cerco il mio volto.
E' avvenuto in of completely random realize the image of a clean-up that occurred on a photo of the Shroud face, with the simple overlap on the same sheet of glossy paper. The photo was on my drawing board because, for some time, I meditated on that Face disconcerting and mysterious.
One afternoon, while I used the sheets of glossy paper for my work, a paper, incidentally, went on to write over the image. Noting that opaque sheet, which in a sense became sails, as I had an insight and from that day on I started to play with that play superimposing multiple sheets of glossy paper.
After several tests, to my great astonishment, I saw how those sheets act as a filter of light, causing the surface of the image as a dull ridristribuzione he could to wipe out stains and spots.
I found myself in front of an almost completely cleared reproduced with clear evidence that a young-looking face.
image obtained by photographing a picture of the Shroud face with about 15 sheets of glossy paper overlapping 
image obtained by photographing a picture of the Shroud face with about 15 sheets of glossy paper overlapping 
Image obtained photographing a picture of the Shroud face with about 15 sheets of glossy paper overlapping 
Image ottenuta fotografando una foto del Volto Sindonico con circa 15 fogli di carta lucida sovrapposti 
Immagine ottenuta fotografando una foto del Volto Sindonico con circa 15 fogli di carta lucida sovrapposti DOCUMENTI E STAMPA RIGUARDANTI LA RICERCA FOTOGRAFICA SUL VOLTO DELLA SACRA SINDONE
the shroud THE FACE OF OVIEDO AND THE FACE OF THE HOLY SHROUD OF TURIN
Among these scholars are: Prof. Baima Bollone, José Delfin Blanco VILLALAÍN el'ematologo Carlo Goldoni.
Prof. Baima Bollone has also promoted the DNA for comparison with the Shroud: it was found that the DNA of the blood of the two sheets has similar genetic profiles. Stimulated by these studies and having good photos that reproduce both the Face of the Face of the Shroud Shroud of Oviedo, I wanted to deepen the reflection on these two images: the first thing I noticed that the face of the Shroud of Oviedo has a certain dynamism in comparison alla staticità del Volto della Sindone, probabilmente per un’urgenza di realizzazione del primo; in secondo luogo ho preso in considerazione il punto “A” del mento e il punto “B” del lato destro della fronte che ritroviamo simili nei due volti. Alla luce di ciò, tratteggiando una linea fra i due punti sui due volti, ho notato che questi hanno la stessa distanza fra di loro e la linea ha la medesima inclinazione nelle due immagini. Ho proceduto sovrapponendo all’immagine del Volto della Sindone un’immagine del volto del Sudario di Oviedo, stampato su pellicola trasparente: il risultato ottenuto è che i due punti (A-B) di un’immagine si vanno a sovrapporre in modo preciso ai due punti (A e B) dell’altra immagine.
Ho notato che diverse cose combaciano nei due volti:
1) I baffi, la barba e le guance si sovrappongono perfettamente. La barba del volto del Sudario di Oviedo è più ampia di quella del Volto della Sindone, perché nel volto del Sudario di Oviedo è rimasta impressa anche la parte di barba che si trova al di sotto del mento.
2) Il naso, nel volto del Sudario di Oviedo, è stato come schiacciato all’in su, forse per una pressione esercitata dalla mano nel momento del contatto fra il telo e il volto; mi chiedo se l’impronta sia stata realizzata while Jesus was still on the cross.
3) On the front of the two faces we see a different trajectory of the rivulets of blood, which could be explained by assuming that the imprint of the Shroud of Oviedo has been performed first for the face, not yet clear, had all the streams of blood procured by the thorns that were stuck at the top of the forehead.
After thorough research into the possible similarities in the two faces, I had the strong feeling that the facial image of the Shroud of Oviedo and the Shroud of Turin that belonged to the same face.
Catherine on Mount Sinai
AND Shroud face
N el vast field of research on the Shroud, many theories have been made and this report could add another one.
If we analyze the similar characteristics between the icon the monastery of St. Catherine on Mount Sinai, depicting the face of Jesus, dating from the sixth century. AD, and his face imprinted on the Shroud, you can probably reach the conclusion that the artist icon in the moment of making the same, he looked at the image of the Holy Shroud.
I started my research to create a pattern traced on transparent film that depicts the essential features of the portrait of Jesus
this design overlaying the image of the same size as the Shroud Face , one has the feeling of being before extraordinary similarity of the two images.
1) In the painting, the shape of the central part of the face, which goes to the hair and beard, adheres precisely the contours of the central impression of the Shroud face.
2) The shape of the nose broken, with its shadow on the right side of the nose sits perfectly Footprint Shroud image.
3) The different shape of eyebrows is similar footprint of the left eyebrow of the Shroud face (round) and that of the right eyebrow, shaped a bit ' longer move.
4) dashed orbits of the eyes, overlap exactly with those impressions of the eyes of the Shroud face. It 'should monitor carefully the right eye socket, wider than the left: it corresponds to swelling of the hematoma in the right eye of the Shroud face.
5) The dotted lines of the mouth and mustache, with its shadows, overlap perfectly in the same area of \u200b\u200bthe Shroud face. E 'to notice the shadow that the artist has painted under the lower lip, which are found in the form of footprint at the same point of the Shroud face. It 'also important to highlight the inequality of the right whisker from the left: even we find this particular impression of the Shroud face whiskers, in which the imprint of the whisker side left is larger than the right whisker.
6) There are two characteristics do not overlap, since overturned in the painting of the Holy Face: the hair, which are back on the left side, while falling forward on the right side of the painting and beard, to which the painting is slightly curved to the right side of the chin, while on the Shroud face is slightly curved to the left side. This tilting Shroud face than could be explained by a need in the time of the artist's portrait.
7) E'straordinaria the width of the neck, similar in the two images.
8) A close look at the two images hint at the same smile.
If all the elements identified in this report were considered real, as they probably are, the report could constitute a good contrast with respect to the dating of the Shroud.
Scientists, using the method of C.14, date the Shroud cloth between 1260 and 1390 AD, while the icon of the monastery of St. Catherine, who represents the face of Jesus, was painted in the sixth century. AD, some 800 years before the date of C.14.
The painter, to create an image that would as closely as possible to the real features the face of Jesus, could have painted the icon in front of his face having imprinted on the Holy Shroud.
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A close look at the two images hint at the same smile. THE BASILICA OF SANTA MARIA Collemaggio and The Holy Shroud.
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