunto questo tessuto  hanno avuto una reazione chimica ben selezionata punto per punto che ha prodotto questi chiaroscuri dell'immagine.  La reazione chimica è ossidazione e disidratazione dellino ma quello che è interessante  possiamo andare creati nel dettaglio allora pensiamo idealmente di togliere ed alla sindone un filo colorato lo ingrandiamo circa 100 200 volte e otteniamo questo modellino qui che rappresenta un filo di lina ingrandito a  punto.  Vediamo le cannucce ogni cannuccia è una fibra di lino del diametro di circa 20 micrometri ingrandita ovviamente come si vede qua allora l'immagine fibre fibre rosse è un'immagine estremamente superficiale se guardiamo infatti in sezione vediamo che tutto il filo è costituito da fibre non colorate le gialle vediamo le fibre colorate solo da una parte ma c'è di più la singola fibra è uniformemente colorata lungo la circonferenza però ci sono fibre colorata affiancate a fibre non colorate pensiamo un ipotetico pittore che cosa dovrebbe fare per ottenere 

sarebbe impossibile pensatore 

Fanti: dovrebbe prendere un pennello con un'unica setola più sottile della singola fibra dovrebbe intingere non nel colore perché non c'è colore quindi nell'acido che trasparente qualche problema di questo tipo dovrebbe dipingere i milioni di fibre una per una con la lente ovviamente con un microscopio ma dovrebbe col pennello andare anche dietro senza toccare le fibre adiacenti che non sono colorati 

e questo già ci fa capire uno degli aspetti eccezionali della sindone lei ha prodotto tante pubblicazioni scientifiche l'ultimo invece è unagile libretto appena uscito che si intitola il tesoro sindonico e io leggo qui che la sindone è il quinto vangelo della passione come la definì lindner cosa vuol dire cosa ci dice di questo uomo la sindone 

Fanti: allora dal punto di vista strettamente scientifico noi vediamo una doppia immagine corporea di un uomo quindi possiamo dedurre scientificamente che la sindone abbia certamente avvolto un cadavere ma non troviamo il nome di questo cadavere e se anche ci fosse questo nome uno potrebbe essere l'ho scritto dopo quindi dal punto di scientifico non conosciamo quest'uomo però se noi andiamo a fare un confronto fra sindone vangeli e bibbia in genere troviamo talmente tante corrispondenze che è estremamente difficile se non impossibile pensare che è quest'uomo non fosse proprio gesù descritto dai vangeli.  qualcuno dice sì ma chi conosceva la bibbia poteva riprodotto questa immagine a parte fatto chenon si può riprodurre questa immagine era ancora più difficile se non impossibile riprodurre tutte queste cose anche perché sulla sindone abbiamo informazioni aggiuntive che integrano quello che ho scritto nel vangelo ecco perché è berliner era dichiarò quinto vangelo scientifico perché per esempio sulla sindone noi andiamo a vedere i segni di fragiello di un modellino è qui ho riprodotto i vari segni di flagello

 è un corpo martoriato perché ha avuto moltissimi colpi di flagello. 

Fanti: e io ne ho contati più di 370.  Pensiamo poi che la cena ha avvolto la parte dorsale e frontale non le parti laterali e quindi se noi andiamo a pensare quanti colpi effettivamente può avere subito quest'uomo potrebbero essere anche il 500 600 

una crudeltà terribile 


Fanti: E questo non viene scritta nei vangeli viene riportata gesù fu flagellata prima di studiare a cena io pensavo per esempio che gesù avesse avuto quei dieci venti colpi di frusta come tante volte fanno vedere televisione non una schiena martoriata da di questo tipo

 e con un flagello che lei ha ricostruito

Fanti: questo un modellino di flagello che ho ricostruito sulla base delle ferite che vedo sulla sindone manico adesso non so se tre o quattro core di celle però alla fine c'erano questi due piombini probabilmente dalla superficie molto ruvida che colpendo producevano le cosiddette ferite lacero contuse cioè colpo e la conclusione e quindi versamente il sangue sotto pelle strisciamento lacerazione 

e questo si vede ? 

Fanti: e questo si vede è certo ma si vede e non si capisce allora le dico perché non si capisce perché la lacerazione chiaramente è un graffio che fa fuoriuscire sangue ma come le sa la conclusione è un versamento di sangue sotto pelle.  Bene,  il problema che ancora da risolvere ci sono ipotesi ma come il sangue che si è versato sottopelle pd non è solo uscita non è entrato in contatto con la sindone come questo sangue si e trasporto sulla sindone perché noi vediamo la ferita lacero contusa 

Fanti: ecco voi leggete tante cose dalla sindone 

passiamo a quella che è stata la ferita inferta dai chiodi chiodi terribilmente lunghi e grossi come lei 

Fanti: allora innanzitutto dagli studi che abbiamo fatto sulla sindone devo dire che i chiodi utilizzati furono tre si sa che i bizantini e pensavano che i chiodi fossero quattro tanto i crocifissi i bizantini riporta due piedi paralleli effettivamente invece fu utilizzato un unico chiodo questo modellino quanto a lungo quel che a doni ma è lungo un 30 centimetri ma perché perché bisogna pensare e lo spazio di un piede accavallato su quell'altro che passa attraverso della croce e poi lo spazio qua ribattere chiove ma nota che non fuoriesca.  Tra l'altro sembra che la tortura fosse stata ancora più elevata in quanto per fare per ottenere questo risultato prima fu inchiodato un piede poi il chiodo fu estratto fu inchiodato l'altro piede e nel foro precedente fuori infilato al chiodo quindi procedimenti i dolorosissimi. Altra cosa che posso anticipare anche perché è stata pubblicata in questo articolo che è uscito a gennaio in corrispondenza del della mano polso il chiodo non è necessariamente stato messo in corrispondenza del polso come si pensava fino a ieri ma fuoriesce quanto meno in questa posizione qua quindi fuori dal polso. Per ottenere questo risultato specialisti del mio gruppo che hanno appunto analizzato questi specialisti medici hanno ipotizzato che il chiodo fosse stato infilato in direzione non perpendicolare nella mano, ma inclinata perché è inclinata perché forse il foro che era stato fatto sul patibolo non perché si sa che non si poteva inchiodare direttamente un chiodo di ferro dolce su un legno senza preformato il foro di entrata se il foro di entrata era stato fatto più distante dalla posizione della mano cosa hanno fatto i soldati hanno infilato così il chiodo e una volta che era qua per cercare e il foro di entrata hanno fatto questa operazione estremamente dolorosa. Una cosa che devo sottolineare studiando nel dettaglio e varie ferite dell'uomo della sindone ho capito un po di più quanto quest'uomo ha sofferto per noi 

quanto amato alla fine anche. 

 in quanto ha sofferto 

 sono venuta fuori talmente tante cose che non ci immaginiamo meno io fino a qualche anno fa non mi immaginavo quante sofferenze fossero stati inferti in aggiunta a quelle che noi vediamo su questo lenzuolo.

 e questo ci fa capire che è stata una persona eccezionale è stata inferta una passione straordinaria questa persona che è stata flagellata incoronata con una corona di spine e infine crocifissa che non era una cosa fatta per tutti condannati. 

Fanti: infatti migliaia e migliaia di crocifissi ma non mi risulta che altri fossero stati incoronati di spine perché è stato incoronato di spine quest'uomo perché era r il re dei giudei tant'è vero che titolo sclusi veniva riportata quindi è una croce si sa che le crocifissioni erano molto particolari e adattate al singolo condannato e qui infatti come condanna aggiuntiva c'è stata messa anche questa corona di spine che tra l'altro anche qui c'è qualche novità.  Perché molti pensano appunto è ferita delle spine che sono dolorose eccetera eccetera ecco io sono entrato in contatto con docente della città di gerusalemme di botanica e mi ha spiegato che questa corona di spine non era è fatta di rami di una pianta di spina christie  ma delcosiddetto rhamnus licoide perché per che gerusalemme non c'era la spina e la spina christie altre piante e questo rhamnus licio adesso è una pianta molto spinosa sicché particola tra l'altro sappiamo che le sacre spine che sanguinano o che danno manifestazioni particolari anno la punta rossa punta rossa che è caratteristica del raduno su di ciò c'è anche la conferma per altra via ma quello che è interessante quanto meno dal punto di vista scientifico è che questa punta rossa della spina verranno cede solide contiene sostanze altamente urticante che aggiungo nolicoides.  dolore al dolore provocato presenta mente e io l'ho sperimentato perché ha fatto una conferenza in meridione nel nord italia non c'è questa pianta si meriti non l'ho trovata e ne ho preso un ramo così per ricordo per studiarla e mi sono stati a non fermarmi sono appunto i police e non sa che dolore che mi è venuta fuori dopo 2, 3 minuti 

senta la sindone ci dice anche che c'è stato un momento in cui questo corpo è scomparso cioè non è stato spostato trascinato via già perché da quello che leggiamo proprio su questo libro aperto che la sindone c'è un fattore di mistero a un certo punto 

Fanti: tanti misteri tanti liz neri o è spiegabile appunto dal punto di vista scientifico.  Tra l'altro se noi andiamo a vedere proprio le ferite da flagello hanno questa caratteristica presentano una fuoriuscita di sangue ma non vediamo la minima sbavatura soprattutto in corrispondenza della schiena e dalla zona delle spalle dei glutei dove chiaramente se un uomo fosse stato manomesso o se lo stesso uomo se fosse svegliata come qualcuno si inventa e se fosse fosse uscito da sepolcro certamente ci sarebbe stato uno sfregamento fra pelle croste di sangue quindi e tessuto che non c'è stato non vediamo la minima sbavatura qualcuno dice e sangue era in crosta e quindi non poteva essere ma assolutamente no perché in un ambiente umido come quello adesso è poco tra l'altro i medici dicono che il sangue siri dissolse per fibrinolisi certamente il sangue era quantomeno molliccia e uno sfregamento avrebbe prodotto sbavature la non troviamo la minima sbavatura 

quindi cosa può essere successo 

quindi è come dice lo scienziato americano john jackson l'uomo divenne meccanicamente trasparente e uscita lenzuola ed ecco perché poi quando giovanni entrano nel sepolcro vide e credette che cosa vide e perché credete. probabilmente vide la sindone lui sapeva era stato di venerdì santo sapeva come era stato avvolto il corpo centrale vedere la sindone afflosciata afflosciata ma non toccata quindi oltre a questo poi vide il sudario che ancora avvolgeva il corpo e la testa che non c'era,  vedendo queste cose lui si rese conto che quest'uomo era si era smaterializzato ecco che da lì cominciò credendo nella resurrezione. 

è qualcuno parla di un'esplosione di energia 

Fanti: si,  allora vedendo le caratteristiche estremamente particolari dell'immagine per esempio se noi andiamo a vedere la singola fibra di lino la singola fibra non ha la cellulosa colorata e colorato solo uno strato di 0,2 millesimi di millimetro ecco per ottenere questo bisogna che la sostanza che produce questo colore o l'esplosione di energia come molto probabilmente è sì è abbia avuto un intervento estremamente breve io parlavo di qualche secondo millisecondo quello di questo tende e questo tipo.  Sono stato corretto da qualche scienziato ai miei da noi si deve parlare di micro o nanosecondi cioè milionesimi di secondo più veloce di un flash della macchina fotografica perché sia così breve e se estremamente intenso però e per ottenere questo ovviamente anche per questo abbiamo difficoltà riprodurre in laboratorio a questa cosa perché energie così intensa e così brevi non sono semplici da ottenere ecco questo ovviamente sulla sindone non dimostra niente questo però fa pensare dal punto di vista più generale è l'esplosione è legata alla resurrezione 

certo senta alle sue spalle vediamo delle monete particolari si può spiegare che cosa ci dice in più la numismatica sulla sindone 

Fanti: Lei è accennato all'inizio il problema della dotazione nel 1988 è stata fatta una datazione al carbonio 14 che ha dichiarato la cena è del tardo medioevo ha lasciato tutti molto perplessi perplessi sì perché siamo ignoranti siamo ignoranti non sappiamo interpretare bene le cose.  Secondo me addirittura questo risultato potrà essere una uno degli indici principali a favore della resurrezione perché perché è stata fatta una datazione per fare lattazione a carbonia 14 a considerare il rapporto fra isotopi di carbonio 12 e carbonio 14 che sono presenti appunto nel lino da questi rapporti si può risalire in base ad opportune tabelle normali al una datazione che è risultata diciamo del 1300 ma non si è pensato a una eventuale contaminazione dovuto a fattori ambientali se noi pensiamo un'esplosione di energia comprendente anche un esplosione di neutroni ecco i neutroni potrebbero avere interagito con l'azoto presenta ne lina per raggiungere il carbonio 14 ecco siccome poi non quindi avrebbe sfalsato alzato notevolmente la data proprio per visto che non si può rifare è un'attrazione quindi brucia erano troppo di sindone abbiamo pensato di fare e datazioni alternative e proprio qui nella storia di padova ho avuto un finanziamento di ateneo per sviluppare questa trattazione siamo interessati a datazioni meccaniche cioè abbiamo costruito una macchina che permette di singolo nel singolo pellicola singola fibra di lino tirarla ciclicamente determinare caratteristiche meccaniche.  

Vado al dunque e con questo abbiamo ottenuto che la cena è adattabile al primo secolo dopo cristo quindi coerente con l'età in cui gesù visse in palestina e queste morales eleggono invece un'altra ricerca che ho fatto che pubblicata proprio in quel libro che fare una ricerca sul sulla monetazione bizantine questa è una moneta bizantina cognata giustiniano secondo nel 690 ii dopo cristo e qui c'è scritto gesù cristo re dei regnanti questo è il volto di cristo che chiaramente è molto simile al volto sindonico viene riportato qua ovviamente qualcuno dice sì ma non è uguale eccetera ma dobbiamo pensare anche all'incisore bizantina che doveva fare una moneta grande così senza lenti particolari e non era certo facile produrre.  Interessante è che ci sono notevoli e punti di somiglianza con l'asi non è per esempio la barba bipartita parzialmente strappata sulla destra in coerenza anche con qualche scritto nei vangeli tumefazione della guancia destra capelli più lunghi da una parte.  E tra l'altro ha fatto un calcolo probabilistico confrontando le due immagini e risulta che l'incisore ipotetico incisione bizantino che doveva ottenere quel risultato aveva solo 7probabilità su un miliardo di miliardi di ottenere quel risultato quindi la sindone era stata vista in quel pari ma è proprio per mettere in evidenza questo questo questo risultato adesso sto coniando questi gettoni gettoni che da una parte hanno il volto sindonico presso la ex sicut dixit e qui invece il volto di riportato dalla moneta di ripristinarla secondo

 il 20 marzo ci sarà una presentazione particolare dell'uomo della sindone con una ricostruzione tridimensionale cosa vuol dire cosa aggiunge 

Fanti: allora primo problema che mi sono posto ancora 20 anni fa qui vediamo= sulla sindone due immagini frontale e dorsale tra l'altro un'immagine dorsale più lunga di più di dieci centimetri rispetto a quella frontale e qualcuno dice certamente l'ha fatta un artista perché ne ha sbagliata una lunghezza eccetera eccetera primo problema che ho affrontato commette esiste che si sono laureati in ingegneria meccanica stato proprio quel.  Esiste un manichino corrispondente a una forma umana che possa essere avvolta in un certo modo sulla sindone tale da formare le due immagini in modo coerente la risposta è stata subito sì se noi pensiamo alla particolare posizione ginocchia parzialmente piegate testa chinata in avanti a parte le braccia che state molto movimentata e questa è la posizione di un crocifisso dotato di notevole rigidità cadaverica.  Quindi noi abbiamo impronta non di un uomo disteso supino normale cose ma un particolare uomo che ha assunto la sua riggitezza in croce.  E non è questa però l'immagine che prevedono di notte ecco questo è il punto di partenza cioè una volta kate esiste dimostrato questo con un modello numerico noi abbiamo costruito diverse stato è sempre più verosimili rispetto a quello che vediamo.  Ma proprio ultimamente ho trovato una equipe colleghi ed i medici dello study palo dell'ospedale di padova che mi hanno aiutato a ricostruire questa immagine come lo scultore Sergio Rodella.  è proprio il 20 di questo mese presenteremo questo risultato che è un po migliore a questo perché perché dopo due anni di studi proprio punto per punto è venuto fuori che grosso modo la posizione e questa non cambia più di tanto però posso anticipare per esempio che le ginocchia sono un po più piegate le mani messe in questa posizione ma appena appena in modo diverso e soprattutto il risultato è che c'è una lussazione notevole della spalla destra 

grazie professor fanti per il suo studio appassionato per questa questo tesoro veramente che rappresenta la sindone come immagine come testimonianza impressa di un uomo che ha sofferto tanto e che rappresenta tanto per l'umanità grazie 

Fanti. grazie per questa intervista

If you have never heard about the The Shroud of Turin, let me tell you about it. It is a piece of linen cloth that bears the image of a man who has been crucified. It is a rectangular linen cloth measuring approximately 14.3 feet by 3.7 feet, and is kept in the Cathedral of Saint John the Baptist in Turin, Italy. There is powerful evidence the shroud is the burial cloth of Jesus Christ, that bears his actual image. The image on the shroud appears as a negative image ( like a negative of a photograph) and has most likely been formed by the imprint of the body that had been wrapped in the cloth after death. The Gospels do describe the burial of Jesus in a linen cloth, which is a reference to the shroud. The Gospels describe Joseph of Arimathea taking Jesus' body, wrapping it in a clean linen cloth, and placing it in his own tomb (Matthew 27:57-60, Mark 15:46, Luke 23:53). The Gospel of John also mentions the burial cloth, stating that Nicodemus helped Joseph of Arimathea prepare Jesus' body for burial by bringing a mixture of myrrh and aloes. They took Jesus' body, and wrapped it in linen cloths with spices, according to Jewish burial customs (John 19:38-40). Scientists have inferred that a burst of 34 thousand billion Watts of vacuum-ultraviolet radiation produced a discoloration on the uppermost surface of the Shroud’s fibrils (without scorching it), which gave rise to a perfect three-dimensional negative image of both the frontal and dorsal parts of the body wrapped in it.



The term "Shroud of Turin" is known to refer to a linen sheet that has been preserved in Turin since 1578. It bears visible imprints on both its front and back surfaces, which reproduce the image of a human figure.

The man on the shroud bears numerous contusive injuries that have been carefully studied by forensic doctors. The right side of his face appears more swollen than the left, with visible hematomas and contused lacerations. His nasal septum is deviated due to a fracture, indicating that he was savagely beaten in the hours before his death.

Numerous sinuous bloodstains can be seen on his forehead, the back of his neck, and throughout his hair, emanating from small wounds with pointed diameters. These stains radiate out from his head in a spoke-like pattern, suggesting that a helmet of sharp, pointed thorns was pressed onto his head. The characteristics of the bloodstains allow for distinguishing between injuries to arterial and venous vessels. Of particular interest is a bloodstain on the center of his forehead that flows from a wound in the frontal vein, taking on the characteristic shape of an inverted "3" as it follows the contours of his forehead.

The abrasions on the chest, back, and lower limbs consisting of round, approximately 2cm long figures suggest injuries caused by a flagellum, a Roman torture instrument consisting of a wooden handle with cords at the end to which small metal balls were attached. The punishment was inflicted on a bent back and naked body, causing over a hundred such injuries.

At the height of the left scapular area and the right suprascapular area, quadrangular bruises can be observed. These marks are believed to have been left by the patibulum, the horizontal beam of the cross that the condemned sometimes carried on himself to the place of execution. The object was likely heavy and rough, causing the bruises to be quadrangular in shape.

The imprints of the mans arms on the anterior image of the shroud are clearly identifiable, with his arms outstretched and his hands crossing at the level of his pubic area. The long bloodstains on both forearms that appear to run upwards are actually formed when the body was hung on the cross, and therefore the wrists were higher than the elbows. The characteristic bloodstain on the left wrist formed by two divergent streaks is particularly noteworthy as it indicates two different positions assumed by the condemned on the cross - one slumped and the other raised.

The absence of the image of the thumbs on the shroud is significant as it could indicate damage to the median nerve or tetanic contraction. The location of the wound on the wrist rather than in the palm of the hand, as depicted in traditional iconography of crucifixion, is also noteworthy.

On the right side of his chest, there is a large bloodstain that flows from an oval-shaped wound caused by a pointed and sharp object that struck between the fifth and sixth ribs, penetrating deeply. The characteristics of this wound indicate that it was inflicted after the subject's death. Another notable feature is a transverse trickle of blood that crosses the entire back at the height of the kidneys. This blood flowed from the wound in the side and drained here when the corpse, once removed from the cross, was placed in a horizontal position. This observation provides further evidence that the man depicted on the shroud was indeed crucified.

Moving to the lower limbs, both knees have abrasions that are most likely due to falls, as traces of soil have been identified in these areas as well as on the soles of the feet. The left knee was fixed in a more flexed position than the right due to cadaveric rigidity, resulting in the left limb appearing shorter in the image. The sole of the right foot is clearly imprinted, while only the posterior part near the heel is visible on the left foot. This suggests that crucifixion was carried out using a single nail and overlapping the left foot on the right foot. On the sole of the right foot, a nail exit hole can be seen from which rivulets of blood flow down towards the toes.

The body imprints visible on the shroud are dark in the raised areas and light in the other areas, creating an opposite brightness distribution to what we perceive in reality. The imprint behaves like a photographic negative. By transforming the image of the shroud into its photographic negative, the brightness is obviously inverted, and the true appearance of the man on the shroud appears as if he were in front of us. This finding has helped to enhance the details and features of the man's body, providing more insight into his physical characteristics and the wounds he suffered.

After a ritual washing of the body, called taharah it is dressed in a kittel (shroud) tachrichim and then a tallit.

https://www.minimannamoments.com/tag/shroud/

Role of Radiation in Image Formation on the Shroud of Turin

Formation of the image on the Shroud required three things: a discoloration mechanism, energy, and information. There must have been some process or mechanism that caused discoloration on the top portions of the fibers that make up the image on the cloth. Energy would have been required for the functioning of the discoloration mechanism to alter the electron bonds of the carbon atoms in the cellulose molecules that caused the discoloration. And information defining the shape of the body and the presence of some of the bones was needed to guide the process so front and dorsal images with good resolution could be formed. It is argued that if we follow the evidence where it leads and not be constrained by a presupposition of naturalism, then we find the best explanation for the evidence is that the required energy was delivered to the Shroud by radiation emitted from within the body, and this radiation must have been vertically collimated both up and down. Seventeen reasons are given for this view. The radiation emitted from within the body, by means of its intensity and direction, carried the necessary information from the body to the cloth so the image could be formed. A working hypothesis is developed for this emission of radiation from within the body in terms of when, where, what, why, and how. Responses are given to multiple questions that arise regarding this working hypothesis. And lastly a two-step image formation mechanism is proposed based on radiation emitted from within the body, which caused a static discharge on the top portion of the fibers, which caused the discoloration of the fibers making up the images.
https://0201.nccdn.net/1_2/000/000/0ee/7b1/role-of-radiation-in-image-formation.pdf?fbclid=IwAR1kTcDNzArK5o4pNNC1gfQIftemfTSWb3nVpaElw-3fzJgeXLdjJlzcL-Y

If you don’t believe this is Jesus’ Shroud that’s fine by me, BUT the Shroud is the most accurate representation of the death, burial, and resurrection of Jesus Christ that you will ever see! Note these WORDS:
John 3:16 (KJV)
For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life.

So if you think it’s a fake…. It’s STILL the most accurate representation of the wounds described in the Gospels

If you believe it’s a deception it STILL REVEALS EXACTLY WHAT CHRIST SUFFERED FOR THE SINS OF THE WORLD!!
If you believe it’s an idol….it STILL DEMONSTRATES THE LOVE OF ALMIGHTY GOD BETTER THAN ANY “MAN-MADE IMAGE”

Jesus died so that YOU can live eternally…don’t miss out on GOD’S PROMISE:
2 Corinthians 9:15-15 (KJV) Thanks [be] unto God for his unspeakable gift.

The Shroud of Turin is the most studied artifact in human history. It is a piece of linen cloth that bears the image of a man who has been crucified. We know this by the blood flow from the wrists and ankles. There are also trickles of blood around the head. The body has blood all over it from what appear to be whip marks.

In 1998, the Shroud of Turin was publicly displayed in Turin for eight week. Time magazine asked: Is it Jesus?

This powerpoint presentation will demonstrate, there is powerful evidence, that corroborates that the Shroud of Turin is the authentic burial cloth of Jesus

It is a rectangular linen cloth measuring approximately 4,4 meters by 1,1 meters,

It is kept in the Cathedral of Saint John the Baptist in Turin, Italy, since 1578

The image on the Shroud can only be seen if someone stands about 6 feet, or 2 meters distant from it.

In the front image, one can see a face framed by long hair and a thick beard, the chest, and the arms crossed over the pubis with legs extended.

The back image shows the nape, the back, legs extended, and the soles of the feet.

The shroud is made of fine linen, with a characteristic herringbone weave. On enlargement, the herringbone weave can be clearly recognized. 

According to the Gospels, Jesus was Beaten, his beard ripped off,  Scourged Crowned With Thorns , then he Carried His Cross, and was Nailed to the Cross,  Died , and Pierced by a spear by a roman soldier.

In Luke 22: 62 -65 we read :The men who were guarding Jesus began mocking and beating him.  They blindfolded him and demanded, “Prophesy! Who hit you?” And they said many other insulting things to him. On the Shroud, we see a large hematoma on his right cheek, probably a broken nose, and most remarkably, in Isaiah 50:6b it says:  “I gave My back to those who struck Me, And My cheeks to those who plucked out the beard…”  this is a messianic prophecy. Nowhere do the gospels mention that the roman soldiers pluck off his beard, but on the Shroud we can clearly see a part of his beard missing.

The man on the shroud bears numerous contusive injuries that have been carefully studied by forensic doctors. The right side of his face appears more swollen than the left, with visible hematomas and contused lacerations. 

Numerous sinuous bloodstains can be seen on his forehead, the back of his neck, and throughout his hair, emanating from small wounds with pointed diameters.

These stains radiate out from his head in a spoke-like pattern, suggesting that a helmet of sharp, pointed thorns was pressed onto his head.  The sinuous bloodstains on his forehead, neck, and hair suggest that the subject had a helmet of thorns pressed onto his head, causing small pointed wounds. The spoke-like pattern of the stains radiating from the head indicates the uniformity of the injury, possibly caused by the same object.

The characteristics of the bloodstains allow for distinguishing between injuries to arterial and venous vessels.The bloodstain on the center of the forehead flowing from a wound in the frontal vein is particularly interesting as it takes on the shape of an inverted "3" as it follows the contours of the forehead. This type of bloodstain pattern can be useful in identifying the direction and force of the injury.

The abrasions on the chest, back, and lower limbs consisting of round, approximately 2cm long figures suggest injuries caused by a flagellum, a Roman torture instrument consisting of a wooden handle with cords at the end to which small metal balls were attached.

The punishment was inflicted on a bent back and naked body, causing over a hundred such injuries. The detailed examination of the bloodstains and injuries on the subject's body provides valuable insights into the manner of his death and the torture he endured. 

At the height of the left scapular area and the right suprascapular area, quadrangular bruises can be observed. These marks are believed to have been left by the patibulum, the horizontal beam of the cross that the condemned sometimes carried on himself to the place of execution

The object was likely heavy and rough, causing the bruises to be quadrangular in shape.

The long bloodstains on both forearms that appear to run upwards are actually formed when the body was hung on the cross, and therefore the wrists were higher than the elbows. The characteristic bloodstain on the left wrist formed by two divergent streaks is particularly noteworthy as it indicates two different positions assumed by the condemned on the cross.

The blood flows from an oval-shaped wound caused by a pointed instrument, such as a nail.

Particular attention should be paid to the location of this wound, which is not in the palm of the hand as depicted in the traditional iconography of crucifixion, but in the wrist.

Following is a point of interest, namely in every single medieval painting of jesus crucifixion the nails are always in the center of the palm yet we know now based on the physical structure of the bones in the hand that a nail in that location would simply rip out through the fingers it would not sufficiently carry the weight of the crucifixion victim interestingly the shroud is different from every piece of medieval artwork in this detail in that it places the nails at the wrist not only is this different but it's also physiologically possible that means that the shroud is more medically and physiologically accurate than every piece of medieval crucifixion artwork. The content of the shroud is consistent with the biblical passion narrative.

Interestingly the shroud is different from every piece of medieval artwork in this detail in that it places the nails at the wrist not only is this different but it's also physiologically possible that means that the shroud is more
medically and physiologically accurate than every piece of medieval crucifixion artwork.

It is noteworthy that the image of the thumbs is absent from the shroud, which could be due to damage to the median nerve or tetanic contraction.

On the right side of his chest, there is a large bloodstain that flows from an oval-shaped wound caused by a pointed and sharp object that struck between the fifth and sixth ribs, penetrating deeply. The characteristics of this wound indicate that it was inflicted after the man's death.

The expert witness of a professional forensic pathologist illuminates that the man in the shroud had developed rigor mortis prior to wrapping that the forearm blood flow was consistent with outstretched arms that the thumbs were flexed due to nerve damage from puncture at the wrist that the mid-torso blood flow was post-mortem and originated from a major artery or organ and that the man carried a heavy load on his shoulders after the initial scourging all of these details only further expand on the correlation between the content of the shroud and the biblical passion narrative 

All the wounds that can be seen on the Shroud of Turin, coincide with the ones described in the Gospels, inflicted on Jesus.

How was the image on the Shroud made?

It's not a painting:  If this were true, it should be possible to identify the pigments used by chemical analysis, just as conservators can do for the paintings of Old Masters. But there is no evidence of any pigments  on the cloth in sufficient amounts to explain the image. Nor are there any signs of it being rendered in brush strokes.

The shroud image is not created by any paint stain or die. It's not due to oil or bodily composition.  It's not caused by acid powder or heat.  Interestingly,  there's no material, whether organic or inorganic deposited on the shroud to form the image.  The image does not crack at the fold lines and there's no difference in spatial distribution when viewing the image in the infrared spectrum when compared with the visible spectrum,  a feature present in brushed paintings.  

If we look closely at the threads of the shroud themselves we observe an interesting phenomenon each thread consists of many microscopic fibrils. 

And in the blood-stained areas of the shroud,  the blood wicks through all of the fibrils by capillary action meaning we can see the blood stains on the back of the shroud. 

However, the image is present only on the topmost fibrils indicating a lack of capillary action. 

And this is interesting because it is not physically possible to apply any sort of liquid paint stain or dye to the shroud without it wicking through to the back side through capillary action so we know for certain that the image could not have been formed through any sort of liquid applied to the surface.

The entire image is very superficial in nature, around 0.2 thousandths of a millimeter only on the uppermost surface of the fibrils, the inner side is not, thus it could not have been formed by chemicals, The image resides on the outermost layer of the linen fibers.  The image was not made by a natural chemical process.  

The image is the result of oxidation, dehydration, and conjugation of the fibers of the shroud themselves. It is like the imaged areas on the shroud suddenly rapidly aged compared to the rest of the shroud. 

The image on the shroud is the only one of its kind in this world, and there are no known methods that can account for the totality of the image, nor can any combination of physical, chemical, biological, or medical circumstances explain the image adequately.

So then what does cause the image to appear on the surface of the shroud?

The fibrils are darkened because the cellulose molecules and the flax fibrils have been chemically altered.  There are carbon atoms in the cellulose molecule which under normal circumstances share a single electron bond but the darkened fibrils contain cellulose molecules in which the carbon atoms have a double electron bond. The question is what can produce the net effect of the image of the shroud?  We've experimentally determined that heat can induce the molecular change in the flax fibrils however heat cannot create shaded regions with an equal extent of fibril change and it cannot create a 3d depth map unless we change some fibrils more than others.

We have absolutely no idea how a medieval artist could have used a controlled radiation source to create the image in the shroud.  In fact, we do not even possess this ability today. The previously cited result comes from simulation only because even with our advanced technology today we cannot reproduce the image with all of the same chemical effects we observe in the shroud.

In fact, so far the only process which has been able to produce all of the chemical effects of the fibrils and results in a 3d depth map of a man on the linen is radiation. But if radiation is in fact the best explanation for how the image was formed that raises some big questions. A burst of 34 thousand billion Watts of VUV radiation produced a discoloration on the uppermost surface of the Shroud’s surface which gave rise to a perfect three-dimensional negative image.” 

We currently do not know of any natural cause for a human corpse producing ultraviolet radiation like this. A very short and intense flash of directional VUV radiation can color the linen fabric. The total power required to instantly color the surface of linen corresponding to a human body is 34 thousand billion Watts.

According to normal burial proceedings in the first century, the body, after a ritual washing, was dressed in a Kittel (shroud) called tachrichit, as shown in the picture.

But in the case of Jesus, there was not enough time. So the shroud was probably just wrapped and laid over his body, as shown in the image above.

Some researchers have suggested that the image on the shroud could only have been formed by "orthogonal, unidirectional rays," which means that the light that created the image would have had to come from a single source and hit the cloth at right angles.  This theory is based on the fact that the image on the shroud is only visible from a certain angle, and appears to be three-dimensional, as if it were formed by a beam of light hitting the cloth from a single point. Experiments by physicist Arthur Lind in 2017 using a cyclotron at the University of Missouri demonstrated that the radiation had to be extremely fine tuned within a very narrow range of parameters in order to produce the image of the Shroud—otherwise the Shroud could have been burnt through, or if too many of the fibers had been colored it would have left only a dark area instead of an image, or if the radiation source was too week or too far away from the cloth it would not have left any radiation effect.

According to some biophysicists, particle radiation irradiated the Shroud and the source of the particle radiation was the body itself. The source of the illumination that had formed the image came from within—that is, from the body . . . as a whole.  In other words, the radiation did not come from some external source; rather, the radiation’s origin was directly from the body—from every pinpoint location of the body.

During the resurrection the shroud probably fell through the disappearing dematerializing body while matter turned into energy. So as the body dematerialized gravity took the shroud through the dematerializing body and fell  through the body.

Next, we will deal with the blood, found on the Shroud. Traces of human blood were found, and tests confirmed that this blood belonged to a human body at the time of death, and the blood type is most likely AB.  

The stains were formed by real human bleeding from real wounds on a real human body that came into direct contact with the cloth.  

Tests confirmed the presence of Albumin, immunoglobulin, hemoglobina, and various antigens

But most interesting, the blood material also tested positive for the bile pigment bilirubin.

In the context of forensic investigations, the presence of bilirubin in blood evidence could potentially be an indication of trauma or injury, including injuries sustained during torture. Bilirubin may be released into the bloodstream as a result of the breakdown of red blood cells in damaged tissues, including bruising or other types of trauma.

Included in these innumerable bloodstains, are at least a hundred tiny dumbbell-shaped scourge marks on the  body and legs of the man on the shroud, which match wounds caused by a Roman flagrum with two lead balls on the end of each of its three thongs ], evidently designed to cause internal bleeding so a crucifixion victim didn't die too soon of blood loss. Each of those scourge wounds has tiny blood clots which each have a serum retraction `halo', clearly visible in ultraviolet light  but barely visible, and some are invisible, to the naked eye. Therefore a medieval forger would not only require a modern knowledge of the physiology of clot retraction, but would have to produce images of serum rings that are clearly evident only under ultraviolet light (which was only discovered in 1801)

Even to this day, no artist, physician, or scientist has ever yet been able to reproduce, or otherwise transfer such microscopic precision of wounds from a body to a different object to date—much less to accomplish this flawlessly for over one hundred scourge wounds. 

Next, we will give a closer look to the cumulative evidence that corroborates the Shrouds authenticity. In 1898 Secondo Pia, an Italian  amateur photograph, took the first official photograph of the Shroud. Having exposed four photographic plates, he returned to his studio and began the process of developing them. 

What Pia saw that night in his darkroom astounded him. For, as the image on the negative plate took shape before his eyes, he found himself staring at a coherent likeness of a crucified man. Instead of the flat, enigmatic image seen on the cloth, the negative plate gave the impression of a substantial figure emerging from the background, a figure that looked like a real human body... The negative revealed a remarkably convincing, three-dimensional image of man's face, his eyelids closed ... It was as if the Shroud itself was a photographic negative that could be developed into a breathtaking, positive image of the crucified Jesus

Pia reported : I experienced a very strong emotion when, during the development, I saw for the first time the Holy Face appear on the plate, with such clarity that I was dumbfounded by it...".The image on the shroud appears as a negative image ( like a negative of a photograph)  and has most likely been formed by the imprint of the body that had been wrapped in the cloth after death.

Then, further, in 1976 a team of American scientists led by Dr. John Jackson discovered that the Shroud contains 3D information. They used a VP-8 Image Analyzer, which was a device originally developed by NASA to enhance images of the moon's surface. The VP-8 Image Analyzer uses a mathematical algorithm to convert variations in brightness in a 2D image into height information, creating a 3D representation of the image.

When Dr. Jackson and his team applied the VP-8 Image Analyzer to photographs of the Shroud of Turin, they discovered that the image on the shroud contained 3D information. The 3D information was particularly clear when the image was analyzed using a technique called the relief shading technique, which involves illuminating the image from different angles to create shadows that highlight variations in height.

This discovery of 3D information on the Shroud of Turin was a significant breakthrough, as it provided new insights into the nature of the image and suggested that it was not a simple painting or forgery. In 2012, Thierry Castex from France made these 3D images based on the 3D information contained in the Shroud of Turin.

In 2018, researchers in Padua (Italy) unveiled a 3-D carbon copy of what the man on the Shroud looked like based on the precise measurements of the cloth. The researchers used sophisticated 3D imaging technology to create a replica of the face on the Shroud of Turin, which they believe provides a more accurate representation of what Jesus may have looked like. The photonegative image and 3D information on the Shroud of Turin are  cumulative evidence of its authenticity because they provide unique and unexplained characteristics that are difficult to replicate or explain by forgers or natural processes.

In 1978, the Shroud of Turin Research Project (often abbreviated as STURP) made a scientific examination of the Shroud of Turin. It  was performed by an international team of experts.  For five consecutive 24-hour days, they used the latest technology to study the front and back image.

This group of experts,  working together, performed the first ever indepth, multidisciplinary scientific examination of the Shroud. They produced the primary database of credible scientific information about the Shroud. They published over 30 peer-reviewed scientific articles and it has become an essential resource for the ongoing research done by every serious shroud scholar today.






The Shroud has become the most scientifically studied textile and artifact in human history.

STURP issued its final report in 1981.We can conclude for now that the Shroud image is that of a real human form of a scourged, crucified man. It is not the product of an artist. The blood stains are composed of hemoglobin and also give a positive test for serum albumin. The image is an ongoing mystery and until further chemical studies are made, perhaps by this group of scientists, or perhaps by some scientists in the future, the problem remains unsolved.

Barrie Schwortz was a member of the team. STURP issued its final report in 1981.

Schwortz confessed: "At the beginning of my work, I was very skeptical about its authenticity. I felt no particular emotion toward Jesus because I was raised as an orthodox jew. The only thing I knew about Jesus was that he was a jew, and this was all. ". After 18 years of study, the full conviction came when "the Blood Chemistry Allen Adler, another jew who was part of the study group, I explained why the red blood remained on the Shroud. The old blood would have to be black or brown, while the blood on the Shroud is a red crimson. It seemed inexplicable, instead, it was the last piece of the puzzle. After nearly 20 years of investigation, it was a shock for me to discover that the piece of cloth was the authentic cloth that had been wrapped the body of Jesus. The conclusions I arrived at were based exclusively on scientific observation ".

Could the Shroud of Turin be a forgery? The claim that the Shroud is a forgery, is still widely made today.  Some have attempted to reproduce the image on the Shroud, with more, or less success.

For example, Italian chemist Luigi Garlaschelli tried to reproduce the image of the shroud in 2008, but the results are a far cry from the image on the Shroud, as can be seen here.

These reproduction attempts do not come even close to the detailed image on the Shroud, and rather than proving that the Shroud was a forgery, They prove that reproducing the image on the Shroud is not possible by traditional known methods.

In April 2022, Joanna Moorhead wrote an article for the Newspaper The Guardian: The $1m challenge: ‘If the Turin Shroud is a forgery, show how it was done’. She reported about  David Rolfe, a filmmaker. Rolfe issued " a challenge worth $1m to the British Museum. “If … they believe the shroud is a medieval forgery, I call on them to repeat the exercise, and create something similar today,” he said.  The British Museum is less willing to get involved this time around. “Any current questions about the shroud would be best put to those who currently care for it in the royal chapel of the cathedral of Turin,” a spokesperson said.

By those that try to portray the Shroud as a forgery, what is also often mentioned, is the d'Arcis Memorandum which is a draft document found in the National Library of France that was fraudulently presented as a letter from Bishop d'Arcis to Pope Clement VII in 1389. The document claims that the Shroud of Turin was a cleverly painted cloth exhibited in Lirey, France, and not the actual burial shroud of Jesus. However, there is no evidence to support these claims, and the document's authenticity is highly disputed.

One of the chief arguments of those that claim that the Shroud is not Jesus burial cloth, resorts to the radiocarbon dating that was performed on the Shroud in 1988. The task for scientists was to try and find out the date of the shroud.

In 1989, the prestigious scientific journal Nature published the official results of the Shroud radiocarbon dating

The radiocarbon dating was one of the most eagerly awaited scientific announcements of all time. The Shroud was dated by three well-known labs at the University of Oxford, Arizona, and Zurich.  A radiocarbon dating test was done on a piece of cloth taken from the corner of the shroud

They declared that the results "provide conclusive evidence that the linen of the Shroud of Turin is medieval.“

The result was a big surprise for many, and shocked the world.  Their combined results dated the cloth to AD 1260-1390. 

They came up with a range of dates, much too wide for the small strip cut, but they reported that the cloth dated with a 95% confidence rate. If the shroud was from the thirteenth or fourteenth century, then it couldn’t be the image of Jesus.

There were a lot of problems with the dating, problems that are still discussed today. When the sample was taken, there was a discussion for more than an hour about from which area the sample should be taken.  It was taken from a corner that experts had advised against, because a corner was missing and it was also an area that was held often by clergy during expositions.  It had also been suggested that more than one area be tested to make sure that the sample tested was representative of the whole cloth.

Instead, only 1 sample was taken from the suspect corner and given to three different labs. Photos of the Zurich sample was given to 3 different textile experts in late/1999/early 2000 without telling them they were pictures of the Shroud.  All three said they believed the area had been manipulated or repaired.

The late STURP chemist Raymond Rogers, had access to samples that were radiocarbon dated. After analyzing the samples, he had to admit what Benford and Joe Marino hypothesized was right: The original linen shroud, contained additional cotton threads. The samples from the cloth that was radiocarbon dated, had cotton in it.

He  published a science paper in 2004, concluding that the radiocarbon sample was not part of the original linen of the Shroud of Turin. The radiocarbon date was thus not valid for determining the true age of the shroud. The raw data from the three labs, which the labs, against all norms, refused to release immediately, were finally obtained through a Freedom of Information request in 2017. Careful analysis of that data supports the notion that the Shroud sample dated in 1988 was a combination of 1st-and 16th-century cloth. 

In France, there was a method called French Invisible Reweaving., used by master weavers in the 16th century.  The weaver replaces each broken thread, one at a time.

Many more peer-reviewed papers have been published on the subject of the age of the Shroud, coming to a diferent conclusion than the 1988 radiocarbono dating. A recent one from march this year, using X-ray scattering, concouded that: The experimental results are compatible with the hypothesis that the TS is a 2000-year-old relic, as supposed by Christian tradition.

Many more peer-reviewed papers have been published on the subject of the age of the Shroud, coming to a diferent conclusion than the 1988 radiocarbono dating. A recent one from march this year, using X-ray scattering, concouded that: The experimental results are compatible with the hypothesis that the TS is a 2000-year-old relic, as supposed by Christian tradition.

In november 2020, longtime Shroud of Turin researcher Joseph Marino, which together with his wife, Sue Benford discovered that the corner that was radiocarbon dated, was reweaved,  published a book in which he has compiled the most comprehensive collection of data on the 1988 Carbon-14 dating tests. The 800-page book reveals numerous questionable actions, errors and contradictions by both the Catholic Church and the C-14 labs before, during and after the taking of the samples. Marino believes that if the Shroud is genuine, it “is quite simply the most important and valuable object on the planet,” since “it is as close as we could ever come to proving that the death and resurrection of Jesus are historical facts.” 

In the Cathedral of Oviedo in northern Spain is a linen cloth called the Sudarium Christi, or the Face Cloth of Christ.  The Sudarium Christi is a poor-quality linen cloth, like a handkerchief, measuring 33 by 21 inches.  Unlike the Shroud of Turin, it does not have an image.  However, it does have bloodstains and serum stains from pulmonary edema fluid which match the blood and serum patterns and blood type (AB) of the Shroud of Turin.

There were three pieces of fabric in the passion Story:  the shroud, the linen strips that hold the body in the position since it was in rigor mortis, and the face cloth, the Sudarium.  John chapter 20 mentions a napkin or a face cloth that was used to wrap the face of Jesus and was found in the Tomb on Resurrection Sunday.  We have very good reasons to believe that the sudarium of Oviedo is the face cloth of Jesus since it has a very well-documented paper trail. It was in Judea until 614 A.D when it was taken to Alexandria , then to Cartagena and spent the next hundred years in Sevilla and Toledo and then in 718 A.D it entered the region of Oviedo and it's still housed in a church in Oviedo today.

The code of Jewish law declared that the final blood coming from the body at the moment of death considered that  life was in the blood and according to this anything which contains the lifeblood should be buried with the body so as not to separate the body from the lifeblood so the sudarium  likely covered Jesus head while he was being removed from the cross in order to collect all the blood flowing from his head.

So while Jesus was being removed from the cross, some blood would have wiped from Jesus head and would have therefore been considered a carrier of lifeblood and that's precisely why we should expect the sudarium to be in the Tomb even if separate from the body in the shroud.

The cloth was wrapped all the way around the head and most probably tied in a knot at the top and then when the body reached the tomb  what most probably happened was this cloth could have just been very easily lifted off the head

The Sudarium was removed, and the deceased was covered with a shroud, and  it remained near the deceased until somebody recovered it.

There's a significant amount of dirt and pollen on the sudarium.  Dirt samples in pollen species match those sampled from Judea North Africa and Spain supporting the documented paper trail of the sudarium. In fact, the dirt matches samples taken specifically from the area around Calvary where Jesus was crucified. Swiss criminologist Max Frei found sixteen types of pollen in the Sudarium of Oviedo and identified at least nine of them growing in Palestine.

Some of the traces found on the Sudarium as well as in the Shroud of Turin have their origin in the burial substances used for the entombment. In fact, Helichrysum pollen would have been present in oils and ointments because Helichrysum oil is only produced from the pressing of fresh flowers and it is not an airborne pollen

The sudarium also contains stains of both blood and fluid.  The Blood is human-type AB,  the same as found on the shroud.  The fluid is pleural edema,  a fluid that develops in the lungs of those who die of asphyxiation when the bodies are jolted.  This fluid can come out of the nostrils.  Furthermore, the fluid stains show signs of drying between additional fluid discharges meaning the body underwent multiple rounds of movement after the sudarium had wrapped the head based on this evidence.  Forensic analysis has concluded that the sudarium of Oviedo wrapped the head of a person who died of asphyxiation.

The person's nose was eight centimeters long which happens to be identical to the Shroud and the blood points originated at the exact same locations as on the shroud.

So if we do a quick summary of the comparison between the sudarium and the Shroud we find that the blood type is identical the facial geometry is nearly identical and the blood origin points are identical they both contain significant amounts of dirt and pollen from non-european locations, so it is rational to conclude that both cloths wrapped the same body.

Next, lets give a closer look at the Botanical evidence on the Shroud of Turin

Botanical investigation of the Shroud began with Max Frei's 1973 observations of pollen grains on the Shroud, which he sampled by means of sticky tape. Frei took a second set of 27 sticky tape samples from the Shroud during the scientific study in 1978. The presence on the Shroud of pollen of 29 plants of the Near East, and especially of 21 plants that grow in the desert or the steppes, directly leads to the hypothesis that the Shroud, now preserved in Turin, in the past was exposed to open air in countries where these plants are part of the normal vegetation. 

Of the 58 species of pollen on the Shroud 55 of them grow in Jerusalem and only three species of pollen do not grow in either Europe or Jerusalem those three species of pollen are local to regions of urfa, which used to be called Odessa and Constantinople

Botanist Avinoam Danin of The Hebrew University of Jerusalem began collaborating with Shroud researchers in 1995. He determined the origin of the Shroud based on a comprehensive analysis of pollen taken from the Shroud.

The analysis positively identified a high density of pollen of the thistle Gundelia tournefortii which bloomes in Israel between March and May for millennia. It has been that this is the plant used for the "crown of thorns" on Jesus' head. Two pollen grains of this species were also found on the Sudarium of Oviedo, described previously.

The pollen evidence shows that the Shroud contains botanical substances used in anointing and embalming during funeral and burial rites in ancient times. The exact identification of the sindonic most abundant pollen of the  Helichrysum, along with the presence of the Cistus, the Ferula and Pistacia, reveals the use of ointments. These plants were typically employed in expensive and valuable products cited in the scientific writings of Pliny the Elder. Our conclusions show that the relic could be a real burial cloth, yielding evidence of pollen which are the bases of ancient ointments used in the first century AD. The corpse kept in the Shroud received a funeral and burial with all the honour and respect that would have been customary in the Hebrew tradition. The largest amount of Helichrysum pollen originates from the form used to produce its oil, utilizing exclusively fresh flowers. 

In October 1978 the Shroud of Turin Project, took thirty-two samples of surface material by pressing a specially formulated sticky tape onto the Shroud. Some crystals of calcium carbonate (limestone) were found on some of the tapes. There are limestone particles on the Shroud especially around the area of the feet. It was discovered, that they were of the comparatively rare travertine aragonite variety of calcium carbonate rather than the more common calcite.  From their spectral patterns it was clear that the Shroud and Jerusalem tomb limestone samples were very close match.

The Shroud of Turin is made of a type of linen known as a herringbone weave, which is not commonly used in modern textiles. The type of flax used in the shroud of Turin is a species native to the Middle East and is believed to have been widely cultivated and used for thousands of years for a variety of purposes, including the production of linen fabric.

We read in the Gospel of Mark: When Pilate was informed by the centurion, he gave the body to Joseph. After Joseph bought a linen cloth and took down the body, he wrapped it in the linen and placed it in a tomb cut out of the rock. ” —

A few other ancient textiles made on four-harness looms and found in the Near East, like in En Gedi, can also be regarded as analogues of the burial garment from Turin . 

There is physical evidence which corroborates that the Linen cloth is 2000 years old. for example the spinning wheel had become a standard piece of equipment in Europe by the 13th century however the threads on the Shroud were not produced on the spinning wheel they are hand spun.

In 1989, an expert in early Syriac, Ian Dickinson, of Canterbury, England, realized that the Shroud's 437 x 111 cm dimensions are, to the nearest centimeter, exactly 8 x 2 Assyrian standard cubits of 21.6 inches!  The Assyrian standard cubit was the international measure of commerce prevailing in Jesus's time, including among the Jews. A medieval artist/forger would be most unlikely to know the length of the standard cubit of Jesus' day, as this was only discovered by archaeologists in the 19th century!! 

The sidestrip is a strip of linen about 8 cms (3½ inches) wide along its left-hand side of the Shroud (looking at it with its frontal image in the lower half and the man upright), and joined by a single seam.

The strip is incomplete at each end, with 14 cms (5½ inches) and 36 cms (14 inches) missing at the bottom and top left hand corners respectively. The sidestrip is made from the same piece of cloth as the Shroud, since unique irregularities in the weave of the main body of the Shroud extend across the side strip. 

In the year 2000 "a very special, almost invisible stitching with which the edges were finished" which is visible only on the Shroud's under-side, was discovered. Only once before an "essentially identical" type of stitching has been found: that in first-century textiles at Masada, the Jewish fortress overrun by the Romans in AD 73 and never occupied again.

So from a historical analysis the manufacturing method of the thread. The Weave of the linen, the fabric dimensions and the Stitch of the side strip are all incompatible with the medieval origin yet aligned perfectly with the first century Judean origin.

And a microscopic level we find cotton fibers among the linen threads specifically a cotton species called gossipium herbicum this particular species of cotton does not grow in Europe but rather in the Middle East and Africa

Not a single piece of physical evidence is consistent with the medieval European origin yet every single piece of evidence aligns perfectly with a first century Judean origin which means that the physical evidence deposited on the Shroud is completely incompatible with the medieval forgery hypothesis and instead points exclusively to the authenticity of the shroud.

Lets give a closer look at the history of the Shroud of Turin

The first confirmed historical appearance of the Shroud was in 1353 in Lirey, France. It was in the possession of a French knight. And so the first, almost universally recognized, historical documents related to the Shroud date back to the same period.

A reliable historical route of the Shroud is that it was stored in the first century in the middle east, maybe Jerusalem. From 200 to 944 AD it was exhibited several times in Edessa. From 944 it was publicly displayed in Constantinople till the Fourth Crusade in 1204. It is possible that the Shroud was taken from Constantinople during the sack and was subsequently sold or traded. Some historians believe that the Shroud may have been acquired by the Knights Templar, a military order that was active during this time period. The Shroud re-emerged in the historical record in 1353 when it was displayed in a church in Lirey, France.

Several second-century Christian writings record that the Shroud had been saved from Jesus' tomb: We find Pilate examining four soldiers as to their statement that the body of Jesus was stolen. One (the second: the testimony of the first is gone) says the eleven apostles took the body; the third says, Joseph and Nicodemus; the fourth, 'we were asleep.' They are imprisoned, and Pilate goes with the centurion and the priests to the tomb and finds the grave clothes. He says, 'If the body had been stolen, these would have been taken too.' They say, 'These grave clothes belong to someone else.' Pilate remembers the words of Jesus, 'Great wonders must happen in my tomb', and goes in, and weeps over the shroud. Then he turns to the centurion, who had but one eye, having lost the other in battle.

When the Christians of the city of Edessa, today in Turkey, wrote their history in the 3rd century, they claimed that the Gospel had arrived in the city during the 1st century, brought by a disciple of Jesus named Addai and delivered to King Abgar V, a contemporary of Christ. Later, a Syriac writer expanded upon this text, resulting in The Teaching of Addai. Within this expanded text, there is a small passage in which Abgar, who is corresponding with Jesus through a messenger named Hanan, requests that a picture of Jesus be made. Hanan took and painted the portrait of Jesus and brought it with him to his lord King Abgar. When King Abgar saw the portrait he received it with great joy and placed it with great honor in one of the buildings of his palaces.

This is the first time when the so-called image of Edessa is mentioned. And it is the only known reference to it in ancient times.

While the existence of the Edessa Image in ancient times remains a matter of debate, many scholars agree that there is enough proof for its existence in the 6th century. The first truly historical reference we have to the image of Odessa comes in the year 544 A.D the Persian king chosroes laid Siege to the city of Odessa a city was able to repel the attack. In his account of The Siege historian evragius scholasticus recounts how the town was saved through the miraculous assistance of the divinely made image not made by the hands of man. This phrase is often used to describe the image of Odessa.

As an interesting side note, during the early centuries of Christianity, before 544AD, Jesus was mostly depicted with short hair and no beard. Artists portrayed Jesus in a variety of different styles. However, the most common depiction of Jesus during this time was that of a youthful, beardless figure with a Hellenistic-Roman appearance.

This particular portrayal of Jesus was heavily influenced by the cultural and artistic trends of the time, as well as the theological and philosophical beliefs of the early Christian church.

The depiction of Christ in the  Hinton St Mary Mosaic in England from the 4th century AD for example presents Him as a conventional, beardless young man with a Hellenistic-Roman appearance.

 That started to change in the 6th century, after 544 A.D. and became more prevalent during the Byzantine era.

Dr Alan Wanger developed a method of overlaying images in different light polarizations to find what he calls points of congruence and published the technique in the journal Optics. This technique has now been widely adopted in the U.S courts with anywhere from 45 to 60 points of congruence between two images being sufficient to prove common identity in the U.S court of law.

When this technique was applied to a comparison between the Shroud of Turin and the Saint Catherine Christ pantocrator, dated 550 A.D. the technique returned 250 points of congruence and this is a known 6th Century piece of art

Even creases and wrinkles on the Shroud cloth have been rendered by the artist. Like the lines in the neck these lines don't serve any purpose they don't refer to anything anatomical and they're even awkwardly forged under the image in some cases it makes no sense why these marks would be included unless of course these artists were copying from the Shroud of Turin which does have this Mark likely due to a defect or a fold around the beard.

Even comparing the Shroud of Turin to a Byzantine Justinian II solidus coin results in 188 points of congruence and this is a known 7th Century coin

In 639 A.D Muslims conquered Odessa but allowed the Christians to continue to pay the jizya and celebrate their Christian Traditions including the veneration of the image

In 943 A.D the Byzantine emperor started negotiations with Muslim rulers in Odessa in an effort to obtain the image of Odessa and add it to his collection of relics and Constantinople. He offered immunity from Attack 12 000 pieces of silver and the release of 200 Muslim prisoners all in exchange for the image of Odessa the Muslim leaders accepted in 944.

And on August 15 944 A.D the image of Odessa arrived in Constantinople and the event is commemorated in the image titled the surrender of the mandylion. Between 944 AD and 1204, the Mandylion was kept in the city of Constantinople (modern-day Istanbul), which was then the capital of the Byzantine Empire. The Byzantine emperors considered the Mandylion to be one of their most sacred relics, and it was kept in the imperial palace along with other important religious objects..

We have also one of the most famous references to the burial cloth of Jesus which is called the `Hungarian Pray Manuscript,' which is reliably dated to AD 1192 -1195. because of the historical details it relates. That is about 70 years prior the 1260-1390 date range assigned to the Shroud by the three radiocarbon lab tests from1988.

The top portion of the image shows Jesus with his arms and hands placed in the same pose as seen on the Shroud;

In four places an “L”-shaped set of burns appears on the Shroud. These are damage from before the first known fire of 1532. The burns are often called the poker holes. They are one of the most revealing similarities between the Pray Manuscript and the Shroud of Turin.

The Shroud was woven in a herringbone pattern, a distinctive V-shaped weaving pattern. The image of the pray manuscript shows, in a primitive style, that pattern of the fabric

As mentioned earlier, there was the Fourth Crusade, which took place between 1202 and 1204, a military campaign launched by Western European Christians with the aim of capturing the city of Jerusalem from Muslim control. On that occasion, Constantinople was sacked, and the mandylion disappeared, to reappear in 1353, in Lirey, France

The last point to be addressed in this presentation is: How did Jesus look like?

As mentioned earlier, the first photograph in 1898 by Secondo Pia was a milestone in unravelling the secrets of the Shroud.

The next was to extract 3D information. But the last has remained suprisingly elusive: How did Jesus in real life look like ?

Based on the image of the man on the Shroud of Turin, many attempts have been made to recreate how Jesus might have looked like. In the image, we see a few examples. The results were more and less successful. But in my view, none came really close.

Then, in November, last year, i took this image of the face on the Shroud of Turin, and searched a photo sharpening tool on the internet.

And i obtained this computer generated image. Which encouraged me the continue experiments.

After several months, i think i have achieved a very close approximation of how the man on the Shroud most likely looked like

It is quite remarkable and astonishing, that from a faint , almost invisible image, we have been able, using advanced computer tools, to recreate the image of Jesus.

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The more amazing evidence is brought to light through solid investigative scientific research related to the Shroud of Turin, the more, it seems, resistance appears, and the critics claim: The shroud is a forgery. In this vídeo, I will demonstrate how the objections most commonly brought forward do not withstand scrutiny, and the more Science is advancing, the more evidence and details are brought to light related to Christ's crucifixion, and burial, as faithfully repórted in the four Gospels, confirming Jesus’ historicity and biblical identity.  

Professor William Meacham, an archaeologist at the University of Hong Kong who has researched the Shroud for over forty years, describes the Shroud as the most intriguing object in the world. He wrote: The Shroud of Turin poses one of the truly abiding mysteries of all archaeological and art historical artifacts. It is the world’s most famous textile, and probably also the most intensively studied object in existence. Contrary to those that dispute this fact, this is factually true.

Nature magazine stated: The Shroud of Turin is the single, most studied artifact in human history.

Joe Marino, world-renowned sindologist,  wrote: A medieval artist or artists, would need to be proficient enough in over 100 disciplines and also collectively outweigh the intelligence of the people who performed hundreds and hundreds of tests performed on the Shroud and who are not finding any indications of a forgery.

This much is certain:  The Shroud of Turin is either the most awesome and instructive relic of Jesus Christ in existence or it is one of the most ingenious,  most unbelievably clever products of the human mind and hand on record. It is one or the other. There is no middle ground.  Who is right?

Many objections have been raised, and dozens of books have been written,  disputing the authenticity of the Shroud, attempting to debunk the claim that it is the authentic burial cloth of Jesus, and arguing that the cloth is a forgery.

So in this video,  the most common objections will be presented and examined if these claims withstand scrutiny.

In 1988, the Shroud was subjected to radiocarbon dating. The conclusion was that it originated in the Middle Ages (between 1260 and 1390 AD)

Even Leonardo da Vinci was claimed to have forged the Shroud of Turin. Leonardo da Vinci lived during the Renaissance era, which came several centuries later. The first documented historical reference to the Shroud dates back to 1355 when it was displayed in Lirey, France. This timeline does not align with Leonardo da Vinci's lifetime, as he was born in 1452 and died in 1519, which is well after the first known appearance of the Shroud.

In my view, the single most powerful line of evidence that refutes the carbon c14 dating from 1988 of the Shroud is the facecloth of Christ, the so-called Sudarium of Oviedo.  

John 20: 6-7 says:   Then Simon Peter came along behind him and went straight into the tomb. He saw the strips of linen lying there, 7 as well as the cloth that had been wrapped around Jesus’ head. The cloth was still lying in its place, separate from the linen. A noteworthy sidenote: The folded napkin is a sign of Jesus' return. In Jewish culture, when a servant set the table for a meal, he would first lay out a napkin for the master of the house. If the master finished his meal and crumpled the napkin, it meant he was finished with the meal and the servant could clear the table. However, if the master folded the napkin and set it beside his plate, it meant he was not finished and would return to the table. Therefore, the folded napkin in Jesus' tomb may symbolize that Jesus was not finished with his mission on earth and would return.

When Joseph of Arimathea offered his tomb for the burial of Jesus, it was likely a Kochim-style tomb. The main room of the tomb had a bench on its perimeter, which was used to prepare the body before placing it in one of the smaller kochim (niches). In twelve to eighteen months, the family would return to the tomb, gather the remains from the niche, and place them in a limestone box called an ossuary.

The name sudarium is derived from the Latin word for sweat (sudor).  There is a series of amazing coincidences between the two cloths. Both are physically linked. Really fascinating evidence comes to light when this cloth is compared to the Shroud of Turin. There is no doubt that both were in contact with the same individual at one time.

The Sudarium of Oviedo is a Christian relic that is believed to be a cloth that was used to cover the head of Jesus Christ after his crucifixion. It is kept in Oviedo, Spain.

Here we see the Sudarium during a procession through the streets of Oviedo in 1942. It is a small, rectangular linen cloth, about 34 by 21 inches (85.5 x 52.6 centimeters), and is therefore much smaller than the Shroud of Turin

The sudariums existence is historically confirmed, going back at least to the sixth century, and the radiocarbon testing gave a date,  six to seven hundred years earlier than the Shroud of Turin, which brings us much closer to the first century.  

The Sudarium bears numerous bloodstains. Some are post-mortem, and others vital blood. Denominations were given for each bloodstain. Because the cloth was folded, there is a mirror image of the group of central stains, formed by post-mortem blood flowing from the nose and mouth after death.

The bloodstains correspond to a human head. The principal stain was in contact with the face and appears inverted as in a mirror. The principal stain is composed of three groups of superimposed stains.  It includes symmetric stains, a butterfly stain, an accordion stain, and a crown of thorns stain. These stains provide valuable clues about possible events during the crucifixion and burial of Jesus. The butterfly stain is a unique pattern resembling the shape of a butterfly, and the accordion stain appears lighter in color, possibly indicating blood degradation over time. The crown of thorns stain resembles the pattern of a crown.

If the face of the image on the Shroud is placed over the stains on the sudarium, perhaps the most obvious coincidence is the exact fit of the stains with the beard on the face. As the sudarium was used to clean the man's face, it appears that it was simply placed on the face to absorb all the blood, but not used in any kind of wiping movement.

Let's try to understand what role exactly the Sudarium played during and after the crucifixion. It is assumed that Christ's death happened in 33 AD, Friday the 3rd of April,  at 3:00 p.m. The deceased man had undergone a traumatic punishment and had a crown of pointed objects on the head. He was in a vertical position compatible with the cross.

While dead, the head of the corpse was inclined forward, about 70 degrees, and 20 degrees to the right. , allowing access to the nape. A sudarium was required because blood was believed to contain the person’s soul and, according to Jewish law, it was necessary to bury it along with the body. It was also forbidden to move a mutilated body without covering it first. Preliminary anointing of the body was carried out for approximately one hour as the body was prepared for transfer to the tomb. This included rewrapping the sudarium over the head, forcing the arms from the position of crucifixion due to the rigor mortis, anointing the body with aloes and myrrh, and covering the body with a cloth. According to Jewish law, washing the body was prohibited when blood flowed at death.

After the corpse was dead for one hour, at about 4 PM someone placed the edge of the Sudarium along the nape and wrapped a lock of hair with it and he sewed the cloth to the hair to fix the Sudarium tightly. It was secured with pins, possibly made from thorns, based on the punctures in the cloth. The pins were conical in shape, similar to a needle.

About half of the rest of the cloth was passed around the left ear and in front of the face, covering it and reaching the right cheek. There, the cloth was folded to turn back towards the face providing a second layer in front of the mouth and nose area.   In this image, we can see the sequence of how it was folded.

It was folded with two layers in front of the face of the subject. The cloth was folded back on itself, because it could not completely wrap the head, most likely due to the raised position of the right arm that was still fastened to the cross.   As a result, it was doubled back over, creating a repeating parallel stain on a second layer of cloth. It is believed that the head was tilted down to the right, so that it was pressed against the shoulder, and the arms were positioned in a way that resulted in the sudarium being wrapped in this manner.

Side, number one in the image,  seems to mirror the opposite side, number 4. It was folded in the center, the middle of the cloth from top to bottom. That shows where it was folded over on itself. The principal stain is composed of three groups of superimposed stains. A trapezoidal stain surrounds the nose and mouth,

And here in the folded state. The lines in black overlap and demonstrate the match. The blood on one sheet sucked into the Other, and that gave a similar profile of the blood stains.

In the image row above, we can see an illustration, of how the sudarium was folded. And in the lower two images,  how the cloth was fixed with pins on the backside of the head, and on his beard, on the front side. The forensic analysis of the cloth leads to the conclusion that it was used around the head of a corpse stitched to its hair and its beard.  It remained in this folded state for about an hour. The cloth was not totally wrapped around his head, probably because some sort of obstacle impeded that operation.

The cloth, which was attached to the back of the head, was secured with pins, possibly made from thorns, based on the punctures in the cloth. The pins were conical in shape, similar to a needle. There are a number of perforations, related to the formation of the stains and the original use of the linen. Some of these were produced when the Sudarium was fastened to the head of the deceased, using sharp instruments that scientists believe were pinned to the beard and hair. They have a truncated conical nature, and appear in pairs, indicating the possibility that thorns were used. The wrinkles and perforations in the image indicate where the cloth was secured on the beard of the man.

The holes circled in blue are surrounding some folds in the fabric and they caused these folds. The holes circled in red correspond to stitches on the hair. The stitching of the Sudarium to the nape hair was the first and involved a single layer. The stitching of the Sudarium to the beard involved the two layers of the cloth.

The lower main stains observed in the Sudarium were produced by a mixture of blood and pulmonary edema at the rate of 1 to 6 that flowed slowly from the nose and mouth while the corpse was in a vertical position with the head inclined 70 degrees forward in relation to the vertical axis. Pulmonary edema is characteristic of crucifixion victims. This blood has been determined to be post-mortem blood.  The Sudarium, therefore, would have to have been placed on the head of a crucified man about 4 pm, who had died about an hour before

The lower part of the principal stains was formed with the body in a vertical position while hanging on the cross. The body had to have been in that position for one hour in order to form the quantity of liquid found on the cloth, with the right arm raised, and the head inclined forward and 20 degrees to the right. 

Almost an hour after the death, at about 4:00 p.m., the nose and the mouth of the Man started to slowly leak reddish fluid-like blood soaking the beard and mustache. In this position, the lower parts of the main stains were formed It is important to remember that the bloodstains on the Sudarium were formed on a three-dimensional face and appeared on a flattened cloth. It is therefore necessary to eliminate the extra two centimeters formed by the base of the nose to see how the stains conform to a face. With high-contrast photography, the point of the nose can be seen, as well as the outside of the nasal cavities that are marked by an accumulation of blood. The nose is eight centimeters long, with an extra two centimeters from the base of the nose.

After approximately one hour, at about 5:00 p.m., once the Roman centurion pierced the corpse’s thorax, the body was taken down probably with the arms still fixed to the horizontal beam. For unknown reasons, the caretakers who moved the body decided to turn the corpse face down.  In this posture, the nasal flow ran into the back of the nose and soaked the upper part of the main stains that were covering the bridge of the nose and the forehead. The corpse remained like this for almost another hour.

This time, the cloth surrounded and was enveloped around the entire head of the cadaver, which was perfectly covered by this sort of “capucha” or hood, that remained fastened to the hair, and a knot was formed.

Afterward, the corpse was placed face up, still remaining with two layers in front of the face, and his arms were placed along the sides of his body. This movement resulted in an increase in blood leakage from the nose and mouth. Probably at this moment, this flow reached the back of the neck and soaked the corner of the Sudarium fixed over the nape producing the “butterfly” stain and the corner stain

When the stains on the nape of the neck on both cloths are superimposed, the edge of the Sudarium falls on the change of direction of the ponytail on the Shroud.

It is hypothesized that during the transport of the tomb, effusion of cadaveric fluids was coming out from the mouth and the nose. And it was attempted to stop them, placing a hand over the maculating effluent in diverse positions.  

Probably another cloth was used to carry Jesus to the tomb, which was not the Shroud of Turin.

Let's give a closer look now at the principal stain, which is composed of three groups of superimposed stains. Dr. Villalain Blanco, a Spanish criminologist and forensic physician, directed the blood study to determine the nature of the stains and how they were formed. The techniques were carried out in the laboratories of criminology and forensic biology at the Schools of Forensic Medicine in Madrid and Valencia.

The principal stain is composed of three groups of superimposed stains. A trapezoidal stain surrounds the nose and mouth, which scientists believe was formed by the pressure of a closed fist that was exerting pressure on the nose in order to contain the flow of blood. The trapezoidal stain was one of the last to be formed because it only appears on the first two surfaces of the cloth.

It is believed that the finger-shaped stains were formed when the body was being moved to another location, in an effort to suppress the flow of blood from the nose and mouth.

There are several stains that are marks left from the fingers, trying to suppress the flow of blood and pulmonary fluid.

Finally, later, at 6 PM, the cloth was removed and sprinkled with aloes and styrax, a substitute for myrrh, and put on the head again.

Now we look here in the upper right-hand corner of the actual sudarium and you have a bunch of these wrinkles or folds and this is a mock-up here on the right this would have probably been where the knot was formed so we still have evidence of the knot that was tied to uh to fix the sudarium on the head of the victim.

It is interesting that a fifth-century manuscript mentions that the Sudarium was knotted at the top of the head. The author, Nonnos of Panopolis, was paraphrasing the Gospel of John, Chapter 20, and added this detail. After the body was moved, it was positioned face up, and the cloth was removed from the head, still knotted. It was covered with aloe and myrrh to preserve the blood, according to Jewish custom, and set apart in the tomb.

Finally, the Sudarium had to be removed from the corpse because it was sprinkled with aloes which are still imbibed in the blood and remain on the surface that had been in contact with the face. It implies that the Sudarium was no longer wrapping the head.

We resume the sequence of events as follows: Jesus' death happened at 3:00 p.m. The Sudarium was placed around Man’s head almost an hour after his death, around 4:00 p.m., when He was still on the cross. He remained in a vertical position with the Sudarium for about another hour. Around 5:00 p.m., the body was taken down and the corpse was left face down. The corpse remained like this for almost another hour.  Afterward, around 6:00 p.m., the corpse was placed face up and moved to the tomb. Just before the corpse was covered with the shroud, the sudarium was removed.

In the case of Jesus, there was not much time. So the shroud was probably just wrapped and laid over his body, as shown in the image above.

We can assume that the Sudarium with the blood of the deceased Man had to be buried near Him in the sepulchre if the burial was a Jewish entombment.  

The Sudarium was put aside close to the corpse in the sepulcher. When a King sits at his table to feast and gets pulled away from the table and is not done eating, He would fold up the napkin and leave it there. This was to let his servants know that even though he was going away temporarily, he is not finished and would be returning. The reason the napkin was left behind in the tomb is to let us know that he is risen, going away for a short period of time, but will return again.

Let's give a look at the coincidences that evidence that the sudarium wrapped the same man of the Shroud of Turin. Both clothes have been used for a bearded man with mustache and longhair arranged behind in a ponytail. The Shroud shows a crucified man and the corpse of the Sudarium died in an upright position. Moreover, in both cases, the executed man was tortured with a crown of thorns. Finally, in both instances, the blood corresponds to the scarce type AB. It is easy to see the back of the hair in the Shroud image. If we look carefully and use the reinforced negative image, we can clearly see long hair falling from the bottom of the nape of the neck to the space between the shoulder blades.  The ponytail can also be observed on both clothes. The "ponytail" could be a result of the attachment and sewing of the Sudarium around the central-back strand of hair. There is a distinction on the cloth between lifeblood and post-mortem blood. One can distinguish that from taking samples from the cloth and the blood that came out through the nose and mouth mixed with the pleural edema fluid is postmortem blood. 

Forensic analysis of the bloodstains suggests strongly that both the Sudarium and the Shroud covered the same human head at closely different times. Bloodstain patterns show that the Sudarium was placed about the man’s head while he was still in a vertical position, presumably before he was removed from the cross. It was then removed before the Shroud was placed over the man’s face.

There are many points of coincidence between all these points and the Shroud of Turin - the blood group, the way the corpse was tortured and died, and the macroscopic overlay of the stains on each cloth. This is especially notable in that the blood on the Sudarium, shed in life as opposed to postmortem, corresponds exactly in blood group, blood type, and surface area to those stains on the Shroud on the nape of the neck. If it is clear that the two cloths must have covered the same corpse, and this conclusion is inevitable from all the studies carried out up to date, and if the history of the Sudarium can be trustworthily extended back beyond the fourteenth century, which is often referred to as the Shroud’s first documented historical appearance, then this would take the Shroud back to at least the earliest dates of the Sudarium’s known history. The Ark of Relics and the Sudarium have without any doubt at all been in Spain since the beginning of the seventh century, and the history recorded in various manuscripts from various times and geographical areas takes it all the way back to Jerusalem in the first century. The importance of this for Shroud history cannot be overstressed.

Dr. Alan Wanger developed a method of overlaying images in different light polarizations to find what he calls points of congruence and published the technique in the journal Optics. This technique has now been widely adopted in american courts with anywhere from 45 to 60 points of congruence between two images being sufficient to prove common identity in a U.S court of law. Dr. Whanger used this same technique to compare the blood stains on the Sudarium and the Shroud of Turin with startling results: “The frontal stains on the Sudarium show seventy points of coincidence with the Shroud, and the rear side shows fifty.”

It is hypothesized that these are the stains observed in the Sudarium that were produced coming from the nose and mouth, probably while the corpse was in a vertical position with the head inclined 70 degrees forward in relation to the vertical axis. The upper red arrow shows the stain from the nose, and the lower red arrow shows the stain from the mouth.

The Centro Espanhol de Sindologia gives us the exact position of the head in the cloth. Numbers 1, 2, and 3 on the Shroud correspond to marks on the Sudarium. These are just a few among many others that have been detected.

It is important to remember that the bloodstains on the Sudarium were formed on a three-dimensional face and appeared on a flattened cloth. It is therefore necessary to eliminate the extra two centimeters formed by the base of the nose to see how the stains conform to a face.

The nose is eight centimeters long, with an extra two centimeters from the base of the nose.

Once we move up the cloth about 2 cm, the central stains align with the mouth and the nose.

Professor Miñarro, who is the director of the Sculpture Department at the University of Seville, Spain, has conducted a geometric He reconstructed the anatomical elements that are present in the head of the sudarium, and has found that they match exactly with the Shroud of Turin. Not only do the overall dimensions of the head and the shroud match but also the bloodstains on the shroud correspond exactly with the wounds on the head. If we place the shroud and the sudarium (face cloth) together and focus on the bloodstains, there are numerous similarities. For example, there is a blood-free area on the sudarium that corresponds to swelling on the face of the Shroud with almost perfect accuracy. There are several other elements that match perfectly as well, but explaining them one by one would be too much detail.

Furthermore, It is atypical to find soil dirt in this zone of the anatomy, but it is just the same zone where a particular presence of dust was found in the Shroud of Turin. The very low concentration of strontium traces in the Sudarium matches also well with the type of limestone characteristic of the rock of Calvary in Jerusalem

Stains from puncture wounds are on the part of the cloth that covered the back of the head, composed of vital blood that flowed before death had occurred. The cloth was applied to these wounds about 60 minutes after they had bled, or one hour after the person had died.

These are the most interesting and significant blood stains on the cloth, for the simple reason that they match the stains on the Shroud of Turin. They match both as a fairly close pattern, but also they're both the same blood type.  Which is maybe the same blood group and the same blood type, in other words, bloodshed in life, and it's a blood type that was not particularly common in Europe but was more common in the Middle East.

As we have seen, there are many parallels between the man on the Shroud and the man of the Sudarium.  

Many different anatomical elements as well correspond to the faces of the shroud, and the sudarium

There are many points in common between the two, that are undeniable. It is rational to conclude that They wrapped the same man.  But the coincidences do not end here.

Scientists have determined that the Sudarium is made of linen with a “Z” twist, the most common type of weave in the Roman Empire. It has a taffeta texture, the simplest type of weave, and it does not have selvages on any of its edges, or any dye. The linen has a large number of defects, such as loops, loose basting stitches, and the crossing of parallel threads of the woof, indicating that the cloth was made on a vertical loom with weights and that it is very old, likely from the first century.

There are about thirty types of pollen grains, At least nine grow in Palestine, a point of comparison with the Shroud of Turin. QUERCUS (holm oak and kermes oak), PISTACIA PALESTINA (mastic tree and terebinth tree), and TAMARIX (tamarind tree and salt cedar) only grow in Palestine.

The analysis of the white particles found on the linen was especially difficult, and they were finally identified as particles of resin of aloe and myrrh. There are clusters of myrrh –more specifically storax -, and aloe. A mixture similar to that which, according to the gospels, was used profusely at the burial of Jesus.

It is mentioned directly in the gospel of John, 19:39-40, "Nicodemus came as well...and he brought a mixture of myrrh and aloes...They took the body of Jesus and bound it in linen cloths with the spices, following the Jewish burial custom.“ Something revealing was found that links this fabric to some kind of funerary custom: Some particles that are found attached to the Shroud's own blood.

Storax is a natural resin obtained from the bark of various species of trees. It has a sweet, balsamic aroma and is commonly used in perfumes, cosmetics, and incense. Storax was used in burials in Palestine during the first century. Storax was one of the materials used in the process of embalming or preparing bodies for burial according to the customs of the time. Storax was known for its aromatic properties, and it was used as an ingredient in perfumes and ointments that were applied to the body to mask odors and preserve the corpse. Storax was believed to have medicinal properties as well, and it was used as an antiseptic and an anti-inflammatory agent in the embalming process. The use of storax in burial practices during the first century in Palestine is supported by historical accounts, including references in ancient texts and inscriptions, as well as archaeological discoveries of storax residues and storage containers in tombs and burial sites in the region.

It was also established that there is human blood in the sudarium. The clinical tests were positive for globulin, and It is blood from group AB (the same as that of the Shroud). The blood with some specific exceptions- is blood mixed with another liquid

It is a mixture of one part of blood with six of the serum, specifically taken from pulmonary edema.  The human nature of the blood was confirmed by the identification of mitochondrial DNA.

In 2012, scientists detected the presence of structures that are compatible with dried blobs of fibrin.  The most likely hypothesis is that such blobs were formed within a body cavity, pleural and/or pericardial. To reach such a condition, the individual must undergo severe trauma as the scourging and a few hours must elapse to allow the fibrin formation before the fluid is released. The fibrin accumulated in the pleural cavity needs a path to reach the Sudarium. This path could be the wound from the spear that connected the cavity with the respiratory tract.  In the Sudarium of Oviedo, the presence of these fibrin blobs free from blood elements could be another indirect proof of the scourging, because the formation of fibrin requires a previous injury. This is the most plausible hypothesis for the formation of the fibrin elements.  To reach the Sudarium, the fibrin could flow out through the nose and the mouth, together with blood and the liquid of the edema from the lungs.

Samples from the Sudarium were subject to carbon dating. At the Second International Conference on the Sudarium of Oviedo, in Spain, in 2007, it was reported that the sample from the Sudarium was dated to around 700 AD, while the history of the Sudarium is very well established and there are definite references to its presence in Jerusalem in AD 570 and at the beginning of the fifth century.

In 1990, the Sudarium of Oviedo was dated by the carbon-14 method. Two samples of the Sudarium were dated which,, were cut out in 1979. Macro photographs of these samples sent to Arizona and Toronto are shown in the image above.  There was uncertainty about the conditions of conservation of the samples from they were taken (1979) until they were radiocarbon tested.

One of the earliest references to the Sudarium of Oviedo is found in the writings of Antoninus of Piacenza, an Italian pilgrim who visited Jerusalem in AD 570. Antoninus described a cloth that was believed to be the "sudarium" or sweat cloth" of Jesus.

The oldest surviving manuscript of Antoninus' account of his pilgrimage visiting Jerusalem in AD 570, is a Latin manuscript entitled "Itinerarium Antonini Placentini Peregrinatio ad loca sancta“, translated, The Journey of Antoninus of Piacenza to the Holy Places. This manuscript is preserved in the Bibliothèque Nationale de France in Paris, France, and is dated to the 8th century. It is a handwritten copy of Antoninus' travel diary and provides valuable insights into the Christian pilgrimage to the Holy Land during the late Antique period.

Chapter 12 of the story of the pilgrimage reads: "There is a cave on the bank of the Jordan, where there are seven cells with seven girls, who are put there as little children. Whenever any of them dies, she is buried in the cell, and another cell is built and another girl is put there, so that there are always the same number. People from outside prepare their food. We entered this place with great fear to pray, but we saw nobody. The sudarium that covered Jesus´ head is said to be there".

Ancient documents relate that the Sudarium was safeguarded in Jerusalem until the Persian invasion of 614 A.D. The Christians fled to Spain with a chest filled with relics, stopping briefly in Alexandria, Egypt. The chest remained in Seville during the time of Saint Isidore, and was transferred to Toledo after his death in 636 A.D. When the Muslims invaded Spain in 711 A.D., they quickly conquered Toledo, so the Christians absconded to the north with their relics. The Holy Chest was hidden on a mountaintop near Oviedo for 50 years. The relics were then transferred to a monastery in Oviedo until King Alphonsus II built the Holy Chamber in the year 812 A.D., now part of the Cathedral.

All the studies carried out so far point in one direction, with nothing to suggest the contrary. The sudarium was used to cover the head of the dead body of Jesus of Nazareth from when he was taken down from the cross until he was buried. The Sudarium provides strong, independent evidence for the authenticity of the Shroud of Turin. If the Shroud is a fake, then the Sudarium must also be so. Such a wide range of evidences as presented here strengthens the tradition that both cloths have wrapped the same body, that of Jesus of Nazareth.  This makes the job of any potential forger close to impossible. The two cloths authenticate and validate each other and together they provide a strong case for being the original burial cloths of Jesus. And both coincide and fit perfectly the Gospel accounts.

Carbon dating: One of the most significant arguments against the authenticity of the Shroud of Turin is the results of carbon dating tests that were conducted in 1988.

This finding has been used as evidence against the Shroud's authenticity, suggesting that it could be a medieval forgery rather than the burial cloth of Jesus Christ.

The carbon dating results from the 1988 tests are often cited as a significant argument against the authenticity of the Shroud of Turin because they provide a direct scientific measurement that places the shroud's origin in the Middle Ages. This finding challenges the belief that the shroud could be a relic from the time of Jesus Christ, as it suggests that it was created much later in history.

The carbon dating tests were conducted by three independent laboratories at the University of Oxford, Arizona, and Zurich. using radiocarbon dating, which is a widely accepted scientific method for dating organic materials.  They indicated a medieval date range, leading many to question the shroud's authenticity.

The test results were one of the most eagerly awaited scientific announcements of all time. A radiocarbon dating test was done on a piece of cloth taken from the corner of the shroud

There were a lot of problems with dating, problems that are still discussed today. When the sample was taken, there was a discussion for more than an hour about from which area the sample should be taken.  It was taken from a corner that experts had advised against because a corner was missing and it was also an area that was held often by clergy during expositions.  It had also been suggested that more than one area be tested to make sure that the sample tested was representative of the whole cloth.

Instead, only 1 sample was taken from the suspect corner and given to three different labs.

There are three main arguments brought forward disputing the dating results. One is the medieval repair, the second is the bio-contamination, and the third, the carbon monoxide one. Another argument is that the sudarium from Oviedo matches in several aspects the Shroud of Turin, and it is very likely that it covered the same man as the Shroud of Turin, and it is radiocarbon dated to the 7th century. We will give a closer look at all of them.

One of the first ideas, immediately after the dating results, put forth by sindonologists and archaeologists as the late Paul Maloney on the left, the late Maria Grazia Siliato, and William Meacham, was that the area from which the C-14 sample was taken had been repaired, which would have thrown off the range given to the final tabulation results.

Hugh Farey, sindologist from the British Society for the Turin Shroud, wrote in an article in 2013 that in his view, the hypothesis of the repair is the currently strongest, perhaps the only, weapon in the anti-radiocarbon armory.

Sue Benford, and Joe Marino,  started to look seriously into this hypothesis around early 2000.  Marin studied the Shroud for forty-five years and innumerable hours. He wrote two books and dozens of articles about it.

He and Benford concluded that based on the evidence they found, the sample dated was a combination of 1st-century cloth and 16th-century cloth.

In 2000, Sue Benford and her husband Joe Marino shared a photo of the sample that was carbon-dated by the lab in Zurich with three textile experts.  The photo was shared blind, in that the textile experts were not told the photo was of the shroud, or told what to look for.  All experts who were given photos noted differences between the left and right sides. One noted: There is no question that there is different material on each side…It is definitely a patch. Another said: The float is different on either side of the sample.

In France, there was a method called French Invisible Reweaving., used by master weavers in the 16th century.  The weaver replaces each broken thread, one at a time.

The late STURP chemist Raymond Rogers had access to samples that were radiocarbon dated. After analyzing the samples, he had to admit what Benford and Joe Marino hypothesized was right: The original linen shroud, contained additional cotton threads. The samples from the cloth that was radiocarbon dated, had cotton in them.

He published a science paper in 2004, concluding that the radiocarbon sample was not part of the original linen of the Shroud of Turin. The radiocarbon date was thus not valid for determining the true age of the shroud. The raw data from the three labs, which the labs, against all norms, refused to release immediately, were finally obtained through a Freedom of Information request in 2017. Careful analysis of that data supports the notion that the Shroud sample dated in 1988 was a combination of 1st-and 16th-century cloth. 

This hypothesis has been disputed. For example, we read in John Loftus book: Christianity, in the Light of science, as follows: The alleged patched area exists only hypothetically and is based on the circular reasoning of shroud defenders. Moreover, a team of Italian chemists presented a scientific paper demonstrating that Rogers's mass spectrometry pyrolysis spectra did not support his assertions; they called the hypothesis of the carbon-14 sample having been taken from a patched area “unsupported” and, indeed, “pseudoscientific.”

So how sound is this objection? Let's give a closer look. Multiple lines of evidence show that the samples came from a repaired corner.

The Savoy family ruled over the region of Turin in Italy for several centuries. The Savoys owned the Shroud from 1453 until 1983.

In the late 16th century, Duke Emmanuel Philibert of Savoy ordered the Shroud to be transferred from Chambery, France, to Turin, Italy, where it has been kept since then. The Shroud had been kept in Chambéry, France, and the Duke feared that it might be damaged or destroyed due to political turmoil and religious conflicts in France. He decided to move the Shroud to his capital city of Turin in Italy, which was under his control and considered a safer location.

The duke was devoutly religious and had a personal devotion to the Shroud. He believed that the Shroud was a genuine relic of Jesus Christ and wanted to bring it to Turin as a sign of his faith and piety. He hoped that by having the Shroud in his capital, it would bring prestige to his reign and enhance the religious significance of Turin. The Shroud would also attract pilgrims and tourists, thus boosting the local economy and consolidating the Savoys' political power in the region.

King Umberto II of Italy, whose family used to own the shroud, says that in 1694 they repaired the shroud's heavily frayed and missing edges. Umberto described how according to his family tradition, in generations past his family gave threads from up to 10cm inward from the edges of the Shroud as gifts.  In the past, the edges of the Sheet had become so tattered as to cause embarrassment or criticism of the Custodians, and those areas were repaired and rewoven, attempting to blend the new sections in, as best possible, with the original fabric.

Vittorio Amedeo II, along with his wife, the Infanta Anna d'Orleans, personally assisted Sebastiano Valfre on June 6th, 1694, in repairing the Burial Cloth shortly before transferring the Relic to the new Chapel of the Guarini.

Furthermore, even earlier, in 1532, there was a fire in the church in Chambery, France, where the Shroud was being kept. On April 16, 1534, Chambéry’s Poor Clare nuns repaired the Shroud, sewing it onto a backing cloth (the Holland cloth), and sewing patches over the unsightliness of the damage.  This became known as the "Holland" backing cloth.

The removal of all patches and of the reinforcement Holland Cloth backing of the Shroud, in the year 2002, confirmed what King Umberto had stated,

namely, that small sections of the repaired and rewoven edges had continually been removed from the Relic.

In 2002 high resolution images of each corner of the shroud were made.  The shroud becomes much darker toward the corners,

either with contamination from many hands holding it by the edges throughout history or with the edges being repaired and subsequently dyed to a similar color to match

In this image, we see the approximate locations of the questionable area used for C-14 dating in the laboratories in Arizona, Zurich, and Oxford,  in reference to the full frontal portion of the Shroud

One of the numerous scientific tests conducted in 1978 by STURP included “Spectrally resolved Quad-Mosaic Photography”. This study, utilizing state-of-the-art NASA technology of the time, was designed to generate color discriminability products capable of conducting a chemical distribution analysis of the surface of the linen cloth.

According to the STURP researchers in charge of this study, “The generation of color products was considered the most important image processing task. From a color enhanced, relative color display, the color of different features of the image can be compared”. The colors, of course, indicate different chemical compositions. Researchers at the University of Kent explained that “Multispectral imaging entails acquiring several images of the same scene using different spectral bands. For instance, a digital color camera detects three separate images for the red, green, and blue components of light.” The STURP authors noted that “. . . if the chemicals were spectrally differentiated, the multispectral classification process could provide a map of chemical composition throughout the Shroud image . . .”

According to textile historian Mechthild Flury-Lemberg, who observed the area during her work to restore the Shroud in 2002, the Shroud’s missing corner pieces which were already missing prior to the 1532 fire, were added during repairs made due to fire damages in 1532. In the image, we can see the Holland backing cloth, which goes underneath the Oxford, Arizona, and Zurich sample areas, and where it was seamed.

Both the exposed Holland cloth and the adjacent radiocarbon sample area are a uniform dark-green color. Images of the larger dorsal missing-corner-piece section, also exposing some of the Holland cloth, have a completely different chemical-color signature, consisting of a myriad of lighter-toned colors.

Both the exposed Holland cloth and the adjacent radiocarbon sample area are a uniform dark-green color. Images of the larger dorsal missing-corner-piece section, also exposing some of the Holland cloth, have a completely different chemical-color signature, consisting of a myriad of lighter-toned colors.

The dark green encompasses the side seam and extends approximately an inch (3 cm) into the main Shroud cloth region. Similar solid geometric patterns with defined borders in this hue are not observable elsewhere on the cloth.. This is one line of evidence, that permits the hypothesis that the cloth sent to the three laboratories for the Radiocarbon C14 testing consisted partially of restorative surface dyes that were attached by “invisible” medieval repair, and partially to the original cloth.

A well-supported estimate, based upon weave-pattern changes, has been posited reflecting approximately 60% of the C-14 sample consisting of 16th Century threads while approximately 40% were 1st Century in origin. The radiocarbon date was calculated using the percentage of observed the 16th Century versus 1st Century weave types appearing in the Oxford sub-sample.

STURP chemist Ray Rogers, microscopist John L. Brown, and Pam Moon each independently examined fibers within and/or near the carbon-dated sample. They found a plant gum likely gum Arabic, a common ingredient in tempera paints, is "a major presence" coating the carbon dating sample threads. In contrast, Rogers reported that "no sample from the main part of the Shroud showed any feature even remotely similar to the coating in the anomalous area.  Brown described the dye as "obvious evidence of a medieval artisan’s attempt to dye a newly added repair region of fabric to match the aged appearance of the remainder of the Shroud.

As mentioned before, the reweaving hypothesis has been disputed. Not only by John Loftus in his book. Many different objections have been raised. It would extrapolate this vídeo, to go into all the objections.  I recommend, investigating for yourself. Dive deep into the Science, go beyond the surface, and be honest with yourself. We are not short of methods offered to us to do our investigations, like the internet, books, seminaries, and Other ways. Do not simply stick to what you want to be true, but try to follow the evidence, no matter where it leads, even if not in your desired Direction, and conclusion.  

The second argument against the reliability of the carbon dating test is the bio-contamination. Even before the radiocarbon dating took place, In March 1986, Archaeologist William Meacham, quoted earlier in this video, presented a paper entitled “Radiocarbon Measurement and the Age of the Turin Shroud: Possibilities and Uncertainties” at a symposium on the Shroud.

The C14 dating method often gives brilliant results but has limited reliability. Although the theoretical principles are well founded, when applied in real conditions, a non-negligible percentage of measurements provide aberrant results that archaeologists consider invalid. 24% of the tested results are on average either doubtful or unacceptable.

In the paper,  he warned in regard to radiocarbon dating about contamination of samples, particularly by carbon from other sources. He wrote: The existence of significant indeterminant errors can never be excluded from any age determination. No method is immune from giving grossly incorrect datings when there are non-apparent problems with the samples originating in the field. The results illustrated [in this paper] show that this situation occurs frequently. (emphasis added). Regardless of the C-14 result, evidence from other sources would of course remain of considerable importance in the overall evaluation of the age and origin of the relic. A C-14 age later than the first century would not of course constitute scientific proof of the inauthenticity of the Shroud, since radiocarbon dating is based on a number of unverifiable assumptions -- the most important in this context being that the carbon extracted from the sample is indeed identical with the carbon absorbed from the environment when the sample was alive.

The third argument against radiocarbon dating is that it has been observed that carbon monoxide in the sea-level atmosphere is significantly enriched in radiocarbon well above that found in normal biogenic quantities derived from carbon dioxide. Only about a 2% carbon contamination relative to the overall carbon in the sample would be required to move a first-century date of the Shroud textile to the fourteenth century.

According to archaeologist Eugenia Nitovsky,  in archaeology if there are ten lines of evidence,  carbon dating being one of them and it conflicts with the other nine there is little hesitation to throw out the carbon date as inaccurate due to unforeseen contamination

The biblical narratives related to the passion and death of Jesus confirm the authenticity of the Shroud of Turin. And the Shroud of Turin confirms the authenticity of the Gospels.

So  25 multi-disciplinary tests of the STURP team are simply dismissed, in favor of a highly debated Carbon C14 test for which there are excellent reasons to believe that it was invalid? There is no conclusive proof that the radiocarbon test provided results according to what really happened, and pieces of evidence must be weighed in the context of all the available evidence in order to be judged.

When you google: Shroud of Turin is fake, this article from NBC News, published in 2108 pops up first.  It starts with the following claim: Forensic scientists have once again concluded that the Shroud of Turin, supposedly the burial cloth Jesus was wrapped in after his crucifixion, was artificially created.

The conclusions of the study suggest that the Bloodstain Pattern Analysis performed on the Turin Shroud demonstrates that the alleged flowing patterns of blood from different areas of the body are not consistent with each other. Moreover, the authors hypothesize that postmortem bleeding to generate the lines on the lumbar area ("belt of blood") seems to be unrealistic. Based on these inconsistencies, the study suggests that the Turin Shroud was not an authentic artifact but rather an artistic or "didactic" representation from the XIV century. It seems to me, that, based on these supposed inconsistencies, concluding that the Shroud is a forgery, is taken out from thin air. There are good reasons to reject such a conclusion.

The study has been heavily criticized by forensic anthropologists. Alfonso Sánchez Hermosilla for example wrote: The article presents numerous formal and conceptual errors that deprive it of scientific credibility. The experiment does NOT even remotely reproduce the conditions in which the blood stains of the Turin Shroud have occurred. In these circumstances, the conclusions of the article are TOTALLY devoid of scientific value. The authors of the article, given their inexperience and lack of the minimum necessary knowledge, have committed serious errors in planning and interpreting the results of their “experiment”. The article is not suitable for publication in a specialized scientific journal; it is assumed that people who have assessed the suitability of the article should have the necessary knowledge and experience. In the case in question, either they do not possess it or have ignored it for unknown reasons.

A more recent paper from 2019, which didn't make it into popular News journals, concluded: Our forensic analysis was based on live suspensions on a cross with volunteer subjects, a methodology that was not used by Borrini and Garlaschelli, and our conclusion of the scientific experiments and analyses of the same blood flows have reached the opposite conclusion.

The BPA study used only one single individual. Therefore, it may not be representative of all individuals who were crucified, and the conclusions drawn may not be universally applicable. The study acknowledges the possibility of different episodes of bleeding, such as movements of the body or postmortem bleeding. It does not provide any definitive proof that such episodes did not occur and could not have contributed to the bloodstain patterns on the Shroud. The conclusion that the Shroud was an artistic or "didactic" representation from the fourteenth century is entirely based on assumptions and is by no means definitive proof.

But who are the authors of the article? Luigi Garlaschelli is an Italian chemist from the University of Pavia.  Borrini, an anthropologist, claims to be a Catholic, and Garlaschelli is an atheist and skeptic with a Flying Spaghetti Monster logo prominent on his blog, so make of that what you will. Besides the article that NBCNews references to, Garlaschelli and Borrini also wrote another paper in 2010, titled:  Life-size Reproduction of the Shroud of Turin and its Image. And guess who financed the study?

The UAAR, or union of atheists and agnostic rationalists.  Don’t tell me they didn’t have na agenda.



To our next point: Another very common reason skeptics give for saying that the Shroud of Turin is a forgery, is a statement by Bishop Pierre d’Arcis of Troyes, France, in 1389, that his predecessor Henri de Poitiers, about thirty-four years earlier, had gotten a confession from the artist who supposedly painted the Shroud of Turin. To understand let's give a closer look at the historical context of the story.

In 1204, during the fourth Crusader campaign, Crusader armies captured, looted, and destroyed parts of Constantinople, then the capital of the Byzantine Empire. Reports of Crusader looting and brutality scandalized and horrified the Orthodox world;  In 1205, Theodore Angelus, a member of the Byzantine aristocracy in Greece wrote probably on behalf of other members of his social class, to Pope Innocent III, expressing how they were outraged by the Crusaders' actions. The historical document provides insight into the events surrounding the event.

In the letter, Angelus protests against the Crusaders' looting of Constantinople and the desecration of important religious artifacts, including the "most sacred of all the linen in which our Lord Jesus Christ was wrapped after his death.“ It is not known what happened with the relic in the next 150 years.

Until Geoffroy I de Charny, a French knight, came into possession of the Shroud of Turin around the 1350s, probably a gift from King Philip for his services. He built a small, wooden church in tiny Lirey,  outside the city of Troyes,  France, where he was lord, to house various relics.  De Charny kept the Shroud in his castle at Lirey and occasionally exhibited it to the public. The exhibitions of the Shroud in Lirey attracted thousands of pilgrims and visitors, who came to see the cloth and venerate it as a sacred relic. In the meantime, in 1353, Henri of Poitiers, an abbey from the vicinity, was appointed Bishop of Troyes, Lirey’s nearest large city.

This small lead medallion was made to celebrate pilgrim visitation to Shroud expositions in Lirey, in the mid-14th century. It depicts two clerics, which heads are missing, holding up, with crossed arms, the Shroud. This is the first certain picture of the Shroud, complete with both the back and front images, even capturing the Shroud’s herringbone weave. 

In 1389 the French Bishop of Troyes, Pierre d’Arcis, wrote an angry Memorandum to Avignon Pope Clement VII. D’Arcis declared that about 34 years earlier (1355) the Lirey church’s dean, the chief cleric, had obtained the cloth “falsely and deceitfully” to milk the pilgrim trade and had even hired individuals to pretend they had been healed miraculously during expositions. He went on to claim that his predecessor at that time, Henri de Poitiers, Bishop of Troyes between 1353 and 1370, had been advised by theologians against the possibility of the cloth’s authenticity and, after further investigation he discovered the fraud and how the said cloth had been cunningly painted, the truth having been attested by the artist who had painted it, to wit, that it was a work of human skill and not miraculously wrought or bestowed. Supposedly Henri then tried to confiscate the cloth but the dean hid it until, in d’Arcis’ time, a new dean, also “with fraudulent intent and for the purpose of gain,” initiated a new round of expositions, with the assistance of Geoffrey II. D’Arcis was particularly piqued as Geoffrey II had circumvented the bishop’s authority by recently securing permission from a cardinal, the Pope’s representative. 

The Memorandum of Piere d’Arcis appears to make a strong case against the Shroud’s authenticity and has formed the cornerstone for skeptical historical judgment, especially during the 20th century. First and foremost, where did the bishop obtain his information about Henri de Poitiers and the painter who supposedly produced the relic? It was not from any known documentation; d’Arcis was a competent lawyer before his clerical appointment and surely would have referenced any files from 30 years earlier.  If Bishop Henri de Poitiers had discovered fraud and opposed the relic’s showings during the 1350s, he left no known record for d’Arcis to cite. Instead, after reviewing de Charny’s papers related to the new Lirey church’s activities, Henri’s sole surviving document, dated May 28, 1356, praises de Charny’s devotion adding: And ourselves wishing to develop as much as possible a cult of this nature, we praise, ratify, and approve the said letters in all their parts we give our assent, our authority, and our decision Research throws considerable doubt on whether the d'Arcis document was any more than an unsigned, undated and unsent memorandum, not even written by the said bishop. There are several authentic papal documents concerning the exhibition of the cloth at Lirey in France in the 1300s which reveal a dispute between d'Arcis and his predecessor and its then owners, the de Charny family and there is an authoritative and well-researched current opinion that the d'Arcis document represents no more than a hasty judgment jotted down during the heat of a debate. Whether d'Arcis wrote the document or not, and whether it is genuine or not, really doesn't matter because there is so much more to be considered before one can say whether or not the Shroud is a forgery. Last not least, the STURP team, during their investigation in 1978, did find no pigments, paints, dyes, or stains, which preclude the possibility of paint being used as a method for creating the image.

Professor Edward Hall of Oxford University, said: “There was a multi-million-pound business in making forgeries in the 14th century. Someone just got a bit of linen, faked it up, and flogged it!” Hall was one of those, on the left in the smaller black-and-white picture, that made the announcement of the radiocarbon test C14, in 1988. He was a trustee of the British Museum. It’s clear from Hall’s blunt assessment that he had no doubts about the Shroud’s history. He declared that anyone who still believed that the Shroud was authentic should be a member of the Flat Earth Society. Hall made several simplistic, arrogant, and scientifically-questionable statements. He was an extremely biased and narrow-minded researcher.

Hall was however insofar correct in claiming that there was a lucrative trade in forged Christian relics in the 14th century and churches around Europe would use these to attract pilgrims from far and wide. In this artwork made in 1247, for example, we see King Henry III of England carrying the Relic of the Holy Blood of Jesus.

But is it justified to claim that the Shroud of Turin is just one of dozens and dozens of Shrouds that were produced in the middle ages? This image shows the representation of a Shroud that was claimed to be the authentic burial cloth of Jesus, in medieval France. It was known as the Shroud of Besançon.

According to historians, the Shroud of Besançon disappeared during the French Revolution. It was found to be the work of an artist. On 24 May 1794, the shroud was taken to Paris where it was announced that the cloth would be converted to lint for the hospitals. In the image, we see a painting and embroidery on the silk of this Shroud, from the 18th century.

In this image, an engraving on silk from 1660 shows a frontal image of the Shroud of Besançon on a stiff panel held up by three prelates. In an age of mass pilgrimages, the shroud of Besançon had its share of renown. On 22 May 1535, thirty thousand pilgrims came to Besançon on the day of an exposition. Viewed through today’s eyes, this appears to be nothing more than a simple, almost childlike painting, but it was widely believed to be a true relic with a miraculous imprint.

Surprising is that many believed, that both Shrouds, the Shroud of Turin, as well as the Shroud of Besançon, were authentic. One might think that it was completely silly to believe this, but there is a reason that could even justify that belief.

It is hypothesized, that another Shroud was used to transport Jesus to the Tomb, which was not the same as the Linen cloth, that would cover Jesus in the Tomb. It was believed that the Turin Shroud was the bloody body of Christ just taken down from the Cross; The sudarium of Besançon, on the other hand, was supposed to be the washed and anointed and composed in the tomb. This explanation precluded any rivalry between the two shrouds, and indeed made them complementary.

Beginning a hundred years after the Shroud’s first appearance in the West many dozens of painted copies were made, most still visible today, but all “look crude and almost ludicrously amateur by comparison to the original

Last, researchers have taken another look at the Latin in d’Arcis’ famous Memorandum and made a key observation. The Latin phrase so casually translated as “it was proved by the artist who had painted it” could also be rendered “the artist who had copied it.” Researchers recognized that the Latin depingere (to paint) is ambiguous but that the verbal construction throughout this section of the Memorandum makes the best sense if an artist making a copy gave his opinion that the image was “made by human hand”. This might also help to explain some indications that a hidden shroud, thought by many to be the actual pre-1349 shroud but obviously a painted copy, was supposedly found in Besançon’s about 1377.

Das Turiner Grabtuch - Echtheitsdiskussion und Forschungsergebnisse im historischen Überblick
https://web.archive.org/web/20040107122601/http://www.huinfo.at/grabtuch/grabtuch.htm

The following argument brought up quite often, supposedly refuting that the Shroud of Turin is the authentic burial cloth of Jesus, is the claim, that according to the apostle John, Jesus was not wrapped in a linen cloth, but in strips of linen, like an Egyptian mummy. This is based on the verses in John 19:39-40 where it says: “Nicodemus accompanied Joseph... Taking Jesus’ body, the two of them tied it by strips of linen in company with the spices. This was in accordance with Jewish burial customs.” And John 20:6-7 says: Simon Peter... saw the strips of linen lying there, as well as the burial cloth that had been around Jesus’ head. The cloth was folded up by itself, separate from the linen strips in a place by itself.”  John says Jesus has wound in linen clothes the Greek word that he's using is a thonium which in the plural refers to strips of linen.

Now let's have a look at what the synoptic gospels say. Matthew 27:59 says: “Joseph took the body, wrapped it in a clean linen cloth. Mark 15:45-46 says: “Pilate gave the body to Joseph. So Joseph bought some linen cloth, took down the body, wrapped it in the linen, and placed it in a tomb... And Luke 23:53 reads: “Joseph wrapped it in linen cloth and placed it in a tomb...”

John uses quite a different terminology from the others. He uses a word that means to “tie, to bind small linen strips, cords, to describe the material used for such a tying, similar account of Lazarus.

The synoptic gospels, in contrast, all three, do not mention strips of linen, but a linen cloth. So that does not indicate some sort of contradiction, but complementarity. Matthew, Mark, and Luke, all three use the same verb in Greek, which translated in English, means wrapping, roll in, or wrap in. The same verb is used in John chapter 20 when he describes the face cloth, the sudarium, being folded up in a place by itself.

John is describing Jesus being bound up with strips of linen this would have been a quick and effective way of combating rigor mortis and keeping the Shroud in place for a quick burial until they could return to the tomb after the Sabbath had ended.  Pathologists who have studied the Shroud have theorized that the body underwent a “cadaveric spasm.” This is where the body undergoes a rapid state of rigor mortis very soon after death. The arms of the victim would then have been frozen stiff in the position how they were outstretched when hung on the cross.

So let's do a quick summary. First we have the shroud this is the Greek word sindon and it’s used consistently across all three synoptic Gospels.

Next, we have the linen strips. The Greek word authonium appears in John's account of not only the burial but also the resurrection where we find them laying on the floor of the Tomb.

And here in John chapter 20 we also see the only reference to the third Fabric in the Passion the face cloth which is the Greek word sudarian which is kind of a handkerchief or a napkin or a small towel, which is a reference to the sudarium of Oviedo.

So I think it is clear now, that we are talking about 2, if including the face cloth, 3 pieces of fabrics that were used.

Another claim is that the image on the Shroud is anatomically incorrect.

Doctor Pierre Barbet, who wrote the book: A Doctor at Calvary, for example, wrote: I am first of all a surgeon, and thus well versed in anatomy, which I taught for a long time; I lived for thirteen years in close contact with corpses and I have spent the whole of my career examining the anatomy of the living. The whole picture reveals a perfectly proportioned anatomy; it is well-made and robust and is that of a man about six feet high.

Joe Marino published a paper with a long list of reference science papers of doctors, which attest that the man on the Shroud is anatomically correct. He mentions Dr. Robert Bucklin and Dr. Frederick Zugibe, who studied the Shroud for about 50 years each, as well as performing a combined approximate 50,000 autopsies, believed the Shroud image was of a real, crucified man who died. With such an overwhelming number of professionals in the field attesting to this, this point should be less controversial.

Isn’t the Shroud a violation of the commandment that forbids making a graven image? This is one of the most common objections that some Christians have raised regarding the Shroud. The prohibition comes from one of the Ten Commandments: Thou shalt not make unto thee any graven image or any likeness of anything that is in heaven above, or that is in the earth beneath, or that is in the water under the earth.  What exactly is a graven image? By definition, it is a manmade object or artwork (such as a statue) that is worshipped as a god or in place of a god. But decades of scientific investigation itself have provided strong evidence, if not proof, that the Shroud is not an artwork of any kind.

If the Shroud is authentic, then man did not make the image—God did. Nonetheless, sincere intentions motivate this question. It is helpful to understand this commandment from the Jewish perspective. The Hebrew Scriptures sometimes articulate a style of Hebraism known as a Hebrew doublet. This is what is found with this prohibition against graven images (Exodus 20:5‐6). The subsequent restatement following this prohibition provides the Hebrew doublet which clarifies the meaning of the prior statement. Below is the subsequent Hebrew doublet statement: Thou shalt not bow down thyself to them, nor serve them.

The prohibition against graven images applied to making images for the purpose of idolatrous worship. If it were not for this Hebrew doublet clarification, then all images would be prohibited (including all photographs, paintings, statues, etc. of anything in heaven above, the earth beneath, or in the ocean.

Experts agree that facial features identify the man buried in the Shroud as a Caucasian. Carlton Coon, a leading ethnologist, says he has the physical features of a Jew or Arab. The man’s hairstyle, characterized by a beard and long hair parted in the middle, further identifies him as a Jew. In addition, the hair in the back is cut in the form of a pigtail, a hairstyle very common in first-century Jewish men. It is thus probable that this crucified person was a Jew. Even today, in Orthodox or Hassidic Jewish communities adult males, have long hair and beards. Jesus followed the Law of Moses!

Furthermore, there are Biblical passages that show that long hair, per se, was not a problem to God.  In Numbers 6:1-5 God Himself instructed Moses that, if "a man or a woman makes a ... vow of a Nazirite," then amongst other things, "no razor shall touch his [or her] head" for the duration of the vow. And King David's son Absalom was praised for his very long hair.

Many Other reasons are commonly given in the attempt to refute the authenticity of the Shroud. It would take too long to get into all of them. But those mentioned in this vídeo, are the ones that I have heard more often.

While the preponderance of evidence and the high coherence suggests that the shroud is authentic, the 1988 Carbon Dating test is an exception. The shroud has been shown to be a remarkable and totally unique object with an image that is simply unexplainable as a 14th-century forgery. Such a forger is quite impossible.

There is little question that the carbon dating technology was professionally applied, but it depends on the sample being representative in order to be accurate in dating the cloth and there is a massive amount of evidence that the samples were not only not representative but had been modified and manipulated with intrusives, dyes and that the dating actually follows closely the UV fluorescence.

The Shroud of Turin provides evidence for the historicity of Jesus Christ and refutes the claim that he did not die on the cross. The shroud bears the image of a man who appears to have suffered the same kind of wounds as Jesus did during his crucifixion, including the crown of thorns and the spear wound in his side. The image also shows bloodstains and other physical details that match the biblical accounts of Jesus' crucifixion.

Giulio Fanti, Shroud expert: The Shroud has been called the fifth Gospel. If we compare the Shroud, Gospels, and Bible in general, we find so many correspondences that it is extremely difficult, if not impossible, to think that this man was not Jesus described in the Gospels. Apart from the fact that this image cannot be reproduced, it was even more difficult, if not impossible, to reproduce all these things. This is because we have additional information about the Shroud that complements what is written in the Gospels. For example, on the Shroud, we see the signs of a small whip, and here I have reproduced the various signs of the whip. For those who believe in the resurrection of Jesus Christ, the Shroud of Turin holds immense significance. It is a tangible link to his physical presence on Earth. The Shroud of Turin is a piece of history that has been studied for centuries. It is believed to date back to the first century and therefore, provides a window into the historical context of Jesus' life and death. The Shroud of Turin has been the subject of scientific research for decades, with researchers attempting to determine its age and authenticity.

If you don’t believe this is Jesus’ Shroud that’s fine, BUT the Shroud is the most accurate representation of the death, burial, and resurrection of Jesus Christ that you will ever see! Note these WORDS:
John 3:16: For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life.

So if you think it’s a fake…. It’s STILL the most accurate representation of the wounds described in the Gospels

If you believe it’s a deception it STILL REVEALS EXACTLY WHAT CHRIST SUFFERED FOR THE SINS OF THE WORLD!!
If you believe it’s an idol….it STILL DEMONSTRATES THE LOVE OF ALMIGHTY GOD BETTER THAN ANY “MAN-MADE IMAGE”

Jesus died so that YOU can live eternally…don’t miss out on GOD’S PROMISE. Praise the Lord for his unspeakable gift.

https://www.salentoacolory.it/la-sacra-sindone-e-la-scienza/

La Sindone reca l’immagine di un uomo martoriato, impressa inspiegabilmente in negativo e come in uno specchio. Destra e sinistra sono invertite rispetto al reale e così furono copiate dagli artisti. ala fotografia rivela l’immagine in positivo, restituendo la vera posizione destra-sinistra all’Uomo della Sindone. Nella parte frontale (a destra) si vede solo parte della ferita del piede destro: probabilmente qualche devoto incosciente ne tagliò un pezzo per farne reliquie.

O Sudário de Turim é o artefato mais estudado da história da humanidade. É um pedaço de pano de linho que traz a imagem de um homem que foi crucificado. Sabemos disso pelo fluxo sanguíneo dos pulsos e tornozelos. Também há gotas de sangue ao redor da cabeça. O corpo tem sangue por todo o lado, do que parecem ser marcas de chicote.

Em 1998, o Sudário de Turim foi exibido publicamente em Turim por oito semanas. A revista Time perguntou: É Jesus?

Este video demonstrará, que há evidências poderosas, que corroboram que o Sudário de Turim é a autêntica mortalha de Jesus

É um pano de linho retangular medindo aproximadamente 4,4 metros por 1,1 metros,

É mantido na Catedral de São João Batista em Turim, Itália, desde 1578

A imagem no Sudário só pode ser vista se alguém ficar a cerca de 6 pés ou 2 metros de distância dela.

Na imagem frontal, pode-se ver um rosto emoldurado por cabelos longos e barba espessa, o peito e os braços cruzados sobre o púbis com as pernas estendidas.

A imagem das costas mostra a nuca, as costas, as pernas estendidas e as solas dos pés.

A mortalha é feita de linho fino, com um característico tecido espinha de peixe. Na ampliação, a trama de espinha de peixe pode ser claramente reconhecida.

De acordo com os Evangelhos, Jesus foi espancado, sua barba arrancada, açoitado e coroado de espinhos, então ele carregou sua cruz, e foi pregado na cruz, morreu e perfurado por uma lança por um soldado romano.

Em Lucas 22: 62-65 lemos: Os homens que guardavam Jesus começaram a zombar dele e a espancá-lo. Eles o vendaram e exigiram: “Profetize! Quem bateu em você?" E eles disseram muitas outras coisas insultuosas para ele. No Sudário, vemos um grande hematoma em sua bochecha direita, provavelmente um nariz quebrado, e mais notavelmente, em Isaías 50:6b diz: “Eu dei minhas costas para aqueles que me feriram, e minhas bochechas para aqueles que arrancaram a barba…” esta é uma profecia messiânica. Em nenhum lugar os evangelhos mencionam que os soldados romanos arrancaram sua barba, mas no Sudário podemos ver claramente que falta uma parte de sua barba.

O homem no sudário tem vários ferimentos contundentes que foram cuidadosamente estudados por médicos forenses. O lado direito do rosto parece mais inchado que o esquerdo, com hematomas visíveis e lacerações contundentes.

Numerosas manchas de sangue sinuosas podem ser vistas em sua testa, nuca e ao longo de seu cabelo, emanando de pequenas feridas com diâmetros pontiagudos.

Essas manchas irradiam de sua cabeça em um padrão semelhante a um raio, sugerindo que um capacete de espinhos pontiagudos foi pressionado em sua cabeça. As sinuosas manchas de sangue em sua testa, pescoço e cabelos sugerem que o sujeito tinha um capacete de espinhos pressionado em sua cabeça, causando pequenas feridas pontiagudas. O padrão raiado das manchas irradiando da cabeça indica a uniformidade da lesão, possivelmente causada pelo mesmo objeto.

As características das manchas de sangue permitem distinguir entre lesões em vasos arteriais e venosos. A mancha de sangue no centro da testa que flui de uma ferida na veia frontal é particularmente interessante porque assume a forma de um "3" invertido na sequência os contornos da testa. Esse tipo de padrão de mancha de sangue pode ser útil para identificar a direção e a força da lesão.

As escoriações no tórax, dorso e membros inferiores, constituídas por figuras arredondadas de aproximadamente 2 cm de comprimento, sugerem lesões causadas por flagelo, instrumento de tortura romano constituído por cabo de madeira com cordas nas extremidades às quais eram presas pequenas bolas de metal.

A punição foi infligida nas costas curvadas e no corpo nu, causando mais de uma centena de ferimentos. O exame detalhado das manchas de sangue e ferimentos no corpo do sujeito fornece informações valiosas sobre a forma de sua morte e a tortura que ele suportou.

Na altura da região escapular esquerda e da região supraescapular direita observam-se hematomas quadrangulares. Acredita-se que essas marcas tenham sido deixadas pelo patibulum, a viga horizontal da cruz que o condenado às vezes carregava consigo até o local da execução.

O objeto provavelmente era pesado e áspero, fazendo com que as contusões tivessem formato quadrangular.

As longas manchas de sangue em ambos os antebraços que parecem correr para cima são na verdade formadas quando o corpo foi pendurado na cruz e, portanto, os pulsos eram mais altos que os cotovelos. A característica mancha de sangue no pulso esquerdo, formada por duas estrias divergentes, é particularmente notável, pois indica duas posições diferentes assumidas pelo condenado na cruz.

O sangue flui de uma ferida oval causada por um instrumento pontiagudo, como um prego.

Particular atenção deve ser dada à localização desta ferida, que não está na palma da mão como retrata a iconografia tradicional da crucificação, mas no pulso.

A seguir, um ponto de interesse, ou seja, em todas as pinturas medievais da crucificação de Jesus, os pregos estão sempre no centro da palma da mão, mas sabemos agora, com base na estrutura física dos ossos da mão, que um prego naquele local simplesmente rasgaria fora através dos dedos, não suportaria suficientemente o peso da vítima da crucificação, curiosamente, o sudário é diferente de todas as peças de arte medieval neste detalhe, pois coloca os pregos no pulso, não apenas isso é diferente, mas também é fisiologicamente possível, o que significa que o sudário é mais preciso do ponto de vista médico e fisiológico do que qualquer peça de arte medieval de crucificação. O conteúdo do sudário é consistente com a narrativa bíblica da paixão.

Curiosamente, o sudário é diferente de todas as obras de arte medievais neste detalhe, pois coloca os pregos no pulso, não apenas isso é diferente, mas também é fisiologicamente possível, o que significa que o sudário é mais
médica e fisiologicamente precisa do que qualquer peça de arte medieval de crucificação.

Vale ressaltar que a imagem dos polegares está ausente do sudário, o que pode ser devido a lesão do nervo mediano ou contração tetânica.

No lado direito do peito, há uma grande mancha de sangue que escorre de uma ferida de forma oval causada por um objeto pontiagudo e pontiagudo que o atingiu entre a quinta e a sexta costelas, penetrando profundamente. As características desta ferida indicam que foi infligida após a morte do homem.

A testemunha especialista de um patologista forense profissional esclarece que o homem no sudário desenvolveu rigor mortis antes de envolver que o fluxo sanguíneo do antebraço era consistente com os braços estendidos que os polegares foram flexionados devido a danos nos nervos da punção no pulso que o mid- o fluxo sanguíneo do torso foi post-mortem e se originou de uma artéria ou órgão principal e que o homem carregava uma carga pesada nos ombros após a flagelação inicial, todos esses detalhes apenas expandem ainda mais a correlação entre o conteúdo do sudário e a paixão bíblica narrativa

Todas as chagas que se podem ver no Sudário de Turim, coincidem com as descritas nos Evangelhos, infligidas a Jesus.

Como foi feita a imagem do Sudário?

Não é uma pintura: se isso fosse verdade, deveria ser possível identificar os pigmentos usados pela análise química, assim como os conservadores podem fazer para as pinturas dos velhos mestres. Mas não há evidências de pigmentos no pano em quantidades suficientes para explicar a imagem. Tampouco há sinais de que seja renderizado em pinceladas.

A imagem do sudário não é criada por nenhuma mancha de tinta ou matriz. Não é devido ao óleo ou composição corporal. Não é causado por pó ácido ou calor. Curiosamente, não há material, seja orgânico ou inorgânico depositado no sudário para formar a imagem. A imagem não racha nas linhas de dobra e não há diferença na distribuição espacial ao visualizar a imagem no espectro infravermelho em relação ao espectro visível, característica presente nas pinturas a pincel.

Se olharmos atentamente para os próprios fios do sudário, observaremos um fenômeno interessante: cada fio consiste em muitas fibrilas microscópicas.

E nas áreas manchadas de sangue do sudário, o sangue passa por todas as fibrilas por ação capilar, o que significa que podemos ver as manchas de sangue na parte de trás do sudário.

No entanto, a imagem está presente apenas nas fibrilas superiores, indicando falta de ação capilar.

E isso é interessante porque não é fisicamente possível aplicar qualquer tipo de mancha de tinta líquida ou corante à mortalha sem que ela penetre para o lado de trás por meio de ação capilar, então sabemos com certeza que a imagem não poderia ter sido formada por qualquer tipo líquido aplicado à superfície.

A imagem inteira é muito superficial por natureza, cerca de 0,2 milésimos de milímetro apenas na superfície superior das fibrilas, o lado interno não é, portanto não poderia ter sido formado por produtos químicos, A imagem reside na camada mais externa do linho fibras. A imagem não foi feita por um processo químico natural.

A imagem é resultado da oxidação, desidratação e conjugação das próprias fibras do sudário. É como se as áreas das imagens no sudário envelhecessem rapidamente em comparação com o resto do sudário.

A imagem no sudário é a única de seu tipo neste mundo, e não há métodos conhecidos que possam explicar a totalidade da imagem, nem qualquer combinação de circunstâncias físicas, químicas, biológicas ou médicas pode explicar a imagem adequadamente. .

Então, o que faz com que a imagem apareça na superfície do sudário?

As fibrilas estão escurecidas porque as moléculas de celulose e as fibrilas de linho foram alteradas quimicamente. Existem átomos de carbono na molécula de celulose que, em circunstâncias normais, compartilham uma única ligação eletrônica, mas as fibrilas escuras contêm moléculas de celulose nas quais os átomos de carbono têm uma ligação eletrônica dupla. A questão é o que pode produzir o efeito líquido da imagem do sudário? Determinamos experimentalmente que o calor pode induzir a mudança molecular nas fibrilas de linho, no entanto, o calor não pode criar regiões sombreadas com uma extensão igual de mudança de fibrila e não pode criar um mapa de profundidade 3D, a menos que alteremos algumas fibrilas mais do que outras.

Não temos a menor ideia de como um artista medieval poderia ter usado uma fonte de radiação controlada para criar a imagem no sudário. Na verdade, nem mesmo possuímos essa capacidade hoje. O resultado citado anteriormente vem da simulação apenas porque, mesmo com nossa tecnologia avançada hoje, não podemos reproduzir a imagem com todos os mesmos efeitos químicos que observamos no sudário.

De fato, até agora o único processo capaz de produzir todos os efeitos químicos das fibrilas e resultar em um mapa de profundidade 3D de um homem no linho é a radiação. Mas se a radiação é de fato a melhor explicação de como a imagem foi formada, isso levanta algumas grandes questões. Uma explosão de 34 bilhões de Watts de radiação VUV produziu uma descoloração na superfície superior da superfície do Sudário, que deu origem a uma imagem negativa tridimensional perfeita.”

Atualmente, não conhecemos nenhuma causa natural para um cadáver humano produzir radiação ultravioleta como esta. Um flash muito curto e intenso de radiação VUV direcional pode colorir o tecido de linho. A potência total necessária para colorir instantaneamente a superfície do linho correspondente ao corpo humano é de 34 bilhões de Watts.

De acordo com os procedimentos funerários normais do primeiro século, o corpo, após uma lavagem ritual, era vestido com um Kittel (mortalha) chamado tachrichit, conforme mostrado na foto.

Mas no caso de Jesus, não houve tempo suficiente. Portanto, a mortalha provavelmente estava apenas enrolada e colocada sobre seu corpo, conforme mostrado na imagem acima.

Alguns pesquisadores sugeriram que a imagem no sudário só poderia ter sido formada por "raios ortogonais unidirecionais", o que significa que a luz que criou a imagem teria que vir de uma única fonte e atingir o pano em ângulos retos. Essa teoria baseia-se no fato de que a imagem no sudário só é visível de um determinado ângulo e parece ser tridimensional, como se fosse formada por um feixe de luz que incide no tecido a partir de um único ponto. Experimentos do físico Arthur Lind em 2017 usando um ciclotron na Universidade de Missouri demonstraram que a radiação teve que ser extremamente ajustada dentro de uma faixa muito estreita de parâmetros para produzir a imagem do Sudário - caso contrário, o Sudário poderia ter sido queimado completamente , ou se muitas das fibras tivessem sido coloridas, teria deixado apenas uma área escura em vez de uma imagem, ou se a fonte de radiação fosse muito fraca ou muito distante do tecido, não teria deixado nenhum efeito de radiação.

De acordo com alguns biofísicos, a radiação de partículas irradiava o Sudário e a fonte da radiação de partículas era o próprio corpo. A fonte da iluminação que formou a imagem veio de dentro - isto é, do corpo. . . como um todo. Em outras palavras, a radiação não veio de alguma fonte externa; em vez disso, a origem da radiação era diretamente do corpo - de cada localização pontual do corpo.

Durante a ressurreição, o sudário provavelmente caiu através do corpo desmaterializado que desaparecia enquanto a matéria se transformava em energia. Assim como o corpo desmaterializado, a gravidade levou a mortalha através do corpo desmaterializado e caiu através do corpo.

A seguir, trataremos do sangue, encontrado no Sudário. Traços de sangue humano foram encontrados e testes confirmaram que esse sangue pertencia a um corpo humano no momento da morte, e o tipo sanguíneo é provavelmente AB.

As manchas foram formadas por sangramento humano real de feridas reais em um corpo humano real que entrou em contato direto com o pano.

Testes confirmaram a presença de albumina, imunoglobulina, hemoglobina e vários antígenos

Mas o mais interessante é que o material sanguíneo também deu positivo para o pigmento biliar bilirrubina.

No contexto de investigações forenses, a presença de bilirrubina em evidências de sangue pode ser uma indicação de trauma ou lesão, incluindo lesões sofridas durante a tortura. A bilirrubina pode ser liberada na corrente sanguínea como resultado da degradação dos glóbulos vermelhos em tecidos danificados, incluindo hematomas ou outros tipos de trauma.

Incluídas nessas inúmeras manchas de sangue, estão pelo menos uma centena de minúsculas marcas de flagelos em forma de halteres no corpo e nas pernas do homem na mortalha, que correspondem aos ferimentos causados ​​por um flagrum romano com duas bolas de chumbo na ponta de cada uma de suas três correias. ], evidentemente projetado para causar sangramento interno para que uma vítima de crucificação não morresse muito cedo devido à perda de sangue. Cada uma dessas feridas flageladas tem minúsculos coágulos sanguíneos, cada um com um 'halo' de retração sérica, claramente visível à luz ultravioleta, mas pouco visível, e alguns são invisíveis a olho nu. Portanto, um falsificador medieval não apenas exigiria um conhecimento moderno da fisiologia da retração do coágulo, mas também teria que produzir imagens de anéis de soro que são claramente evidentes apenas sob luz ultravioleta (que só foi descoberta em 1801).

Até hoje, nenhum artista, médico ou cientista jamais foi capaz de reproduzir, ou de outra forma transferir tal precisão microscópica de feridas de um corpo para um objeto diferente até o momento - muito menos fazer isso sem falhas para mais de cem feridas de flagelo. .

A seguir, examinaremos mais de perto as evidências cumulativas que corroboram a autenticidade do Sudário. Em 1898, Secondo Pia, um fotógrafo amador italiano, tirou a primeira fotografia oficial do Sudário. Tendo exposto quatro chapas fotográficas, voltou ao estúdio e iniciou o processo de revelação.

O que Pia viu naquela noite em sua câmara escura o surpreendeu. Pois, à medida que a imagem na placa negativa tomava forma diante de seus olhos, ele se viu olhando para uma imagem coerente de um homem crucificado. Em vez da imagem plana e enigmática vista no pano, a placa negativa dava a impressão de uma figura substancial emergindo do fundo, uma figura que parecia um corpo humano real... O negativo revelou uma imagem tridimensional notavelmente convincente do rosto do homem, suas pálpebras fechadas ... Era como se o próprio Sudário fosse um negativo fotográfico que pudesse ser desenvolvido em uma imagem positiva e de tirar o fôlego de Jesus crucificado

Pia relatou: Senti uma emoção muito forte quando, durante a revelação, vi pela primeira vez a Santa Face aparecer na placa, com tanta clareza que fiquei estupefato por ela...”. A imagem no sudário aparece como uma imagem negativa (como um negativo de uma fotografia) e provavelmente foi formada pela impressão do corpo que foi envolto no pano após a morte.

Então, ainda mais, em 1976, uma equipe de cientistas americanos liderada pelo Dr. John Jackson descobriu que o Sudário contém informações 3D. Eles usaram um VP-8 Image Analyzer, que era um dispositivo originalmente desenvolvido pela NASA para melhorar as imagens da superfície da lua. O VP-8 Image Analyzer usa um algoritmo matemático para converter variações de brilho em uma imagem 2D em informações de altura, criando uma representação 3D da imagem.

Quando o Dr. Jackson e sua equipe aplicaram o VP-8 Image Analyzer a fotografias do Sudário de Turim, eles descobriram que a imagem no sudário continha informações 3D. A informação 3D ficou particularmente clara quando a imagem foi analisada usando uma técnica chamada técnica de sombreamento de relevo, que envolve iluminar a imagem de diferentes ângulos para criar sombras que destacam as variações de altura.

Essa descoberta de informações 3D no Sudário de Turim foi um avanço significativo, pois forneceu novos insights sobre a natureza da imagem e sugeriu que não era uma simples pintura ou falsificação. Em 2012, Thierry Castex, da França, fez essas imagens 3D com base nas informações 3D contidas no Sudário de Turim.

Em 2018, pesquisadores em Pádua (Itália) revelaram uma cópia em 3-D da aparência do homem no Sudário com base nas medidas precisas do tecido. Os pesquisadores usaram tecnologia de imagem 3D sofisticada para criar uma réplica do rosto no Sudário de Turim, que eles acreditam fornecer uma representação mais precisa de como Jesus pode ter sido. A imagem fotonegativa e as informações 3D no Sudário de Turim são evidências cumulativas de sua autenticidade porque fornecem características únicas e inexplicáveis que são difíceis de replicar ou explicar por falsificadores ou processos naturais.

Este grupo de especialistas, trabalhando em conjunto, realizou o primeiro exame científico multidisciplinar e aprofundado do Sudário. Eles produziram o banco de dados primário de informações científicas confiáveis sobre o Sudário. Eles publicaram mais de 30 artigos científicos revisados por pares e se tornou um recurso essencial para a pesquisa em andamento feita por todos os estudiosos sérios do sudário hoje.






O Sudário tornou-se o tecido e artefato mais cientificamente estudado na história da humanidade.

O STURP emitiu seu relatório final em 1981. Podemos concluir, por ora, que a imagem do Sudário é a de uma forma humana real de um homem flagelado e crucificado. Não é o produto de um artista. As manchas de sangue são compostas de hemoglobina e também dão um teste positivo para albumina sérica. A imagem é um mistério contínuo e até que mais estudos químicos sejam feitos, talvez por este grupo de cientistas, ou talvez por alguns cientistas no futuro, o problema permanece sem solução.

Barrie Schwortz era um membro da equipe. O STURP emitiu seu relatório final em 1981.

Schwortz confessou: "No início do meu trabalho, eu era muito cético quanto à sua autenticidade. Não sentia nenhuma emoção particular em relação a Jesus porque fui criado como um judeu ortodoxo. A única coisa que sabia sobre Jesus era que ele era judeu e isso foi tudo.". Após 18 anos de estudo, a plena convicção veio quando “o químico do sangue Allen Adler, outro judeu que fazia parte do grupo de estudo, explicou por que o sangue vermelho permanecia no Sudário. O sangue antigo teria que ser preto ou marrom, enquanto o sangue no Sudário é vermelho carmesim. Parecia inexplicável, ao contrário, era a última peça do quebra-cabeça. Após quase 20 anos de investigação, foi um choque para mim descobrir que o pedaço de pano era o tecido autêntico que havia sido envolto no corpo de Jesus. As conclusões a que cheguei foram baseadas exclusivamente na observação científica”.

O Sudário de Turim poderia ser uma falsificação? A alegação de que o Sudário é uma falsificação ainda é amplamente divulgada hoje. Alguns tentaram reproduzir a imagem do Sudário, com mais ou menos sucesso.

Por exemplo, o químico italiano Luigi Garlaschelli tentou reproduzir a imagem do Sudário em 2008, mas os resultados estão muito longe da imagem do Sudário, como pode ser visto aqui.

Essas tentativas de reprodução não chegam nem perto da imagem detalhada no Sudário e, em vez de provar que o Sudário era uma falsificação, elas provam que a reprodução da imagem no Sudário não é possível pelos métodos tradicionais conhecidos.

Em abril de 2022, Joanna Moorhead escreveu um artigo para o jornal The Guardian: O desafio de $ 1 milhão: ‘Se o Sudário de Turim for uma falsificação, mostre como foi feito’. Ela relatou sobre David Rolfe, um cineasta. Rolfe lançou "um desafio no valor de US $ 1 milhão para o Museu Britânico. “Se ... eles acreditam que o sudário é uma falsificação medieval, peço que repitam o exercício e criem algo semelhante hoje", disse ele. O Museu Britânico está menos disposto para se envolver desta vez. "Quaisquer perguntas atuais sobre o sudário seriam melhor colocadas para aqueles que atualmente cuidam dele na capela real da catedral de Turim", disse um porta-voz.

Por aqueles que tentam retratar o Sudário como uma falsificação, o que também é frequentemente mencionado é o Memorando d'Arcis, que é um rascunho de documento encontrado na Biblioteca Nacional da França que foi apresentado de forma fraudulenta como uma carta do Bispo d'Arcis ao Papa Clemente VII em 1389. O documento afirma que o Sudário de Turim era um tecido habilmente pintado exibido em Lirey, na França, e não o verdadeiro sudário de Jesus. No entanto, não há evidências para apoiar essas alegações e a autenticidade do documento é altamente contestada.

Um dos principais argumentos daqueles que afirmam que o Sudário não é a mortalha de Jesus, recorre à datação por radiocarbono que foi realizada no Sudário em 1988. A tarefa dos cientistas era tentar descobrir a data do Sudário.

Em 1989, a prestigiosa revista científica Nature publicou os resultados oficiais da datação por radiocarbono do Sudário.

A datação por radiocarbono foi um dos anúncios científicos mais esperados de todos os tempos. O Sudário foi datado por três laboratórios bem conhecidos da Universidade de Oxford, Arizona e Zurique. Um teste de datação por radiocarbono foi feito em um pedaço de pano retirado do canto da mortalha

Eles declararam que os resultados "fornecem evidências conclusivas de que o linho do Sudário de Turim é medieval".

O resultado foi uma grande surpresa para muitos e chocou o mundo. Seus resultados combinados dataram o tecido em 1260-1390 DC.

Eles chegaram a um intervalo de datas, muito amplo para o pequeno corte em tiras, mas relataram que o tecido datava com uma taxa de confiança de 95%. Se o sudário fosse do século XIII ou XIV, então não poderia ser a imagem de Jesus.

Houve muitos problemas com o namoro, problemas que ainda hoje são discutidos. Quando a amostra foi coletada, houve uma discussão por mais de uma hora sobre de que área a amostra deveria ser coletada. Foi retirado de um canto que os especialistas desaconselharam, porque faltava um canto e também era uma área frequentemente ocupada pelo clero durante as exposições. Também foi sugerido que mais de uma área fosse testada para garantir que a amostra testada fosse representativa de todo o tecido.

Em vez disso, apenas 1 amostra foi retirada do canto suspeito e entregue a três laboratórios diferentes. As fotos da amostra de Zurique foram dadas a 3 especialistas têxteis diferentes no final de 1999 e início de 2000, sem lhes dizer que eram fotos do Sudário. Todos os três disseram acreditar que a área havia sido manipulada ou consertada.

O falecido químico do STURP, Raymond Rogers, teve acesso a amostras que foram datadas por radiocarbono. Depois de analisar as amostras, ele teve que admitir que a hipótese de Benford e Joe Marino estava certa: a mortalha de linho original continha fios de algodão adicionais. As amostras do pano datado por radiocarbono continham algodão.

Ele publicou um artigo científico em 2004, concluindo que a amostra de radiocarbono não fazia parte do linho original do Sudário de Turim. A data de radiocarbono não era, portanto, válida para determinar a verdadeira idade do sudário. Os dados brutos dos três laboratórios, que os laboratórios, contra todas as normas, se recusaram a divulgar imediatamente, foram finalmente obtidos por meio de um pedido de Liberdade de Informação em 2017. A análise cuidadosa desses dados apóia a noção de que a amostra do Sudário datada de 1988 era um combinação de tecidos dos séculos I e XVI.

Na França, havia um método chamado Retecelagem Invisível Francesa, usado por mestres tecelões no século XVI. O tecelão recoloca cada fio quebrado, um de cada vez.

Muitos outros artigos revisados por pares foram publicados sobre o assunto da idade do Sudário, chegando a uma conclusão diferente da datação por radiocarbono de 1988. Um recente de março deste ano, usando espalhamento de raios-X, concluiu que: Os resultados experimentais são compatíveis com a hipótese de que o TS é uma relíquia de 2.000 anos, como supõe a tradição cristã.

Muitos outros artigos revisados por pares foram publicados sobre o assunto da idade do Sudário, chegando a uma conclusão diferente da datação por radiocarbono de 1988. Um recente de março deste ano, usando espalhamento de raios-X, concluiu que: Os resultados experimentais são compatíveis com a hipótese de que o TS é uma relíquia de 2.000 anos, como supõe a tradição cristã.

Em novembro de 2020, o pesquisador de longa data do Sudário de Turim, Joseph Marino, que junto com sua esposa, Sue Benford, descobriu que o canto datado por radiocarbono foi retecido, publicou um livro no qual compilou a coleção mais abrangente de dados sobre o Carbono de 1988 -14 testes de namoro. O livro de 800 páginas revela inúmeras ações questionáveis, erros e contradições tanto da Igreja Católica quanto dos laboratórios C-14 antes, durante e depois da coleta das amostras. Marino acredita que, se o Sudário for genuíno, “é simplesmente o objeto mais importante e valioso do planeta”, pois “é o mais próximo que poderíamos chegar de provar que a morte e a ressurreição de Jesus são fatos históricos”.

Na Catedral de Oviedo, no norte da Espanha, há um pano de linho chamado Sudarium Christi, ou o pano de rosto de Cristo. O Sudarium Christi é um pano de linho de má qualidade, como um lenço, medindo 33 por 21 polegadas. Ao contrário do Sudário de Turim, não tem imagem. No entanto, tem manchas de sangue e manchas de soro do fluido do edema pulmonar que correspondem aos padrões de sangue e soro e tipo sanguíneo (AB) do Sudário de Turim.

Havia três peças de tecido na História da paixão: o sudário, as tiras de linho que seguravam o corpo na posição desde que estava em rigor mortis, e o pano de rosto, o Sudário. O capítulo 20 de João menciona um guardanapo ou toalha de rosto que foi usado para cobrir o rosto de Jesus e foi encontrado na tumba no Domingo da Ressurreição. Temos muito boas razões para acreditar que o sudário de Oviedo é o pano de rosto de Jesus, pois possui um rastro de papel muito bem documentado. Esteve na Judeia até 614 d.C. quando foi levado para Alexandria, depois para Cartagena e passou os cem anos seguintes em Sevilha e Toledo e depois em 718 d.C. entrou na região de Oviedo e ainda hoje está alojado numa igreja em Oviedo.


A existência dos sudários é historicamente confirmada, remontando pelo menos ao século VI, e o teste de radiocarbono deu uma data, seiscentos a setecentos anos antes do Sudário de Turim, o que nos aproxima muito do primeiro século.

O Sudário carrega numerosas manchas de sangue. Alguns são post-mortem e outros sangue vital. Denominações foram dadas para cada mancha de sangue. Como o pano estava dobrado, há uma imagem espelhada do grupo de manchas centrais, formado pelo sangue post mortem que escorria do nariz e da boca após a morte.

As manchas de sangue correspondem a uma cabeça humana. A mancha principal estava em contato com o rosto e aparece invertida como em um espelho. A mancha principal é composta por três grupos de manchas sobrepostas. Inclui manchas simétricas, uma mancha de borboleta, uma mancha de acordeão e uma mancha de coroa de espinhos. Essas manchas fornecem pistas valiosas sobre possíveis eventos durante a crucificação e sepultamento de Jesus. A mancha de borboleta é um padrão único que lembra a forma de uma borboleta, e a mancha de acordeão aparece em uma cor mais clara, possivelmente indicando degradação do sangue ao longo do tempo. A mancha da coroa de espinhos lembra o padrão de uma coroa.

Se o rosto da imagem do Sudário for colocado sobre as manchas do sudário, talvez a coincidência mais óbvia seja o encaixe exato das manchas com a barba do rosto. Como o sudário foi usado para limpar o rosto do homem, parece que foi simplesmente colocado no rosto para absorver todo o sangue, mas não foi usado em nenhum tipo de movimento de limpeza.

Vamos tentar entender que papel exatamente o Sudário desempenhou durante e após a crucificação. Supõe-se que a morte de Cristo aconteceu em 33 DC, sexta-feira, 3 de abril, às 15h. O falecido havia sofrido um castigo traumático e tinha uma coroa de objetos pontiagudos na cabeça. Ele estava em uma posição vertical compatível com a cruz.

Enquanto morto, a cabeça do cadáver estava inclinada para a frente, cerca de 70 graus e 20 graus para a direita. , permitindo o acesso à nuca. Um sudário era necessário porque se acreditava que o sangue continha a alma da pessoa e, de acordo com a lei judaica, era necessário enterrá-lo junto com o corpo. Também era proibido mover um corpo mutilado sem cobri-lo primeiro. A unção preliminar do corpo foi realizada por aproximadamente uma hora enquanto o corpo era preparado para a transferência para a tumba. Isso incluía enrolar o sudário sobre a cabeça, forçar os braços da posição de crucificação devido ao rigor mortis, ungir o corpo com aloés e mirra e cobrir o corpo com um pano. De acordo com a lei judaica, era proibido lavar o corpo quando o sangue escorria na hora da morte.

Depois que o cadáver estava morto por uma hora, por volta das 16h, alguém colocou a borda do Sudário ao longo da nuca e enrolou uma mecha de cabelo com ela e costurou o pano no cabelo para prender bem o Sudário. Foi preso com alfinetes, possivelmente feitos de espinhos, com base nas perfurações do tecido. Os pinos eram de forma cônica, semelhantes a uma agulha.

Cerca de metade do restante do pano foi passado ao redor da orelha esquerda e na frente do rosto, cobrindo-o e atingindo a bochecha direita. Lá, o pano foi dobrado para voltar para o rosto, proporcionando uma segunda camada na frente da boca e da região do nariz. Nesta imagem, podemos ver a sequência de como foi dobrado.

Foi dobrado com duas camadas na frente do rosto do sujeito. O pano estava dobrado sobre si mesmo, porque não conseguia envolver completamente a cabeça, muito provavelmente devido à posição elevada do braço direito que ainda estava preso à cruz. Como resultado, foi dobrado de volta, criando uma mancha paralela repetida em uma segunda camada de tecido. Acredita-se que a cabeça estava inclinada para a direita, de modo que ficava pressionada contra o ombro, e os braços estavam posicionados de forma que resultava no enrolamento do sudário dessa maneira.

O lado, número um na imagem, parece espelhar o lado oposto, número 4. Foi dobrado no centro, no meio do pano de cima para baixo. Isso mostra onde foi dobrado sobre si mesmo. A mancha principal é composta por três grupos de manchas sobrepostas. Uma mancha trapezoidal envolve o nariz e a boca,

E aqui no estado dobrado. As linhas em preto se sobrepõem e demonstram a correspondência. O sangue de uma folha foi sugado para a outra, e isso deu um perfil semelhante às manchas de sangue.

O código da lei judaica declarava que o sangue final vindo do corpo no momento da morte considerava que a vida estava no sangue e de acordo com isso qualquer coisa que contivesse o sangue vital deveria ser enterrada com o corpo para não separar o corpo do corpo. sangue vital, então o sudário provavelmente cobriu a cabeça de Jesus enquanto ele estava sendo removido da cruz para coletar todo o sangue que escorria de sua cabeça.

Então, enquanto Jesus estava sendo removido da cruz, algum sangue teria enxugado da cabeça de Jesus e, portanto, seria considerado um portador de sangue vital e é exatamente por isso que devemos esperar que o sudário esteja no túmulo, mesmo que separado do corpo no túmulo. mortalha.

O pano estava enrolado em volta da cabeça e provavelmente amarrado em um nó no topo e, quando o corpo chegou à tumba, o que provavelmente aconteceu foi que esse pano poderia ter sido facilmente retirado da cabeça

O Sudário foi removido, e o defunto foi coberto com uma mortalha, e permaneceu perto do defunto até que alguém o recuperasse.

Há uma quantidade significativa de sujeira e pólen no sudário. As amostras de sujeira em espécies de pólen correspondem às amostras da Judéia, África do Norte e Espanha, apoiando a trilha de papel documentada do sudário. Na verdade, a sujeira corresponde a amostras coletadas especificamente da área ao redor do Calvário, onde Jesus foi crucificado. O criminologista suíço Max Frei encontrou dezesseis tipos de pólen no Sudário de Oviedo e identificou pelo menos nove deles crescendo na Palestina.

Alguns dos vestígios encontrados no Sudário, bem como no Sudário de Turim, têm sua origem nas substâncias funerárias usadas para o sepultamento. Na verdade, o pólen de Helichrysum estaria presente em óleos e pomadas porque o óleo de Helichrysum é produzido apenas a partir da prensagem de flores frescas e não é um pólen transportado pelo ar.

O sudário também contém manchas de sangue e fluido. O Sangue é do tipo humano AB, o mesmo encontrado no sudário. O fluido é o edema pleural, um fluido que se desenvolve nos pulmões daqueles que morrem asfixiados quando os corpos são sacudidos. Este fluido pode sair das narinas. Além disso, as manchas de fluido mostram sinais de secagem entre as descargas de fluido adicionais, o que significa que o corpo passou por várias rodadas de movimento depois que o sudário envolveu a cabeça com base nessa evidência. A análise forense concluiu que o sudário de Oviedo envolveu a cabeça de uma pessoa que morreu por asfixia.

O nariz da pessoa tinha oito centímetros de comprimento, o que é idêntico ao Sudário e os pontos de sangue se originaram exatamente nos mesmos locais que no Sudário.

Portanto, se fizermos um rápido resumo da comparação entre o sudário e o Sudário, descobrimos que o tipo sanguíneo é idêntico, a geometria facial é quase idêntica e os pontos de origem do sangue são idênticos, ambos contêm quantidades significativas de sujeira e pólen de origem não europeia. locais, por isso é racional concluir que os dois panos envolveram o mesmo corpo.

Em seguida, vamos dar uma olhada mais de perto nas evidências botânicas no Sudário de Turim.

A investigação botânica do Sudário começou com as observações de Max Frei em 1973 de grãos de pólen no Sudário, que ele amostrou por meio de fita adesiva. Frei tirou um segundo conjunto de 27 amostras de fita adesiva do Sudário durante o estudo científico em 1978. A presença no Sudário de pólen de 29 plantas do Oriente Próximo, e especialmente de 21 plantas que crescem no deserto ou nas estepes, diretamente leva à hipótese de que o Sudário, agora preservado em Turim, no passado foi exposto ao ar livre em países onde essas plantas fazem parte da vegetação normal.

Das 58 espécies de pólen no Sudário, 55 delas crescem em Jerusalém e apenas três espécies de pólen não crescem nem na Europa nem em Jerusalém.

O botânico Avinoam Danin, da Universidade Hebraica de Jerusalém, começou a colaborar com os pesquisadores do Sudário em 1995. Ele determinou a origem do Sudário com base em uma análise abrangente do pólen retirado do Sudário.


Na linha da imagem acima, podemos ver uma ilustração, de como o sudário foi dobrado. E nas duas imagens inferiores, como o pano foi preso com alfinetes na parte de trás da cabeça e na barba, na parte da frente. A análise forense do pano leva à conclusão de que ele foi usado em volta da cabeça de um cadáver costurado em seus cabelos e barba. Permaneceu neste estado dobrado por cerca de uma hora. O pano não estava totalmente enrolado na cabeça, provavelmente porque algum tipo de obstáculo impedia essa operação.

O pano, que ficava preso na nuca, era preso com alfinetes, possivelmente feitos de espinhos, com base nos furos do pano. Os pinos eram de forma cônica, semelhantes a uma agulha. Existem várias perfurações, relacionadas com a formação das manchas e com a utilização original do linho. Alguns deles foram produzidos quando o Sudário foi preso à cabeça do falecido, usando instrumentos pontiagudos que os cientistas acreditam estarem presos à barba e ao cabelo. Eles têm uma natureza cônica truncada e aparecem aos pares, indicando a possibilidade de terem sido usados espinhos. As rugas e perfurações na imagem indicam onde o pano foi preso na barba do homem.

Os buracos circulados em azul estão ao redor de algumas dobras no tecido e causaram essas dobras. Os orifícios circulados em vermelho correspondem a pontos no cabelo. A costura do Sudário ao cabelo da nuca foi a primeira e envolveu uma única camada. A costura do Sudário à barba envolvia as duas camadas do pano.

As manchas principais inferiores observadas no Sudário foram produzidas por uma mistura de sangue e edema pulmonar na proporção de 1 a 6 que escorria lentamente do nariz e da boca enquanto o cadáver estava em posição vertical com a cabeça inclinada 70 graus para frente em relação ao eixo vertical. O edema pulmonar é característico das vítimas de crucificação. Este sangue foi determinado como sendo sangue post-mortem. O Sudário, portanto, teria que ter sido colocado sobre a cabeça de um homem crucificado por volta das 16h, falecido cerca de uma hora antes.

A parte inferior das manchas principais foi formada com o corpo em posição vertical pendurado na cruz. O corpo deveria estar nessa posição por uma hora para formar a quantidade de líquido encontrada no pano, com o braço direito levantado e a cabeça inclinada para frente e 20 graus para a direita.

Quase uma hora após a morte, por volta das 16 horas, o nariz e a boca do Homem começaram a vazar lentamente sangue avermelhado, semelhante a um líquido, encharcando a barba e o bigode. Nessa posição, formavam-se as partes inferiores das manchas principais. É importante lembrar que as manchas de sangue no Sudário se formaram em uma face tridimensional e apareceram em um pano achatado. Portanto, é necessário eliminar os dois centímetros extras formados pela base do nariz para ver como as manchas se ajustam a um rosto. Com a fotografia de alto contraste, pode-se ver a ponta do nariz, bem como a parte externa das cavidades nasais marcadas por acúmulo de sangue. O nariz tem oito centímetros de comprimento, com mais dois centímetros da base do nariz.

Após cerca de uma hora, por volta das 17 horas, assim que o centurião romano perfurou o tórax do cadáver, o corpo foi retirado provavelmente com os braços ainda presos à trave horizontal. Por razões desconhecidas, os zeladores que moveram o corpo decidiram virar o cadáver com o rosto para baixo. Nessa postura, o fluxo nasal corria para a parte de trás do nariz e encharcava a parte superior das manchas principais que cobriam a ponte do nariz e a testa. O cadáver permaneceu assim por quase mais uma hora.

Desta vez, o pano envolvia e envolvia toda a cabeça do cadáver, perfeitamente coberta por essa espécie de “capucha” ou capuz, que ficava presa aos cabelos, e formava-se um nó.

Em seguida, o cadáver era colocado de bruços, permanecendo ainda com duas camadas na frente do rosto, e seus braços eram colocados ao longo do corpo. Este movimento resultou em um aumento no vazamento de sangue do nariz e da boca. Provavelmente neste momento, este fluxo atingiu a nuca e encharcou a ponta do Sudário fixado sobre a nuca produzindo a mancha “borboleta” e a mancha do canto

Quando as manchas na nuca de ambos os panos se sobrepõem, a borda do Sudário cai na mudança de direção do rabo de cavalo no Sudário.

Supõe-se que durante o transporte da tumba, efusão de fluidos cadavéricos estava saindo da boca e do nariz. E tentou-se detê-los, colocando a mão sobre o efluente maculante em diversas posições.

Provavelmente outro pano foi usado para levar Jesus ao túmulo, que não era o Sudário de Turim.

Vamos dar uma olhada agora na mancha principal, que é composta por três grupos de manchas sobrepostas. O Dr. Villalain Blanco, um criminologista e médico forense espanhol, dirigiu o estudo do sangue para determinar a natureza das manchas e como elas foram formadas. As técnicas foram realizadas nos laboratórios de criminologia e biologia forense das Escolas de Medicina Legal de Madri e Valência.

A mancha principal é composta por três grupos de manchas sobrepostas. Uma mancha trapezoidal envolve o nariz e a boca, que os cientistas acreditam ter sido formada pela pressão de um punho fechado que pressionava o nariz para conter o fluxo de sangue. A mancha trapezoidal foi uma das últimas a se formar porque só aparece nas duas primeiras superfícies do pano.

Acredita-se que as manchas em forma de dedo tenham se formado quando o corpo estava sendo transferido para outro local, na tentativa de suprimir o fluxo de sangue do nariz e da boca.

Existem várias manchas que são marcas deixadas pelos dedos, tentando suprimir o fluxo de sangue e líquido pulmonar.

Finalmente, mais tarde, às 18 horas, o pano foi removido e polvilhado com aloés e styrax, substituto da mirra, e colocado novamente na cabeça.

Agora, olhamos aqui no canto superior direito do sudário real e você tem um monte dessas rugas ou dobras e esta é uma maquete aqui à direita, provavelmente foi onde o nó foi formado, então ainda temos evidência do nó que foi amarrado a uh para fixar o sudário na cabeça da vítima.

É interessante que um manuscrito do século V mencione que o Sudário foi amarrado no topo da cabeça. O autor, Nonnos de Panopolis, estava parafraseando o Evangelho de João, capítulo 20, e acrescentou esse detalhe. Depois que o corpo foi movido, ele foi posicionado com a face para cima e o pano foi removido da cabeça, ainda amarrado. Foi coberto com aloe e mirra para preservar o sangue, de acordo com o costume judaico, e separado no túmulo.

Finalmente, o Sudário teve que ser retirado do cadáver porque foi borrifado com aloés que ainda estão embebidos no sangue e permanecem na superfície que esteve em contato com o rosto. Isso implica que o Sudário não estava mais envolvendo a cabeça.

Retomamos a sequência dos acontecimentos da seguinte forma: a morte de Jesus aconteceu às 15 horas. O Sudário foi colocado à volta da cabeça do Homem quase uma hora depois da sua morte, por volta das 16 horas, quando ainda estava na cruz. Ele permaneceu em posição vertical com o Sudário por cerca de mais uma hora. Por volta das 17h, o corpo foi retirado e o cadáver foi deixado de bruços. O cadáver permaneceu assim por quase mais uma hora. Depois, por volta das 18 horas, o cadáver foi colocado com o rosto para cima e levado para o túmulo. Pouco antes de o cadáver ser coberto com a mortalha, o sudário foi removido.

No caso de Jesus, não havia muito tempo. Portanto, a mortalha provavelmente estava apenas enrolada e colocada sobre seu corpo, conforme mostrado na imagem acima.

Podemos supor que o Sudário com o sangue do Homem falecido deveria ser enterrado perto Dele no sepulcro se o enterro fosse um túmulo judeu.




O Sudário foi colocado perto do cadáver no sepulcro. Quando um Rei se senta à mesa para festejar e é puxado para longe da mesa e não termina de comer, Ele dobra o guardanapo e o deixa lá. Isso era para que seus servos soubessem que, embora ele estivesse indo embora temporariamente, ele não havia terminado e voltaria. A razão pela qual o lenço foi deixado na tumba é para nos informar que ele ressuscitou, partiu por um curto período de tempo, mas voltará novamente.

Vejamos as coincidências que evidenciam que o sudário envolveu o mesmo homem do Sudário de Turim. Ambas as roupas foram usadas para um homem barbudo com bigode e cabelos compridos presos em um rabo de cavalo. O Sudário mostra um homem crucificado e o cadáver do Sudário morto na posição vertical. Além disso, em ambos os casos, o executado foi torturado com uma coroa de espinhos. Finalmente, em ambos os casos, o sangue corresponde ao escasso tipo AB. É fácil ver a parte de trás do cabelo na imagem do Sudário. Se olharmos com atenção e usarmos a imagem negativa reforçada, podemos ver claramente cabelos compridos caindo da parte inferior da nuca até o espaço entre as omoplatas. O rabo de cavalo também pode ser observado em ambas as roupas. O "rabo de cavalo" pode ser resultado da fixação e costura do Sudário ao redor da mecha central das costas. Há uma distinção no pano entre sangue vital e sangue post-mortem. Pode-se distinguir que, da coleta de amostras do pano, o sangue que saiu pelo nariz e pela boca misturado ao líquido do edema pleural é sangue pós-morte.

A análise forense das manchas de sangue sugere fortemente que tanto o Sudário quanto o Sudário cobriram a mesma cabeça humana em momentos muito diferentes. Padrões de manchas de sangue mostram que o Sudário foi colocado sobre a cabeça do homem enquanto ele ainda estava na posição vertical, presumivelmente antes de ser removido da cruz. Foi então removido antes que o Sudário fosse colocado sobre o rosto do homem.

Existem muitos pontos de coincidência entre todos esses pontos e o Sudário de Turim - o grupo sanguíneo, a maneira como o cadáver foi torturado e morreu e a cobertura macroscópica das manchas em cada pano. Isso é especialmente notável porque o sangue no Sudário, derramado em vida, em oposição ao pós-morte, corresponde exatamente em grupo sanguíneo, tipo sanguíneo e área de superfície às manchas no Sudário na nuca. Se é claro que os dois panos devem ter coberto o mesmo cadáver, e esta conclusão é inevitável de todos os estudos realizados até agora, e se a história do Sudário pode ser estendida com confiança para além do século XIV, que é frequentemente referido como a primeira aparição histórica documentada do Sudário, então isso levaria o Sudário de volta pelo menos às primeiras datas da história conhecida do Sudário. A Arca das Relíquias e o Sudário estão, sem dúvida, na Espanha desde o início do século VII, e a história registrada em vários manuscritos de várias épocas e áreas geográficas remonta a Jerusalém no primeiro século. A importância disso para a história do Sudário não pode ser exagerada.

Dr. Alan Wanger desenvolveu um método de sobreposição de imagens em diferentes polarizações de luz para encontrar o que ele chama de pontos de congruência e publicou a técnica na revista Optics. Essa técnica já foi amplamente adotada nos tribunais americanos, com 45 a 60 pontos de congruência entre duas imagens sendo suficientes para provar a identidade comum em um tribunal dos EUA. Whanger usou esta mesma técnica para comparar as manchas de sangue no Sudário e no Sudário de Turim com resultados surpreendentes: “As manchas frontais no Sudário mostram setenta pontos de coincidência com o Sudário, e o lado traseiro mostra cinquenta.”

Hipotetiza-se que estas são as manchas observadas no Sudário que foram produzidas a partir do nariz e da boca, provavelmente enquanto o cadáver estava na posição vertical com a cabeça inclinada 70 graus para a frente em relação ao eixo vertical. A seta vermelha superior mostra a mancha do nariz e a seta vermelha inferior mostra a mancha da boca.

O Centro Espanhol de Sindologia dá-nos a posição exata da cabeça no pano. Os números 1, 2 e 3 no Sudário correspondem às marcas do Sudário. Estes são apenas alguns entre muitos outros que foram detectados.

É importante lembrar que as manchas de sangue no Sudário foram formadas em uma face tridimensional e apareceram em um pano achatado. Portanto, é necessário eliminar os dois centímetros extras formados pela base do nariz para ver como as manchas se ajustam a um rosto.



O nariz tem oito centímetros de comprimento, com mais dois centímetros da base do nariz.

Assim que subimos o pano cerca de 2 cm, as manchas centrais alinham-se com a boca e o nariz.

O professor Miñarro, diretor do Departamento de Escultura da Universidade de Sevilha, na Espanha, realizou um estudo geométrico Reconstruiu os elementos anatômicos presentes na cabeça do sudário e descobriu que eles correspondem exatamente ao Sudário de Turim . Não apenas as dimensões gerais da cabeça e do sudário combinam, mas também as manchas de sangue no sudário correspondem exatamente aos ferimentos na cabeça. Se colocarmos o sudário e o sudário (toalha de rosto) juntos e focarmos nas manchas de sangue, as semelhanças são inúmeras. Por exemplo, há uma área sem sangue no sudário que corresponde a um inchaço na face do Sudário com precisão quase perfeita. Existem vários outros elementos que também combinam perfeitamente, mas explicá-los um a um seria detalhar demais.

Além disso, é atípico encontrar sujeira do solo nesta zona da anatomia, mas é exatamente a mesma zona onde uma presença particular de poeira foi encontrada no Sudário de Turim. A baixíssima concentração de vestígios de estrôncio no Sudário também combina bem com o tipo de calcário característico da rocha do Calvário em Jerusalém

Manchas de perfurações estão na parte do pano que cobria a nuca, composto de sangue vital que jorrou antes que a morte ocorresse. O pano era aplicado a essas feridas cerca de 60 minutos após o sangramento, ou uma hora após a morte da pessoa.



Estas são as manchas de sangue mais interessantes e significativas no pano, pela simples razão de que combinam com as manchas no Sudário de Turim. Eles combinam com um padrão bastante próximo, mas também são do mesmo tipo sanguíneo. Que é talvez o mesmo grupo sanguíneo e o mesmo tipo de sangue, em outras palavras, derramamento de sangue na vida, e é um tipo de sangue que não era particularmente comum na Europa, mas era mais comum no Oriente Médio.

Os cientistas determinaram que o Sudário é feito de linho com uma torção em “Z”, o tipo de tecido mais comum no Império Romano. Tem textura de tafetá, o tipo de trama mais simples, e não possui ourelas em nenhuma de suas bordas, nem tingimento. O linho apresenta muitos defeitos, como laçadas, pontos de alinhavo soltos e cruzamento de fios paralelos da trama, indicando que o tecido foi feito em tear vertical com pesos e que é muito antigo, provavelmente do primeiro século.

Existem cerca de trinta tipos de grãos de pólen. Pelo menos nove crescem na Palestina, um ponto de comparação com o Sudário de Turim. QUERCUS (azinheira e carrasco), PISTACIA PALESTINA (arroeira e terebinto) e TAMARIX (tamarindo e cedro-sal) crescem apenas na Palestina.

A análise das partículas brancas encontradas no linho foi especialmente difícil, e finalmente foram identificadas como partículas de resina de aloe e mirra. Existem cachos de mirra - mais especificamente estoraque - e aloe. Uma mistura semelhante àquela que, segundo os evangelhos, foi usada profusamente no sepultamento de Jesus.

É mencionado diretamente no evangelho de João, 19:39-40, "Nicodemos veio também... e ele trouxe uma mistura de mirra e aloés... Eles pegaram o corpo de Jesus e envolveram-no em faixas de linho com o especiarias, segundo o costume funerário judaico.” Algo revelador foi encontrado que liga este tecido a algum tipo de costume funerário: Algumas partículas que se encontram ligadas ao próprio sangue do Sudário.

Estoraque é uma resina natural obtida da casca de várias espécies de árvores. Tem um aroma doce e balsâmico e é comumente usado em perfumes, cosméticos e incenso. Estoraque foi usado em enterros na Palestina durante o primeiro século. O estoraque era um dos materiais utilizados no processo de embalsamamento ou preparação dos corpos para o sepultamento de acordo com os costumes da época. O estoraque era conhecido por suas propriedades aromáticas e era usado como ingrediente em perfumes e pomadas que eram aplicados ao corpo para mascarar odores e preservar o cadáver. Acreditava-se que o estoraque também tinha propriedades medicinais e era usado como antisséptico e antiinflamatório no processo de embalsamamento. O uso de estoraque em práticas funerárias durante o primeiro século na Palestina é apoiado por relatos históricos, incluindo referências em textos e inscrições antigas, bem como descobertas arqueológicas de resíduos de estoraque e recipientes de armazenamento em túmulos e cemitérios na região.

Também foi estabelecido que há sangue humano no sudário. Os exames clínicos deram positivo para globulina, e é sangue do grupo AB (o mesmo do Sudário). O sangue, com algumas exceções específicas, é sangue misturado com outro líquido

É uma mistura de uma parte de sangue com seis de soro, retirada especificamente de edema pulmonar. A natureza humana do sangue foi confirmada pela identificação do DNA mitocondrial.



Em 2012, os cientistas detectaram a presença de estruturas compatíveis com bolhas secas de fibrina. A hipótese mais provável é que tais bolhas tenham se formado dentro de uma cavidade corporal, pleural e/ou pericárdica. Para chegar a tal condição, o indivíduo deve sofrer traumas graves como a flagelação e algumas horas devem decorrer para permitir a formação de fibrina antes que o fluido seja liberado. A fibrina acumulada na cavidade pleural precisa de um caminho para chegar ao Sudário. Este caminho pode ser o ferimento da lança que ligava a cavidade ao trato respiratório. No Sudário de Oviedo, a presença dessas bolhas de fibrina isentas de elementos sanguíneos poderia ser outra prova indireta da flagelação, pois a formação de fibrina requer um ferimento prévio. Esta é a hipótese mais plausível para a formação dos elementos de fibrina. Para chegar ao Sudário, a fibrina poderia sair pelo nariz e pela boca, junto com o sangue e o líquido do edema dos pulmões.

Amostras do Sudário foram submetidas a datação por carbono. Na Segunda Conferência Internacional sobre o Sudário de Oviedo, na Espanha, em 2007, foi relatado que a amostra do Sudário foi datada de cerca de 700 DC, enquanto a história do Sudário está muito bem estabelecida e há referências definitivas à sua presença em Jerusalém em 570 DC e no início do quinto século.

Uma das primeiras referências ao Sudário de Oviedo é encontrada nos escritos de Antonino de Piacenza, um peregrino italiano que visitou Jerusalém em 570 DC. Antonino descreveu um pano que se acreditava ser o "sudarium" ou pano de suor "de Jesus.

O mais antigo manuscrito sobrevivente do relato de Antonino sobre sua peregrinação visitando Jerusalém em 570 dC é um manuscrito latino intitulado "Itinerarium Antonini Placentini Peregrinatio ad loca sancta", traduzido, A Viagem de Antonino de Piacenza aos Lugares Santos. Este manuscrito está preservado em a Bibliothèque Nationale de France em Paris, França, e é datada do século 8. É uma cópia manuscrita do diário de viagem de Antonino e fornece informações valiosas sobre a peregrinação cristã à Terra Santa durante o final do período antigo.

O capítulo 12 da história da peregrinação diz: "Há uma caverna na margem do Jordão, onde há sete celas com sete meninas, que são colocadas lá como crianças. Sempre que alguma delas morre, ela é enterrada no cela, e outra cela é construída e outra menina é colocada lá, para que haja sempre o mesmo número. Pessoas de fora preparam sua comida. Entramos neste lugar com muito medo de orar, mas não vimos ninguém. O sudário que cobriu Jesus Diz-se que a cabeça está lá".

Documentos antigos relatam que o Sudário foi guardado em Jerusalém até a invasão persa de 614 d.C. Os cristãos fugiram para a Espanha com um baú cheio de relíquias, parando brevemente em Alexandria, no Egito. O baú permaneceu em Sevilha durante a época de Santo Isidoro e foi transferido para Toledo após sua morte em 636 d.C. Quando os muçulmanos invadiram a Espanha em 711 d.C., eles rapidamente conquistaram Toledo, então os cristãos fugiram para o norte com suas relíquias. O Santo Baú foi escondido no topo de uma montanha perto de Oviedo por 50 anos. As relíquias foram então transferidas para um mosteiro em Oviedo até que o rei Afonso II construiu a Câmara Santa no ano 812 d.C., agora parte da Catedral.

Todos os estudos realizados até agora apontam em uma direção, nada sugerindo o contrário. O sudário foi usado para cobrir a cabeça do cadáver de Jesus de Nazaré, desde quando foi descido da cruz até ser sepultado. O Sudário fornece evidências fortes e independentes da autenticidade do Sudário de Turim. Se o Sudário é falso, então o Sudário também deve ser. Uma gama tão ampla de evidências aqui apresentadas fortalece a tradição de que os dois panos envolveram o mesmo corpo, o de Jesus de Nazaré. Isso torna o trabalho de qualquer falsificador em potencial quase impossível. Os dois panos autenticam e validam um ao outro e, juntos, fornecem um forte argumento para serem os panos funerários originais de Jesus. E ambos coincidem e se encaixam perfeitamente nos relatos do Evangelho.