It seems to be in the hands. Curiously, the other two aren't nailed at all.
Anyway:
http://206.190.45.150/search/srpcache?ei...q22h.z5Q--
What seems to be going on here is that a noble French family tried to pull a fast one and got smacked down by the local bishop. One of the cases perhaps where the imaginations of later generations went berserk as religious shitwits are prone to do. It is fairly obvious that if the shroud went on display in 1357 that it did not look like it looks now.
Because as can be seen above, it looks like shit. It was only when an Italian photographer, took a photo...and then looked at the negative! that the so-called face was discerned.
Whatever was displayed in Lirey 500 years earlier must have been garish enough so that it could be seen at a distance without the benefit of modern photographic equipment.
This is probably one of the few times where it looks like a bishop got it right..... and then he probably went back home to hump a few altar boys!
As a follow up in 2009, Israeli archaeologist Shimon Gibson published a paper on an actual first century jewish burial shroud that he had found. It was in two pieces, not one, with a primitive weave. All that means is that whoever wrote the gospel horseshit had a better understanding of jewish burial customs than whoever produced the Shroud.
Anyway:
Quote:The history of the Shroud of Turin begins in the middle of the 14th century. In 1357 it was first put on display in the church of Lirey, France, in the Diocese of Troeys, by the widow of French knight Geoffrei de Charnay. How the Shroud came into the hands of de Charnay is not known: it is reported to have first come into his possession somewhere between 1354-55, only a year or two before his death.
Shortly after the Shroud first came to be publicly displayed in Lirey, Henri de Poitiers, the Bishop of Troyes, prohibited veneration of the Shroud claiming it to be a fake. According to his successor, Pierre D'Arcis, Bishop Henri de Poitiers had done his own investigation of the Shroud and had gone so far as to gain a confession from the artist responsible for the creation of the artifact.
After the prohibition of its public display, the Shroud went into hiding for a little over 30 years before it began to be once more displayed in 1389. Following in the footsteps of his predecessor, the new Bishop of Troyes Pierre D'Arcis attempted to stop the public display and veneration of the Shroud but was unsuccessful. In 1389 he wrote a memorandum to the Avignon Pope Clement VII, detailing the situation.
In his response, Clement VII did not ban veneration of the Shroud, but rather stated that it could be displayed publicly as an object of devotion so long as those displaying the Shroud did not make any claims that it was the True Shroud of Christ, but informed those viewing the image that it was only a man-made representation, not a true holy relic.
The skepticism of the first Bishops of Troyes to view the Shroud, as well as Pope Clement VII, recognizing the Shroud as a forgery, would not last forever. Despite early attempts to suppress it, the longer the Shroud remained as an object of the people, the more its claims to legitimacy stuck in the minds not only in those viewing the Shroud but in the Catholic hierarchy. By 1506, Pope Julius II took its authenticity for granted, declaring May 4th as the Feast Day of the Shroud.
In between the time of Clement VII's pronouncement that the Shroud was not genuine and Julius II's claim that it was, the Shroud had changed hands. In 1453 the Charney family, who had been the original owners of the relic, sold the Shroud to the House of Savoy. The Shroud moved from Lirey to the cathedral at Chambery, France. In 1532, a fire at the cathedral damaged the Shroud but it was rescued by Franciscan monks.
The final move for the Shroud came in 1578, when it was placed at the royal chapel in Turin, Italy. From this move it takes the name by which it is known today: the Shroud of Turin. It remained the property of the House of Savoy until 1983, when it was willed to the Holy See in the Vatican upon the death of Umberto II, the last King of Italy.
While the Papacy over the centuries essentially took the authenticity of the Shroud of Turin for granted, little move was made on the popular front to push for its genuineness until 1898, when the first photograph of the Shroud was taken. The negative of the photograph appeared more lifelike than the image on the Shroud itself, given rise to the theory that the image on the Shroud is itself a negative (and thus the photographic negative the real positive of the image).
http://206.190.45.150/search/srpcache?ei...q22h.z5Q--
What seems to be going on here is that a noble French family tried to pull a fast one and got smacked down by the local bishop. One of the cases perhaps where the imaginations of later generations went berserk as religious shitwits are prone to do. It is fairly obvious that if the shroud went on display in 1357 that it did not look like it looks now.
Because as can be seen above, it looks like shit. It was only when an Italian photographer, took a photo...and then looked at the negative! that the so-called face was discerned.
Whatever was displayed in Lirey 500 years earlier must have been garish enough so that it could be seen at a distance without the benefit of modern photographic equipment.
This is probably one of the few times where it looks like a bishop got it right..... and then he probably went back home to hump a few altar boys!
As a follow up in 2009, Israeli archaeologist Shimon Gibson published a paper on an actual first century jewish burial shroud that he had found. It was in two pieces, not one, with a primitive weave. All that means is that whoever wrote the gospel horseshit had a better understanding of jewish burial customs than whoever produced the Shroud.
