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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. 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 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. This negative image is associated with a popular Catholic devotion to the Holy Face of Jesus. 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.: 80–81  The shroud was denounced as a forgery by the bishop of Troyes in 1389.: 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.: 166  In 1578, the Savoys moved the shroud to their new capital in Turin, where it has remained ever since.: 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.: 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.: 415  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. McCrone found that the apparent bloodstains were painted with vermilion pigment, also in a gelatin medium. McCrone's findings were disputed by other researchers and the nature of the image on the shroud continues to be debated.: 364–366  In 1988, radiocarbon dating by three different laboratories established that the shroud's linen material was produced between the years 1260 and 1390 (to a 95% confidence level),: 71–72  which corresponds with its first documented appearance in 1354. 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. Such fringe theories have been refuted by carbon-dating experts and others based on evidence from the shroud itself. Refuted theories include the medieval repair theory, the bio-contamination theories and the carbon monoxide theory. Though accepted as valid by experts, the carbon-dating of the shroud continues to generate significant public debate.: 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. Currently, the Catholic Church neither endorses nor rejects the authenticity of the shroud as a relic of Jesus. Description The shroud is rectangular, measuring approximately 4.4 by 1.1 metres (14 ft 5 in × 3 ft 7 in). The cloth is woven in a three-to-one herringbone twill composed of flax fibrils. 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 two views are aligned along the midplane of the body and point in opposite directions. The front and back views of the head nearly meet at the middle of the cloth. 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. 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). Reddish-brown stains are found on the cloth, correlating with the wounds in the Biblical description of the crucifixion of Jesus. The shroud was damaged in a fire in 1532 in the chapel in Chambéry, France. 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. Fourteen large triangular patches and eight smaller ones were sewn onto the cloth by Poor Clare nuns to repair the damage. In May 1898, Italian photographer Secondo Pia was allowed to photograph the shroud. He took the first photograph of the shroud on 28 May 1898. In 1931, another photographer, Giuseppe Enrie, photographed the shroud and obtained results similar to Pia's. In 1978, ultraviolet photographs were taken of the shroud. History There are no definite historical records concerning the particular shroud currently at Turin Cathedral prior to the 14th century. A burial cloth, which some historians maintain was the Shroud, was owned by the Byzantine emperors but disappeared during the Sack of Constantinople in 1204. Although there are numerous reports of Jesus's burial shroud, or an image of his head, of unknown origin, being venerated in various locations before the 14th century, there is no historical evidence that these refer to the shroud currently in Turin. Historical records seem to indicate that a shroud bearing the image of a crucified man appeared in the village of Lirey, in north-central France, around the years 1353 to 1357. It was owned by a French knight, Geoffroi de Charny, who died at the Battle of Poitiers in 1356. In 1390, the Bishop of Troyes, Pierre d'Arcis, who had jurisdiction over the church in Lirey, wrote a lengthy memorandum to Antipope Clement VII (recognized as Pope by the Church in France during the Western Schism), declaring that the shroud was a forgery and that a previous Bishop of Troyes, Henri de Poitiers, had identified the artist who had made it. The history of the shroud from the 15th century is well recorded. In 1453, Margaret de Charny deeded the Shroud to the House of Savoy. In 1532, the shroud suffered damage from a fire in a chapel of Chambéry, capital of Savoy, where it was stored. A drop of molten silver from the reliquary produced a symmetrically placed mark through the layers of the folded cloth. Poor Clare Nuns attempted to repair this damage with patches. In 1578, Emmanuel Philibert, Duke of Savoy ordered the cloth to be brought from Chambéry to Turin and it has remained at Turin ever since. Since the 17th century, the shroud has been displayed in the chapel built for that purpose by Guarino Guarini. Repairs were made to the shroud in 1694 by Sebastian Valfrè to improve the repairs of the Poor Clare nuns. Further repairs were made in 1868 by Princess Maria Clotilde of Savoy. The shroud remained the property of the House of Savoy until 1983, when it was bequeathed to the Holy See according to the terms of the will of former king Umberto II of Italy. The s.... Discover the Joan Carroll Cruz popular books. Find the top 100 most popular Joan Carroll Cruz books.