T26-40 to 51
Title of letter: How the Turin Sindon fraud was perpetrated.
Date: 11/11/1988
To: Mr. Jorge Barrenechea
Original language: Spanish
Notes : 1 letter of 11 pages.
N of copies : N
Id : SPANISH
Distinguished OEMII
We are of foreign origin. We arrived on OYAGAA at a point located in La Javie (FRANCE) around March 28, 1950.
We know with certainty that this simple presentation is sufficient for the content of this message to be automatically depreciated. No doubt you will think that the signatories of this letter are mentally unbalanced or perhaps a few jokers, or that they are hiding behind this strange identity for very murky reasons.
We therefore beg you to forget this unpleasant preamble and identify us as citizens of this country who fervently wish to contact you and make a very serious denunciation.
We know that such a murky affair must be treated with the utmost reserve, when the signatories are complete strangers, with no more guarantee than an anonymous letter and no more proof than the camouflage of an alleged identity inadmissible to sensible minds such as yours.
That's why we invite you to read all the way to the end and judge accordingly. No doubt you're wondering why we decided to write this typed data matrix. We are saddened by the gigantic fraud committed. Because it concerns a singular man whom we identify as an UMMOWOA. A biological rarity in your possible taxonomic classification who would be identified as the sole representative of a different species, of course distinct from that of "Homo sapiens sapiens".
Around his image, he promoted a gigantic social movement called Christianity under different denominations, this is an indisputable reality that we all strive to respect even if we don't share your beliefs. We believe, however, that the faith shown by so many millions of OEMMIs sufficiently expresses the importance we attach to this sociological event. Apart from the biological importance we concede to the emergence of OMMIWOA in the evolution of species.
Indeed, human genotype data differs in kind from that of the begotten OMMIWOA, and this modification is not the fruit of divine intervention, as you believe, among other reasons because WOA's essence is radically different from that imagined by Earth theologians.
The emergence of this OMMIWOA was governed by the laws of chance, although its intrinsic rarity has made it more precious in the eyes of researchers and an obligatory case study for those closely interested in these specific problems.
This gestation took place on most of the evolved cold stars we visited. And in all of them we observed, with genuine curiosity, superstitious expectation and scientific rigor, that the scientific level of these civilizations was very high (but there are cases where an UMMOWOA did not appear despite an advanced level of technological development).
Yet the new phenotype has very subtle characteristics that OYIIA 64 was able to discover, powerfully increasing the subject's capacity for consciousness and consequently his freedom of free will, reaching the limit allowed by the evolution of species. This is an impressive phenomenon that calls into question all the physics you know.
Although in other messages to your brothers in Canada, France, Spain, Australia and the Soviet Union, we have clarified this question, we prefer to point out that this explains why a sociological movement has developed around this image, which cannot be compared to any other religious manifestation.
This is a necessary preamble to the theme we are about to address: a serious denunciation. In absolute terms, please understand that our sadness has been induced by religious motives which, while highly respectable, have nothing in common with the ethical reason for our indignation. The seriousness of the matter is well appreciated if you judge that this forgery delays the historical solution of a major problem by several years, and diminishes the possibility of shedding light on a cosmological enigma.
Let's take a look at the background to the imposture we are commenting on. This will help you understand the attitude towards Sindon, and shed light on the genesis of the fraud.
Let's recapitulate in detail the vicissitudes this fabric underwent up to 1929, when the substitution took place. The seriousness of the deed is obvious when we consider that the Sindon is a priceless document proving the existence of Jossuah (JESUS as we call him in the rest of this data matrix). No other piece of evidence of this event has been found, and the other relics preserved are the product of fraud or misinterpretation of the facts. The oldest preserved relic dates from the 2nd century, and many others date from the 8th to 14th centuries.
The cloth wrapping Jesus' body was impregnated with products, including aloe vera, to soothe his wounds, which are irrefutable proof of the later imprint. The cloth was kept secretly by one of his disciples, an agricultural worker named Semah or Semahel, who witnessed with others the event of ENNESIBIAEEOO (an instant characterized by a level of consciousness provoked by a dysthymic or emotional frame that damages the limbic system and causes the disappearance of an ommiwoa's body into another universe). It's understandable that such a marvellous event should arouse the fervour of a people inclined to the marvellous and to give a magical meaning to what they don't understand.
The Sindon was initially kept by Esteban, and after his assassination, passed into hands unknown even to us, only to reappear in those of Proclus in the 3rd century, until the Persians captured the city of Edesa. In the end, the Templars saved it, its secret was revealed with great discretion to King BAUDOIN II and remained hidden until it was recovered by you in the form already disclosed.
Surprising your credulity, when following the realization of the fraud we are about to comment on, the tabloid press brought out Pierre d'Arcis' naive 1389 report attesting that "the Sindon was a fake" made up of a painting of the features said to be observed on the canvas print. The good faith of the Bishop of Troyes does not invalidate the authenticity recognized both by pilgrims and by simple modern OYAGAA techniques (star, cold, Earth).
It's astonishing to see the foolishness of journalists who put forward such absurd arguments today, without doing the slightest bit of research. An assessment that would have been explicable in the 14th century with rudimentary expertise, but an absurd result in 1988.
In 1898, Secondo Pia accomplished the difficult task of photographing the sindon using electric light. The owner at the time was the future King of Italy, Victor Emmanuel III.
Your brother Secondo Pia made a great discovery when he produced 50 x 60 cm negatives on orthochromatic plates. When printed in the laboratory, both plates revealed a normal image with a beautiful expression. His discovery was impressive, and the news soon reached the ears of the Vatican hierarchy.
The members of the Curia were surprised; until then it had been considered a fake and therefore devalued, and they demanded exhaustive information. It was precisely your biologist brother Paul Vignon who discovered the mysterious effect on tissue. Ammonia vapors react with aloe (don't forget that OEMMIWOA WAS BADIGGED WITH ALOE AS A CURATIVE ONGUENT), producing a yellow color and a certain degree of viscosity that stained the tissue.
It was Dr. Vignon who warned the few responsible when the grandiose discovery was made! The "corpse's" blood was "fresh"! Yves Delage and other biologists took it in turns to confirm his thesis. How could it not be taken into account? Barbet was equally astonished. Clotted blood doesn't leave any lasting traces, and specialists know this. What's more, there are no bandage marks on the corpse corresponding to a corpse, a point that has been "forgotten".
An operation was then set in motion to "eliminate" evidence, with the secret intention of "uncovering the fraud" should the case be made public. This is a very serious decision. The presence of blood DISMONDS AT A GLANCE THE PREMISES THAT FOUND CATHOLICISM (non-coagulated blood).
We must insist: the hypothesis of Dr. Vignon (Doctor of Natural Sciences) is correct (Vaporography), together with that of Dr. René Colson (Physician, member of the Paris Academy of Sciences). This is what all the experts have been attesting since Cardinal Louis Gorrevad examined it thoroughly in 1532 and came to the same conclusion.
They are undoubtedly the discoverers of the proofs of the authenticity of Josuha's print, and it is necessary to express this with admiration, before the Sindon was changed in the course of this execrable imposture.
A few cardinals knew about it. Fewer than fourteen were aware of the affair. It was not known at the time that the painting could be dated with such precision, and the only thing that could be done was to remove the liquid blood stains. In addition, it was claimed that the marks left by a missing bandage could be added by falsifying the print, and we can already see that the result was quite different.
A 17th-century canvas was used, and the imprint was falsified by means of a wood carving carefully treated with aromatic substances. Next, a 14cm strip of canvas was used to add bands and bandages.
The final canvas is photographed on plates similar to those obtained by Pia. The result was profoundly coarser than the authentic print. The superimposed images barely coincide, and color nuances are not possible without the addition of products that an expert would be able to unmask. Unfortunately, the appearance of the bandage marks reveals the deception in full.
We weren't on earth at the time, and from here we can see serious gaps in the living account of events. We don't even know the exact date
of the events that took place between 1911 and 1916; there seems to have been another attempt in June 1918. Shortly before, Cardinal Gotti, Prefect of the Work of Faith Programming, and the future Cardinal of Baltimore (USA), Monsignor Gibbons, agreed in 1911 to conceal from Pius X and his successor (Benedict XV) the scandal implied by the permutation.
The scandal, which arose from the discovery of the flow of blood evidenced by the holy sheet, is incomprehensible. At the time, it was taken for granted that this evidence belied death by crucifixion. Yet you yourselves have verified that, in certain circumstances (wound of the great vessels, albeit after death), the flow was possible. In any case, it was difficult to explain the flow of other wounds by hypostasis (the wounded man was laid on a bed inclined at about 28 degrees). As fibrinolysis could not explain the current state of the false Sindon, it is understandable that an artifice had to be used to circumvent a fact that was incomprehensible.
The second attempt was made using an almost identical fabric from the mid-19th century. We also used a wood carving close to the precise projection of the primitive sindon. Beforehand, the canvas was sensitized with silver bromide, which later washed away. The print was also obtained by impregnation and vaporization, carefully reproducing the figure obtained on the Secondo Pia print and the contrast of the original fabric. The burns on the two central lines and the exact reproduction of the seams were skilfully reproduced. The various tonal shifts required meticulous treatment, and traces of the bandages, which do not appear on the original and are therefore suspect, were definitively removed.
The finished forgery was submitted to a small commission, which, despite the perfection achieved, agreed to reject it. A chemical shift had occurred in the short space of time that made the deception obvious.
For the next two proofs (the first from 1920 to 1922 and the second in 1926), we know that the technique was changed, using a superheated metal form. Unfortunately, both shrouds were destroyed. Because of a drop in heat, the comparison with the ancient Sindon did not hold up. It has been possible to reconstruct the procedure followed in making the forgery.
Finally, the definitive apocrypha was completed in November 1927; let's look at the facts. It was the time of Mussolini, and relations with the dictator were a little delicate. In 1924, two types of fabric were found in Jaffa (Palestine) and Nantes (France). The first: two pieces of 4.6 and 5.0 meters respectively, dating from the 16th century, although in reality we know that the fabric was much older, from 1220, in the form of a type 4 twill with a structure named by you as "Fishbone", with a very irregular gauge of 10.2 for the weft and 3.3 for the warp (the gauge is given in Na from Great Britain).
The values are significantly different from those of genuine Sindon (now concealed), whose values are : 8.3 weft and 4.2 warp; in both cases, the direction of twist is the same. The serge obtained in France was rejected because the dimensions of this piece were not valid: 3.7 x 2.1 meters are not sufficient for the project.
The final fraud operation. Processing of the canvas, as we now know, began in Novara (Italy) in March 1927. A carefully hollowed-out, shell-shaped iron statue is used. Inside, a series of electrical resistors, each regulated by a rheostat on a large marble panel (outside), and a number of other cranks. The man-sized statue was placed in dorsal recumbency with a circuit artificially cooled by an internal circulation of cold water.
The canvas is covered with another sheet of silk sensitized with gelatin and silver iodide, already revealed with the Secondo Pia original, and covers the shroud with the effigy. The temperature of the effigy ranged from an average of 248° to a maximum of 410°.
A cloth impression was obtained, which was heated for several months by means of an electrical resistance plate. Under the direction of Giovanni Coccioli, great care was taken to ensure that bloodstains did not impregnate the tissue. It was not possible to obtain a diluted carmine color shift like that left by liquid blood. Care was taken to draw two coins over the eyes (which do not appear on the original authentic sindon), replacing the bandages.
Restoration to perfect the image lasted some time, as mentioned above. The final touch-up involved gentle rubbing and washing of just one part of the sheet with diluted sweat. Other areas were washed with solutions of varying concentrations of sulfuric acid in water.
This multiplicity of techniques has bewildered today's specialists, as technicians strive to establish a single mode of explanation for the process of obtaining the imprint. We congratulate the few and little-known men who guessed: Dr. Casselli, Geofferey Ashe, Rev. Busnelli, Dr. Rogers and above all Dr. Vittorio Delfino Pesce, who first reported in 1987 that the holy cloth had been forged using a metal bas-relief heated to 230°.
The high temperature of the Chambéry fire gave the authentic Sindon a brown, sepia-toned coloration, which can be explained by the fact that the high temperature caused the linen cellulose to distill and diffuse into the affected area.
The falsification of the traces produced by the fire was done with great skill. Cloths similar to those used by the Poor Clares during the unfortunate event were available.
This falsification was made possible by the rudimentary reproduction technique used by Secondo Pia. It was impossible for a layman to see the difference.
In November 1927, Cardinal Gasparri and another cardinal not identified by us gave their approval to the painting. The secret commission decided to inform Pius XI, but the latter failed to consider that the Pontiff would not refuse the fraudulent exchange. Finally, at the beginning of 1929, the Sindon was secretly exchanged behind the back of the House of Savoy, which owned the relic.
The original was kept in the Cardinal's residence in Turin, while the fake was locked away on the Bertola altar.
In 1931, Giuseppe Enrie's proof was anxiously awaited, but no difference was detected. The deception had succeeded.
Those in charge had no idea that the Sindon analysis would be so clear-cut. Pierre Barbet could not have imagined that it would be so successful. It is assumed that the fingerprint will be regarded as a by-product of vaporization and the bloodstain as a mark of blood coagulation.
Then the STURP (Shroud of Turin Research Project), enthusiastically embarked on the study.
The scientists begin the study, unaware of what has been forged behind their backs. In 1973, Dr. Max Frei used palynology to reveal the presence of pollen samples in the Sindon.
This confirms that it was impossible in the Middle Ages to reproduce the true image of the Passion with the zero anatomical-physiological knowledge of the time.
Yet there are serious doubts: Langton Fox, for example, believes that it is impossible to separate a single blood clot from a piece of cloth without damaging the impression left by the blood liquor.
Moreover, Dr. Walter Mac Crone (1980) warns of the discovery of iron (oxide of) in the micro-fibrils of the face, all of which fills honest investigators with embarrassment at not suspecting the maneuver.
Nasa's examination of the Sindon is conclusive. The print is digitized in three dimensions at each point; that is, each point of the image is represented by two coordinates representing position (x,y) and the ordinate represents tone or coloration, so that the whole materializes the image. Examination of the VP-8 finally determines the three-dimensionality of the image, demonstrating that the figure has not been painted and is the reflection of traces left by an unknown "radiation".
If the traces are neither biological, nor the product of corrosion, perhaps by sulphuric acid, nor the effect of friction, since it's not difficult to find residues of matter between the fine fabric fibres, what can be the nature of the image left by the body? Let's suppose that the men of Ummo are not like you, and are not ignorant of the fraud so masterfully performed.
Suppose they came to the conclusion that the imprint left on the Sindon was not due to natural causes, and refused to accept the idea that it was produced by the presence of a superheated body such as a semi-glowing metal statue. But we are certain that the Holy Sheet dates from before 1453. Could it not have been at this time that the figure of Jossuah (Jesus) was counterfeited by means of a superheated statue, which would explain the mystery? But the effigy was accompanied by knowledge of medical pathology unbelievable for the time. On the other hand, radiocarbon dating (14C) corroborates the suspicion.
Assuming there is no dating, or that it is equivocal, we can only assume that a radiating body imprinted its trace on the sindon, reproducing an imprint of an identical photograph.
You yourselves would discover the fraud without any help from us at all. Forget our origin and assume that we are liars or mentally ill with a systematic delusion of extraterrestrial origin, or a group of jokers...
1. tests carried out in Zurich, Oxford and Zurich using accelerated mass spectrometry have given a definitive result by Carbon-14 dating. It cannot be claimed, following ill-informed correspondents, that foreign bodies of the carbonic type altered the result. The fragments were carefully washed before determination, and the rigor with which the examination was carried out leaves no room for doubt. Nor can we speculate on imaginary radiation having disturbed the sample. If this were the case, the radiocarbon would tend to increase its value and the result would date the fabric to pre-Jesus times. Why deny the value of the scientific
opinion of carbon 14 and accept the conclusions that suit you?
2. If the 1988 determinations are certain, the conclusion is that someone in the 15th century falsified the print.
3. And this "someone medieval" had prodigious forensic knowledge to:
- To obtain a perfect photographic negative when photo technique was unknown;
- To obtain a correct three-dimensional image before Nasa's 20th-century analysis;
- How the crown of thorns actually began;
- To know the exact point of the crucifixion in the space named by you from Desdot, whereas in those days painters represented the nailing in the supplicant's palm;
- Know the exact marks of torture;
- How could you have dared to paint a naked Jesus at a time when modesty forbade such representations?
- How could you counterfeit a semi-glowing 20th-century image with such precision and erudite knowledge?
Question and study the case thoroughly and you'll come to understand, even though you despise us as anonymous whistle-blowers.
The ending is very bitter, and was concluded in October 1988. Cardinal Erdw. Cassidy dared to inform a Pope, in this case John Paul II, for the first time. He immediately convened a very small group of cardinals who learned of the fraud.
Cardinal Tomko was in favor of telling the truth, since it would not be possible to change the Sindon. John Paul timidly supported his position, while Cardinal Ratzinguer was firmly opposed, citing the most serious reasons for the scandal.
Moreover, the reasons that had provoked the imposture remained: the discovery that there had been no death on the cross. This was a very serious motive, and the decision had to be taken to lock up the scandal, since its disclosure would trigger it immediately, unlike in similar circumstances. Cardinal Ballestrero was commissioned to deliver a sample of the tissue to the laboratories.
ATTENTION
At the time of the events leading up to the Sindon changeover, we were not yet on OYAGAA. Painstaking reconstruction work patiently assembled the pieces into a sufficiently consistent structure.
Fortunately, we were able to obtain many details of the fraud committed. Many witnesses died without testifying to the crucial facts of the hoax. They will forgive us for the compulsory omissions. These witnesses who transcribed the facts were spotted beforehand.
We arrived at the time when Pius XII occupied the pontifical see until 1964 (he was succeeded by Paul VI). We had no proof of fraud. We are certain that the named pontiffs were in no way involved. All that remains is a few doubts about Pius XII, a series of imputed gossips without the slightest probative conditions. It was only possible to obtain reliable information from John Paul II.
The question that needs clarification is the exact date of the imposture. We have it without too much certainty. Sometime in April 1929, it was decided to change the Sindon. It was the decision of Cardinal Gasparri, accompanied by another curial companion, to change the shroud. December 1928 is considered to be the date of the regrettable event (we were unable to determine the day). We therefore consider 1928 to be the date of the crime.
BEFORE OPENING
To open on November 20, 1988 at eighteen hours and ten minutes in front of the whole Assembly (Ndt: the hotel Savoy, Madrid).