It is not burned on in a conventional heat application method.Instead it is seared on to the cloth with a technology that has yet to be explained.In addition, traces of the spices used for Jewish burial have been discovered. The bloodstains on the Shroud are real human blood, not paint.
Popes have come to gaze on the Shroud; Benedict XVI said when he visited in 2010 that “we see, as in a mirror, our suffering in the suffering of Christ”. They refer to the 1987 Carbon-14 dating and say, “It’s medieval. That settles it.” But the believers bounce back, and year by year, as modern technology advances, more and more evidence accumulates which causes anyone who reads the research to be sceptical of the sceptics.
The most recent claim – that the blood on the Shroud is from a torture victim – has re-opened the debate.
When he developed the negative he noticed that it showed a positive image of a human face.
He concluded that the image itself was therefore, in effect, a photographic negative.
Like a tennis ball, the hypotheses are whacked back and forth.
One scientist proposes a new idea of how the mysterious Shroud could have been produced only to have another researcher argue that it was impossible.
The image was seared on the linen after the bloodstains.
The fact that the bloodstains retain their reddish colour is evidence that the blood came from a person under extreme duress.
There is now a mountain of evidence about the Shroud, but too many dismiss the possibility of the Shroud’s authenticity based on the Carbon-14 dating alone.