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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.

Shows the page before the one you are reading, if you were reading a book it would take you back a page

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.

Shows the page that follows the one you are reading, as if you were turning over the page of a book

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

The photo negative                                     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
                   

               For much of its history, the image on the Shroud appeared faded. Then, on the 28th of May, 1898, the first photo of the Shroud was taken by Secondo Pia.

                    In his darkroom, lit only by a dim red light, he processed the photo. The subject had been faint and blurred, with no contrast, so Secondo was not optimistic. Experience told him to expect little more than a faint blurred negative. But there, in his developing tray, he was astonished to observe, appearing slowly, the clear, neat image of a dead person.

                    Understanding this, and the amazing optical characteristics of the Shroud is not easy. The Shroud behaves in many ways as a photo negative. On a photo of the Shroud, the pinkish stains and scorch marks go very dark, and harder to interpret, yet the human image, the original pale yellowish discolouring, is outlined dramatically, gaining an impressive vigour.

: On the left image, the Shroud as it appears : the image of the body gives the impression of a photographic negative, while the blood stains appear in positive. On the right image, it is the contrary. (17553 bytes)
                   

               Some folk might be already tempted to draw an early conclusion. Some might point out that photography was only discovered around 1840, and it was only by chance, and trial and error, that this principle of photography, by means of an intermediary negative, was found. They might add that since then, ways have been discovered to produce photographic images without a negative, e.g. with slides, magnetic video tape, or electronic imaging, and that in the future, images will be made with processes that are yet to be discovered. But the fact is that the invention of photography was necessary for the image on the Shroud to become perfectly comprehensible -- and photography did not start until around 1840 ! Some folk might then ask, " How is it possible that in the 1200s or early 1300s, a medieval forger could have considered creating a "negative" image, a totally unknown notion, unimaginable and useless at the time? -- an image that looks mediocre -- and all done so that a few centuries later a technique might be discovered that would make it possible to understand this image at last? Who would ever propose such a hypothesis ?

                    Finally, there is the point that the Shroud behaves like a photographic negative in its representation of the figure, and behaves as a photographic positive with the pinkish stains. It would have taken a medieval forger with a brain like a modern supercomputer to have worked all that out. This is already, almost, a clinching argument in favour of the authenticity of the Shroud.

                    But let's not jump ahead too far yet. There is still much more to consider.

This 3D representation of the body of the Shroud was obtained by superimposing hundreds of cardboard sheets : the computer "cut up" the body into several hundreds of contiguous cross planes, and has drawn the outline on each plane ; these outlines were transferred onto cardboard sheets and then cut out. Finally, the cross sections thus obtained were superimposed and glued together. This is what gives to the object its "flaky" aspect. (5624 bytes)

The Tridimensionality of the image

                    The careful study of the Shroud, at the beginning of the 20th century, had given Gabriel Quidor an idea : that this "negative" was no ordinary negative, and that there could be a relationship between the intensity in colour of the image, and the distance separating the Shroud from the body. With the means at his disposal at the time, he developed a colour intensity chart, and contour map, that made it possible to sculpt in gelatin a representation, in three dimensions, of the man in the Shroud. After him, Paul Gastineau created a medal portraying the face in the Shroud in low relief. In 1976, further innovation came through the use of computers, when Jumper and Jackson, two NASA engineers, using a computer, successfully obtained data representing in three dimensions, the surface of the body that had left its mark on the Shroud. It is from this computer data that the statue shown in the photo was based. 

To know more about Tridimensionality, go to the FAQ, and open the link "Tridimensionality"

                    Many experiments were conducted with photographs other than a photo of the Shroud, but in none of the other cases did the use of Tridimensionality give an acceptable 3D image. Only the Shroud of Turin behaved in this unique manner.

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(in  Stevenson and Habermas)
 

                    Comment on the lateralisation of the image. (i.e. which side is which)

             When we look a person in the face, his or her left side is on our right. It is the same when we look at a photo of that person. On the other hand if we look at ourself in a mirror, our left side is on our left side.

                    The Shroud is an image formed by contact between the body and the cloth, and the representation obtained on the cloth, has the same lateralisation characteristics as if the Shroud was a mirror. When we look at the frontal image on the Shroud, the left side of the body is on the left side of the cloth, (and on our left). When we look at the back view on the Shroud, the left part of the body is on the right of the cloth, (and on our right). At the beginning everybody is confused. Don't lose heart. The images you will see in the photos are marked with the superimposed words, right and left, and this is also normally indicated in the short commentary which appears when the mouse pointer stays motionless for two seconds on an image.

                    Still confused? -- simply remember two things

1) The narrow strip of the Shroud was sewn on at the left side of the body, and :

2) It is the left hand and foot, that hide the right hand and foot.

                    When we see neither the side band, nor the hands and feet, all that remains is to think about it. (And if that grinds to a halt (after all, it is probably late at night, and we are all getting older), try cutting a piece of paper into the rough shape of the Shroud, and fold it in two across its narrow axis. Then cut out the rough figure of a man from another sheet of paper, mark him "Face up" on one side, and "Rear down" on the other. Then slide him face upwards into the folded shroud, until the top of his head reaches the central fold. All will be obvious then -- Pst!! Make sure nobody is watching you

Shows the page before the one you are reading, if you were reading a book it would take you back a page

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Shows the page that follows the one you are reading, as if you were turning over the page of a book