Life-size Reproduction of the Shroud of Turin and its Image

Luigi Garlaschelli

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Cultural Heritage Materials Analysis Art, Technology, and Culture Cold Fusion and Nuclear Reactions

Abstract

The Shroud of Turin, although carbon-dated between 1260 and 1390 C.E., is believed by many to be the real burial cloth of Jesus on the basis of other evidence. Part of the controversy arises from the fact that it has proven very difficult to explain just how the image was generated and to achieve a good imitation of the Shroud by simple means. The faint image of a crucified man has pseudonegative properties, is superficial, contains three-dimensional information and consists of a discoloration of the top cellulose fibers of the linen. The authors present now a simple technique, which may explain how the image could have originated from the work of a medieval artist. Furthermore, the authors were able to obtain a good replica of the Shroud of Turin at a 1:1 scale that possesses all the above-mentioned features and the same visual and spectroscopic properties as the original.

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References

1982Physics and chemistry of the shroud of turin 2004Studies on the radiocarbon sample from the shroud of turin 1981A Chemical Investigation of the Shroud of Turin 1984Correlation of image intensity on the Turin Shroud with the 3-D structure of a human body shape 1980Blood on the Shroud of Turin 1980Spectral properties of the Shroud of Turin 1980Ultraviolet–visible reflectance and fluorescence spectra of the Shroud of Turin 1990The Shroud of Turin: blood or artist's pigment?

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2012Superficial and Shroud-like coloration of linen by short laser pulses in the vacuum ultraviolet 2011Letter to the Editor Comments on "Life-Size Reproduction of the Shroud of Turin and Its Image" by L. Garlaschelli 2014Comparison among the Shroud body image formation mechanisms by the linen fibrils distributions 2019The Shroud Body Image Generation. Immanent or Transcendent Action?

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