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By itself, this feature of the Shroud supports neither a medieval nor an ancient date of origin but rather reinforces the impression that, whenever or however the image was produced, the circumstances were remarkable. For example, the detailed image of the man rests only on the top two microfibers of the cloth, not penetrating the linen, as would paint or dye, and could be scraped away with a razor blade.
The blood (type AB) seen on the cloth does fully penetrate the linen fibers, but tests show that it’s separate from, and underneath the image.
Antonacci says that he and others have petitioned the Vatican to allow the Shroud to be tested at the atomic and subatomic levels.
His hypothesis is that the Shroud was indeed a burial cloth and that the image on it was caused by “particle radiation emanating from the dead, crucified body” wrapped inside it.
He elaborates: Roman authorities wanted criminals to suffer on the cross and ultimately die of asphyxiation.
That meant before crucifixion, criminals were either lightly flogged or not at all, so not to weaken them and hasten death. Later in the day when Jewish leaders asked Pilate to break the legs of the three men to hasten their death so that their bodies could be taken off the cross before the Sabbath, the Gospel states that Jesus was already dead.
It was not until the first photographs were taken of the shroud in 1898 by Turin Councillor Secondo Pia that the negative plates revealed the startling "positive" of the clear picture of the "man in the shroud." The image is of a male, almost 6 tall, bearded, severely abused and scourged with the distinctive "dumbell" markings of a Roman flagrum.
Bloodstains are evident from wounds in the wrists, feet, about the head and brow, and the left thoracic area with pooling under the small of the back and under the feet.
We who know the Risen Lord know that at Easter we commemorate the supreme event in all of human history, and so any physical proof we find of Christ’s resurrection demands our attention and awe.Moreover, the image on the Shroud is a photo-negative, as the Italian photographer Secondo Pia discovered in 1898.How would a medieval artist have created a perfect photo-negative image, given that photography was not invented until the early 19th century?Countless Christians worldwide maintain that such proof exists: It is the Shroud of Turin, revered as the authentic burial cloth of Jesus Christ.The earliest undisputed historical records place the Shroud in Lirey, France, between 13.
“After 30 years of having studied and spoken about the miraculous Shroud, I know in my heart that the Shroud of Turin is a receipt from God,” Breault concludes, “a proof of purchase declaring our sin debt to be paid in full for those who believe.” That the burial cloth of Jesus is still extant, lying in an underground vault in northwestern Italy, is astonishing. Now add the further wonder that is the Shroud, which, if many of those who have studied closely are correct, is an image of Jesus at the moment of his resurrection.