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Remarkably, its negative image was found to be an altogether more lifelike portrait of the body and, especially, of the face.From the rather grotesque and murky facial imprint visible on the cloth, reversal of light and dark revealed a harmonious and properly proportioned visage.This text may be used and shared in accordance with the fair-use provisions of U. copyright law, and it may be archived and redistributed in electronic form, provided that this entire notice, including copyright information, is carried and provided that the University of Chicago Press is notified and no fee is charged for access.Archiving, redistribution or republication of this text on other terms, in any medium, requires both the consent of the authors and the University of Chicago Press.
Rigor mortis is seen in the stiffness of the extremities, the retraction of the thumbs (discussed below), and the distention of the feet.
Direct study and testing of the relic since 1900 have yielded a wealth of data, and in this paper I attempt to review and summarize the major empirical data and other relevant research.
Further, and unlike the authors of the most recent broad reviews on Shroud studies (e.g.
The image lacks the sharp outline and vivid color of a painting and is described as "melting away" as the viewer approaches the cloth.
Yet the consensus of skeptical opinion up to the 1930s (with a few surviving remnants today) was that the image was indeed a medieval painting of Jesus which had through time taken on the appearance of a truly ancient relic.