Background

The Shroud of Turin is reputedly Christ's burial cloth. It has been a religious relic since the Middle Ages. To believers it was divine proof the Christ was resurrected from the grave, to doubters it was evidence of human gullibility and one of the greatest hoaxes in the history of art.
No one has been able to prove that it is the burial cloth of Jesus of Nazareth, but its haunting image of a man's wounded body is proof enough for true believers.

The Shroud of Turin, as seen by the naked eye, is a negative image of a man with his hands folded. The linen is 14 feet, 3 inches long and 3 feet, 7 inches wide. The shroud bears the image of a man with wounds similar to those suffered by Jesus. The shroud is wrapped in red silk and kept in a silver chest in the Chapel of the Holy Shroud in the Cathedral of St. John the Baptist in Turin, Italy since 1578. The shroud is unquestionably old. Its history is known from the year 1357, when it surfaced in the tiny village of Lirey, France. Until recent reports from San Antonio, most of the scientific world accepted the findings of carbon dating carried out in 1988. The results said the shroud dated back to 1260-1390, and thus is much too new to be Jesus' burial linen.

The section of the shroud showing the face reveals dramatic features 
when viewed as negative image (click on the right image to enlarge).

Here is an artistic impression of what the face 
matching the image might have looked like.

COPYRIGHT 1931 GIUSEPPE ENRIE

This frontal image (above) shows the forearms, wrist, and hands. There appears to be a large puncture wound on the wrist. This is significant because if nails were placed through the palms of the hand, this would not provide sufficient support to hold the body to the cross and tearing of the hands would occur. Only if the nails were placed through the wrists would this provide sufficient support to hold the body fixed to the cross.

We can also see a large blood stain and elliptical wound on the person's right side (remember, in a negative imprint left and right are reversed). From studying the size and shape of this wound and historical records, we can deduce that this wound could have been caused by a Roman Lancea. This lance is pictured in Slide 13.

In addition, by measuring the angle of dried blood on the wrist, one can reconstruct the angle at which this person hung from the cross. He mainly hung from a position 65 degrees from the horizontal. But there is another angle of dried blood at 55 degrees. This shows that this person tried to lift himself up by 10 degrees. Why? Medical studies show that if a person just hangs from a position of 65 degrees in would start to suffocate very quickly. Only if he could lift himself up by about 10 degrees would he be able to breathe. Thus he would have to raise himself up by this 10 degrees by pushing down on his feet which would have to have been fixed to the cross. He would then become exhausted and fall down again to the 65 degree position. Thus, he would continue to shift from these two agonizing positions throughout crucifixion. That is why the executioners of crucifixion would break the legs of their victims to speed up death. If they could not lift themselves up to breathe, they would suffocate very quickly.

The following image shows the most likely position in which Jesus died. This body 
position is based on interpretation of the blood stains contained in the shroud.

Image Formation Theories

© Dr. John DeSalvo 

The Painting Theory

One theory is simply that the Shroud is a painting . It has been proposed that it was painted using iron oxide in an animal protein binder. The STURP scientists have concluded from their studies that no paints, pigments, dyes or stains have been found to make up the visible image. Small amounts of iron oxide have been found on the Shroud but the iron oxide is evenly distributed all over the Shroud. If it were painted using iron oxide you would expect its concentration to be greater in the image areas verses the non-image areas. This is not the case but the iron oxide is evenly distributed all over the Shroud. Thus it is probably a containment caused by the presence of the Shroud in artists studios throughout history who were copying it. It is also possible that the copies may have been touched to the Shroud to transfer its sacredness and this contaminated the Shroud with iron oxide.

Also no painter has been able to reproduce all the different qualities and characteristics of the Shroud. That is, its negativity, 3D effect, no brush strokes or directionality, perfect anatomical details from blood stains, scourging, etc. and the image is a surface phenomena, that is the image only penetrates about 1/500 of an inch into the cloth. It was shown that the blood went on first and than image. Try doing that and then painting the body image. Thus up to now no one has been able to reproduce the Shroud in all its characteristics. Most scientists reject the painting theory.

The Radiation Theory

Could the image have been produced by a burst of radiation (heat or light) acting over short period of time which would have scorched the cloth? Scientists have not been able to duplicate the characteristics of the Shroud using this method just like the painting hypothesis. Also the color and ultraviolet characteristics of the Shroud body image and a scorch are different. The shroud body image does not fluoresce under UV light but scorches like the burns from 1532 do fluoresce under UV light. Thus many scientists rule out the radiation theory.

DeSalvo's Revised Vaporgraphic - Direct Contact Theory

There are other theories regarding vapors from the body diffusing to the Shroud and producing the image. Another theory is a direct contact process in which substances were directly transferred to the cloth and produced the image. 
DeSalvo's Theory takes both of these into consideration.

Nature may have supplied us with a miniature example of how the Shroud body image was produced. It is known that when certain plant matter (such as leaves) are placed in a book and left undisturbed for many years, there develops on both the upper and lower sheets of paper a faint sepia colored imprint of the plant matter (called Volckringer patterns). Dr. Jean Volckringer in the 1940's noticed that these plant images closely resemble the body image on the Shroud of Turin. In fact the plant imprint also appears to be a negative image, just like the Shroud, and when photographed a positive imprint appears on the negative plate.

Vockringer Patterns exhibiting positive and negative characteristics

I decided to explore this similarity in more detail. I was hoping that by understanding how Volckringer Patterns are produced, it would give me some idea of how the Shroud body image was produced. Using a spectrophotomer I did a color comparison between the Volckringer patterns and the Shroud body image. Within experimental error, I showed that the Volckringer patterns were identical in color to the Shroud body image. I than compared the Shroud and Volckringer patterns using UV Fluorescent studies. It was shown that both the Volckringer patterns and the Shroud body image do not fluoresce under UV light. Thus the Volckringer patterns and Shroud body image also have identical UV fluorescent characteristics.

The most startling similarity was that the Volckringer patterns could be reconstructed in 3D relief using a VP-8 analyizer, just like the Shroud body image.

3-D Reconstruction of a Volckringer pattern

In summary, Vockringer patterns resemble the Shroud body image in negativity, visible color characteristics, UV fluorescence properties, and 3D reconstruction.

Volckringer patterns are produced when acids from the plant are transfered to the paper causing cellulose degradation (oxidation). The most prominent plant acid in this process is lactic acid. Where would lactic acid fit in with the Shroud body image formation process? Human perspiration contains a certain amount of lactic acid. A person who had been tortured and crucified would have sweated profusely and medical studies have shown that this perspiration would have very high concentrations of lactic acid. Thus, this could have been the transferring agent involved in producing the body image on the Shroud. The lactic acid would have been transferred to the cloth by both direct contact and vertical diffusion. Areas of the body like the nose that touched the cloth would transfer the lactic acid by direct contact. In the areas further away that did not touch the cloth, i.e the cheeks, the lactic acid would travel to the cloth by diffusion. Thus two processes, both direct contact and vertical diffusion would transfer the lactic acid to the cloth. Than this acid would oxidize the cellulose in the linen and produce the image over a period of time. It may be that originally there was no image on the cloth and after many years the lactic acid working on the cloth eventually developed the image. This is what occurs with the plant matter in books. My theory does not answer all the questions. Some problems are that the Shroud body image is a surface phenomena but the Volckringer patterns are not. They penetrate into the paper. Also calculations using diffusion of lactic acid would not produce the high resolution of the image we see on the Shroud. Thus my theory does not explain all the characteristics of the Shroud and more research needs to be done. Thus no one theory to date can explain how the image on the Shroud was produced.

© Dr. John DeSalvo 
Director of the Great Pyramid of Giza Research Association

Leonardo da Vinci:  Photo-image Theory

Is it possible that the Shroud had been created by Leonardo da Vinci?

Leonardo was authorized or allowed to dissect corpses. Leonardo, being religious was aware of everything written about Jesus from the New Testament. Leonardo was a pioneer if not the inventor of the camera obscura and he was knowledgeable about photographic chemicals. Acquiring an old cloth should not have been difficult for Leonardo. The body on the Shroud has unusual dimensions due, obviously, to distortions based on the camera obscura method. The head on the Shroud does not join the body. This is simply explained as follows: the head on the Shroud is that of Leonardo!

The following article suggested by Edward Lopez, NYC

Read More: Shrouded in Deceit - Leonardo's Last Laugh >>

Shroud of Turin or Carbon 14

This article was contributed to World-Mysteries.com by Doug Yurchey 

Pick one! One is true, the other is false.  It is either the Shroud of Turin is a fraud and Carbon 14 is an accurate time-measuring instrument.....or, the Shroud of Turin is the burial cloth of Jesus Christ and Carbon 14 is NOT an accurate time-measuring device.

Everything about the Shroud rings true: It is the material used for burial shrouds 2000 years ago in the area of the Holy Land. There is a wound indicated in the chest area. There is the exact number of lashes from a whipping on the back as stated in the Bible. Religious portraits of stigmata are not accurate when they show wounds in the palm of the hands. Nails, creating the wounds in the palms, could not hold the body on the cross. Tests on cadavers prove that bones in the hand are not strong enough to sustain a body's weight. Nails rip through hand bones and the body falls. On the Shroud, the wounds are at the wrist which can sustain the weight of a body. A religious forger, making a fraudulent Shroud would have placed the wounds in the palms...not at the wrists. The crown of thorns was not a round wreath as we also see in religious portrayals, but a hat of thorns. The trails of blood on Turin's burial cloth are sensible; they conform to the flow of gravity. Also...why is there blood at all when the body was cleaned, then wrapped and the fact that no blood flows from a corpse?

The most amazing evidence to the reality of the Shroud is that it is a PHOTOGRAPHIC NEGATIVE. 
Secondo Pia was the Shroud's first photographer. The Italian photographed this
faint image on a light-colored material. To his great surprise, when Pia examined his negatives, there was a positive image! By photographing the negative, you have created a positive. The faint image became a light image on a black background. Details emerged that astounded viewers and enlarged the Shroud's controversy.

What could have formed this negative? It certainly was not a 1000 year old artist faking a holy relic.  Some say the image captures the moment of Christ's resurrection. Others say that the image was a scorching emanating out due to RADIATION. There were reports that after the Hiroshima blast, pieces of glass were found with negative images of people's faces. These were people who had their faces near windows when the atomic bomb exploded. Radiation does cause negative imprinting.

What is it that tells scientists that the Shroud of TURIN is a fake? Answer: Carbon 14. Are you so sure that Carbon 14 is accurate? Science needs an UNDER-estimate for many ancient mysteries that baffle us and do not fit the traditional picture. In the same way, Science needs a Rosetta Stone (which also is untrue)...so they can think they understand something that is not understandable. Mysterious artifacts are much older than what Carbon 14 indicates. Traditional scientists say there was a smooth progression of knowledge and technology; in the past, it was primitive and in modern times...it is advanced.  Anything that disturbs this narrow (flat-Earth) view is not accepted. Carbon 14 is perfect for this agenda.

The truth is the mysterious relics of the past are even more mysterious. The truth is you have to take the date Carbon 14 gives you and multiply it by at least a factor of 3.

[This writer knew this back in the 1970s. When I heard that they were going to date the Shroud with Carbon 14, I thought to myself: NO! My sources told me exactly what is stated in the above paragraph.]

The Shroud was tested with Carbon 14 and the rest is history. Now, the scientific world does not believe in the Turin relic because their holy measuring device said it was only 6-700 years old. Scientists are supposed to be open-minded, not stuck to a canon of unchanging principles. Maybe there are some things that we have to take on a little bit of faith.

© 2002 - D.Y.

NOTE: Doug Yurchey is a writer, artist and inventor. He has studied ancient mysteries for 30 years and was married to a trans-channel. He has lectured at Carnegie Mellon University and California State at Northridge. For two years a background artist with the Simpsons TV Show, Doug Yurchey now promotes his unique theories.

An Interview with Doug Yurchey

News Articles

Tests Show Shroud Of Turin Much Older Than Carbon-14 Date
October 6, 2000 - Sightings - Oviedo, Spain

Scientists and forensic specialists gathered in Oviedo, Spain, this week to examine an obscure relic that many have claimed authenticates the Shroud of Turin - believed by many to be the burial cloth of Jesus Christ.
The Sudarium of Oviedo is reportedly the other linen cloth found in the tomb of Christ, as described in the Gospel of John.
The relic, whose dramatic history is intertwined with the Knights Templar, Moors, El Cid, saints and bishops, has been in Spain since 631 A.D.
Meanwhile, in Turin, Italy, the last pilgrims of the Jubilee Year are winding their way past the Shroud of Turin before the exhibit closes on October 23.
Verses 5-8 of the 20th chapter of "The Gospel According to St. John" records, "... he went into the tomb and saw the burial cloths there and the cloth that had covered his head, not with the burial cloths, but rolled up in a separate place."
This head cloth, the sudarium, has become the focus of increasing debates over the validity of the carbon-14 tests on the Shroud of Turin.
The carbon-dating tests set the age of the shroud in the 13th century, which would make the Shroud of Turin a pious icon at best, a clever fraud at worst.
However, the scientific community is divided over the shroud dates because -- with the exception of the carbon dating tests -- medical, artistic, forensic and botanical evidence favors the authenticity of the shroud of Turin as the burial cloth of Jesus.
One example of microscopic testing that supports the Shroud as authentic is the 1978 sample of dirt taken from the foot region of the burial linen. The dirt was analyzed at the Hercules Aerospace Laboratory in Salt Lake, Utah, where experts identified crystals of travertine argonite, a relatively rare form of calcite found near the Damascus Gate in Jerusalem.
It is a stretch, say researchers, that a 13th century forger would have known to take the trouble to impregnate the linen with marble dust found near Golgotha in order to fool scientists six hundred years later.
The debate over the authenticity of the Shroud of Turin is elevated by the new discoveries resulting from the studies on the Sudarium of Oviedo.
Unlike the Shroud, the Sudarium, which covered the face of Christ for a short time before the body was wrapped in the longer burial cloth, does not carry an image of a man. Instead, the cloth, held against a face of a man who had been beaten about the head, shows a distinct facial impression and pattern of stains.
The cloth is impregnated with blood and lymph stains that match the blood type on the Shroud of Turin. The pattern and measurements of stains indicate the placement of the cloth over the face.
These patterns have been extensively mapped to enable researchers to compare the markings and measurements with those of the Shroud of Turin.
These measurements and calculations, digitized videos and other forensic evidence indicate that the Sudarium of Oviedo covered the same head whose image is found on the Shroud of Turin.
Part of Jewish burial custom was to cover the face of the dead, sparing the family further distress. The sudarium, from the Latin for "face cloth," would have been wrapped over the head of the crucified Christ awaiting permission from Pontius Pilate to remove the body.
Stains made at that time indicate a vertical position with the head at an angle. There are stains from deep puncture wounds on the portion of the cloth covering the back of the head, consistent with those puncture marks found on the Shroud of Turin, theoretically made by the caplet of thorns
A separate set of stains, superimposed upon the first set, was made when the crucified man was laid horizontally and lymph flowed out from the nostrils.
The composition of the stains, say the Investigation Team from the Spanish Centre for Sindology, who began the first sudarium studies in 1989, is one part blood -- type AB -- and six parts pulmonary oedema fluid.
This fluid is significant, say researchers, because it indicates that the man died from asphyxiation, the cause of death for victims of crucifixion.
Recently, Dr. Alan Whanger, professor emeritus of Duke University, employed his Polarized Image Overlay Technique to study correlations between the Shroud and the Sudarium. Dr. Whanger found 70 points of correlation on the front of the sudarium and 50 on the back.
"The only reasonable conclusion," says Mark Guscin, author of "The Oviedo Cloth," "is that the Sudarium of Oviedo covered the same head as that found on the Shroud of Turin." Guscin, a British scholar whose study is the only English language book on the Sudarium, told WorldNetDaily, "This can be uncomfortable for scientists with a predetermined viewpoint; I mean, the evidence grows that this cloth and the Shroud covered the same tortured man."
Guscin also points to pollen studies done by Max Frei of Switzerland.
Specific pollens from Palestine are found in both relics, while the Sudarium has pollen from Egypt and Spain that is not found on the Shroud.
Conversely, pollen grains from plant species indigenous to Turkey are imbedded in the Shroud, but not the Sudarium, supporting the theory of their different histories after leaving Jerusalem.
The significance of the Sudarium to the Shroud, in addition to the forensic evidence, is that the history of the Sudarium is undisputed. While the history of the Shroud is veiled in the mists of the Middle Ages, the Sudarium was a revered relic preserved from the days of the crucifixion.
A simple cloth of little value, other than that it contained the Blood of Christ, the Sudarium accompanied a presbyter named Philip and other Christians fleeing Palestine in 616 A.D. ahead of the Persian invasion.
Passing through Alexandria, Egypt, and into Spain at Cartegena, the oak chest containing the Sudarium was entrusted to Leandro, bishop of Seville. In 657 it was moved to Toledo, then in 718 on to northern Spain to escape the advancing Moors.
The Sudarium was hidden in the mountains of Asturias in a cave known as Montesacro until king Alfonso II, having battled back the Moors, built a chapel in Oviedo to house it in 840 AD.
The most riveting date in the Sudarium's history is March 14, 1075. On this date, King Alfonso VI, his sister and Rodrigo Diaz Vivar (El Cid) opened the chest after days of fasting. This official act of the king was recorded and the document is preserved in the Capitular Archives at the Cathedral of San Salvador in Oviedo. The King had the oak chest covered in silver and an inscription added which reads, "The Sacred Sudarium of Our Lord Jesus Christ."
Juan Ignacio Moreno, a Spanish magistrate based in Burgos, Spain, asks the critical question. "The scientific and medical studies on the Sudarium prove that it was the covering for the same man whose image is [on] the Shroud of Turin.
We know that the Sudarium has been in Spain since the 600s. How, then, can the radio carbon dating claiming the Shroud is only from the 13th century be accurate?"

Pollen traces suggest that Shroud of Turin originated before eighth century, near Jerusalem
July 3, 1999 - AP

A new analysis of pollen grains and plant images on the Shroud of Turin places its origin to Jerusalem before the eighth century, giving a boost to those who believe the shroud is the burial cloth of Jesus and refuting a 1988 examination by scientists that concluded the shroud was made between 1260 and 1390.
The earlier study also indicated the shroud came from Europe rather than the Holy Land.
"We have identified by images and by pollen grains species on the shroud restricted to the vicinity of Jerusalem," botany professor Avinoam Danin of The Hebrew University of Jerusalem said Monday during the International Botanical Congress here. "The sayings that the shroud is from European origin can't hold."
More than 4,000 scientists from 100 countries are taking part in the botanical conference, which focuses on a wide range of issues related to plants.
The shroud contains pollen grains and the image of a crucified man, as well as faint images of plants.
Analysis of the floral images, and a separate analysis of the pollen grains by another botanist, Uri Baruch, identified a combination of plant species that could be found only in March and April in the region of Jerusalem, Danin said.
Danin identified a high density of pollen of the tumbleweed Gundelia tournefortii. The analysis also found the bean caper Zygophyllum dumosum. The two species coexist in a limited area, Danin said.
"This combination of flowers can be found in only one region of the world," he said. "The evidence clearly points to a floral grouping from the area surrounding Jerusalem."
An image of the Gundelia tournefortii can be seen near the image of the man's shoulder. Some experts have suggested that the plant was used for the "crown of thorns."
Two pollen grains of the species were also found on the Sudarium of Oviedo, believed to be the burial face cloth of Jesus.
Danin, who has done extensive study on plants in Jerusalem, said the pollen grains are native to the Gaza Strip.
Since the Sudarium of Oviedo has resided in the Cathedral of Oviedo in Spain since the 8th century, Danin said that the matchup of pollen grains pushes the shroud's date to a similar age. Both cloths also carry type AB blood stains in similar patterns, Danin said.
"The pollen association and the similarities in the blood stains in the two cloths provide clear evidence that the shroud originated before the 8th Century," Danin said.
The location of the Sudarium of Oviedo has been documented since the first century. If it is found that the two cloths are linked, then the shroud could date back even further, Danin said.
The 1988 study used carbon-14 dating tests. Danin noted that the earlier study looked at only a single sample, while he used the entire piece of fabric.

Leonardo's Last Laugh >>

BOOKS & Video

	The Blood and the Shroud: New Evidence That the World's Most Sacred Relic Is Real by Ian Wilson
Ian Wilson's well-written and intelligent book gives a balanced view of evidence for and against the Shroud of Turin's authenticity (including new finds such as the presence of human blood and DNA on the Shroud), and along the way, provides a fascinating discussion of subjects ranging from capital punishment in first-century Palestine to the chemistry of radiocarbon dating. For Wilson, the Shroud's ultimate significance resides in the very fact of Christians' fascination with it. The Shroud represents the possibility that the Resurrection actually happened; if there's any chance the Shroud is authentic, and if that chance excites you, then historical facts are a crucial aspect of your faith. Given that, the Shroud of Turin becomes much more than a curiosity for cranks and crazies. It's a valuable incitement to introspection for all believers. --Michael Joseph Gross
	The Resurrection of the Shroud: New Scientific, Medical, and Archeological Evidence by Mark Antonacci
In Resurrection of the Shroud , Mark Antonacci authoritatively and scientifically challenges radiocarbon testing and presents new evidence in determining the Shroud's true age.
	Jesus and the Shroud of Turin (1999) VHS Theatrical Release Date:  January 1, 1999 Video Release Date:  March 2, 1999
This video is an excellent documentary of the Shroud's history and scientific investigation. It is easy to understand and quite entertaining as it was filmed in many international settings. The Shroud is not a "dead" issue.
	The Shroud of Turin : The Most Up-To-Date Analysis of All the Facts Regarding the Church's Controversial Relic by C. Bernard Ruffin (September 1999)
	Relic, Icon or Hoax? : Carbon Dating the Turin Shroud by H. E. Gove (December 1996)
	2nd The Second Messiah : Templars, the Turin Shroud and the Great Secret of Freemasonry by Christopher Knight, Robert Lomas
The the shroud itself is a piece of herringbone patterned linen in a 3:1 twill weave. This type of cloth came into use in Europe at the beginning of the 14th Century. Lomas and Knight accept that it would not be impossible for this to have been produced in the first century, however it is unlikely. It is also true, according to the authors, that of all the pollen deposits found embedded in the cloth, no pollen from olive trees has been found, and Israel has always had a high number of these plants. Radiocarbon dating has shown that the flax plants which were used to make the shroud had ceased to live between 1260 and 1390 AD. On the image itself, Lomas and Knight deduced that the victim whose image the shroud bears was nailed with his right arm over his head and his left arm out sideways. This also corresponds with the observation that the right shoulder on the shroud appears to be dislocated. This conflicts with the traditional crucifixion in which the arms are stretched out sideways to promote great difficulties in breathing. the positioning of the arms on the shroud itself indicates that the victim was not laying on a flat surface, but on a soft padded surface when the image was made. With the head and shoulders raised to assist breathing, and the body heat that would be needed for the chemical process that created the image on the shroud, it suggests that the victim was not only alive, but was intended to recover. in 1307, the Grand Master of the Knights Templar was a man called Jacques de Molay. In their book, Lomas and Knight demonstrate that the French king Philip IV had planned to restore his fractured economy by stealing the wealth accumilated by the Knights Templar. Prior to Friday 13th October 1307, the Knights Templar had been a holy order but on this day the Paris Inquisition took 15,000 members, including de Molay and also took control of the Paris Temple. William Imbert was ordered by king Philip to extract a confession from de Molay by whatever means necessary but under no cicumstances was he to kill him.. Lomas and Knight produce evidence to show that one Templar, John of Foligny, confessed to the inquisition that there was a 'secret place' inside the Temple which Lomas and Knight believe resembeld a modern Masonic temple, complete with four items within a wooden chest- a human skull, two thigh bones and a white burial shroud (which is still used today in the ritual of the living ressurection just as it was in the Jerusalem Chuch and by the Knights Templar). According to Lomas and Knight, de Molay was interrogated in the Paris Temple. Lomas and Knight believe that Imbert was outraged at the Templars use of a ressurection ceremony which he felt insulted the resurrection of Jesus, and as a form of irony intended that Molay should suffer as Jesus had. They believe thay Molay was nailed most probably to a large wooden door in the manner described above. They believe that when his right arm was raised above his head and the nail driven through the wrist, that the impact from the nail caused his thumb to swing violently across his palm and dislocated at the joint. This concurs with medical examinations of the shroud. This trauma would have produced large amounts of lactic acid, leading to 'metabolic acidosis' this produces severe cramps and was not helped by the fact Molay would not have been able to breathe propperly. This would have caused 'respiratory acidosis'. It was at this point, Lomas and Knight believe, that Molay was taken down and covered with the shroud found within the wooden chest to show that his "mocking use of a shroud had not gone unnoticed by the Holy Inquisition". Molay was then placed into the same bed that he had been dragged from, supporting the notion that the man on the shroud had been on a soft surface at the time the image was made. As Molay had no family in the area to care for him, Lomas and Knight believe that the family of his right hand man, that of Jean de Charney was called in to care for him. The Charney family removed the shroud and nursed him to health, though the scars never healed and some years later Molay showed papal representatives the extent of his injuries. The shroud which was bloodied, but a useful cloth, was washed and put away. The shrouds first display was in a small church in the French town of Lirey in 1357. Interestingly, it was lent to the church by the widow of Geoffrey de Charney, a decendant of the family that Lomas and Knight believe cared for Molay after his tourture. This would explain why this shroud came into their posession.