News and Views
Shroud positive negative compare
The origins of the shroud and its image are the subject of intense
debate among scientists, theologians, historians and researchers. Some
contend that the shroud is the actual cloth placed on the body of Jesus Christ at the time of his burial, and that the face image is the Holy Face of Jesus, while others contend that the artifact was created in the Middle Ages, as indicated by carbon dating which placed the artifact between 1260 and 1390.The catholic church has neither formally endorsed nor rejected the shroud, but in 1958 Pope Pius XII approved of the image in association with the Roman catholic devotion to the Holy Face of Jesus.
Secondo Pia's 1898 negative of the image on the Shroud of Turin has an appearance suggesting a positive image. It is used as part of the devotion to Holy Face of Jesus.
The shroud includes images that are not easily distinguishable by the
naked eye, and were first observed after the advent of photography. In
May 1898 amateur Italian photographer Secondo Pia was allowed to photograph the shroud and he took the first photograph
of the shroud on the evening of May 28, 1898. Pia was startled by the
visible image of the negative plate in his darkroom. Negatives of the image give the appearance of a positive image, which
implies that the shroud image is itself effectively a negative of some
kind.Pia was at first accused of doctoring his photographs, but was
vindicated in 1931 when a professional photographer, Giuseppe Enrie,
also photographed the shroud and his findings supported Pia's.In 1978 Miller and Pellicori took ultraviolet photographs of the shroud.
The Radiation Theory
Could the image have been produced by a burst of radiation (heat or light) acting over short period of time which would have scorched the cloth? Scientists have not been able to duplicate the characteristics of the Shroud using this method just like the painting hypothesis. Also the color and ultraviolet characteristics of the Shroud body image and a scorch are different. The shroud body image does not fluoresce under UV light but scorches like the burns from 1532 do fluoresce under UV light. Thus many scientists rule out the radiation theory.
DeSalvo's Revised Vaporgraphic - Direct Contact Theory
There are other theories regarding vapors from the body diffusing to the Shroud and producing the image. Another theory is a direct contact process in which substances were directly transferred to the cloth and produced the image. DeSalvo's Theory takes both of these into consideration.
Nature may have supplied us with a miniature example of how the Shroud body image was produced. It is known that when certain plant matter (such as leaves) are placed in a book and left undisturbed for many years, there develops on both the upper and lower sheets of paper a faint sepia colored imprint of the plant matter (called Volckringer patterns). Dr. Jean Volckringer in the 1940's noticed that these plant images closely resemble the body image on the Shroud of Turin. In fact the plant imprint also appears to be a negative image, just like the Shroud, and when photographed a positive imprint appears on the negative plate.
Could the image have been produced by a burst of radiation (heat or light) acting over short period of time which would have scorched the cloth? Scientists have not been able to duplicate the characteristics of the Shroud using this method just like the painting hypothesis. Also the color and ultraviolet characteristics of the Shroud body image and a scorch are different. The shroud body image does not fluoresce under UV light but scorches like the burns from 1532 do fluoresce under UV light. Thus many scientists rule out the radiation theory.
DeSalvo's Revised Vaporgraphic - Direct Contact Theory
There are other theories regarding vapors from the body diffusing to the Shroud and producing the image. Another theory is a direct contact process in which substances were directly transferred to the cloth and produced the image. DeSalvo's Theory takes both of these into consideration.
Nature may have supplied us with a miniature example of how the Shroud body image was produced. It is known that when certain plant matter (such as leaves) are placed in a book and left undisturbed for many years, there develops on both the upper and lower sheets of paper a faint sepia colored imprint of the plant matter (called Volckringer patterns). Dr. Jean Volckringer in the 1940's noticed that these plant images closely resemble the body image on the Shroud of Turin. In fact the plant imprint also appears to be a negative image, just like the Shroud, and when photographed a positive imprint appears on the negative plate.
Vockringer Patterns exhibiting
positive and negative characteristics
I decided to explore this similarity in more detail. I was hoping
that by understanding how Volckringer Patterns are produced, it
would give me some idea of how the Shroud body image was produced.
Using a spectrophotomer I did a color comparison between the
Volckringer patterns and the Shroud body image. Within experimental
error, I showed that the Volckringer patterns were identical in
color to the Shroud body image. I than compared the Shroud and
Volckringer patterns using UV Fluorescent studies. It was shown that
both the Volckringer patterns and the Shroud body image do not
fluoresce under UV light. Thus the Volckringer patterns and Shroud
body image also have identical UV fluorescent characteristics.
The most startling similarity was that the Volckringer patterns could be reconstructed in 3D relief using a VP-8 analyizer, just like the Shroud body image.
The most startling similarity was that the Volckringer patterns could be reconstructed in 3D relief using a VP-8 analyizer, just like the Shroud body image.
3-D Reconstruction of a
Volckringer pattern
In summary, Vockringer patterns resemble the Shroud body image in
negativity, visible color characteristics, UV fluorescence
properties, and 3D reconstruction.
Volckringer patterns are produced when acids from the plant are
transfered to the paper causing cellulose degradation (oxidation).
The most prominent plant acid in this process is lactic acid. Where
would lactic acid fit in with the Shroud body image formation
process? Human perspiration contains a certain amount of lactic
acid. A person who had been tortured and crucified would have
sweated profusely and medical studies have shown that this
perspiration would have very high concentrations of lactic acid.
Thus, this could have been the transferring agent involved in
producing the body image on the Shroud. The lactic acid would have
been transferred to the cloth by both direct contact and vertical
diffusion. Areas of the body like the nose that touched the cloth
would transfer the lactic acid by direct contact. In the areas
further away that did not touch the cloth, i.e the cheeks, the
lactic acid would travel to the cloth by diffusion. Thus two
processes, both direct contact and vertical diffusion would transfer
the lactic acid to the cloth. Than this acid would oxidize the
cellulose in the linen and produce the image over a period of time.
It may be that originally there was no image on the cloth and after
many years the lactic acid working on the cloth eventually developed
the image. This is what occurs with the plant matter in books. My
theory does not answer all the questions. Some problems are that the
Shroud body image is a surface phenomena but the Volckringer
patterns are not. They penetrate into the paper. Also calculations
using diffusion of lactic acid would not produce the high resolution
of the image we see on the Shroud. Thus my theory does not explain
all the characteristics of the Shroud and more research needs to be
done. Thus no one theory to date can explain how the image on the
Shroud was produced.
© Dr. John DeSalvo
Director of the Great Pyramid of Giza Research Association
© Dr. John DeSalvo
Director of the Great Pyramid of Giza Research Association
Three-dimensional relief of the Shroud face
after
smoothing of rough transitions with a recursive filter.The computer showed us what the face of Jesus Christ probably
looked
like
before the Passion or after Resurrection, through an electronic
cleaning of the blood
and wounds which provides the almost natural images of the face
Source: http://www.shroud.com/meacham2.htm
Source: http://www.shroud.com/meacham2.htm
The proof that this is the face of Christ!
Fresh Clue shows
Turin Shroud may be genuine
By David Edwards
http://www.mirror.co.uk
It?s been called the longest-running hoax in history - an 800-year-old religious riddle that's taken in popes, scientists and believers from all faiths.The Turin Shroud has been either worshiped as divine proof that Christ was resurrected from the grave or dismissed as a fraud created by medieval forgers.But new evidence suggests the shroud might be genuine after all.
As Mel Gibson's film The Passion Of The Christ rekindles interest in Jesus, stitching on the shroud which could have been created only during the messiah's lifetime has been uncovered. At the same time, tests from 1988 that dated the shroud to between 1260 and 1390 have been thrown into doubt. Swedish textiles expert Dr Mechthild Flury-Lemberg, who discovered the seam at the back of the cloth during a restoration project, says: "There have been attempts to date the shroud from looking at the age of the material, but the style of sewing is the biggest clue.
"It belongs firmly to a style seen in the first century AD or before." Her findings are being hailed as the most significant since 1988, when scientists controversially carbon-dated the 14ft-long cloth to medieval times, more than 1,000 years after Jesus died.
Yet experts now say the team unwittingly used cloth that had been added during a 16th-century restoration and it could have been contaminated from handling. Mark Guscin, of the British Society for the Turin Shroud, says: "The discovery of the stitching along with doubt about the carbon-dating all add to the mountain of evidence suggesting this was probably the shroud Jesus was buried in. "Scientists have been happy to dismiss it as a fake, but they have never been able to answer the central question of how the image of that man got on to the cloth."
Barrie Schwortz, who in 1978 took part in the first scientific examination of the shroud, says: "I was a cynic before I saw it, but I am now convinced this is the cloth that wrapped Jesus of Nazareth after he was crucified."
THE history of the cloth - which bears the ghostly image of a bearded man - is steeped in mystery.
The first documented reference was in 1357, when it was displayed in a church in Lirey, France. The cloth astonished Christians as it showed a man wearing a crown of thorns and bearing wounds on his front, back and right-hand side. He also had a wrist wound, which confused some pilgrims who thought Jesus was nailed to the cross through his hands. Scientists have since discovered the wrists were used as the hands could not support the body's weight. Before it arrived in France, it is thought the shroud was known as the Edessa burial sheet, given to King Abgar V by one of Jesus's disciples. For the next 1,200 years it was kept hidden in the Iraqi city, brought out only for religious festivals. In 944 it is thought to have turned up in Constantinople, Turkey, before being stolen by the French knight Geoffrey de Charny during the Fourth Crusades...
By David Edwards
http://www.mirror.co.uk
It?s been called the longest-running hoax in history - an 800-year-old religious riddle that's taken in popes, scientists and believers from all faiths.The Turin Shroud has been either worshiped as divine proof that Christ was resurrected from the grave or dismissed as a fraud created by medieval forgers.But new evidence suggests the shroud might be genuine after all.
As Mel Gibson's film The Passion Of The Christ rekindles interest in Jesus, stitching on the shroud which could have been created only during the messiah's lifetime has been uncovered. At the same time, tests from 1988 that dated the shroud to between 1260 and 1390 have been thrown into doubt. Swedish textiles expert Dr Mechthild Flury-Lemberg, who discovered the seam at the back of the cloth during a restoration project, says: "There have been attempts to date the shroud from looking at the age of the material, but the style of sewing is the biggest clue.
"It belongs firmly to a style seen in the first century AD or before." Her findings are being hailed as the most significant since 1988, when scientists controversially carbon-dated the 14ft-long cloth to medieval times, more than 1,000 years after Jesus died.
Yet experts now say the team unwittingly used cloth that had been added during a 16th-century restoration and it could have been contaminated from handling. Mark Guscin, of the British Society for the Turin Shroud, says: "The discovery of the stitching along with doubt about the carbon-dating all add to the mountain of evidence suggesting this was probably the shroud Jesus was buried in. "Scientists have been happy to dismiss it as a fake, but they have never been able to answer the central question of how the image of that man got on to the cloth."
Barrie Schwortz, who in 1978 took part in the first scientific examination of the shroud, says: "I was a cynic before I saw it, but I am now convinced this is the cloth that wrapped Jesus of Nazareth after he was crucified."
THE history of the cloth - which bears the ghostly image of a bearded man - is steeped in mystery.
The first documented reference was in 1357, when it was displayed in a church in Lirey, France. The cloth astonished Christians as it showed a man wearing a crown of thorns and bearing wounds on his front, back and right-hand side. He also had a wrist wound, which confused some pilgrims who thought Jesus was nailed to the cross through his hands. Scientists have since discovered the wrists were used as the hands could not support the body's weight. Before it arrived in France, it is thought the shroud was known as the Edessa burial sheet, given to King Abgar V by one of Jesus's disciples. For the next 1,200 years it was kept hidden in the Iraqi city, brought out only for religious festivals. In 944 it is thought to have turned up in Constantinople, Turkey, before being stolen by the French knight Geoffrey de Charny during the Fourth Crusades...
The Story behind the Photograph of the Risen Christ
This story describes how a very special photograph of the
Risen Christ was manifested by Sri Sathya Sai Baba for a
visitor to one of his ashrams known as Prasanthi Nilayam -
which means the Abode of Peace - in Puttaparti, India, in
1985. I relay the details to you as they were conveyed to me
by Barbara McAlley, a friend who I met 'quite by chance'
amongst a throng of people at Bombay airport in July 1987.
We established an immediate rapport, both being English, although she had been living in New Zealand for the past twenty years. When Barbara first showed me this wondrous photograph of the Risen Christ in our hotel room in Bombay, I couldn't wait to hear her story of how it had come into being, knowing it was more than just a coincidence that we had met. Barbara had been a devotee of Sathya Sai Baba, who many people feel is the Avatar of this Age, for a number of years. Now she was just returning from her second visit to see him. She was carrying this photograph of the Risen Christ with her not only because it had originated in Puttaparti in the first place but also because she always took the picture with her when she travelled. In 1985 Barbara had gone to Puttaparti with a friend from New Zealand. Her friends who at the time was very much caught up with all the suffering of Christ, had with her two items which she hoped Sai Baba would bless for her - a crucifix and a black and white photograph of a computer printout of the image of Christ taken from the Turin Shroud. Daily they had attended darshan, a Sanskrit word meaning the devotional seeing and gazing upon (as a blessing) of the Master, in order that they might sit at the feet of their Lord.
"On one such occasion Sai Baba stopped in front of them and looked at the items that Barbara's friend held out to him for a blessing. However he refused to accept the crucifix. When will we Christians take Christ off the cross and place him in his proper context? It has been said of the cross at another time, "Let the longer piece of the cross represent God's Will and the shorter piece your will. If you lay the two pieces side by side, parallel to each other, there is no cross. It is only when your will conflicts with God's will, when you cannot say Thy Will be done, O Lord, that the cross is created. If your will acquiesces with God's will, there is no cross. The way to take down the cross: therefore, is always to accept gladly and lovingly whatever trial, pain or loss God sends and surrender your ego". Then, as Sai Baba focussed his attention on her friend's photograph of Christ, Barbara watched spellbound as with a lift and a wave of his hand Sai Baba drew from that photograph of the Turin Shroud the black and white image of Christ until there was nothing left but a blank sheet of gloss paper. Then, in the same manner, he created on that blank sheet (just as if it were in a developing tray in a darkroom) the colour image of the Risen Christ as you see it today. This image has eyes so full of love and compassion that they comfort and touch you on a deep inner level when you come into its range of vision. Then, with a blessing for the two women from New Zealand, Sai Baba went on his way, knowing full well that life would never be the same for them again! This seems to be the case for all those who have visited Sai Baba, including myself.
Barbara has commented that if she does nothing more with her life than pass on copies of this photograph, she will be well satisfied! She has also said that this experience with Sai Baba has proved to be an encouragement for her to go on and achieve things which she had previously thought to be quite impossible. Although I did not choose to create an opportunity to see this photograph of the Risen Christ or to meet Barbara when we were together at the ashram, it would seem that it was 'arranged' by Sai Baba that we should meet shortly afterwards in that crowded airport in Bombay in order that I might be instrumental in distributing this very special photograph in Europe and America and in various other countries around the world.
Barbara said, during our first conversation in the hotel, that it was apparent to her that Sai Baba wanted me to have the photograph and to take it hack to England. Apparently I had ignored the invitation whilst staying at his ashram, and so the photograph had to be placed before me in such a fashion that I could not ignore it! It was a case of when Mohammed won't come to the mountain, then the mountain has to come to Mohammed. Barbara and I continue to keep in touch with each other's progress and we are both very much aware of how close we are, not only to each other, but to the Source."
CAROL BRUCE
We established an immediate rapport, both being English, although she had been living in New Zealand for the past twenty years. When Barbara first showed me this wondrous photograph of the Risen Christ in our hotel room in Bombay, I couldn't wait to hear her story of how it had come into being, knowing it was more than just a coincidence that we had met. Barbara had been a devotee of Sathya Sai Baba, who many people feel is the Avatar of this Age, for a number of years. Now she was just returning from her second visit to see him. She was carrying this photograph of the Risen Christ with her not only because it had originated in Puttaparti in the first place but also because she always took the picture with her when she travelled. In 1985 Barbara had gone to Puttaparti with a friend from New Zealand. Her friends who at the time was very much caught up with all the suffering of Christ, had with her two items which she hoped Sai Baba would bless for her - a crucifix and a black and white photograph of a computer printout of the image of Christ taken from the Turin Shroud. Daily they had attended darshan, a Sanskrit word meaning the devotional seeing and gazing upon (as a blessing) of the Master, in order that they might sit at the feet of their Lord.
"On one such occasion Sai Baba stopped in front of them and looked at the items that Barbara's friend held out to him for a blessing. However he refused to accept the crucifix. When will we Christians take Christ off the cross and place him in his proper context? It has been said of the cross at another time, "Let the longer piece of the cross represent God's Will and the shorter piece your will. If you lay the two pieces side by side, parallel to each other, there is no cross. It is only when your will conflicts with God's will, when you cannot say Thy Will be done, O Lord, that the cross is created. If your will acquiesces with God's will, there is no cross. The way to take down the cross: therefore, is always to accept gladly and lovingly whatever trial, pain or loss God sends and surrender your ego". Then, as Sai Baba focussed his attention on her friend's photograph of Christ, Barbara watched spellbound as with a lift and a wave of his hand Sai Baba drew from that photograph of the Turin Shroud the black and white image of Christ until there was nothing left but a blank sheet of gloss paper. Then, in the same manner, he created on that blank sheet (just as if it were in a developing tray in a darkroom) the colour image of the Risen Christ as you see it today. This image has eyes so full of love and compassion that they comfort and touch you on a deep inner level when you come into its range of vision. Then, with a blessing for the two women from New Zealand, Sai Baba went on his way, knowing full well that life would never be the same for them again! This seems to be the case for all those who have visited Sai Baba, including myself.
Barbara has commented that if she does nothing more with her life than pass on copies of this photograph, she will be well satisfied! She has also said that this experience with Sai Baba has proved to be an encouragement for her to go on and achieve things which she had previously thought to be quite impossible. Although I did not choose to create an opportunity to see this photograph of the Risen Christ or to meet Barbara when we were together at the ashram, it would seem that it was 'arranged' by Sai Baba that we should meet shortly afterwards in that crowded airport in Bombay in order that I might be instrumental in distributing this very special photograph in Europe and America and in various other countries around the world.
Barbara said, during our first conversation in the hotel, that it was apparent to her that Sai Baba wanted me to have the photograph and to take it hack to England. Apparently I had ignored the invitation whilst staying at his ashram, and so the photograph had to be placed before me in such a fashion that I could not ignore it! It was a case of when Mohammed won't come to the mountain, then the mountain has to come to Mohammed. Barbara and I continue to keep in touch with each other's progress and we are both very much aware of how close we are, not only to each other, but to the Source."
CAROL BRUCE
