text: Painting According to Walter McCrone, the technique used for producing the image on the shroud could well be the same as a medieval grisaille method described in Sir Charles Lock Eastlake's Methods and Materials of Painting of the Great Schools and Masters (1847). Eastlake describes in the chapter "Practice of Painting Generally During the XIVth Century" a special technique of painting on linen using tempera paint, which produces images with unusual transparent features that McCrone compares to the image on the shroud. McCrone also argued that the current image on the shroud may be fainter than the original painting, due to the rubbing off of the ochre pigment from the tops of the exposed linen fibers over the course of several centuries of handling and exhibition of the fabric.
  Acid pigmentation
  In 2009, Luigi Garlaschelli, professor of organic chemistry at the University of Pavia, stated that he had made a full size reproduction of the Shroud of Turin using only medieval technologies. Garlaschelli placed a linen sheet over a volunteer and then rubbed it with an acidic pigment. The shroud was then aged in an oven before being washed to remove the pigment. He then added blood stains, scorches and water stains to replicate the original. Giulio Fanti, professor of mechanical and thermic measurements at the University of Padua, commented that "the technique itself seems unable to produce an image having the most critical Turin Shroud image characteristics".
  Garlaschelli's reproduction was shown in a 2010 National Geographic documentary. Garlaschelli's technique included the bas-relief approach (described below) but only for the image of the face. The resultant image was visibly similar to the Turin Shroud, though lacking the uniformity and detail of the original.
  Medieval photography
  The art historian Nicholas Allen has proposed that the image on the shroud could have been formed as early as the 13th century using techniques described in the 1011 Book of Optics.