There are some burn holes and scorched areas down both sides of the linen, caused by contact with molten silver during the fire that burned through it in places while it was folded.

The shroud was damaged in a fire in 1532 in the chapel in Chambéry, France.

Reddish-brown stains are found on the cloth, correlating with the wounds in the Biblical description of the crucifixion of Jesus. He is muscular and tall (various experts have measured him as from 1.70 to 1.88 m or 5 ft 7 in to 6 ft 2 in). The image in faint straw-yellow colour on the crown of the cloth fibres appears to be of a man with a beard, moustache, and shoulder-length hair parted in the middle. The front and back views of the head nearly meet at the middle of the cloth. The two views are aligned along the midplane of the body and point in opposite directions. Its most distinctive characteristic is the faint, brownish image of a front and back view of a naked man with his hands folded across his groin. The cloth is woven in a three-to-one herringbone twill composed of flax fibrils. The shroud is rectangular, measuring approximately 4.4 by 1.1 metres (14 ft 5 in × 3 ft 7 in). It is used as part of the devotion to the Holy Face of Jesus. ĭescription Secondo Pia's 1898 negative of the image on the Shroud of Turin has an appearance suggesting a positive image. In 2013 Pope Francis referred to it as an ' icon of a man scourged and crucified'. Currently, the Catholic Church neither endorses nor rejects the authenticity of the shroud as a relic of Jesus. : 424–445 The nature and history of the shroud have been the subjects of extensive and long-lasting controversies in both the scholarly literature and the popular press. Though accepted as valid by experts, the carbon-dating of the shroud continues to generate significant public debate. Such fringe theories have been refuted by carbon-dating experts and others based on evidence from the shroud itself, including the medieval repair theory, the bio-contamination theories and the carbon monoxide theory. : 71–72 Defenders of the authenticity of the shroud have questioned those results, usually on the basis that the samples tested might have been contaminated or taken from a repair to the original fabric. In 1988, radiocarbon dating by three different laboratories established that the shroud's linen material was produced between the years 12 (to a 95% confidence level). McCrone's findings were disputed by other researchers and the nature of the image on the shroud continues to be debated. 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, 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

Picture of jesus shroud of turin