The Turin Shroud Speech

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(-- removed HTML --) Perhaps one of the most famous religious relics in the world is the Turin Shroud. Measuring at thirteen-and-a-half feet long by four-and-a-half feet wide, the shroud depicts the image of a bearded man, said to be Jesus Christ. According to the legends, it was used to wrap the body of Christ after crucifixion by Joseph of Arimathea. The first appearance of the shroud in documented history came in 1357, in the little village of Lirey, France. It was then taken to Chambéry in 1457, where it was there in 1532 that the shroud was almost destroyed in a ferocious fire. The event left charred marks on the corner of the folds in the fabric, and in 1578 it was taken to Turin where it has since remained. The Catholic Church is thoroughly convinced that the shroud possesses a genuine physical record of Christ’s body, and the cloth is rarely shown to the public. (-- removed HTML --) (-- removed HTML --) Although, organized religion has not always been so accepting. Documents written by the Bishop of Troyes and Pope Clement VII from 1389 have been uncovered which note that the Bishop asked the Pontiff to publicly declare that the shroud was merely a painting. He stated that the image had actually been painted by an artists, but the priests in Lirey had started tricking the public into believed it was Christ’s authentic death shroud. The Pop bowed to the Bishop’s wishes, and declared that the shroud could keep being shown to the public, but each time it was, the local priest was forced to announce to the public that the relic only depicted a painted copy of Christ’s real shroud. (-- removed HTML --) (-- removed HTML --) Over the course of time such practices dwindled away, and the authenticity of the shroud was assumed. The earliest days of the age of science seemed to confirm this belief. During 1898, photographic experts revealed the image was a negative picture, and when seen in reverse tones, the outline showed a much more detailed view of the body. In subsequent years, Dr. Paul Vignon constructed a theory that such a phenomenon was caused by ammonia emanating from Christ’s dead body after his death. Vignon strongly believed the resulting image was beyond the ability of any forger, and must

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