Jacques and the Turin Shroud?
More recently, a new theory about the origin of the Turin Shroud has been put forward by authors Robert Lomas and Christopher Knight.
In the late 80s, carbon dating of the Turin shroud, requested by the Vatican, suggested that the shroud was made between 1260 – 1390. Examination of the type of weave used in the cloth also indicated it was medieval and not from the time of Christ.
The Turin Shroud was first exhibited in the church of Lirey in 1357, by the widow of Geoffrey de Charnay, nephew of the Templar burnt alongside Jacques de Molay in 1314. Lomas and Knight have therefore hypothesised that the image on the cloth is actually the face of Jacques de Molay, passed down as a relic via Geoffrey de Charnay. It is believed that Templars used a shroud in their symbolic death and resurrection ceremonies.
When Jacques de Molay was arrested in 1307, he was taken to the Temple building in Paris. Here, the inquisitors would not have had access to their normal tools of torture, and improvisation would have been required. From the marks on the shroud, it appears that the body that had been wrapped in it was nailed up by the right arm over his head, with his left arm thrown sideways. Lomas suggests that maybe the torturers performed this on Jacques de Molay to re-enact the crucifixion. At the point of near death, the body may have then been lowered and wrapped in the shroud as a final act of mockery.
Technically, the image of a face on the Turin Shroud was produced by a process called the Volckringer effect, where heat, sweat, acids and oxygen free radicals scorch the cloth. It is thought that under extreme conditions, such as torture, the body can force oxygen atoms apart to give off pinpricks of atomic energy.
https://www.roystoncave.co.uk/post/jacques-de-molay