This is an account of the event and its immediate aftermath, taken from a number of sources (see credits at bottom of this page). There are traces of human DNA too, although it is badly degraded. For no less than the third time in its recorded history, the Shroud of Turin has faced a dangerous trial by fire and survived. Nevertheless, the image of Christ remained virtually. There are genuine bloodstains on the cloth, and we even know the blood group (AB, if you're interested). The already burning Shroud was pulled free and doused with water, but some damage had occurred. The Sturp group asserted that the image is the real form of a "scourged, crucified man… not the product of an artist". Prepare yourself for a deep dive into the mysteries and controversies that surround this ancient artifact. They drowned the flames with water, but when the chest had cooled enough to be opened, they discovered that molten silver had dropped on the cloth, burning. And in contrast to most dyeing or painting methods, the colouring cannot be dissolved, bleached or altered by most standard chemical agents. Welcome to The Backstory on the Shroud of Turin podcast In this episode, we are excited to bring you a captivating exploration of one of the worlds most intriguing relics, the Shroud of Turin, with our special guest, Joe Bergeron. The faint coloration of the flax fibres isn't caused by any darker substance being laid on top or infused into them - it's the very material of the fibres themselves that has darkened. In fact the image on the linen is barely visible to the naked eye, and wasn't identified at all until 1898, when it became apparent in the negative image of a photograph taken by Secondo Pia, an amateur Italian photographer. The shroud is rectangular, measuring approximately 4.4 by 1.1 metres (14 ft 5 in × 3 ft 7 in). Miraculously the entire cloth was not destroyed, but the burning silver drops. It is used as part of the devotion to the Holy Face of Jesus. The rust-colored top image is how the Shroud of Turin appears to the naked. Nor are there any signs of it being rendered in brush strokes. 20 Description Secondo Pia 's 1898 negative of the image on the Shroud of Turin has an appearance suggesting a positive image. The shroud was stored in a protective silver container, where it remained for 30 years. But the Sturp team found no evidence of any pigments or dyes on the cloth in sufficient amounts to explain the image. It displays the complete dorsal and frontal image of a severely abused and crucified individual of Semitic characteristics who was laid on the proximal portion. It is a burial cloth almost precisely 14.5 long by 4 wide, having attributes from the time and place of Jesus, with blood stains and the image of an executed. In 1502, the royal House of Savoy, who ruled Italy throughout the 16th century, placed the holy shroud in the Sainte-Chapelle in Chambry, in what is now France, according to History. 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.
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