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Following Time's lead, we reported that although radiocarbon tests have dated the shroud to 1260-1390 A.
D., no one has been able to account for the shadowy image of a naked 6-foot-tall man that appears on the shroud.
With bloodstains on the back, wrists, feet, side and head the image appears to be that of a crucified man.
The details - the direction of the flow of blood from the wounds, the placement of the nails through the wrists rather than the palms - displays a knowledge of crucifixion that seems too accurate to have been that of a medieval artist.
Even if you choose not to have your activity tracked by third parties for advertising services, you will still see non-personalized ads on our site.This is the catch-22 that sindonologists fail to appreciate: For the shroud to be the shroud, it more or less has to look the way it looks.Furthermore, the shroud is in no way unique in appearance among its object type.The most characteristic form of acheiropoietos, however, is the holy cloth. Veronica stepped forward to wipe the sweat from Jesus' brow as he stumbled toward Calvary, and her towel already transformed into a relic through that holy contact miraculously retained the image of Jesus' face.Known as Veronica's Veil, the relic became one of the most famous acheiropoietai of the Middle Ages.* Another such cloth image (also generated by perspiration) was produced on the night of the betrayal, as Jesus prayed intently at Gethsemane.
Such objects first appeared during the sixth century, in the Holy Land; in Greek they are called acheiropoietai (singular, acheiropoietos), which means "not made by human hands." They are called this because they are (apparently) contact impressions of holy bodies.