Luigi Garlaschelli shows how the Shroud of Turin effect can be created with means available in the Middle Ages.
bearded man with long hair, his arms crossed on his chest, while the entire cloth is marked by what appears to be rivulets of blood from wounds in the wrists, feet and side.shows the back and front of a
Carbon dating tests by laboratories in Oxford, Zurich and Tucson, Arizona in 1988 caused a sensation by dating it from between 1260 and 1390. Sceptics said it was a hoax, possibly made to attract the profitable medieval pilgrimage business.
But scientists have thus far been at a loss to explain how the image was left on the cloth.
Garlaschelli reproduced the full-sized shroud using materials and techniques that were available in the middle ages.
They placed a linen sheet flat over a volunteer and then rubbed it with a pigment containing traces of acid. A mask was used for the face.
The pigment was then artificially aged by heating the cloth in an oven and washing it, a process which removed it from the surface but left a fuzzy, half-tone image similar to that on the Shroud. He believes the pigment on the original Shroud faded naturally over the centuries.
They then added blood stains, burn holes, scorches and water stains to achieve the final effect.