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Gives access to the anglophone version of the site's homepage

Gives access to the basic information of the site, to the history of the Shroud as well as to the study of the cloth.

Gives access to the images on the Shroud, their macroscopic analysis and, when necessary, complementary studies.

Gives the main conclusions that can be drawn from the study of the Shroud : the definite, the uncertain, the hypotheses.

Reconstruction of the Passion of Jesus in the light of the Gospels and of the observations derived from the study of the Shroud.

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Gives access to general information concerning the images on the Shroud : its aspect of "photo negative", the general study of the yellow traces which form the silhouette of the body, study of the pinkish traces which correspond to the wounds and to the flows of blood, the other images visible on the shroud ( traces of the small coins, traces of writing...)

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Gives access to the detailed study of the images visible on the Shroud, focussing in particular on their anatomo-pathological and physio-pathological aspects.

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Gives access to pages containing complementary information about the Shroud .

Click on FAQ to access the frequently asked questions forum, and on MAJ to find the latest pages

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gives access to the Table of contents of the site, from which you can access each chapter

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General look

GENERAL ASPECT                                  Gives access to the glossary where are some definitions of the main terms used in this study and which deserve some additional explanations.

Negative
Yellow traces
Pinkish stains
Other pictures
                   

               The cloth measures 4.35 metres by 1.09 metres.

                    It is made from two pieces, one wide, the other very narrow, sewn together edgewise. The wide piece, (92 % of the surface) measures 4.35 by 1.00 metres. The narrow piece, shown in yellow in the diagram below, (8 percent of the surface), is a strip 4 metres by 9 cms. The date that the two pieces were sewn together is unknown. Certainly it was before 1357, because the join is already visible in the representation of the Shroud at Lirey at that time. Thanks to this band, the image seems to be centred width-ways on the cloth. It is possible that this band belonged to the cloth from the beginning, that it was cut out for some indeterminate reason, and then sewn on again. Many arguments suggest this hypothesis but there has been no formal proof so far to support this.

                    With the naked eye, three groups of basic information can be seen. : 

  • One : and this is what is most visible : a double series of geometrical white and dark brown figures laid regularly, in two parallel bands, along the whole length of the cloth. On the illustration below, the white figures have been highlighted in pink and the brown figures in black.
  • Two : between the two bands above, the image of a man. His front can be seen on one half of the cloth (left half of the image) and his back on the other half of the cloth, (right half of the image).
  • Three : lozenge like stains, on the figure, and outside it. (In blue on the image).

Photograph in black and white of the whole Shroud. This photo was then coloured in by computer to highlight the main marks that have appeared in the course of the centuries. (17289 bytes)

                      To these three groups of immediately visible, basic information, can be added further information from intensive close up visual study with the magnifying glass, and more recently through the use of scientific equipment (microscopes, the use of light outside the visible spectrum, etc.), and finally through computer technology.

                    The double series of geometrical figures (In brown and pink on the image here) : These are the traces left by the fire on the night of 3rd / 4th December, 1532, at Chambery. Brown traces of scorching are spread in two parallel lines on either side of the figure, and correspond with the repairs in 1532, when 22 cloth patches were inserted by the religious order of the Clarisses of Chambery, (14 large patches and 8 small ones, in pink on the image). To better understand the regular pattern of these marks, see the page "The burn marks".

                    There exists a second series of burns, situated on almost the same line, (highlighted in green) which are of unknown date and origin, All that is known about them is they are also shown in the Codex Pray, and thus date before 1195.

                        

                         The lozenge shaped stains : (in blue on the image), correspond to the marks left by the water used to extinguish the fire in 1532. The water, when it seeped into the fabric from the burns, carried with it soot and dust, which gave the dark outline to these stains. Their lozenge shape is due to the way the cloth was folded at the time.

Part of the Shroud showing the front of the body. The marks have been coloured in, to make their identification easier. The left of the body is situated on the left of the image. (18091 bytes)
 

 

The double silhouette: We can see a man's front and back. These two images touch at the top of the head. 

 

This remarkable interpretation of the Shroud by GB Della Rovere contains an error : in his representation of the crossing of the hands the right hand is above the left, whereas in fact, it is the contrary. This demonstrates the permanent difficulty we have in lateralising the image of the Shroud correctly... Note also that he could not refrain from showing a loincloth when it is evident that the body is naked. (12349 bytes)

 

Thus the body was laid on his back, on the cloth, with his feet near one end of the shroud, and the top of his head near the centre, where the x and y axes cross. Then, the other end of the shroud is pulled over him, over his face, chest, and down to his toes. Giovanni Battista della Rovere understood this perfectly and showed it in this 16th century miniature painting.

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The other information : is about the small coins laid on the body's eyes, the inscriptions that appear on either side of the face, the pollen, and so on. 

                    The figure of the man appears as discolourations and stains of the fabric: (the nature of the colouration is fully described elsewhere). Two colours occur.

  • 1 - Pale yellow discolourations, rather blurred, producing an image which gets clearer as you move further back from it. It is easy to see from these that this is a human figure, but not easy to interpret what the marks all mean. Its unusual aspect is somewhat disturbing. The image is that a naked man in his thirties. He has a beard and long hair, his legs are together, his hands crossed at the pubis. He is in that characteristic position given to the dead.
  • 2 - Pale pinkish stains, well delineated

 

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