This article is about a painter, Roger Basset, who paints images of Christ using the shroud of Turin as something to base Christ's appearance on because he believes this image is a "snapshot of the resurrection". The shroud of Turin is a 14-foot-3-inch by 3-foot-7-inch linen cloth, which contains the imprint of a man that looks as if he has been crucified. Many people believe that this shroud was in fact Christ's burial cloth. Besset first learned of this cloth himself when he was 21, and was skeptical until he studied the image for three days. He then believed that the cloth was truly the burial cloth of Christ and bears an imprinted image of the last look on his face. He also believes that this image was created from some sort of radioactive force. He is quoted as s
aying "The image appeared much more like a laser photograph than a painting done by a medieval forger". Some scientist conclude that it is simply a painting, due to it containing traces of iron oxide, while others like Basset believe this image was created by some sort of radiation. Basset himself countered the statement that it was a painting due to the iron oxide tracings by saying, "Iron oxide does not make up the image on the cloth, there's all sorts of debris on the cloth, blood, water marks, scorch marks, but what constitutes the body image is a conjugated carbonate, not iron oxide, not pigments, not dyes". Basset is using this image to create many paintings, two dozen to date ranging from two by three feet to twelve by six feet, to depict Christ because he feels that it is the most ac
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