Gouache on paper.

In 1988, carbon dating of the Turin Shroud revealed that it was a medieval or Renaissance forgery.
Therefore it could not be the alleged Christ’s burial cloth, miraculously imprinted with his image, as millions believed.

Yet many questions remained. How could a hoaxer of 500 or more years ago have created an image that appears so astonishingly life-like when seen in photographic negative? How was such an inexplicable image formed? Who was the genius behind it? And who would have dared to fake the world’s most famous christian relic?

In 1994, researchers Lynn Picknett and Clive Prince presented their theory that the shroud was a clever hoax perpetrated by none other than Leonardo da Vinci, who had managed to find a way to simultaneously jibe the christian church and to experiment with photography. (Leonardo’s work with optics and the camera obscura caused him to be accused of necromancy in the 1480s.)

If Picknett and Prince are correct – and their argument is a compelling one – Da Vinci pre-empted modern photography by centuries. (Turin Shroud – In Whose Image? by Lynn Picknett and Clive Prince.)

However, following my own forensic research into the Turin Shroud, gaining access by climbing under the robes of an arthritic priest and making noises like a waterwheel, I have uncovered an even more controversial origin.

Upon much closer inspection the relic clearly is the work of a very, very clever rabbit. Proof of the Easter Bunny at long last? Where was this mysterious wascially wabbit from?
Further research and some juicy carrots may reveal all.