“We believe that we have the precise image of what Jesus looked like on this earth,” said Professor Giulio Fanti of the University of Padua.This 3D “carbon copy” of Jesus was created using the Shroud of Turin
“We believe that we have the precise image of what Jesus
looked like on this earth,”
said Professor Giulio Fanti of the University of Padua.
Life sized, 3D, highly detailed “model” of Jesus’ crucified body was created using data from the Shroud of Turin
“We believe that we have the precise image of what Jesus looked like on this earth,” said Professor Giulio Fanti of the University of Padua.
What if the Shroud of Turin image is genuine and what if Jesus resembled his mother?
A Canadian filmmaker has posted a retouched image of a Bouguereau painting of the Virgin Mary — using the face on the Shroud as a guide. The results are, I think, stunning.
His assumption that He would have born a resemblance to His only human parent. He said this about it:
“If you put the shroud on top of this drawing, you will almost match the face, like it could be” an accurate portrayal of His mother’s face.
Exquisitely beautiful – and it does rather make sense that Our Lord would physically resemble his mother!
Submitted by Bob Stanley/The Catholic Treasure Chest Website
Pollen is evidence that the Holy Shroud is indeed a winding sheet
According to university researchers the pollen found in the Turin Shroud corresponds to that of flowers used for funerals in Asia Minor 2000 years ago.
Submitted by Bob Stanley
Shroud of Turin: Creation of image required amazing, unobtainable, 34 thousand billion watts of VUV power.
It is this observation, “coupled with the extreme superficiality of the coloring and the lack of pigments” that “makes it extremely unlikely that a shroud-like picture was obtained using a chemical contact method, both in a modern laboratory and even more so by a hypothetical medieval forger”. “There is no image beneath the blood stains.
This means that the traces of blood deposited before the image was. Therefore, the image was formed after the corpse was laid down. Furthermore, all the blood stains have well-defined edges, no burrs, so it can be assumed that the corpse was not removed from the sheet.
“There are no signs of putrefaction near the orifices, which usually occur around 40 hours after death. Consequently, the image is not the result of putrefaction gases and the corpse was not left in the sheet for more than two days”.
Author claims little known veil illustrates Christ’s resurrection
In this interview with ZENIT, Badde explained some of the conclusions of his research on this veil, and why he thinks it is bound to change the world.
ZENIT: Some have referred to the Veil of Manoppello as belonging to Veronica, and having the image of Jesus’ face from before the Crucifixion. Your investigation, however, led you to a different conclusion. Could you clarify what this veil is?
Badde: This veil has had many names in the last 2000 years — maintaining only its unique character in the same time.
It is, in fact, “the napkin” or “handkerchief” (in Greek: soudarion), to which St. John the Evangelist is referring in his report of the discovery of the empty tomb by St. Peter and himself, that they saw “apart” from the cloths (including the shroud of Joseph from Arimathea) in which Jesus had been buried.
This napkin, St. John says, had originally been laying upon the Face of Jesus.
This veil had to be kept completely secret right away — together with the Shroud of Turin — in the first community of the Apostles in Jerusalem due to the ritual impurity in Judaism of everything stemming from a grave. And it remained secret for many centuries.
This explains why it had been bearing many different names in the course of history after it appeared in public some hundred years later in the Anatolian town of Edessa for the first time.
Among all these different names are for instance: The Edessa Veil, The Image or Letter of King Abgar, The Camuliana Veil, The Mandylion, The Image Not Made by Man’s Hand (in Greek: acheiropoieton), The Fourfolded Veil (in Greek: tetradiplon) or — today — The Holy Face (Il Volto Santo). The “Veil of Veronica” is just another name of all those that meant altogether this very veil in Manoppello.
God from God, Light from Light, true God from true God
MAN OF THE CLOTH
WorldNetDaily Exclusive
Shroud of Turin a ‘radiation photo’ of resurrection?
New study bolsters theory that body of Jesus Christ produced image
For instance, the authors noted the Shroud’s frontal and dorsal body images are “encoded with the same amount of intensity, independent of any pressure or weight from the body,” such that the bottom part of the cloth that bore all the weight of the crucified man’s supine body is not encoded with a greater amount of intensity than the frontal image.
“Radiation coming from the body would not only explain this feature, but also the left/right and light/dark reversals found on the cloth’s frontal and dorsal body images,” the authors note.
In arguing that the source of light that created the body image on the Shroud came from within the body, the authors observed that “neither the outside or inside of the tomb, nor the outside or inside of either the front or back sides of the cloth” are found on the Shroud’s image.
“This means that the source of light does not originate outside of the body, the cloth or the tomb, but with the body itself,” they write. “The weave of the inner part of the cloth containing the frontal and dorsal images is not even part of the distinctive images, which they too, would have been, if the light came from anywhere outside the body.”
Submitted by Bob Stanley
Shroud of Turin Image and Ancient Christ Pantocrator Icon Appear To Be A Match
In 1207, Nicholas d’Orrante, the abbot of Casole and the Papal legate in Athens, wrote about relics taken from Constantinople by French knights and referred to a cloth that was seen “with our own eyes” in Athens.
At this time the historical trail of the Image of Edessa disappears.
Then, in 1356, Geoffrey de Charny, a French knight and descendent of a famous knight of the Fourth Crusade, displayed a burial shroud that he claimed to be the burial cloth of Christ. That shroud is now called the Shroud of Turin.
Another interesting historical fact – images/paintings of Christ in full frontal view didn’t appear until after the discovery of the Shroud found in Edessa. The painting Christ Pantocrator Icon painted on the walls of St. Catherine’s Monastery in the Sinai. Photographs of the painting and the Shroud facial image were taken, and then grid lines were added in order to compare the facial features. Then without the gridlines, the photos were superimposed as shown to the left. It was found that they matched.
Shroud of Turin and Holy Face of Veronica’s veil: at the origins of Christian iconography
ZENIT: The cover of your book shows a superimposition between the face of the Shroud and the Holy Face. What does this mean?
Gaeta: It is the discovery made by Trappist Blandine Schlomer, who found numerous “points of congruence” between the face of the Shroud and that of Manoppello, after pointing out some precise criteria as a common denominator of the ancient icons that represent Jesus: the asymmetric face, the beard cut with a double point, the asymmetric sides of the nose, the ocular orbit visible under the iris, the tuft of hair at the center of the part of the hair. Subsequently, Father Andreas Resch, working with a computer, refined the superimposition even more, delineating several areas that represent the useful “points of reference” also to compare the two images with the ancient artistic representations. Bequeathed thus is a perfect level of superimposition, which shows a true and proper fusion between the two faces.
Shroud of Turin Researcher: “Very close to proving the shroud was used to bury the historic Jesus.”
Iannone pointed out that this showing is the first since 1988 carbon-dating results, which purported to show the shroud was a medieval hoax, were debunked. “The public exposition provides a vehicle for getting the truth about the shroud to the world that was misled, in a major way, by the media reports of 1988 and following years,” he said. Schwortz said the 1988 research “has always been the primary piece of scientific evidence that disputed the shroud’s possible authenticity.”
In a video made shortly before his death three years ago, Ray Rogers, a chemist from the Los Alamos National Laboratory in New Mexico, said that despite wishing to prove the shroud a fake, he found that the “worst possible” sample of the shroud was taken for the 1988 carbon dating. The research, he said, was performed on an area of the relic that was repaired in the 16th century.
Rogers, who helped lead the Shroud of Turin Research Project and had once strongly argued in support of the carbon dating research, said in the video made in March 2005 that after dismissing the carbon-dating claims, he came “very close to proving the shroud was used to bury the historic Jesus.”
Schwortz said that since Rogers’ discovery, “several more peer-reviewed articles” have corroborated Rogers’ findings.” In 2008, he said, nine scientists from Los Alamos National Laboratory independently re-examined Rogers’ work and further corroborated his conclusions. The findings, he added, are also very significant because the bulk of scientific evidence gathered before 1988 favored the shroud’s authenticity, but all of it was summarily discarded after the carbon-dating finding. Rogers’ work “is probably the most important scientific contribution made supporting the shroud’s authenticity in more than 20 years,” Schwortz said, adding that any future carbon dating, if it is to be taken seriously, must be “accomplished openly, with complete transparency.”
Bob Stanley of “The Catholic Treasure Chest” recommends the History Channel’s special on the Shroud of Turin
The History channel ran a special last night called “Resurrecting Jesus”.
It is about the latest findings of the shroud and I thought, very good.
I say that because the History channel does not have a very good track record when it comes to Christianity. They tend to emphasize the nay-sayers.
This one was a put down to the nay-sayers. They showed a few recent findings that drove nails into the coffin of the flawed carbon dating test. The shroud ended up with being dated centuries before that test result.
It is a 2 hour program with 30 minutes of that being commercials. They will no doubt show it many times, so watch for it. – Submitted by Bob Stanley
Computer graphics artists use Shroud of Turin images to create 3-D figure of crucified man (photo courtesy of the History Channel)
The Shroud of Turin bears the full-body, back-and-front image of a crucified man that is said to closely resemble the New Testament description of the passion and death of Christ. The 14-foot cloth long has posed mysteries because of its age and its negative image of a bloodstained and battered man who had been crucified. Believers claim it to be the miraculous image of Jesus, formed as he rose from the dead.
The History Channel will air “The Real Face of Jesus?,” a special two-hour event that premieres March 30 at 9 p.m. EST. It aims to bring the world as close as it has ever come to seeing what Jesus may have actually looked like.
Computer graphics artist Ray Downing of Studio Macbeth used today’s most sophisticated electronic tools and software in a yearlong effort to recreate the face imprint on the Shroud of Turin.
“The presence of 3-D information encoded in a 2-D image is quite unexpected, as well as unique,” Downing said. “It is as if there is an instruction set inside a picture for building a sculpture.”
A shroud of mystery
The Shroud, a 4.36m by 1.10m linen cloth bearing the life-size imprint of a man, has a herring-bone pattern. It has traditionally been regarded as the burial cloth mentioned in the Gospels. Joseph of Arimathea bought a length of fabric with which to cover Christ’s body. The linen was wrapped around Jesus at his burial, only to be found, neatly folded in the tomb, after the Resurrection. This cloth would therefore bear witness not only to the physical presence of Jesus’ body, of His blood and the wounds provoked by His scourging and crucifixion, but also of His Resurrection. As such, it is an object of inestimable spiritual and scientific value.
Submitted by Bob Stanley
Do You Know This Man?
New Analysis Confirms Second Face on Shroud of Turin and Raises Questions About Other Images
NEW YORK, March 11, 2005 — Skeptics and people who believe the Shroud of Turin is the genuine burial shroud of Jesus have always shared one common perception: they thought they knew what the man on the shroud looked like. Now, new computerized image analysis suggests they may be wrong.
Results of this analysis suggest that many characteristics of the images on the shroud are optical illusions caused by random plaid patterns in the cloth. For instance, because of these patterns, the face of the man on the shroud appears gaunt and the nose abnormally long and narrow. By using image enhancement technology to reduce the effect of the variegated patterns, the shape of the face changes significantly. The face takes on a broader look and the nose becomes realistic looking.
Shroud researchers have discovered that these patterns are caused by alternating bands of darker and lighter threads in the cloth. Ancient linen was often manufactured by bleaching the thread in batches before weaving, thus producing nonuniform whiteness in the cloth.
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