McCrone found that the apparent bloodstains were painted with vermilion pigment, also in a gelatin medium. The microscopist Walter McCrone found, based on his examination of samples taken in 1978 from the surface of the shroud using adhesive tape, that the image on the shroud had been painted with a dilute solution of red ochre pigment in a gelatin medium. : 233 Ownership of the shroud passed from the House of Savoy to the Catholic Church after the death of former king Umberto II in 1983. : 191 Since 1683, it has been kept in the Chapel of the Holy Shroud, which was designed for that purpose by architect Guarino Guarini and which is connected to both the royal palace and the Turin Cathedral. : 166 In 1578, the Savoys moved the shroud to their new capital in Turin, where it has remained ever since. : 90–96 It was acquired by the House of Savoy in 1453 and later deposited in a chapel in Chambéry, : 141–142, 153–154 where it was damaged by fire in 1532. : 80–81 The shroud was denounced as a forgery by the bishop of Troyes in 1389. The documented history of the shroud dates back to 1354, when it was exhibited in the new collegiate church of Lirey, a village in north-central France. The shroud's authenticity as a holy relic has been disputed even within the Catholic Church (see below), and radiocarbon dating has shown it to be a medieval artifact. This negative image is associated with a popular Catholic devotion to the Holy Face of Jesus. The human image on the shroud can be discerned more clearly in a black and white photographic negative than in its natural sepia color, an effect discovered in 1898 by Secondo Pia, who produced the first photographs of the shroud. It has been venerated for centuries, especially by members of the Catholic Church, as the actual burial shroud used to wrap the body of Jesus of Nazareth after his crucifixion, and upon which Jesus's bodily image is miraculously imprinted.
The Shroud of Turin ( Italian: Sindone di Torino), also known as the Holy Shroud (Italian: Sacra Sindone), is a length of linen cloth that bears a faint image of the front and back of a man. The Shroud of Turin: modern photo of the face, positive (left), and digitally processed image (right)įull-length image of the Turin Shroud before the 2002 restoration
0 kommentar(er)
