The Borgias TV - Spitting Image TV - Arthur C Clarke TV - Walter McCrone - STURP statement 1981 - Barrie Schwortz - Emily Craig - Nicholas Allen - Lillian F Schwartz - The Da Vinci Shroud: Revealed TV - Clive Prince & Lynn Picknett - Joe Marino - Decoding the Past: Unravelling the Shroud TV - Turin Shroud: The New Evidence TV - Joseph G Marino and M Sue Benford - Shroud of Turin TV - Leonardo: The Man Behind the Shroud TV - Russ Breault - The Real Face of Jesus? TV - Philip Gardiner - Remaking the Shroud TV - Richard Kaeuper - Ancient X Files TV - Secrets of the Bible TV - In Search of ... TV -
59,433. It looks convincing. It definitely cost enough. (Pope & Shroud of Turin) The Borgias: Tears of Blood s3e8, Caterina Sforza, of Shroud of Turin
60,512. Commentator: How did you prove the Turin Shroud was authentic? Was it carbon dating?
Cardinal: No, I looked in the pockets ... The blessed toffee. Spitting Image s2e3
60,513. We washed two identical Turin Shrouds – one in ordinary washing powder and one in new biological question mark. And just look at the difference. Spitting Image s2e4
60,514. The Shroud is considered so sacred that it is kept under top security in a sealed box in Turin Cathedral ... The linen cloth is fourteen feet long. The first certain record of it dates from the Middle Ages when it belonged to a crusading knight. (Shroud of Turin & Forgery) Arthur C Clarke’s Mysterious Universe
60,515. In 1978 the Church allowed an international team of scientists to study the Shroud at close quarters. To reveal its underside the Sisters of St Joseph snipped it from its backing. With sticky tape the scientists lifted tiny fibres from the blood-like stains. A few precious samples were sent to Dr Walter McCrone. (Shroud of Turin & Forgery) ibid.
60,516. Ten years later the Church agreed to the ultimate test. Carbon 14 dating would at last establish when the cloth was made ... Samples were sent to laboratories in three different countries. Their verdict was unanimous: the Shroud is medieval. (Shroud of Turin & Forgery) ibid.
60,517. The Shroud is a painting. Dr Walter McCrone
60,518. In 1389 the Bishop d’Arcis writes a letter to Pope Clement complaining about this false relic of the Shroud that’s being displayed at a neighbouring church. (Shroud of Turin & Forgery & Relic) Professor Larissa Tracy, Longwood University
60,519. We can conclude for now that the Shroud image is that of a real human form of a scourged, crucified man. It is not the product of an artist. The blood stains are composed of haemoglobin and also give a positive test for serum albumin. The image is an ongoing mystery and until further chemical studies are made, perhaps by this group of scientists, or perhaps by some scientists in the future, the problem remains unsolved. STURP statement 1981
60,520. Over the years the real Shroud historians have always associated the Shroud at some point in its history with the Knights Templar. (Knights Templar & Shroud of Turin) Barrie Schwortz, STURP photographer
60,521. Anatomically it’s not correct. The arms are just too long. The fingers are too long. The head and face are not in proportion to the rest of the body. It’s different from front to back. (Shroud of Turin & Forgery) Dr Emily Craig, forensic anthropologist
60,522. If you look at the Shroud of Turin as it appears to the naked eye you see a negative image of a human being. And if you take another photograph of that, you produce a positive image of that human being, which means the Shroud is acting as a negative. And that in itself is a very good clue that it was made photographically. (Shroud of Turin & Forgery & Photography) Professor Nicholas Allen, Nelson Mandela Metropolitan University
60,523. If there is silver bound in the linen at a molecular level it would be the final support for the photographic hypothesis. (Shroud of Turin & Forgery & Photography) Professor Nicholas Allen
60,524. I saw this image coming down – it was half of Leonardo and half of Mona Lisa ... The proportions that Leonardo wrote about were used in creating this Shroud’s face. (Shroud of Turin & Forgery & Artist: da Vinci) Lillian F Schwartz, School of Visual Arts New York & OSU
60,525. The image on the Turin Shroud has baffled the world’s top scientists for decades. Despite thousands of tests researchers couldn’t identify how it was made. (Shroud of Turin & Forgery & Artist: da Vinci) The Da Vinci Shroud: Revealed
60,526. When a flat cloth wraps a three-dimensional object like a human head the image transferred to the cloth is always distorted. The ears are so widely spaced that the face looks bloated and inhuman. Very different from the image on the Shroud. (Shroud of Turin & Forgery & Artist: da Vinci) ibid.
60,527. At some point over the decades the Shroud underwent a seemingly miraculous transformation. When it reappeared it was no longer seen as an obvious fake, a bad painting, the Turin Shroud was praised as a true holy relic. Even the Pope declared it genuine. (Shroud of Turin & Forgery & Artist: da Vinci & Relic) ibid.
60,528. In the 15th century Leonardo produced work for many of Italy’s rich families. In Florence’s Royal Library there’s evidence that connects him directly to the owners of the Shroud – the Savoys. (Shroud of Turin & Forgery & Artist: da Vinci) ibid.
60,529. Although the cloth can be carbon-dated it’s impossible for scientists to date the actual image itself. It could have been created any time after 1260. (Shroud of Turin & Forgery & Artist: da Vinci) ibid.
60,530. Although the camera wasn’t invented until the nineteenth century its forerunner – an optical device called a camera obscurer – had been around since 400 B.C. To test his theory Allen sets out to recreate the Shroud image by building a camera obscurer. Allen hangs a life-size model of a human body outside a building. Inside, he has blacked out a room, and in the wall he has placed a round crystal lens. Allen then stretches a length of cloth over a frame. The cloth has been soaked in silver sulphate which makes it light sensitive just like photographic film. All the materials he uses were available in fifteenth century Italy, the time when da Vinci was at the height of his creative powers. Once the lens is uncovered, light streams into the room and projects a photographically perfect upside-down image of the body on to the linen. This is the same principle as a film camera. Only here the image is projected on to light-sensitive cloth. (Shroud of Turin & Forgery & Artist: da Vinci & Photography & Camera) ibid.
60,531. Amazingly the two faces [Mona Lisa and Shroud] lined up perfectly ... Schwartz’s discovery is further proof that da Vinci must have had a hand in the creation of this enduring image of Christ. (Shroud of Turin & Forgery & Artist: da Vinci) ibid.
60,532. It’s the connection we’ve always been looking for: to prove a connection between Leonardo and the Shroud. (Shroud of Turin & Forgery & Artist: da Vinci) Clive Prince, co-author The Turin Shroud – How Leonardo da Vinci Fooled History
60,533. We are looking at a photograph of a crucified man. Leonardo took a body from one of the stock of bodies he dissected for his anatomical research, and he truly crucified it. (Shroud of Turin & Forgery & Artist: da Vinci & Photography) Lynn Picknett, co-author The Turin Shroud – How Leonardo Da Vinci Fooled History
60,534. Our theory is that there is a mixture of sixteenth century cloth and first century cloth, and the data that we’re finding on the cloth matches that theory. Joe Marino