Last week on Joe Rogan’s podcast, Mel Gibson defended the authenticity of the Shroud of Turin, bringing the Shroud into the public eye once again. He’s not the only one defending Christ’s burial cloth.
Dr. John Campbell, a prominent YouTube commentator on medical topics—especially on malpractice inherent in the Covid vaccination regime—recently changed course to present a compelling analysis of the evidence for Christ embedded in the Shroud of Turin. The Lord’s Passion, Death, and Resurrection are all documented in that linen cloth whose fabric embeds countless forensic clues detailing Christ’s Passion and whose ghostly image contains a wealth of 3D data encoded long before the birth of computer imaging.
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An Italian lawyer and amateur photographer named Secondo Pia was the first to photograph the Shroud. King Umberto I, who owned the holy relic, had granted permission to display it in Turin Cathedral’s 1898 Arte Sacra exhibition, and Pia was commissioned to photograph it.
Working during the lunch break, when the doors were closed to the public, Pia brought a portable generator into the cathedral, set up two electric bulbs, and—after an earlier, unsuccessful session—finally managed to get the right lighting on his second try, on May 28, 1898. Around midnight, Pia developed his photo, and, as he wrote some years later,
Closed in my darkroom, completely intent on my work, I felt a very profound emotion when, during the development, I saw appearing on the plate, first the Holy Face, with such clarity that I was astonished and at the same time happy, since from that moment I could have the certainty that my work would have a good outcome.
His camera had unveiled a detailed portrait of the Savior—the very face of Jesus plain to see on that glass plate—hidden in the Shroud since the moment of His Resurrection. Not a vague, ghostly image that required a medieval leap of faith to see the truth therein but a startling proof waiting two millennia to be revealed. Proof fit for a skeptical age, fit to close out a century that had followed hot on the French Revolution and had given birth to Marx and Engels. The ethereal stain on that linen had finally come alive as a striking portrait of the God-man once wrapped within it.
The face of God Incarnate, stark and real, His eyes closed in death. A spiritual weapon suddenly unveiled at the start of an apocalyptic age that would see the First World War; the Rape of Nanking; a Second World War stamped dead by two atomic infernos; the genocidal reigns of Hitler, Stalin, Mao Zedong, and Pol Pot; and now, here in the erstwhile Land of the Free, the mutilative “gender reassignment” of innocent children and the rampant slaughter of millions more in their mothers’ wombs in the name of “reproductive rights.”
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Meanwhile, as Western European countries find themselves swamped with invaders bent on demolishing the Christian civilizations they were built upon, here in America swarms of drones and seeming UFOs infest the skies in what looks like a futuristic PSYOP war—or even the start of Armageddon. How direly we need that spiritual weapon today.
In 1976, scientists at Sandia Laboratories in New Mexico put a 1931 photo of the Shroud into a VP-8 Image Analyzer. The VP-8 is an analog device originally intended for enhancing differences of grayscale in images such as x-rays and aerial photos of terrain, thus rendering their evaluation easier.
“When applied to normal photographs,” Shroud researcher Barrie Schwortz writes, “the result was a distorted and inaccurate image. However, when it was applied to the Shroud, the result was an accurate, topographic image showing the correct, natural relief characteristics of a human form.”
