It does not simultaneously account for (1) the 3-D image residing on one side of the Shroud, (2) observed lateral image distortions (consistent with a draping cloth over a body shape), or (3) expected thermal perturbations associated with physically thick superimposed blood images. The visible image on the Shroud is probably not the result of a hot bas-relief impressed into cloth, but such a mechanism seems capable of accounting for the Shroud image’s distance correlation, resolution, and similar chemical structure. The visible image on the Shroud does not appear to be the work of an artist in an eye/brain/hand coordination sense nor does it appear to be the result of direct contact only, diffusion, radiation from a body shape or engraving, dabbing powder on a bas-relief, or electrostatic imaging. The frontal image on the Shroud of Turin is shown to be consistent with a body shape covered with a naturally draping cloth in the sense that image shading can be derived from a single global mapping function of distance between these two surfaces. To help obtain authorization for further scientific testing possibly following the exhibition in 2025, a comprehensive testing program should be developed for the Shroud to take advantage of advances in technology since the last extensive testing in 1978. There are rumors the Shroud may go on exhibition in Turin, Italy, in 2025.
The purpose of this article is to encourage the development of a program for future testing of the Shroud. It also includes the author’s hypothesis to explain the main mysteries of the Shroud, including image formation, carbon dating, and features of the blood on the Shroud. This article provides an overview of the Shroud, including its images, history, materials, and previous testing.
How was this image formed? When was it made? Who made it? Is this an image of a real person? Could this be an image of the man known as Jesus Christ? Could this be the authentic burial cloth of Jesus? These are just a few of the questions that arise.
THE SHROUD OF TURIN PROFESSIONAL
In 1931, a professional photographer named Giuseppe Enri pointed his camera at a piece of cloth called the Shroud of Turin.
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