Lie on your back on a hard surface (such as the floor) as the figure is in the image, and just try to cover your privates with your hands. I am a person of average proportions and I had to stretch my arms with some effort to be able to barely cover them. Yet the figure in the shroud image seems to be accomplishing this with relaxed ease. The arms don’t appear to be stretched out at all.
Now just relax your arms to the floor, like a corpse, and see where your relaxed hands cross on your body. For me, they don’t cross at all. My fingertips barely cross around my navel – well above the private area. To be able to cross them at all in this position, I have to lift my arms somewhat off the floor, and they still to not reach the private area with any degree of relaxation. And no one is more relaxed than a corpse.
[ . . . ]
So just through observation and simple experimentation, I have to surmise that the Shroud of Turin is not an image miraculously created by the body of a crucified man, but an image painted by an artist who wanted to protect the modesty of his subject.
It amazes me how so many people come up with different ideas to disprove the shroud’s authenticity as though no one among the hundreds of researchers over the past century of study had never considered the idea before. But they have as this simple solution by Isabel Piczak, a noted artists and shroud researcher, demonstrates. She carefully plotted the position of the body from detailed measurements taken from the shroud. She then proved it with a life model.
