{"id":1273,"date":"2025-09-11T13:30:40","date_gmt":"2025-09-11T20:30:40","guid":{"rendered":"https:\/\/othonia.org\/?page_id=1273"},"modified":"2026-09-29T13:58:46","modified_gmt":"2026-09-29T20:58:46","slug":"guida-allhosting-di-othonia","status":"publish","type":"page","link":"https:\/\/othonia.org\/it\/about\/othonia-hosting-guide\/","title":{"rendered":"Guida all'hosting di Othonia"},"content":{"rendered":"\t\t
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HOME |<\/span> ABOUT |<\/span> OTHONIA HOSTING GUIDE<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Othonia \nHosting Guide<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Thank you for your ‘yes’ to making Jesus known through the science, history, and mystery of the Shroud of Turin. Our mission is to educate, inspire, and unite people around the historical, scientific, and spiritual significance of the Shroud.<\/p>

Below is a simple checklist to guide you before, during, and after hosting an Othonia exhibit or speaking event.<\/p>

\"\u2705\" BEFORE HOSTING<\/h4>

1. Click here<\/a> to get our free Media Kit: flyers, posters, bulletin ads, and social media posts for the exhibit, a speaker, or both.<\/p>

2. Click here<\/a> to download a press release and announcement templates you can customize and send to local media outlets.<\/p>

\"\ud83d\udcdd\" BEFORE THE EXHIBIT<\/h4>

1. Please have attendees sign in by filling out the online form: https:\/\/othonia.org\/about\/event-registration\/<\/a><\/p>

\"\ud83c\udfa5\" DURING THE EXHIBIT<\/h4>

1. We recommend playing the following video on loop at the entrance of the exhibit: https:\/\/youtu.be\/yBogpW1gD6Y<\/a><\/p>

2. Point visitors to the audio guide<\/a> so they can follow along on their own phones, in their own language.<\/p>

3. At the end remind people that if they are interested in learning more about the Shroud they can follow us @Othoniainc and if they have any questions they can email us at contact@othonia.com<\/a><\/p>

\"\ud83d\udce3\" AFTER HOSTING THE EXHIBIT<\/h4>

\u2022 Please tag and collaborate with @othoniainc<\/b> on all social media platforms (Facebook, Twitter\/X, Instagram, and TikTok) when posting content from your event to share any media coverage or significant highlights<\/p>

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Have questions? Reach out any time at contact@othonia.com<\/a><\/p>

\"\ud83d\udcc1\" MEDIA KIT & DOWNLOADS<\/h4>

Everything below is public and needs no login. Download it, customize it, and use it.<\/p>

For promoting your event<\/strong>
Marketing Kit<\/a> — flyers, posters, bulletin announcements, and ready-to-post social graphics.
Press Kit<\/a> — the Othonia press release plus customizable templates for local media outlets.
Introductory video<\/a> — play it at the entrance, or use it in your own promotion.<\/p>

For running the exhibit<\/strong>
Shroud Ambassador Exhibit Guide<\/a>
Things to Avoid or Be Wary of in Shroud Presentations<\/a>
Recommended stand for the full-size Shroud replica<\/a><\/p>

For speakers and partners<\/strong>
Othonia Brand Guidelines<\/a>
Presenters Package Flyer<\/a><\/p>

\"\ud83c\udfa7\" AUDIO GUIDE<\/h4>

Visitors can follow the exhibit on their own phones, panel by panel, in their choice of language. It is free and needs no app. Send them to othonia.org\/experience\/exhibit\/guide\/<\/a>, or post the QR code at the entrance.<\/p>

\"\u2753\" FREQUENTLY ASKED QUESTIONS<\/h4>

The questions visitors and reporters raise most often, with the evidence behind each answer. Read these before you host.<\/p>

The image<\/strong><\/p>

Is the Shroud of Turin a medieval painting?<\/summary>

No. STURP’s analysis found no paint, pigment, binder, or brush strokes<\/strong> responsible for the image. The image resides only on the top surface of the fibers and lacks directionality or penetration — unlike any known painting technique.<\/p>

Furthermore, the image behaves like a light-reversed photographic negative, which wasn’t discovered until it was photographed in 1898. No known medieval artist had the knowledge or technology to create such an effect.<\/p><\/div><\/details>

Why is the image not considered a painting?<\/summary>

STURP found no evidence of pigments, dyes, or brushstrokes<\/strong>. The image is only on the outermost fibrils of the linen and cannot be replicated by any known painting method.<\/p><\/div><\/details>

Could the image be a scorch from a heated statue?<\/summary>

No. STURP found that scorches fluoresce under UV light, whereas the Shroud’s image does not. The image also lacks the thermal degradation seen in actual scorches, and high heat would damage linen in ways not observed on the cloth.<\/p><\/div><\/details>

Did Leonardo da Vinci create the Shroud as an early photograph?<\/summary>

No. The claim is chronologically impossible — the Shroud was documented in France by 1357<\/strong>, nearly 100 years before da Vinci’s birth in 1452. No technology then existing could create the Shroud’s image features.<\/p><\/div><\/details>

What about claims it was created by rubbing iron oxide onto the cloth?<\/summary>

This theory was tested and rejected. Attempts to recreate the image this way left visible particles and no image resolution<\/strong>, unlike the actual Shroud, which contains only trace iron and no pigment clusters.<\/p><\/div><\/details>

What makes the Shroud image unique? What are its 3D properties?<\/summary>

Image intensity correlates with cloth-to-body distance, a fact revealed by NASA’s VP8 image analyzer. No painting or photography, modern or ancient, reproduces this spatial information.<\/p><\/div><\/details>

What else is notable about the image?<\/summary>

There is anatomical accuracy in the image.<\/strong> Correct proportions, realistic blood flow patterns, and forensic accuracy — wrist wounds, not palms — consistent with actual crucifixion trauma.<\/p>

Scientific analysis shows the image is non-directional and lacks any surface distortion, which rules out brushes, rollers, or rubbing. It is more like a photochemical or radiation process, though still unexplained.<\/p>

The image is confined to the top 1–2 microns of the outer fibrils<\/strong>, suggesting a non-contact, low-mass, high-energy event — unlike any ink, dye, or paint.<\/p>

Many have tried to re-create the Shroud, but none<\/strong> have produced an image with the same physical, chemical, 3D, and superficial properties. STURP scientists concluded that it cannot be duplicated by any known method<\/strong>.<\/p><\/div><\/details>

Is the image a photograph or proto-photograph?<\/summary>

No. The image lacks lens distortion and any photographic emulsion or chemicals. Claims of medieval photography are unsupported and anachronistic.<\/p><\/div><\/details>

Was the image formed by body contact?<\/summary>

No. The image intensity varies with distance from the cloth, indicating it is not a contact image<\/strong>. Bloodstains, however, are contact transfers.<\/p><\/div><\/details>

Could radiation have caused the image?<\/summary>

STURP did not test for radiation directly. Some researchers have hypothesized that the image may result from a short burst of ultraviolet light or radiation<\/strong>, and some physicists suggest a burst of radiation could account for image features. This idea remains speculative and unproven, and is still under investigation.<\/p><\/div><\/details>

The 1988 carbon dating<\/strong><\/p>

What did the 1988 radiocarbon dating test show?<\/summary>

It concluded the Shroud dated between 1260–1390 AD, suggesting it was medieval. However, this result is now widely disputed because the sample tested was later shown to come from a rewoven and contaminated corner<\/strong> of the cloth.<\/p><\/div><\/details>

What proves the carbon dating sample was anomalous?<\/summary>

In 2005, chemist Raymond Rogers published research in Thermochimica Acta<\/em> showing that the sample included cotton fibers, gum arabic, and red dye<\/strong> — none of which exist elsewhere on the Shroud. His findings were confirmed by independent materials scientist John Brown.<\/p>

Additionally, there was evidence of reweaving where the carbon sample was taken. Multiple textile experts, consulted by Benford and Marino, identified the weave as consistent with French invisible reweaving<\/strong>, a technique known from 15th-century France — where the Shroud was located at the time.<\/p><\/div><\/details>

Was the 1988 carbon dating conducted properly?<\/summary>

No. Labs violated protocol<\/strong> by not conducting the required chemical analyses beforehand. They tested only one site — contrary to best scientific practice — which turned out to be anomalous.<\/p><\/div><\/details>

What do UV and chemical studies show about the dated area?<\/summary>

UV fluorescence and chemical imaging, by NASA’s Jet Propulsion Lab, revealed that the carbon-dated corner chemically differs<\/strong> from the rest of the cloth, further confirming it was not representative.<\/p><\/div><\/details>

Why hasn’t more testing been done since STURP?<\/summary>

Political, religious, and logistical barriers — especially after the 1988 dating — have prevented new direct examinations. No full access has been granted since 1978.<\/p><\/div><\/details>

Blood and forensics<\/strong><\/p>

Was the blood on the Shroud added after the image?<\/summary>

No. STURP found that blood stains underlie<\/strong> the body image, meaning they were deposited before<\/strong> image formation. This sequence contradicts all artistic forgery theories.<\/p><\/div><\/details>

Is the blood real? Can we extract the DNA of the Man of the Shroud?<\/summary>

Yes, the blood is real. Forensic tests confirmed the presence of human hemoglobin<\/strong>, serum rings, and blood clot separation<\/strong>, which are consistent with real, post-mortem blood from wounds.<\/p>

While there is DNA on the Shroud, much of it likely came from centuries of handling<\/strong>, making it difficult to identify the original subject’s DNA with certainty.<\/p><\/div><\/details>

Is the image consistent with Jewish burial customs?<\/summary>

Yes. The Shroud matches 1st-century Jewish burial practices: a single linen sheet, absence of body washing due to violent death, and inclusion of a head wrapping, like the Sudarium of Oviedo.<\/p><\/div><\/details>

What does the Sudarium of Oviedo have to do with the Shroud?<\/summary>

The bloodstains on the Sudarium — a separate cloth — match those on the Shroud<\/strong> in type, pattern, and placement, suggesting they covered the same individual.<\/p><\/div><\/details>

History and provenance<\/strong><\/p>

Was pollen found on the Shroud?<\/summary>

Yes. Swiss criminologist Max Frei identified pollen grains from Israel, Turkey, and France<\/strong>, suggesting the Shroud traveled through those regions — consistent with a Jerusalem origin and known historical path.<\/p><\/div><\/details>

Why don’t we have a clear historical trail before the 14th century?<\/summary>

The trail is partial but plausible. Depictions like the “Image of Edessa” and early texts suggest the Shroud may have been hidden or misidentified in early centuries.<\/p><\/div><\/details>

What is the Image of Edessa?<\/summary>

An ancient relic described as a cloth bearing Christ’s face, folded in a way that the full body wasn’t visible. Some scholars believe it was the Shroud<\/strong>, folded into a rectangle.<\/p><\/div><\/details>

Fires and restoration<\/strong><\/p>

Tell us about the fires.<\/summary>

The Shroud survived at least two documented fires<\/strong> — in 1532 at Chambéry and 1997 in Turin. The 1532 fire left burn marks and water stains; the 1997 fire damaged the chapel, but the Shroud was saved by a firefighter.<\/p><\/div><\/details>

What are the L-shaped burn holes?<\/summary>

These older holes are a mystery. They predate known fires, and some speculate they may match ancient documents or depictions of the Shroud, suggesting it was venerated even earlier.<\/p><\/div><\/details>

What happened during the 2002 restoration?<\/summary>

The 30 fire patches and the Holland backing cloth were removed and replaced. Burned material was scraped off and vacuumed, altering image contrast and possibly damaging historical integrity.<\/p>

The restoration was conducted in secrecy<\/strong>, without input from the international scientific community. Some researchers believe it compromised valuable data and introduced modern contamination.<\/p><\/div><\/details>

Did the restoration affect future research?<\/summary>

Likely yes. Removing the backing and patches altered the cloth’s appearance and potentially destroyed microscopic evidence. No chemical testing was done on the new backing cloth, raising concerns about long-term effects.<\/p><\/div><\/details>

The Church<\/strong><\/p>

What does the Catholic Church say about the Shroud?<\/summary>

The Catholic Church regards the Shroud of Turin as an important object of veneration and reflection, though it has not officially declared it to be the authentic burial cloth of Jesus Christ. The Church acknowledges the ongoing scientific investigation into the Shroud’s origins and properties, entrusting scientists with the task of finding satisfactory answers to questions surrounding it.<\/p>

Popes have consistently recognized the Shroud’s significance as a powerful image that points to the Passion and death of Jesus, inviting believers to deeper contemplation and conversion. Pope Julius II approved an Office and Mass de Sancta Sindone<\/em> (of the Holy Shroud) in 1506, referring to it as “that most famous Shroud in which our Savior was wrapped when he lay in the tomb”.<\/p><\/div><\/details>

\"\ud83d\udcd6\" SHROUD 101<\/h4>

The background reading behind the answers above — the Shroud’s history, the science, and what remains genuinely unresolved: Shroud 101<\/a><\/p>

Also useful: the Did You Know?<\/em> curriculum<\/a> and recommended books<\/a>.<\/p>

\"\ud83d\udd4a\" JOIN SAGE<\/h4>

The Shroud Apostolate Group English is an ecumenical community of men and women called to bear Christian witness to the Gospel through the Shroud. Members receive regional meeting notices, volunteer opportunities, and ongoing formation. If hosting has left you wanting to go further, this is the next step: Join the SAGE community<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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