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originally posted by: pavil
a reply to: FlyersFan
It's almost too good of a forgery to be a forgery, given the time frame when it would have been created, if you know what I mean.
If it's not a forgery.................
Just a simple hoax right?
Should be easy to figure it out how it was done by those primitive folk.
They now insist that you can't tell it's a patch, even under a microscope, because the medieval repairers employed 'invisible reweaving'. Obviously this skill of 'invisible reweaving' was lost by the time of the 1532 fire repairs in 1534, which appear very amateurish. Shroud proponents' claim that medieval artisans were too stupid to make the shroud but at the same time had this unknown weaving skill that is impossible to achieve today.
Cool. How did this artist create the shroud? Let alone with the technology available at least hundreds of years ago if not thousands? I'd like to know so i can make one for my wife and me when we pass.
Professor Garlaschelli said his team used the same type of woven linen as the shroud and first artificially aged by heating it in an oven and washing it with water.
The cloth was then placed on a student, who wore a mask to reproduce the face, and rubbed with red ochre, a well known pigment at the time.
The entire process took a week, said Professor Garlaschelli of the University of Pavia.
His replica even includes the spots which, on the original, were said to show blood seeping out of Christ’s nailed hands and feet.
One proposed hypothesis is that Leonardo da Vinci was commissioned to replace an earlier version of the Shroud of Turin that was exposed as a poor fake, which had been bought by the Savoy family in 1453 only to disappear for 50 years. Da Vinci created a "new" Shroud of Turin using a camera obscura technique involving a mirror and lens, on cloth impregnated with silver sulphate in a darkened room. The silver sulphate acted as a negative which propagated an image onto the cloth when exposed by light through the lens. Silver sulphate and the camera obscura technique were known in the 15th century. In January 2009, visual arts consultant Lillian Schwartz at the School of Visual Arts in New York, compared the face on the Shroud of Turin with that of a portrait of Leonardo da Vinci, and found they matched.
On death blood will pool inside the body, sinking to the lower extremities such as the back or legs depending on how the body is positioned. If there are open wounds at these low points then you may get some blood flow, but you won't likely get blood flowing from wounds on the top of a body that is lying on its back. And since the Bible [John 19:40] indicates that Jesus's burial followed Jewish customs, meaning Joseph of Arimethea would have washed the body, this means that the blood flow onto the shroud must have occurred after it was washed and wrapped. Although contradicting the Bible account, the body shown in the shroud was not washed. Washed or not, evidently there was blood flowing freely from all of Jesus' wounds, not just the lower ones due to gravity, which is difficult to explain.
Even if by some 'miracle' the blood flows were still wet and not disturbed, as soon as you wrapped the body in an absorbent linen cloth, the blood would spread into the material. The detail that is supposedly seen in the image would be lost. Same with the blood from the scalp wound, it should mat the hair, not run in rivulets. Far from being accurate, the blood flows are more like an artist's representation of blood.
originally posted by: Verum1quaere
some very interesting BBC documentaries on the Shroud…
one physicist said it looked like a singularity had occurred, as if Christ renewed the entire universe…