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A Summary of STURP's Conclusions

A Summary of STURP's Conclusions

Editor's Note: After years of exhaustive study and evaluation of the data and the submission of their research to highly regarded peer-reviewed scientific journals, the following official Summary of STURP's Conclusions was written by John Heller (in non-technical language) and distributed at the press conference held after STURP's final meeting in October 1981:

No pigments, paints, dyes or stains have been found on the fibrils. X-ray, fluorescence and microchemistry on the fibrils preclude the possibility of paint being used as a method for creating the image. Ultra Violet and infrared evaluation confirm these studies. Computer image enhancement and analysis by a device known as a VP-8 image analyzer show that the image has unique, three-dimensional information encoded in it. Microchemical evaluation has indicated no evidence of any spices, oils, or any biochemicals known to be produced by the body in life or in death. It is clear that there has been a direct contact of the Shroud with a body, which explains certain features such as scourge marks, as well as the blood. However, while this type of contact might explain some of the features of the torso, it is totally incapable of explaining the image of the face with the high resolution that has been amply demonstrated by photography.


The basic problem from a scientific point of view is that some explanations which might be tenable from a chemical point of view, are precluded by physics. Contrariwise, certain physical explanations which may be attractive are completely precluded by the chemistry. For an adequate explanation for the image of the Shroud, one must have an explanation which is scientifically sound, from a physical, chemical, biological and medical viewpoint. At the present, this type of solution does not appear to be obtainable by the best efforts of the members of the Shroud Team. Furthermore, experiments in physics and chemistry with old linen have failed to reproduce adequately the phenomenon presented by the Shroud of Turin. The scientific consensus is that the image was produced by something which resulted in oxidation, dehydration and conjugation of the polysaccharide structure of the microfibrils of the linen itself. Such changes can be duplicated in the laboratory by certain chemical and physical processes. A similar type of change in linen can be obtained by sulfuric acid or heat. However, there are no chemical or physical methods known which can account for the totality of the image, nor can any combination of physical, chemical, biological or medical circumstances explain the image adequately.


Thus, the answer to the question of how the image was produced or what produced the image remains, now, as it has in the past, a mystery.


We can conclude for now that the Shroud image is that of a real human form of a scourged, crucified man. It is not the product of an artist. The blood stains are composed of hemoglobin and also give a positive test for serum albumin. The image is an ongoing mystery and until further chemical studies are made, perhaps by this group of scientists, or perhaps by some scientists in the future, the problem remains unsolved.

Catania Conference Press Release re 1988 Carbon Dating

Catania Conference Press Release

Press release, 27/05/2019
after the conference held in Catania on 23/05/2019 entitled
Dating of the Turin Shroud: everything must be redone


Statisticians, historians, physicists, mathematicians and Turin Shroud experts have stated today that we need to reevaluate the history of the Turin Shroud, and it all starts at the University of Catania.
 

The laboratories that dated the Shroud in 1988 with the radiocarbon dating method produced different results non-representative of the same phenomenon. Their paper was published in Nature on 16/02/1989.
 

The three laboratories did not mention in the Nature article the presence of conspicuous heterogeneous material, such as ancient cotton or blue and red threads. The existence of this material in the samples was learned via other sources.
 

The documentation released by the British Museum to independent researcher Tristan Casabianca in 2017 depicts a more complex picture than what was presented in the Nature article: for example, Arizona realized eight measurements and these raw measurements exhibit heterogeneities.
 

The procedures (chosen after more than ten years of negotiations between archaeologists, textile experts and the Holy See) were very far from perfect. Those are the introductory considerations pointed out by the statistician Prof. Benedetto Torrisi during the meeting held in Catania (Sicily).
 

The statistical analysis, performed by the research group coordinated by Prof. Torrisi, with Dr. Giuseppe Pernagallo, Prof. Emanuela Marinelli and Tristan Casabianca, was published in Archaeometry on 22 March 2019 (Radiocarbon dating of the Turin Shroud: New Evidence from Raw Data in Archaeometry (2019) ed Oxford University) confirms unequivocally the heterogeneity in the radiocarbon counts used for the dating, probably because of a contaminant not removed by the preliminary cleaning process, a relevant problem in the dating process of textiles, nowadays well established but not considered so relevant in 1988 as confirmed by Prof. Paolo Di Lazzaro, a physicist at ENEA of Frascati. Prof. Marinelli, laureate in Natural and Earth Sciences, says “the selected sample, chosen only from one point of the linen, very contaminated and mended, could not represent the entire cloth.” Torrisi and Pernagallo underline the strong heterogeneity between the three laboratories and inside the laboratories as alarms of non-representativeness, from a statistical point of view, of the textile samples.


Prof. Marco Riani, statistician of Parma University, says that “the statistical tests conducted in 2012 revealed that the dates provided by the three laboratories (Arizona, Oxford and Zurich) were with homogenous variability, but significantly different.”
 

The strongest evidence comes from the notorious Ward and Wilson test; this test and OxCal (a statistical software used by radiocarbon specialists), confirm the doubts on the official data combinability, strengthening this conclusion and providing further evidence of inhomogeneities for raw data and the individual estimates of the Arizona laboratory.


Casabianca affirms that “The new documentation released by the British Museum also provides insight into the elaboration and acceptation of 1989 article, including the internal (Anthos Bray) and external (Nature) peer review process. For the first time, we explain the Nature review process. The documentation supports the hypothesis of a reproducibility crisis – the difficulty to replicate many scientific studies – partly based on pressure to publish, confirmation bias and data dredging. This crisis might not only affect our current knowledge of the Turin Shroud but also future robust protocols”.
 

Casabianca strengthens the doubts about the correctness of the results and points out the fact that the reviews, dated and relative to the article of 1989, made by the referees of Nature, now part of this documentation, were too quick (about two months) to correctly evaluate the scientific value of that work.


The mathematician Prof. Bruno Barberis of Turin University affirmed that nowadays the process that caused the formation of the image remains unknown and further empirical and theoretical studies should be performed. Hence the Shroud image must be still considered unreproducible.
 

The participation from the audience was important. It was asked: the presence of such a great evidence of problems in the dating was already present in 1988, why did nobody individuate what was happening? Anyway, what could be a possible solution today? Barberis answered, “It seems impossible to reconstruct what happened in 1988, I’m not Sherlock Holmes, so it would be interesting to conduct an enquiry, but further research is needed, beyond the raw data obtained by Dr. Casabianca.”
 

Di Lazzaro says “It is surprising how the statistical expert of the British Museum who worked on the data did not note that in those data there was something wrong. But maybe there is a plausible explanation: in 1988 the accelerator mass spectrometry technique was new; it took the first steps. The people were still learning how to use it.” The alternative was to require another sample, confirming the failure of the technique, so they opted for the easiest alternative! We can just imagine what the consequences would have been in admitting that the technique was not adequate. But now it’s time to move on, and Prof. Di Lazzaro proposes a new possibility. Despite the C14 radiocarbon analysis today, after thirty years, it has evolved, to preserve the integrity of the linen, we could try an alternative route. From a chemical point of view the recent contaminant present in the cloth would be absent in the carbonized threads of the Chambéry fire in 1532, collected in 2002 from different points of the Shroud and preserved by the Turin Curia. That could be the starting point, fixing in mind that science is never definitive and never even aimed to provide the Truth with a capital T. Science can only provide approximations of truth, which we have shown today come closer and closer to the truth.
 

At this point, what emerges? The conclusions we reach, says Torrisi, are:
 

  • No doubts should remain: the radiocarbon dating of the Turin Shroud reported in Nature was not correct due to the strong data heterogeneity.

  • The sampling scheme does not offer the correct statistic representativeness of the linen. The heterogeneity among the measures provided by the laboratories depends on the area where the pieces of fabric have been cut.

  • The raw data confirm unequivocally the presence of heterogeneity of the results between the three laboratories.

  • Several statistical tests, parametric and non-parametric, show that the homogeneity problems of the data regard both raw and official data.

  • To increase our knowledge, new multidisciplinary studies should be proposed with the purpose of gathering more data to offer a complete vision of the physical, chemical and biological characteristics of the full Shroud, in order for researchers to work on reliable data.

  • A new dating is therefore necessary.

 

Link to the Archaeometry paper: Radiocarbon Dating of the Turin Shroud: New Evidence from Raw Data, T. Casabianca, E. Marinelli, G. Pernagallo, B. Torrisi, Archaeometry, 2019, ed Oxford University: https://onlinelibrary.wiley.com/doi/10.1111/arcm.12467

Chain of Custody: The Shroud of Turin and Its Early History

Chain of Custody

Daniel Clausen


The Shroud of Turin, an enigmatic and venerated relic in Christian history, has fascinated believers and skeptics alike. Known for its mysterious image of a crucified man believed by many to be Jesus Christ, the Shroud has been the subject of extensive research and is one of the most studied objects in the history of the world. The STURP Project, the only sanctioned study of the Shroud concluded, "We can conclude for now that the Shroud image is that of a real human form of a scourged, crucified man. It is not the product of an artist."
 

While it gained widespread public attention in the 14th century, numerous references and depictions suggest that it existed long before this period. Here, I will delve into the documented mentions and illustrations of the Shroud prior to its public reveal, tracing its journey through various historical contexts and geographies, clearly antedating the carbon-14 dating. Special thanks to Joe Marino, who collected many of these mentions in his list on Academia.edu, and also to Russ Breault, who also provides an excellent catalogue on Academia.edu, both of which have helped to compile this document.
 

1st Century - 3rd Century, The Earliest References
 

The earliest liturgical clue to the Shroud's ancient existence beyond the four gospels may well be The Hymn of the Pearl, also known as the Hymn of the Robe of Glory and can be found in the apocryphal book, The Acts of Thomas (216 AD). It is attributed to the poet Bardesane of Edessa, however its origin may be as early as 1st century:
 

I saw my image on my burial garment like in a mirror … (image on a linen shroud)
Myself facing outward … (dorsal image)
and myself facing inward … (frontal image)
As though divided, yet one likeness … (single cloth)
Two images, but one likeness of the King of Kings … (double image)

(Dreisbach, "Thomas and the Hymn of the Pearl," p.14)
 

The poem refers to the burial garment of Jesus, explicitly with his body and likeness. It should be noted that the photographic image that we know so well today would have been unable to be seen, and only the negative that is on the Shroud that provides only a “likeness” of his image.


Additionally, the Gospel of the Hebrews, a lost gospel from the first half of the second century, with some scholars even placing it in the first century, is quoted by Origen of Alexandria (184-253), and to the existence of the linen shroud at the time of its writing, saying: "When the Lord had given the linen cloth to the servant of the priest, he went and appeared to James." (Simon, "The Shroud and the Historical Jesus," p.4)
 

The Image of Edessa (33AD / 300s)
 

Many of the earliest potential references to the Shroud are associated with the Image of Edessa, also known as the Mandylion. The Mandylion was reputedly a miraculous image of Jesus' face imprinted on a cloth, which was kept in Edessa (modern-day Urfa, Turkey). This relic was venerated and played a significant role in the Christian East. According to some scholars, the Mandylion could have been part of the larger Shroud, folded in such a way that only the face was visible.
 

Historical accounts mention the arrival of the Mandylion in Edessa. Eusebius of Caesarea, a 4th-century church historian, recounted the story of King Abgar V of Edessa, who wrote to Jesus seeking a cure for his illness. According to the legend, Jesus responded with a letter and a cloth bearing his image, which miraculously healed the king. This cloth was then preserved in Edessa. The tenth-century Latin sermon "De Imagine Edessena" describes how the cloth was displayed and venerated in a golden chest during major Christian festivals.
 

The Doctrine of Addai (300s)
 

Another reference that may pertain to the Shroud is found in the "Doctrine of Addai," a Syriac document from the 4th century which regales the Edessa tradition. This text tells the story of Thaddeus of Edessa, one of the seventy disciples, who brought the sacred cloth bearing the image of Jesus to King Abgar. The description of this cloth closely aligns with the narrative of the Mandylion, suggesting that these early references might be interconnected accounts of the same relic.
 

The Acts of Thaddeus
 

The "Acts of Thaddeus," another early Christian text from the 6th century, recounts how Thaddeus (Addai) brought the holy image to Edessa. This text provides additional context to the narrative of the Doctrine of Addai, reinforcing the notion that a sacred cloth bearing the image of Christ was venerated in Edessa. This cloth, believed by some to be the Shroud, was considered a miraculous relic and an integral part of early Christian traditions in the region.
 

4th Century - Institutional Recognition
 

Pope Sylvester instituted by papal decree in 325 that the Church should celebrate the holy sacrifice of the Mass, representing the body and blood of Christ, on a linen cloth consecrated by the bishop, as if it were the clean Shroud of Christ. (Dreisbach, "Liturgical Clues to the Shroud's History")
 

This institution of covering the altar with linen representing the Shroud demonstrates knowledge of its existence and the shape and size of the cloth as a long rectangular linen. It explains a centuries-old tradition practiced in all denominations. Nothing could be more connected to the body and blood of Christ than the burial shroud that wrapped his crucified body represented by the linen covering the altar.
 

Bishop Theodore of Mopsuestia of Antioch (350-428), developed a Catechism with instructions before the celebration of the Mass: "When they bring up the oblation at the offertory, they place it on the altar for the completed representation of the passion so that we may think of Him on the altar as if He were placed in the sepulcher after having received the passion. This is why the deacons who spread the linens on the altar represent the figure on the linen cloths at the burial." (Dreisbach, "Liturgical Clues to the Shroud's History")
 

This adds another crucial element. Not only does the previous reference indicate the size and shape of the cloth but now Bishop Theodore establishes how the deacons who carry the cloth down the aisle represent the double image on the linen.
 

Evagrius Scholasticus (544)
 

Evagrius Scholasticus, a 6th-century Byzantine historian, provides another early reference to the Shroud. In his ecclesiastical history, he describes a miraculous image of Christ, known as the "acheiropoietos" (not made by human hands), which protected the city of Edessa from Persian invaders in 544 AD. While Evagrius does not explicitly mention the Shroud, his account of a protective image of Christ in Edessa aligns with the narrative surrounding the Mandylion and suggests the presence of a revered cloth image in the city during this period.
 

6th Century - Scriptural Evidence
 

A crucial reference appears in the translation of John 20:5-6 from the Mozarabic Rite of Holy Week: "Peter ran with John to the tomb and saw the recent imprints of the dead and risen man on the linens." (Dreisbach, "Liturgical Clues to the Shroud's History")
 

This is a critical reference as they re-translated scripture to reflect the image seen on the Shroud. It is not in the bible but goes back 1500 years. Why would they choose to translate the verse in this fashion unless it was based on knowledge of the Shroud's existence and what it contained? The previous references indicate an earlier origin, perhaps even 1st century and how the Shroud was integral to the symbolism of the Mass, the central sacrament of the Church.
 

Arculf in Jerusalem (670)
 

Another significant early reference comes from the Frankish bishop Arculf, who visited Jerusalem around 670 AD. His testimony, preserved by Adomnán of Iona in De Locis Sanctis, records that he personally saw and kissed a burial cloth of Christ approximately eight feet long, kept in the city under the custody of the Christians but contested by rival groups. Even the Caliph Muʿāwiya is said to have been involved in its adjudication, and the cloth was revered enough that miraculous properties were ascribed to it. This account is remarkable in that it provides an eyewitness report of the relic in Jerusalem within the 7th century—perfectly compatible with the Shroud of Turin if one considers the possibility that it was displayed folded, and that its faint image would not have been noticed at close range.

8th Century - The Iconoclastic Period
 

By the 8th century, icon images fell out of favor and were thought to be a form of idolatry. These "iconoclast" movements brought on widespread destruction of all sacred images starting in 726 until 787 and the Second Council of Nicea.


The Second Council of Nicea in 787 included the following statement as the basis to restore veneration of sacred images: "In the two years preceding the destruction of Jerusalem by Titus Vespasian, the faithful were warned by the Holy Ghost to leave Jerusalem and go to the kingdom of Agrippa, still allied to the Romans. Thus, going forth from the city, they took with them their most precious objects; this is how the images and other sacred objects were taken to Syria (Edessa) and were to be found there." (Ricci, The Holy Shroud, p. XXII)
 

The True-Likeness, first brought to Edessa by the Apostle Jude Thaddeus according to Orthodox tradition, was the principal argument to restore veneration of holy icons as a valid religious practice. A powerful advocate of icons was St. Theodore the Studite who referenced the Shroud as a full body image in which the Christ was wrapped and laid down in the sepulcher. (Marinelli and Fasol, Light from the Sepulcher, p. 9)
 

Regarding why Jude brought the sacred cloth to King Abgar, Theodore said it was: "To clearly grant us His divine features, our Savior who had been covered with it, imprinted the form of His own face and portraying it touching the cloth with His own skin." (Marinelli and Fasol, Light from the Sepulcher, p. 9)
 

Pope Stephen III gave his full support to restoring images to the revered place they once held with the following statement: "Christ spread out his entire body on a linen cloth that was white as snow. On this cloth, marvelous as it is to see…. the glorious image of the Lord's face, and the length of his entire and most noble body, has been divinely transferred." (Trenn, "The Shroud of Turin: A Parable for Modern Times," p. 5)
 

The logical inference of these statements is that if Jesus preserved an image of himself on his linen shroud, it was done to offer his likeness as a means of facilitating worship and therefore fully justifies the use of icon images for the same purpose.
 

The Journey to Constantinople
 

In the 11th century, significant changes occurred due to political and religious upheavals. The Shroud is believed to have been moved from Edessa to Constantinople, the capital of the Byzantine Empire. Historical records from this period indicate that numerous relics, including the Shroud, were transferred to Constantinople to protect them from invasions and desecration.
 

One such record, the "Narratio de Imagine Edessena," an anonymous Latin text, notes that the Shroud was kept in Constantinople in a golden case and was shown only to the Emperor, highlighting its significance and the care taken to preserve it. Additionally, the Tarragona Manuscript, dated between 1075 and 1099, confirms the Shroud's survival through the Byzantine iconoclasm and its esteemed status in the imperial relic collection.
 

10th Century - The Transfer to Constantinople
 

By 944, Edessa had fallen to Islam and the emperor was concerned over the safety of the most holy relic of Christendom. After trading 200 prisoners of war and bags of silver, the sacred cloth was retrieved from Edessa without bloodshed and brought to Constantinople. Gregory the Archdeacon of the Hagia Sophia delivered a sermon in the palace on August 16, 944. During the ceremony, the cloth was laid out on the emperor's throne and crowned with the emperor's crown. Standing next to the linen Gregory points out the following features:


"The splendor has been impressed uniquely by the drops of agony sweat sprinkled from the face…These are truly the beauties that produced the coloring of Christ's imprint, which has been embellished further by the drops of blood sprinkled from his own side… blood and water there, sweat and image here." (Guscin, "Sermon of Gregory Referendarius," p. 12)
 

A clear reference to the side wound is proof it was more than a face image. He describes "blood and water" yet on the Shroud we know the side wound shows the separation of blood and serum which appears clear like water and indicates a wound that occurred after death when the blood is no longer circulating. The mention of "sweat" as a cause of the image indicates an absence of paint, just as we see on the Shroud.
 

11th Century - Full Body Descriptions
 

A Latin version of the first century Abgar legend shows the following response from Jesus to King Abgar's request for him to come to Edessa to heal the king. Once again, we see a clear reference to the cloth brought to Abgar as a full body image of Jesus, not just his face: "But if you wish to see my face in the flesh, behold I send to you a linen, on which you will discover not only the features of my face, but a divinely copied configuration of my entire body." (Drews, In Search of the Shroud of Turin, p. 46)
 

The Hungarian Pray Manuscript
 

A critical piece of evidence supporting the Shroud's existence before the 14th century is the Hungarian Pray Manuscript, created between 1192 and 1195. This manuscript, named after its discoverer György Pray, contains illustrations that remarkably resemble the Shroud of Turin. Among these is the depiction of Jesus with crossed arms over his pelvic area, and thumbs tucked under the hand, details unique to the Shroud. The manuscript also shows what appear to be L-shaped
burn marks, identical to those on the Shroud. These similarities strongly suggest that the Shroud was
known and perhaps even seen by the manuscript's illustrator.


There are 12 specific attributes of the Shroud that are documented in the codex found in the Hungarian Pray Manuscript dated to 1192. The artist who crafted the image was an eyewitness to the Shroud kept in Constantinople sometime between 1160 and 1170 when King Bela III of Hungary served in the court of the emperor. Captured in this document is the exact same size and dimension of the Shroud (a long narrow rectangular cloth enveloping the body lengthwise), the unique herringbone pattern weave, and an "L" shaped pattern of burn holes unique to the Shroud of Turin.
 

The Menaion
 

Further supporting the Shroud's existence in the Byzantine period are liturgical references. The "Menaion," a liturgical book of the Eastern Orthodox Church, includes hymns and prayers that reference the burial cloth of Christ. These texts, dating back to the 12th century, describe the cloth in terms consistent with the Shroud, indicating that it was an object of veneration and incorporated into the religious practices of the time.
 

12th Century - Contemporary Accounts
 

From Ordericus Vitalis who wrote Ecclesiastical History circa 1141: "A precious linen, on which he had wiped off the sweat from his face, and on which an image of this same Savior shines forth, miraculously painted (imprinted): this image shows to whoever looks upon it the appearance and size of the Lord's body." (Drews, In Search of the Shroud of Turin, p. 47)
 

The Relics of Constantinople
 

In the 12th century, the Shroud's presence in Constantinople is further corroborated by various inventories and descriptions of relics. William of Tyre, a medieval historian, documented that during King Amaury I of Jerusalem's visit in 1171, Emperor Manuel I Comnenus displayed numerous relics of the Passion, including the Shroud (referred to as the "sindon"). This entry reinforces the notion that the Shroud was part of the imperial relic collection and venerated as a significant artifact of Jesus' Passion.
 

The Fourth Crusade and the Sack of Constantinople
 

The Fourth Crusade's sack of Constantinople in 1204 marked a pivotal moment in the history of the Shroud. The city was ransacked by Crusaders, and many relics were looted and transported to Western Europe. Robert de Clari, a French knight who participated in the Fourth Crusade, wrote in his chronicle that he saw the Shroud of Christ in the Church of St. Mary of Blachernae in Constantinople: "But among the rest [of the churches in Constantinople], there was also another which was called Saint Mary of Blachernae, within which was the shroud wherein Our Lord was wrapped. And on every Friday that shroud did raise itself upright, so that the form of Our Lord could clearly be seen. And none knows - neither Greek nor Frank (French) - what became of that shroud when the city was taken." (Wilson, The Shroud: The 2000-Year-Old Mystery Solved, p. 108)
 

After the city was sacked and pillaged, Theodore Angelus of Constantinople, brother of the emperor, crafted a letter of protest in 1205 to Pope Innocent III that read: "In April last year, a crusading army, having falsely set out to liberate the Holy Land, instead laid waste the City of Constantine. During the sack, troops of Venice and France looted even the Holy Sanctuaries. The Venetians partitioned the treasures of gold, silver, and ivory, while the French did the same with the relics of the saints and... Most sacred of all, the linen in which our Lord Jesus Christ was wrapped after his death and before the resurrection. We know that the sacred objects are preserved by their predators, in Venice, in France, and other places, the sacred linen in Athens." (Wilson, The Shroud: The 2000-Year-Old Mystery Solved, p. 214)
 

13th Century - Additional References
 

From Gervase of Tilbury circa 1213: "The story is passed down from Archives of Ancient Authority that the Lord prostrated himself with his entire body, on the whitest linen, and so by divine power there was impressed on the linen a most beautiful imprint of not only the face, but the entire body of the Lord." (Drews, In Search of the Shroud of Turin, p. 48)


It is important to note how Gervase makes it clear the linen cloth has a long history pre-dating 1213 when he made this statement.
 

Throughout the 13th century, references to a burial shroud of Christ appear in various texts and inventories across Europe. These references, while not always directly naming the Shroud of Turin, describe a cloth bearing the image of Christ, suggesting that the relic was known and venerated in different locations.
 

For instance, a 1205 letter from Theodore Angelos, the ruler of Epirus, to Pope Innocent III mentions the sacred burial cloth of Christ. This letter indicates that the relic was highly valued and sought after by Christian leaders during this period.
 

The Knights Templar and the Shroud
 

The Shroud's disappearance following the sack of Constantinople in 1204 and its reappearance in the 14th century is a period shrouded in mystery. Researcher Barbara Frale has found evidence in the trial records of the Knights Templar that suggests the Shroud was in the possession of the order before it was suppressed. According to these records, the Shroud had disappeared during the sack of Constantinople and did not surface again until 1353, when it was displayed in a church at Lirey in France by the nephew of Geoffroi de Charney, The Templar Preceptor of France.


Arnaut Sabbatier's Testimony


An intriguing account supporting the Templar possession of the Shroud comes from Arnaut Sabbatier, a young Frenchman who entered the order in 1287. He testified that as part of his initiation, he was taken to a secret place accessible only to the brothers of the Temple. There, he was shown a long linen cloth on which was impressed the figure of a man and instructed to venerate the image by kissing its feet three times. This testimony provides a compelling link between the Templars and the Shroud, suggesting that they may have safeguarded it during the period it was thought to be lost.
 

The Shroud of Turin Research Project (STURP) and Carbon-14 Dating


In 1988, the Shroud of Turin was subjected to carbon-14 dating by three independent laboratories, coordinated by the Shroud of Turin Research Project (STURP). The results indicated that the linen cloth dated to between 1260 and 1390 AD, suggesting it was a medieval creation rather than a relic from the time of Christ. However, many researchers and scholars have questioned these results, citing potential contamination, repair patches, fire, and the presence of a bioplastic coating on the linen as factors that could have skewed the dating process.
 

In 2013, Dr. Giulio Fanti conducted infrared dating on threads from the Shroud of Turin, concluding that the fibers dated between 300 BC and 400 AD, potentially placing the Shroud within the timeframe of Jesus' life. More recently, in 2022, Italian scientist Liberato De Caro used a Wide-Angle X-ray Scattering (WAXS) method to date the Shroud. This technique examined the natural aging of cellulose fibers and suggested that the Shroud is around 2,000 years old, aligning with the period of Christ's death and resurrection.
 

The fact that one sample was cut from the most held and handled part of the cloth documented to have been held up manually for exhibition by church officials over 275 times from 1418 to 1694 is clear they chose the worst possible sample location to determine the cloth's age.
 

Despite the carbon-14 dating results, the historical references and depictions of the Shroud prior to the 14th century provide compelling evidence for its existence and veneration well before the medieval period. The early references to the Image of Edessa, the accounts of Evagrius Scholasticus, and the illustrations in the Hungarian Pray Manuscript all contribute to a rich historical narrative that supports the Shroud's antiquity. Additionally, new dating techniques such as the infrared test and the WAXS x-ray test have firmly placed the dating of the Shroud in the first century, in a repeatable, testable way.
 

Timeline of the Shroud (if all points are granted)
 

1st Century (c. 30–33 AD) – Jerusalem & Edessa
 

  • 33 AD: Jesus is crucified, buried in the linen Shroud.

  • According to the Abgar tradition, the disciple Thaddeus/Addai brings a holy cloth (the Shroud, folded to show only the face = "tetradiplon") to Edessa.

  • King Abgar V (ruled 4 BC – AD 50) is said to be healed by the image, integrating the cloth into Edessa's royal/Christian identity.

 

2nd–4th Century
 

  • The cloth remains hidden in Edessa during times of persecution, possibly bricked into the city wall.

  • Eusebius (early 300s) records the Abgar-Jesus correspondence but not the image.

  • Doctrine of Addai (300s) and Syriac traditions begin linking the cloth more explicitly with an image.

  • 325 AD: Pope Sylvester institutes papal decree for Mass to be celebrated on linen cloth "as if it were the clean Shroud of Christ."

 

5th–6th Century – The Edessa "Rediscovery"
 

  • Acts of Thaddeus (500s) explicitly mentions the miraculous image on cloth.

  • 544 AD: During the Persian siege, Evagrius Scholasticus records that an acheiropoietos (not-made-by-hands) image of Christ saves Edessa. This confirms the cloth's veneration as a protective relic.

  • c. 6th century: Mozarabic Rite translates John 20:5-6 to include "saw the recent imprints of the dead and risen man on the linens."

7th Century – Jerusalem
 

  • c. 630s–640s: Persians and later Arabs take the Levant; relics move around.

  • 670 AD: The Frankish bishop Arculf reports in De Locis Sanctis that he personally saw an kissed an eight-foot burial shroud of Christ in Jerusalem, contested between Christian groups, with Caliph Muʿāwiya I mediating the dispute.

  • Suggests the Shroud temporarily left Edessa for Jerusalem (or a copy traveled), before returning east.


8th Century – Iconoclastic Period
 

  • 726-787: Iconoclastic movements destroy sacred images.

  • 787: Second Council of Nicea uses the True-Likeness as principal argument to restore veneration of icons.

  • St. Theodore the Studite references the Shroud as a full body image.

  • Pope Stephen III describes "Christ spread out his entire body on a linen cloth that was white as snow."

 

10th Century – Transfer to Constantinople
 

  • 944 AD: Byzantine forces transfer the Mandylion (Image of Edessa) to Constantinople. Ceremonially deposited in the Pharos Chapel of the imperial palace.

  • Gregory the Archdeacon describes features including reference to the side wound with "blood and water."

  • Some texts (Narratio de Imagine Edessena) describe not just a face, but a cloth showing the whole body, folded. This suggests the Mandylion = Shroud theory.

 

11th–12th Century – Constantinople Inventories
 

  • The Shroud survives Iconoclasm and remains in imperial custody.

  • 1075–1099 (Tarragona Manuscript): Mentions the Shroud in Constantinople.

  • c. 1141: Ordericus Vitalis describes "image shows to whoever looks upon it the appearance and size of the Lord's body."

  • 1171: William of Tyre records that Emperor Manuel I shows King Amaury of Jerusalem relics of the Passion, including the burial cloth (sindon).

  • 12th-century liturgies (Menaion) reference the burial linens, confirming cultic awareness of the Shroud.

 

Late 12th Century – The Hungarian Pray Manuscript
 

  • c. 1192–1195: The Hungarian Pray Codex illustrates Christ's burial with:

    • Arms crossed, no thumbs (nerve damage like the Shroud).

    • Distinctive L-shaped burn/mark patterns identical to the Shroud.

    • Strong evidence the Shroud was physically seen by someone connected with Constantinople.

 

1204 – The Fourth Crusade
 

  • Crusaders sack Constantinople.

  • Robert de Clari, French knight, reports seeing the burial shroud in the Church of St. Mary of Blachernae: "the Shroud wherein Our Lord had been wrapped was there every Friday, raised up so one could see the figure of Our Lord upon it."

  • After the sack, the Shroud disappears from Byzantine record.

 

13th Century – The Missing Years
 

  • 1205: Theodore Angelos, ruler of Epirus, writes to Pope Innocent III about the plundering of Constantinople's relics, specifically naming Christ's burial shroud and stating it was taken to "Athens."

  • c. 1213: Gervase of Tilbury describes the cloth showing "the entire body of the Lord."

  • 1287: Templar initiate Arnaut Sabbatier testifies that he was shown a long linen cloth with a man's figure, which he was told to venerate. Suggests the Templars secretly safeguarded the Shroud.


14th Century – Lirey, France
 

  • 1353–1356: Geoffroi de Charny displays the Shroud in Lirey, France. This is its first undisputed Western appearance.

  • Pilgrims venerate it publicly; bishops initially question its authenticity, but devotion grows.

 

Modern Investigations
 

  • 1988: Carbon-14 test dates the Shroud to 1260–1390, suggesting medieval forgery.

  • 2013 (Fanti, infrared): Dates it to 300 BC–400 AD.

  • 2022 (De Caro, WAXS): Dates it to ~2,000 years old.

  • Combined with history, scientific challenges to C-14 suggest the Shroud's origin plausibly lies in the 1st century.

 

Conclusion
 

The Shroud of Turin's history prior to its 14th-century public reveal is supported by a variety of references and depictions from different periods and regions. While the 1988 carbon-14 dating results have sparked controversy and debate, they represent only a single line of inquiry. Against this, we find a web of historical and literary traces stretching deep into Christian antiquity—the Gospel accounts of the burial cloths, possible allusions in apocryphal works such as the Hymn of the Pearl, early references to acheiropoieta (images “not made by hands”), and subsequent Byzantine traditions surrounding a mysterious burial shroud. Taken individually, each of these witnesses might be explained away as referring to other cloths, traditions, or pious inventions. But taken together, they form a cumulative
case that is difficult to dismiss. Even if all of these references do not point with certainty to the Shroud of Turin, it is improbable that none of them preserve a memory of the same relic. Thus, the balance of evidence suggests a pre-medieval existence for the Shroud, standing as a historical counterweight to the contested C-14 test and reinforcing its claim to be not merely an artifact of medieval piety, but a relic with roots in the earliest centuries of Christianity. 

Concerning the question of the authenticity of the Shroud of Turin:
please, don’t forget the evidence of the
bloodstains!!!

Concerning the question of the authenticity

An article by Yannick Clément
July 26, 2012


In one, if not the best Shroud of Turin documentary I’ve ever watched, The Wonder of the Shroud1 (along with Unfolding the Shroud and Secrets of the Dead), Fr. Martin Haigh reported a very clever and true statement from professor James Cameron (British Home Office Pathologist), that anybody interested in the Shroud should always keep this in mind, simply because it is a proven fact (it’s perhaps the most solid proven fact in all the scientific aspects regarding the Shroud). Here’s what professor Cameron had to say about the Shroud: “From the evidence of the bloodstains alone, this is clearly not a human forgery.” And you can be sure that this statement can be backed-up by a majority of medical or blood experts who have carefully studied the Shroud over the years, like Pierre Barbet, Rudolf W. Hynek, Giovanni Battista JudicaCordiglia, Pierluigi Baima-Bollone, Sebastiano Rodante, Alan Adler, John Heller, Robert Bucklin, Frederick Zugibe, Gilbert Lavoie, Pierre Merat and many more!!! There’s absolutely no doubt about the fact that, along with professor Cameron, all these experts could have testified in court that the bloodstains on the Shroud come from a real human body. And not only that, a human body who was dead at the time he was put in this burial cloth.


Even today… even after all the pioneer research done by some great French scientists like Barbet2 and
Vignon
3 , even after all the data published by STURP (Shroud of Turin Research Project) in peer-reviewed scientific journals4 , we constantly find people who still forget, neglect and even deny that primordial fact about the Shroud!!! Those people still think that the Shroud can be something like a very brilliant artwork of some kind done by an anonymous forger (the use of a scorch technique or a rubbing technique involving some kind of pigments, like red ochre or sulfuric acid in water mixed with cobalt blue, are the most popular hypotheses today5).


I’m really amazed that we, who know the facts very well and understand that the Shroud of Turin is an authentic burial shroud of someone who suffered the same tortures as Jesus, are still debating the question of whether or not the bloodstains and the body image on the cloth were produced by some artistic technique! Really, I can’t believe that we are still stuck at that point!

Firstly, to avoid any possible confusion, we must clearly state that it is a proven and confirmed fact that the blood on the Shroud is real human blood. Scientifically, there’s absolutely no room for doubting this conclusion6. To be convinced, we simply have to note the fact that all the bloodstains on the Shroud possess a level of morphologic and physiologic detail so high that, from a forensic point of view, they cannot come from anything other than a bleeding body. As Alan Adler indicates in his book The Orphaned Manuscript7: “The blood area… shows all the characteristics that would be expected for a clot retraction transfer to a fabric. As confirmed by the probing needle, the fibers are cemented together by the applied chromophore (note: Adler is referring to the red particles found in the blood area) and show capillarity in that they penetrate to the back of the cloth. They can also be seen under the crossing threads of the weave. There is evidence of abrasion of the chromophore from the more exposed surfaces as would be expected if this were an applied material with mechanical characteristics different from its cloth substrate8.” And not only that, we must also keep in mind another very important fact about the bloodstains that are present on the Shroud: the vast majority of those stains are not composed of complete blood that would have been liquid when formed but, instead, they came from exudates of blood clots9 that were humid enough to leave a mirror image on the cloth, along with a ring of clear serum around them that is very hard to see, except under UV light10. This important fact alone is sufficient to conclude that those stains were not artificially put on the cloth by an artist, but came instead from a real human corpse. Also, in 1976, Italian doctor Sebastiano Rodante was able to determine that both arterial and venous flows, caused by numerous sharp objects, are present in the region of the head on the Shroud, which is another important forensic proof that the blood on the cloth comes from a real body who was bleeding shortly before his death11. Finally, there’s another very important observation regarding the blood and serum present on the Shroud and it concerns the fact that these biological substances have been transferred to the cloth before the formation of the body image, because there’s no body image underneath these stains12. In other words, whatever the body image formation mechanism was, these biological stains were able to block it, by acting like a protective screen at the surface of the cloth. Again, in itself, this single fact is enough to demonstrate that the Shroud is not some sort of artistic forgery, but is instead a real burial shroud of someone.


In sum, it is very telling to note that all these scientific facts that offer a real solid proof that the blood on the cloth is real human blood, often seem to be forgotten, neglected and even denied by all the skeptics who constantly claim that the Shroud was made by a forger who used some kind of artistic technique to create his masterpiece13!


The reality is this: science has proved that there really was a dead man draped in that burial shroud14 and that this dead man suffered exactly the same tortures as Jesus of Nazareth, as reported in the Gospels15!!! It is as simple as that and this is called in science: a fact! And this fact leads to only one possible conclusion: in order to produce the kind of bloodstains that are on the Shroud, there must have been a real human being that had bled a great deal shortly before his death, prior to being put into this cloth. This is the only way to explain the bloodstains. I repeat it: this is the only way! And this conclusion leads to another very important one (especially when we consider the fact that there’s no body image under the blood and serum stains): the body image that is on the Shroud must have been caused by some kind of interaction between this crucified body and the cloth. Just like the bloodstains, this is the only way we can explain the body image, scientifically speaking16. In other words, the presence of a real tortured and crucified man inside the cloth is necessary to explain, not only the bloodstains, but also the body image that is on the Shroud. So, from this moment on, you can forget any form of artistic technique to explain the Shroud of Turin, because it just doesn’t fit with what we know about this relic (which should be considered an authentic archaeological artifact)!


And because the Shroud is a real burial shroud of a crucified man, it’s completely irrelevant for a skeptic to still claim that it is a scorching, a rubbing, a medieval photograph, a painting, etc. These artistic hypotheses have been set aside by science long ago and I don’t understand that many skeptics still think it is an appropriate way to explain the Shroud!!! From a scientific standpoint, this kind of thinking is like today’s Creationists in some Christian circles who still believe that the world was really created in six days and who believe that this planet is only 6000 years old!!! From a scientific standpoint, the way these skeptics see the Shroud and the way those Creationists see the Universe are exactly the same, i.e. completely off-track versus the reality that we know now, thanks to our scientific knowledge!!!

So, please, can we take this eternal debate concerning the authenticity of the Shroud17 to the next step??? Can we at least agree on one important and solid fact? In order to produce the bloodstains and the body image we see on the Shroud, it takes a real human corpse and not only that, a real human corpse who suffered a great deal before his death! The very particular nature of the blood on the Shroud is clear about it. Effectively, the high level of bilirubin found by Heller and Adler in blood samples from the Shroud18 lead to only one scientific conclusion: the man who stained the Shroud with his blood had suffered intensely shortly before his death19. And the conclusion is completely coherent with the bloodstains and the body image we see on the cloth! Question to the skeptics: what else do you need to understand that the Shroud had nothing to do with a scorching, a rubbing or any other art form that is known (or even unknown)?!? If we all could agree on this simple and solid scientific base, I think this would greatly help to elevate the debate about the authenticity of the Shroud, because it would then become more rational!!!

 

All we would be left with are these 2 questions: 1- Were the bloodstains and the body image on the Shroud produced by a human will or not? Note: when I say “not”, I don’t necessarily mean that a supernatural event occurred inside the Shroud. It can simply refer to an act of Mother Nature that science cannot yet explain. 2- Do the Shroud bloodstains and body image belong to Jesus of Nazareth or not?


In order to answer these questions adequately, there are only four rational possibilities open to us:

1- It is a real burial shroud of someone other than Jesus of Nazareth who suffered the same tortures as he with a forged image done by someone without using any art technique. In this case, a forger “naturally” produced the image while using a real human corpse. Because of the great resemblance between what happen to Jesus in the Gospels, we must assume that this forger did it in order to produce a false relic of the Passion of the Christ. Also, because of the presence of many differences between any known artistic depictions of the Passion of the Christ prior to the first known public exhibition of the Shroud in the 14th century and the bloodstains and the body image that are on the Shroud (for example, the nailing in the wrist instead of in the palms, the wearing of a cap of thorns instead of a crown and the very distinct dumbbell shaped marks of scourging coming from a Roman flagrum), we must assume that if he tortured and crucified himself (with the help of some collaborators), this forger was well aware of the Roman procedures concerning scourging and crucifixion. In fact, it is even more rational to think that this forger used the body of a real crucified victim who was put to death by the Romans, before the crucifixion was banished by the emperor Constantine, in the last years of his reign that ended in 33720. We also have to assume that this forger took the dead body out of the shroud before it started to corrupt in such a way that this extraction did not disturb the bloodstains, never broke the linen fibrils under them and did not disturb the body image21. In sum, this scenario can be described like a “natural” forgery using a real tortured and crucified body. And whether or not the forger knew that he would obtain a body image on the cloth, along with the bloodstains, is not completely clear. In fact, the formation of an image like that could have well been just an accident.

2- It is real burial shroud of someone other than Jesus of Nazareth who suffered the same tortures as he with a naturally occurring image. In this case, the body image on the cloth was produced accidentally by some undetermined natural phenomenon(s). In other words, this is not a forgery but instead, an accidental resemblance with the Jesus of the Gospels, including that this anonymous victim was also crowned with thorns (a very unusual procedure) and didn’t have his legs broken (a standard Roman practice called “crurifragium” that was done to hasten death). In this scenario, we must assume that a person or a group of persons, for some obscure reason, took the dead body out of the shroud before it started to corrupt, in such a way that this extraction did not disturb the bloodstains, never broke the linen fibrils under them and did not disturb the body image. Also, because of the presence of many differences between any known artistic depictions of the Passion of the Christ prior to the first known public exhibition of the Shroud in the 14th century and the bloodstains and the body image that are on the Shroud (for example, the nailing in the wrist area and the dumbell shaped marks of scourging coming from a Roman flagrum), we have to assume that these tortures and this crucifixion were executed under Roman control, before the crucifixion was banished by the emperor Constantine, in the last years of his reign, that ended in 33722. Finally, we must also assume that this anonymous crucified victim had the same privilege as Jesus of Nazareth, which was to be buried in a clean shroud23. It’s important to note that this manner to bury a corpse is entirely consistent with the Jewish burial rites of the first century A.D.24 Because of that, it’s possible to think that this anonymous man could also have been a Jew of the same era as Jesus. In sum, this scenario can be described like a real burial shroud of an anonymous crucified man, which has bloodstains and a body image on it that shows a great accidental resemblance with the Jesus of the Gospels.


3 - It is the authentic burial shroud of Jesus of Nazareth with a naturally occurring image. In this case, the body image on the cloth was produced by some undetermined natural phenomenon. The fact that the body left the Shroud before it started to corrupt can be related with his resurrection, but that’s not certain. In other words, a scenario like that doesn’t absolutely need to call for the resurrection in order to explain the bloodstains and the body image we see on the cloth. Nevertheless, even if this scenario involves a natural creation of the body image of Jesus, the fact that the body left the Shroud before it started to corrupt and also the fact that the extraction of his body from the Shroud did not disturb the bloodstains, break the linen fibrils under them or disturb the body image, can be seen as possible signs (not proofs) of a “dematerialization”25 of his body at the moment of the resurrection. To conclude this point, there’s one thing very important to note: if one day we could prove that it’s right, a scenario like that, involving some kind of natural phenomena related to the body image formation, could never be used by the skeptics as a proof that Jesus did not resurrect, because in the light of the all the facts we know, particularly concerning the undisturbed bloodstains and the unbroken fibrils under them, a manual extraction of the body from the shroud seems to be highly improbable or, at the very least, difficult to explain. In sum, this scenario can be described like the authentic burial shroud of Jesus of Nazareth, which has bloodstains and a body image on it that was produced by some unknown natural phenomena which were probably of chemical nature.


4- It is the authentic burial shroud of Jesus Christ with a supernaturally occurring image26. In this case, the body image on the cloth was produced by some undetermined supernatural phenomenon directly linked to his resurrection. Most of the partisans of this scenario pretend that the body image was caused by a byproduct of the resurrection, that can be seen as a burst of energy of some sort (near infrared light, UV light, x-ray, microwave, protons, neutrons, electro-static discharge, etc.) released at that time… In any way, a “dematerialization” of his body at the moment of the resurrection (accompanied or not by a burst of energy) could explain why the body left the Shroud before it started to corrupt, why the bloodstains were undisturbed and also why no linen fibrils under them were broken. In sum, this scenario can be described as the authentic burial shroud of Jesus of Nazareth, which has bloodstains and a body image on it that was caused, directly (a miraculous image made by God) or indirectly (a by-product), by his resurrection.

 

I really think this is where we now stand in front of all the scientific facts we know about the Shroud, especially the facts regarding the bloodstains. I really don’t think there are other possibilities than the four I just mentioned to explain properly the bloodstains and the body image present on this cloth. The answer to the mystery has to be found in one of those four scenarios and nothing else.

One thing’s for sure: if this eternal Shroud authenticity debate could focus one day (the sooner, the better) only on the four possibilities exposed here, that will be a great day for the Shroud, because there will be no more wasted time in fruitless discussions and ravings of all kinds!!!

In order to clearly summarize the situation, we can say that science is now able to provide two important conclusions concerning the Shroud of Turin27:


1- IT IS NOT AN ARTWORK OF ANY KIND, SIMPLY BECAUSE THE BLOODSTAINS CLEARLY INDICATE THAT IT IS A REAL BURIAL SHROUD THAT ENVELOPED, FOR LESS THAN 72 HOURS28, A REAL MAN WHO WAS TORTURED, SCOURGED, CROWNED WITH THORNS AND DIED BY CRUCIFIXION29
.
2- THE BODY IMAGE ON THE SHROUD MUST ABSOLUTELY HAVE BEEN CAUSED BY SOME FORM OF INTERRACTION BETWEEN THE CLOTH AND THIS TORTURED AND CRUCIFIED BODY
30

It is crucial to emphasize the fact that these two scientific conclusions are very solid since they are only based on the vast amount of data and observations that were accepted by the majority of the scientists who have studied the Shroud. Because of that, there is no good reason to seriously doubt these two conclusions. It’s also important to mention that these conclusions are the same as the main conclusions reached by the STURP team, after the scientific investigation they did on the Shroud at the end of the 1970s and at the beginning of the 1980s31 . In this context, why would we waste one more second of our precious time arguing about false ideas (like the Shroud being an artistic forgery) that simply do not fit with what science knows about the Shroud?

Before I end this article, I just want to give you another fact that can help reinforce the conclusions I just drew: of the tens, if not hundreds, of reproduction attempts of the Shroud done over the years with a variety of artistic techniques, absolutely none of them has even come close to reproducing the bloodstains we see on the Shroud with the same level of morphologic and physiologic precision. In fact, in most of these attempts, the person who did the reproduction didn’t even try to reproduce the bloodstains with a great care for precision, simply because he was well aware of the fact that it wasn’t possible for him to do an exact copy (or just even a close copy) of these stains! To me, all these resounding failures, in relation to the physical reproduction of bloodstains that are present on the Shroud, speaks very loud!!! And I’m not even talking about reproducing the chemical and spectroscopic characteristics of the bloodstains, i.e. blood that comes from exudated blood clots present on the skin of someone who suffered greatly before dying, generally accompanied by halos of serum and that stop the body image from forming on the cloth32. To conclude this point, here’s a fact that speaks louder than anything else: on all the reproduction attempts of the Shroud that were made, I don’t think there’s even one of them that has no body image under the bloodstains! This is due to the fact that, in all these attempts (and on the contrary to the Shroud), the body image was the first thing that was made and only after the bloodstains were reproduced (with no great success) over the image.

 

In fact, if we could do the test and ask a forensic expert to analyze all the artistic reproductions of the Shroud that were done over the years, there’s absolutely no doubt that this person would easily detect that the bloodstains on the cloth don’t come from a real human corpse, as opposed to the Shroud. Even Luigi Garlaschelli in Italy, with his full-size reproduction of the Shroud (the first attempt of that kind), did not even try to replicate the bloodstains with great detail33!!! I don’t think there is a better example than this one to understand the impossible challenge that has to face those who would like to reproduce the Shroud by using some kind of artistic technique… In reality, it’s totally impossible, simply because the Shroud is not an artwork as proven by the real human blood on the cloth that come from exudated blood clots34!

 

With this paper, I hope I have been able to set the record straight regarding the question of whether or not the Shroud of Turin is a real burial cloth of someone who was tortured and crucified. I believe I’ve been able to demonstrate in a convincing way that there’s absolutely no place for doubt regarding the fact that it is an authentic burial cloth that has enveloped the corpse of a real crucified man for a short period of time.

So now, and maybe for the first time in history, can we start an intelligent debate that can always rest on that solid scientific base that the Shroud is a real burial shroud of someone who’ve been tortured and crucified, in the same manner than Jesus of Nazareth, as reported in the Gospels??? And if we finally decide to do so, why not start by asking ourselves this question: “If the man of the Shroud is not Jesus of Nazareth, then who is he???”

Annex

Comments from Pope Pius XI35:

As a bonus to this article, I thought it would be interesting to read two comments from Pope Pius XI on the subject of the authenticity of the Shroud. The first comment was he, speaking as the Pope, and the second comment was he, speaking as a scholar. Note that these comments were made during his papacy, between 1922 and 1939. So, here’s what Pius XI had to say about the Shroud:

 

“The Holy Shroud of Turin is still mysterious, but it is certainly not the work of any human hands. This, one can now say, is demonstrated. We said mysterious, because that sacred object still involves many problems, but certainly it is more sacred than perhaps any other; and, as it is now established in the most positive manner, even apart from any idea of faith or Christian piety, it is certainly not a human work.”

 

“We have personally followed the studies on the Holy Shroud, and we are convinced of its authenticity. Some opposition was raised, but they are not consistent.”

 

This last comment is a very personal reflection of this Pope, where he expressed his intimate conviction that the Shroud is the authentic burial cloth of Jesus-Christ. It is not an official statement made in the name of the Catholic Church.

 

In the end, the most important thing to note is the fact that the first quote from Pope Pius XI clearly shows that even before the first two direct scientific investigations done in 1973 and 1978, there was people, like himself, who were already able to completely reject any idea of an artistic forgery concerning the Shroud. This is due to the fact that, even in the 1930s, the state of the scientific research was good enough to be able to conclude that the bloodstains and the body image on the Shroud were produced by a real tortured and crucified body and not by any form of artistic technique.

Foot Notes:

1 You can buy online a copy of this great documentary at this address: http://www.shroudvideo.com/shroud_buy_the_video.html.
 

2 Pierre Barbet, La Passion de Jésus Christ selon le chirurgien (A Doctor at Calvary), Éditions Dillen et Cie, Paris, 1950.


3 Paul Vignon, Le Saint Suaire de Turin : devant la science, l'archéologie, l'histoire, l'iconographie, la logique, Éditions Masson, Paris, 1938.
 

4 The two most important papers published by STURP concerning the question of the blood are: John H. Heller and Alan D. Adler, Blood on the Shroud of Turin, Applied Optics, 19 (16), 1980 and John H. Heller and Alan D. Adler, A chemical investigation of the Shroud of Turin, Canadian Society of Forensic Science Journal, 14 (3), 1981.
 

5 A good example of that is the first full-size reproduction of the Shroud of Turin made recently by the Italian Luigi Garlashelli. A description of this attempt to reproduce the Shroud can be found in the Journal of Imaging Science and Technology, 54 (4), 040301-01-04030114, 2010.

6 This scientific fact is one of the most solid that exists concerning the Shroud because it was confirmed by two series of independent chemical, microscopic and immunological investigations, done at the beginning of the 1980s by John Heller and Alan Adler from STURP in the US and by Pierluigi Baima Bollone in Italy on blood samples coming directly from the cloth. For a summary of Baima Bollone’s findings concerning the Shroud, see: Pierluigi Baima Bollone, Sindone 101 domande e riposte (101 Questions on the Holy Shroud), Edizioni San Paolo s.r.l., Milano, Italy, 2000. The principal result of these two independent investigations was that the blood on the Shroud is really human (or at the very least, primate), confirming the opinion of the French surgeon Pierre Barbet, who was one of the first medical experts to analyze the Shroud in the 1930s. It’s interesting to note that Baima Bollone was even able to determine that the blood group is AB. This conclusion has been subject to intense criticism over the years. Some scientists, like Alan Adler himself, thought that all ancient blood would give a “false positive” AB result. Nevertheless, in his book Sindone 101 domande e riposte (101 Questions on the Holy Shroud) ,Baima Bollone explained, with very good arguments, that it is highly unlikely that he could have obtained a “false positive” result in that case. Like he said himself, the fact that he was able to clearly determine the blood group is another very good indicator that the blood on the Shroud is real human blood. And even if he really got a “false positive” result for the group AB, the simple fact that he was able to get a clear blood typing result for a red-coated fiber and no result at all for a white fiber, while using the same chemical test for both fibers, is a very strong indicator that this red coating is composed of real human blood, whether it really belongs to group AB or not. This reasoning can also be applied to the Sudarium of Oviedo because Baima Bollone was able to determine, with the same kind of chemical test, that the blood group of the blood found on this other relic associated with the Passion of Jesus of Nazareth is also of type AB. This result gives a pretty good argument (without being a definitive proof) in favor of a probable use of this small linen cloth on the same head that was in contact with the Shroud. Finally, it’s important to note that these two AB results obtained by Baima Bollone are still waiting to receive an independent confirmation from another specialist who could perform a new chemical analysis on blood samples coming from the Sudarium and the Shroud. It’s only then, and not before, that it will really be possible to consider these two AB results as being true scientific facts.
 

7 Alan D. Adler, The Orphaned Manuscript: A Gathering of Publications on the Shroud of Turin, Effata Éditrice, Torino, Italy, 2002.

8 On the contrary to the red-coated fibers, there is absolutely no signs of fibers cemented together, no signs of capillarity and no signs of abrasion concerning the colored fibers that form the body image on the Shroud and generally, there are no colored fibers that form the body image under the crossing threads of the weave. Another major difference between the bloodstains and the body image resides in the fact that many bloodstains have stained the cloth all the way to the reverse side while the body image has not, with the possible exception of the image of the hair in the frontal image (and maybe also the beard and the mustache). For more information on this controversial subject, see: Raymond N. Rogers, A Chemist’s Perspective on the Shroud of Turin, Barrie Schwortz Editor and Publisher, July 2008.


9 In the 1990s, Alan Adler made new chemical and spectroscopic analyses on samples from the Shroud and was able to determine that the vast majority of the bloodstains on the Shroud come from exudated blood clots and not from complete blood in a liquid form, confirming a hypothesis developed by Pierre Barbet. For a summary of his results, see: Alan D. Adler, The Orphaned Manuscript: A Gathering of Publications on the Shroud of Turin, Effata Éditrice, Torino, Italy, 2002.


10 Doctor Pierre Barbet was one of the first medical experts to claim, in the 1930s, that there were probably halos of serum around the bloodstains that are on the Shroud. He was able to detect these halos to the naked eye, but he couldn’t be 100% sure that they were composed of serum. It’s only when the STURP team published their results at the beginning of the 1980s (particularly in the papers written by Heller and Adler, and also the one written by Miller and Pellicori) that Barbet’s hypothesis was finally confirmed. Of course, seeing these very pale halos of serum with the naked eye is almost impossible if someone is not a medical or a blood expert. That’s why most people had to wait until Vern D. Miller and Samuel F. Pellicori published their ultraviolet fluorescence photographs of the Shroud before they were able to distinguish these stains. In addition, these ultraviolet fluorescence photographs have also revealed very precise anatomical details of the scourge marks that are invisible in white light, which is another important confirmation that the Shroud is a real burial cloth that has enveloped for some time the body of a man who was scourged and crucified, instead of an artistic forgery of some kind. Finally, there’s one more observation regarding the bloodstains that was made, thanks to these ultraviolet fluorescence photographs, and it is well summarized by Alan Adler in his book The Orphaned Manuscript: “The blood marks are all now highly absorbing, as would be expected if hemoglobin were present, as the porphyrin structure in this chromphore is a very strong near-ultraviolet absorber.” In other words, when it is exposed to UV light, the bloodstains on the Shroud react as expected for real blood. It is interesting to note that, on the X-ray fluorescence photographs that were taken by Roger A. Morris, Larry A. Schwalbe and J. Ronald London of STURP, the bloodstains on the Shroud also react as expected for real blood, i.e. they are all completely invisible on these photographs.


11 Pierluigi Baima Bollone, Sindone 101 domande e riposte (101 Questions on the Holy Shroud), Edizioni San Paolo s.r.l., Milano, Italy, 2000.


12 Alan D. Adler, The Orphaned Manuscript : A Gathering of Publications on the Shroud of Turin, Effata Éditrice, Torino, Italy, 2002.

13 However, we should note that there’s still two characteristics concerning the blood on the Shroud that are still used by skeptics to claim that the blood is not really human blood: 1- The color of the blood on the cloth is still red while it is well known that blood in the open air usually turns black or brown quickly after clotting. And 2- The level of potassium found in the blood was much lower than normal and almost no cells are present in the blood. Here, it is very important to emphasize the fact that these two particular characteristics, when we compare them to the rest of the data concerning the blood, can absolutely not pretend to be sufficient to reject the scientific conclusion that the blood on the Shroud is really human blood. In fact, if we believe Alan Adler’s opinion (who was a real expert in blood chemistry), these two abnormal characteristics are simply due to the fact that the blood on the Shroud is not “normal” blood. For the lack of potassium and cells in the blood, Adler indicates that it is surely due to the fact that the blood on the Shroud comes from exudated blood clots that were humid enough to leave an imprint on the cloth, instead of complete blood in a liquid form (see note #9), while he states that the high level of bilirubin in the blood (a pretty rare feature for bloodstains) is responsible for the fact that the color of the blood is still red, even after many centuries, if not 2000 years. Other explanations have been proposed over the years but, in the end, the real question raised by these two abnormal characteristics is not: “Can the blood on the Shroud be anything other than real human blood?”, but instead: “Why did the real human blood that is on the Shroud present such unusual characteristics?” Here, it is truly possible that the right answer to this question is the one given by Adler, i.e. simply because the blood on the Shroud is not “regular” blood! To conclude this point, it’s essential to understand that the amount of data that can support the idea that the blood on the Shroud is real human blood is huge and doesn’t leave any room for doubt. It’s also important to remember that this scientific conclusion was confirmed by two independent series of analyses of blood samples coming directly from the fabric. In such a context, these two particular characteristics, even if they seem strange at first sight, cannot, in any case, put into question a conclusion like that, which rest on such a solid base.


14 The most certain proof that the man was dead can be seen in the numerous signs of rigor mortis present in the body image. These signs have been noted by the vast majority of the medical experts who have studied the Shroud over the years, like Barbet, Baima Bollone, Bucklin, Zugibe, etc. And more importantly, these signs of rigor mortis were clear enough for these experts to conclude that the man of the Shroud most probably died in a vertical position of crucifixion, which is completely consistent with the visible marks of nailing in the wrist and feet area on the cloth. For example, the bended position of the knees, the left more than the other, the bended position of the forearms, the distention of the feet and the fully expanded position of the chest, are all totally consistent with someone who died with the arms elevated over the shoulders, in a vertical position of crucifixion. And we must also note that this alleged position of crucifixion at the time of death is also supported by the direction of all the pre-mortem blood flows that we can see on the Shroud, especially those on the forearms, and also by the direction and the particular appearance (not totally straight) of the post-mortem blood flow under the side wound. By the way, the simple fact that the specialists have been able to differentiate between pre-mortem and post-mortem blood flows is another very clear sign that the blood on the cloth came from a real body and that this man was dead when his corpse was put in the Shroud. Finally, the open aspect of the side wound (with no sign of retractation of the edges of the wound) make it clear that this particular injury could not have been inflicted when the man was still alive.


15 The numerous puncture wounds present in the region of the head, whether on the frontal image or on the dorsal image, are the most striking features we can see on the Shroud in line with what the Gospels mention about the Passion of Jesus of Nazareth. Effectively, for the medical experts who have examined the Shroud, this type of wound, that covered the entire surface of the head, is totally consistent with the wearing of a cap of thorns. Even if it is possible to think that other crucified victims could have been crowned with thorns like Jesus (we can think of some self-proclaimed Jewish Messiahs or some revolutionary leaders), the fact that there is no clear historical record of another case of crowning with thorns prior to a crucifixion seems to indicate that this was not a common practice. The fact that Jesus was crowned with thorns is directly related to the accusation of the Jewish leaders who pretended that he proclaimed himself the king of the Jews. In this context, this very particular torture must be understood as a spontaneous act of some Roman soldiers that would not have been performed in another context. Because of that, the puncture wounds in the scalp of the man of the Shroud can be seen as the most important sign that permits us to link this relic with Jesus of Nazareth. It’s also important to note that the information coming from all the other injuries we can see on the Shroud, whether it be the nailing of the wrists and feet, the side wound compatible with a piercing done with a Roman lancea (lance), all the scourged wounds indicating a violent scourging done with a Roman flagrum, are totally consistent with the Gospel accounts concerning the Passion and death of Jesus of Nazareth. Finally, the fact that the legs of the man of the Shroud don’t appear to have been broken represent another important similarity with the Jesus of the Gospels.

16 This conclusion can be confirmed by the conjuncture of at least 4 important facts: 1- The body image was caused by a dehydration and/or an oxidation process on the surface of the cloth and not by any kind of pigments or dyes; 2- There’s a close correlation between the body image intensity and the 3D structure of a real human form; 3- The blood on the cloth is real human blood that comes from exudates of blood clots and is surrounded almost each time by a halo of serum; 4- There’s no body image under the blood and serum stains, meaning that these biological substances went on the cloth first and, only after that, the body image was formed.

 

17 The term “authenticity” is used here in the sense of an authentic burial cloth that contained for some time the corpse of a bloody man having apparently suffered a scourging and a crucifixion in accordance with the known Roman method.


18 John H. Heller and Alan D. Adler, A chemical investigation of the Shroud of Turin, Canadian Society of Forensic Science Journal, 14 (3), 1981. For more details about the level of bilirubin found in the blood, see: Alan D. Adler, The Orphaned Manuscript : A Gathering of Publications on the Shroud of Turin, Effata Éditrice, Torino, Italy, 2002.


19 In his book The Orphaned Manuscript : A Gathering of Publications on the Shroud of Turin, here’s what Alan Adler had to say about the high level of bilirubin found in his blood samples: “In traumatic shock as would be experienced under flogging and crucifixion, red blood cells lyse and the released hemoglobin is both bound up in haptoglobin-hemoglobin aggregates (a brownish denatured methemoglobin color) and also degraded by enzymatic action in the liver to convert the heme portion to bilirubin which is also bound up in protein complexes, mainly with albumin (a yellow orange color).” In the same part of the book, he also wrote: “…the chemical testing not only supports the forensic conclusion that the blood marks are derived from contact of the cloth with clotted wound exudates, but that the shed blood was from someone who suffered a traumatic death as depicted in the body images.

20 Pierluigi Baima Bollone, Sindone 101 domande e riposte (101 Questions on the Holy Shroud), Edizioni San Paolo s.r.l., Milano, Italy, 2000. Note: In his 1983 paper The Authentication of the Turin Shroud: An Issue in Archaeological Epistemology, William Meacham states that Constantine banished this form of execution in the year 315 A.D. (http://shroud.com/meacham2.htm). To remain prudent, we can estimate without a high risk of error that this banishment was proclaimed between 315 and 337 A.D.

 

21 This very intriguing aspect of the  Bloodstains on the Shroud of Turin was first mentioned by French researchers like Paul Vignon, Pierre Barbet and Antoine Legrand during the first half of the 20th century, and was also noted, later on, by other Shroud researchers, like Pierluigi Baima Bollone, a forensic expert from Italy who examined the Shroud in person in Turin in 1978, along with the STURP team, and who was ultimately able to determine, as we said earlier, that the blood on the cloth is really human blood. Effectively, we can note an explicit recognition of this particular aspect of the bloodstains in his book Sindone 101 domande e riposte (101 questions on the Holy Shroud). We can also find a direct recognition of the undisturbed aspect of the bloodstains in an article entitled The Death of the Shroud Man: an improved review, which was cowritten in 2008 by Jose de Palacios, a surgeon from the University of Madrid in Spain, along with other Shroud researchers. These are just two modern examples among others, of medical experts who agree with the observation made by Vignon, Barbet and Legrand. In Barbet’s mind (see his book La Passion de Jésus Christ selon le chirurgien (A doctor at Calvary)), the undisturbed aspect of the bloodstains cannot be explained scientifically in the context of a corpse who was enveloped in a Shroud for some time, long enough to leave many imprints of blood clots on the cloth, and then was taken out of this shroud before the appearance of the first liquids of putrefaction (some 36 to 72 hours after death, depending on many factors). As Barbet said, normally, when a blood clot leaves an imprint on a piece of cloth, after the removal of this clot from the fabric, it results that only a part of the clot remains fixed on the cloth and the other part stayed fixed on the skin, leaving holes and/or missing parts in the portrait of this clot on the fabric. But on the Shroud of Turin, the mirror images of the blood clots are, to the naked eye, perfectly intact, complete, reproducing each time the familiar image of a normal blood clot… 

22 See note #20.


23 In his article Crucifixion in Antiquity – The anthropological evidence, renowned archaeologist Joe Zias states: “Giving the victim a proper burial following death on the cross, during the Roman period was rare and in most cases simply not permitted in order to continue the humiliation. Thus the victim was in many cases simply thrown on the garbage dump of the city…” (http://www.joezias.com/CrucifixionAntiquity.html). It’s interesting to note that the same conclusion can also be found in the excellent article Medical theories on the cause of death in crucifixion, written by Matthew W. Maslen and Piers D. Mitchell. On the other hand, we have to understand that the description given by Zias and taken by Maslen and Mitchell concerned the Roman practice in general, and it is truly possible that the procedure could have been different in Palestine at the time of Jesus. In the documentary The Wonder of the Shroud, Fr. Martin Haigh, quoting the book The New Testament and Rabinnic Judaism, written by the distinguished Jewish writer David Daube, states that the normal procedure in Palestine during the first century A.D. was to throw the body of crucified victims into a common grave and only after a year, the family was hallowed to collect the bones (in order to place them in an ossuary and bury them in a family tomb). We can also a very similar description in the book La Passion de Jésus : De Gethsémani au Sépulcre (The Passion of Jesus: From Gethsemane to the Sepulchre), written by Jean-Maurice Clercq, a French doctor, but with an interesting precision, i.e. that this very particular procedure came from a description that is found in the Talmud, which is a text written after the time of Jesus. Personal note: no matter if the correct procedure at the time of Jesus was the one described by Zias, Maslen and Mitchell or the one described by Daube and Clercq, we must always assume that, under Roman law, it wasn’t a normal procedure to allow a condemned person (Jew or other) to be buried in a clean burial shroud after his execution by crucifixion. That can explain why the Gospels emphasized the fact that Joseph of Arimathea had to ask permission to Pilate to take the corpse of Jesus in order to give him a decent burial. That can also explain the presence of a postmortem wound in the side of the man of the Shroud... Effectively, this type of post-mortem injury to the chest was surely done by one of those who were in charge of the crucifixion to make sure the victim was really dead. This kind of post-mortem procedure is logical only in the case a “special” permission was given to take the body, in order to give him a decent burial.


24 Maurus Green, Enshrouded in Silence - In search of the First Millennium of the Holy Shroud, Ampleforth Journal, 74:3, 1969, pages 321 to 345, (http://www.monlib.org.uk/papers/aj/aj1969green.htm). See also: William Meacham, The Authentication of the Turin Shroud: An Issue in Archaeological Epistemology, Current Anthropology, 24:3, 1983 (http://shroud.com/meacham2.htm).

25 This expression should be understood in the sense of a “vanishing of the body”. And it’s important to note that, on a religious level, words like “dematerialization” or “vanishing” do not mean that the body of Christ would have been “destroyed” in favor of a surviving of his soul only (like the idea we can have of a ghost, for example). Effectively, the Catechism of the Catholic Church (particularly #996–1000) indicates that, at the time of Jesus’ Resurrection, his entire human reality (body and soul) begin to exist outside the space-time frame where physical activity takes place, as described by science.

 

26 This 4th scenario might shock some because it is based on a dogma of faith (the Resurrection of Christ) and, by definition, it goes beyond the pure scientific rationality. But, since the Shroud of Turin is considered by Christian tradition as being the authentic burial cloth of Jesus-Christ, it seems justified to keep open that possibility, even if, in face of all the known and confirmed data, such a scenario is not necessarily the most probable. For a very detailed analysis of that possibility, see: Raymond N. Rogers, A Chemist’s Perspective on the Shroud of Turin, Barrie Schwortz Editor and Publisher, July 2008. See also note #27 in the next page. This precision concerning the Resurrection could also be applied to the 3rd scenario, but only in the case where it would be this supernatural event that would have caused the interruption of the natural process of image formation and that would have been also the cause of the undisturbed aspect of the bloodstains that are visible on the cloth.

27 As we have seen previously, there are only 4 possible scenarios concerning the Shroud that have any chance to “fit” with these two conclusions. And when we use the Occam’s razor principle, the probability seems to be much higher for some of them (like the scenario #3 for example) than it is for others (like the scenarios #1 and 2). In reality, when we analyse rationally each one of these four proposed scenarios, there’s no doubt that the scenario #3 (particularly the option that doesn’t call for the Resurrection to explain the appearance of the bloodstains) is the one that demand the fewest number of special assumptions. That doesn’t mean this scenario is necessarily the correct one, but nevertheless, since we’re dealing with probabilities and not certainties, we have to admit that it is effectively the most probable scenario that can explain the bloodstains and the body image on the Shroud. For a good description of the Occam’s razor principle, see http://en.wikipedia.org/wiki/Occam's_razor. However, it should be noted that, in the case where the radiocarbon test of 1988 would be accurate and the Shroud would really be medieval (between 1260 and 1390), the scenario #1 would be the only one that would “fit” with such a result. But since 2005, when Raymond N. Rogers of Los Alamos National Laboratory, the head chemist of the STURP team, published the results of his analyses of some threads taken from the middle of the carbon 14 sample (a unique sample that came from a damaged corner of the Shroud), the result of the radiocarbon test of 1988 is considered by many scientists to be non representative of the main body of the Shroud. So now, because of these results published by Rogers (that were independently confirmed by John L. Brown of Georgia Tech Research Institute in 2005 and by Robert Villarreal of Los Alamos National Laboratory in 2008), the idea that the Shroud could really be a “natural” forgery using a real tortured and crucified body, made during the Middle Ages, seems to be highly unlikely. In fact, if such a forgery ever happened (like we said, using Occam’s razor principle, the probability seems very thin), it’s much more logical to think that it was done during the time crucifixion was still performed regularly by the Romans, i.e. before 337 A.D. (and more probably before 315 A.D.).


28 Raymond N. Rogers, A Chemist’s Perspective on the Shroud of Turin, Barrie Schwortz Editor and Publisher, July 2008. Note: in his book, Rogers cites a study by Arpad A. Vass et al., indicating that the appearance of the first liquids of putrefaction usually comes between 36 to 72 hours after death, depending on many factors.

 

29 This first conclusion can be easily confirmed by the conjuncture of all the results obtained by numerous independent researchers that have analyzed the Shroud over the years, particularly when we consider that it has been independently confirmed that the bloodstains on the cloth are really made of human blood coming from exudates of blood clots, instead of complete blood in a liquid form. Also, the high level of bilirubin found in the blood is another important fact that can confirm even more this particular conclusion.

 

30 See note #16.


31 For a good summary of STURP conclusions, see http://www.shroud.com/78conclu.htm.

32 Alan D. Adler, The Orphaned Manuscript : A Gathering of Publications on the Shroud of Turin, Effata Éditrice, Torino, Italy, 2002.
 

33 Thibault Heimburger and Giulio Fanti, Scientific comparison between the Turin Shroud and the first handmade whole copy, Proceedings of the International Workshop on the Scientific approach to the Acheiropoietos Images, ENEA Frascati, Italy, 4-6 May 2010 (http://www.acheiropoietos.info/proceedings/HeimburgerWeb.pdf).


34 In face of this solid scientific fact, some skeptics imagined that an artist could have touched up the image on the Shroud by painting with real blood. But this idea has been completely demolished by Alan Adler, the blood expert of STURP. Here’s what he said about that in his book The Orphaned Manuscript: “We have shown by immunological tests that the blood is definitely primate blood, and that it must have been taken from the exudate of a clot at a certain point in the clotting process. An artist would therefore have needed the exudate from the wounds of a severely tortured man, or baboon, and he would need to take the substance within a 20-minute period after the clotting had begun, and paint it on the cloth with the serum edges and all the other forensic precision that we see there. I believe most reasonable people would conclude that it is simply impossible that an artist could have produced the blood imprints on the Shroud of Turin. Rather, it is logical to conclude, from the nature and characteristics of the bloodstains on the Shroud, that the cloth once enfolded the body of a severely beaten and crucified human being.”

35 I have found these two quotes from Pope Pius XI in the article Doctor Hynek and the Holy Shroud, written on the 4th of November 1951, by Edmard A. Wuenschel, who was then the Honorary President of the Holy Shroud Guild (http://holyshroudguild.org/rev-weuenschel.html).

EVIDENCES FOR TESTING HYPOTHESES ABOUT THE BODY IMAGE  FORMATION OF THE TURIN SHROUD

EVIDENCES FOR TESTING

THE THIRD DALLAS INTERNATIONAL CONFERENCE
ON THE SHROUD OF TURIN: DALLAS, TEXAS, SEPTEMBER 8-11, 2005

ShroudScience Group on Yahoo!

Giulio Fanti, Barrie Schwortz, August Accetta, José A. Botella, Berns J. Buenaobra, Manuel Carreira, Frank Cheng, Fabio Crosilla, R. Dinegar, Helmut Felzmann, Bob Haroldsen, Piero Iacazio, Francesco Lattarulo, Giovanni Novelli, Joe Marino, Alessandro Malantrucco, Paul Maloney, Daniel Porter, Bruno Pozzetto, Ray Schneider, Niels Svensson, Traudl Wally, Alan D. Whanger, Frederick Zugibe 

FOREWORD


This paper has been written in honour of the lamented Raymond Rogers who first proposed this work and dedicated many hours of his life to improve this collection of information; he wrote:


“No matter what the truth is about the Shroud, it is a fascinating study. It can be studied according to the rigorous Scientific Method, and it is too bad that so many wild flights of fancy have destroyed the credibility of the studies. Maybe we can restore some science to the discussions.” ShroudScience Group and the present paper are a first effort to realize Ray’s hope.

SUMMARY


This paper is the first document, still in progress, that derives from a very wide discussion on the Yahoo! Shroud Science Group and has the aim to present all the evidences detected on the Turin Shroud that can be useful for a further discussion about the problem of the body image formation. Many hypotheses about the image formation have been proposed, but, up to now, none, scientifically testable, satisfies simultaneously all the facts detected on the Shroud.


The Group has the aim to consider in depth, all the possible hypotheses proposed or to improve some others in order to determine if some mechanism, more or less complicated, is able to explain all the many peculiarities of the Shroud.


This aim is not simple because the Group has no access, for the moment, to the results of the new tests on the Shroud made under the guidance of Prof. P. Savarino, scientific consultant of the Custodian Card. S. Poletto, in 2000 and during its “restoration” in 2002. In any case the Group has re-analyzed many data also coming from tests done in 1978 by the STURP (Shroud of Turin Research Project) Group and has collected considerable information that clarifies the complex aspects of this sheet; hopefully this information will be improved upon when the Turin data becomes available.
 

In this document a list of facts directly related to the Turin Shroud, subdivided in four sections, is presented. The first section describes unquestionable facts detected on the Turin Shroud; the second one refers to confirmed observations or conclusions based on a proof made in reference to Turin Shroud studies; the third one refers to facts or observations that were evidenced by some researcher but that are not universally accepted; the fourth one, assuming a scenario that the Shroud is actually the burial cloth of Jesus of Nazareth, includes correspondences with the Scriptures.

1) INTRODUCTION
The Turin Shroud (TS) is believed by many to be the burial cloth of Jesus of Nazareth when he was put in a tomb in Palestine about 2000 years ago. It has generated considerable controversy but unlike other controversial subjects (e.g. flying saucers and ghosts), the TS exist as a material object: it can directly and objectively be observed. The results of studies can be analyzed by scientific methods (Schwalbe 1982).


The TS is a linen sheet about 4.4 m long and 1.1 m wide, in which the complete front and back body images of a man are impressed. Of all religious relics it has generated the greatest interest. The cloth is hand-made and each yarn (diameter about 0.25 mm) is composed of 70-120 linen fibers. Although not all scientists are unanimous, it has been shown by many scientists that the linen sheet enveloped or wrapped the corpse of a man who had been scourged, crowned with thorns, crucified with nails, and stabbed by a lance in the side. Also impressed are many other marks due to blood, fire, water and folding, which have greatly damaged the double body image. Of greatest interest are the wounds which, to forensic pathologists, appear to be unfakeable (Fanti and Moroni 2002).


The "Shroud of Christ" appeared in 1353 in Lirey, France, under mysterious circumstances and with no documentation whatever. In 1203, a soldier camping outside Constantinople with the Crusaders, who sacked the city the following year, noted that a church there exhibited every Friday the cloth in which Christ was buried, with the figure of his body. It is probable that this cloth and the TS are the same. It seems that the TS was among the spoils of the Crusades, together with many other relics brought back to Europe. Before the sacking of Constantinople in 1204 there are some documents that refer to the presence of the TS: for example some characteristics of the Christ reproduced in some Byzantine coins (gold-solidus) of the VII-XIII century A.D. are very similar to those of the TS body image.

 I. Wilson (1998) identified the TS, folded four times to show only the face, with the Mandylion, a
cloth said to have received the miraculous imprint of Christ’s face and to have been taken to Edessa
in the first century A.D.. The tradition of this imprint “made without hands” developed first in the Byzantine empire; a similar tradition arose in the 7th and 8th centuries in the West - that of Veronica, who wiped the brow of Christ with her veil and found an imprint of his face remaining.

 

Scientific interest in the TS developed after 1898, when S. Pia, who photographed it for the first time, noticed that the negative image on the TS looked like a photographic positive. Correlations with the anatomical characteristics of a human body were also very high and not comparable with anatomical characteristics normally depicted in popular Medieval art. In 1931, G. Enrie again photographed the TS at a very high resolution.

The TS has a front image 1.95 m long and a back image 2.02 m long, separated from the former by a non-image zone of 0.18 m (measurements done before 2002); the images show an adult male, nude, well proportioned and muscular, with beard, mustache, and long hair.

The TS has been radiocarbon-dated to 1260-1390 A.D. (Damon et al. 1989) but a great number of scientists believe that the method used to take the sample and the reliability of radiocarbon dating is not satisfactory because the linen underwent many vicissitudes (e.g., fires, restorations, water, exposure to candle smoke and the breath of visitors). For example, some researchers have proposed that the 1532 fire probably modified the quantity of radiocarbon in the TS, thus altering its dating, and others believe in the existence of a biological complex of fungi and bacteria covering the yarns of the TS in a patina (Moroni 1997, Garza Valdes 2001). Recently it was demonstrated that the 1988 sample is not representative of the whole TS (Adler 1999 and 2000, Marino 2000 and 2002, Rogers 2002 and 2005).


Many hypotheses and experimental tests have been carried out on linen fabrics to explain the formation of the body image, both in favor of authenticity, and vice versa. Examples are:

  • a) The body image is caused by the emanation of ammoniacal vapors (Vignon 1902).

  • b) The body image is due to a chemical process similar to that which happens in leaves of herbaria: the image originated through direct contact (De Salvo 1982, Volckringer 1991).

  • c) The body image is a painting (McCrone 1980).

  • d) The body image is due to a natural chemical reaction (Rogers 2002).

  • e) The body image was obtained from a warmed bas-relief (Pesce Delfino 2001)

  • f) The body image was obtained by rubbing a bas-relief with pigments or acids (Nickell 1997).

  • g) The body image was obtained by a modified carbon dust drawing transferred to the cloth by rubbing (Craig and Bresee 1994).

  • h) The body image was obtained by exposing linen in a “darkened room” using chemical agents available in the Middle Ages (Allen 1998, Picknett and Prince 1994).

  • i) The body image was obtained by exposing a linen cloth to sunlight with a glass plate containing an oil painted image on its surface (Wilson 2005).

  • l) The body image was obtained by surface electrostatic discharges caused by an electric field, of seismic origin or direcltly generated by the enveloped Man (Scheuermann 1987, De Liso 2000, 2002, Lattarulo 2003, Fanti 2005, Fanti et al. Sept 2005).

  • m) The body image is due to an energy source coming from the wrapped or enveloped Man, perhaps caused during the Resurrection (Lindner 2002, Rinaudo 1998, Jackson 1990, Moran 2002). Although good experimental results have been obtained by a number of researchers, in the sense that, at first sight, the image, generally limited to the face, is similar to that of the TS Man, until now no experimental test has been able to reproduce all the characteristics found in the image impressed on the TS.

Some researchers interested in the TS scientific problems formed the ShroudScience Group on Yahoo to discuss these issues via the Internet. A first objective posed by them is that regarding the possible explanation of the body image formation. In order to deepen the discussion in accordance with the Scientific Method, all the scientists agreed to define a list of evidences of the TS upon which to base their further debate. This paper, still in progress, presents the list of evidences defined by the researchers, that are intended to be useful for future discussion. 

2) LIST OF FACTS AND OBSERVATIONS


The list is subdivided in four different types of evidences:

- Type A refers to unquestionable observations made on the TS numbered as “An” where n is the evidence number;
- Type B refers to confirmed observations or conclusions based on a proof made in reference to TS studies and are numbered as “Bn”;
- Type C refers to facts or observations that were evidenced by some researchers but that are not universally accepted and are numbered as “Cn”;
- Assuming a scenario that the TS is actually the burial cloth of Jesus of Nazareth it makes sense, to include the Scriptures in this discussion, not on a theological level, but describing some things that might have an impact on the TS; for this reason Type D refers to correspondences with those described in the holy texts and are numbered as “Dn”.

2.1) Specific facts


The list of Type A facts refers to unquestionable observations made on the TS and they are at the basis of every hypothesis formulation in the sense that an hypothesis must be tested against all Type A facts and only if it is congruent with all of them, none excluded, can it be considered for further in depth study.


2.1a) CHEMICAL-PHYSICAL CHARACTERISTIC OF THE LINEN YARNS AND FIBERS
A1) The yarn used to weave the Shroud was spun with a "Z twist." (Raes 1974, Vial 1989, Curto 1976, Pastore 1988).
A2) Direct microscopy showed that the image color resides only on the topmost fibers at the highest parts of the weave (Evans 1978; Pellicori 1981).
A3) Phase-contrast photomicrographs show that there is a very thin coating on the outside of all superficial linen fibers on Shroud samples named "Ghost"; “Ghosts” are colored (carbohydrate) impurity layers pulled from a linen fiber by the adhesive of the sampling tape and they were found on background, light-scorch and image sticky tapes (Zugibe and Rogers 1978, Rogers 2002).
A4) Body image color resides on the thin impurity layer of outer surfaces of the fibers (Zugibe 1978, Heller 1981; Rogers 2002).
A5) According to M. Evans (1978) photomicrographs (ME-02, -08, -14, -16, -18, -20, -25, -29), the color of the image-areas has a discontinuous distribution along the yarn of the cloth: striations are evident. The image has a distinct preference for running along the individual fibers making up a yarn, coloring some but not others (Pellicori 1981, Schneider 2005). Fibers further from a flat surface, tangent to the fabric, are less colored, but a color concentration can be detected in correspondence to crevices where two or three yarns cross each other (ME-20) (Fanti 2005).
A6) The cellulose of the medullas of the 10-20-micrometer-diameter fibers in image areas is colorless because the colored layer on image fibers can be stripped off, leaving colorless linen fibers (Heller 1981; Rogers 2002).
A7) The colored layers in the adhesive have the same chemical properties as the image color on fibers (Rogers 2005).
A8) The crystal structure of the cellulose of image fibers has not visibly changed with respect to that of the non-image fibers (scorches have) (Rogers 2002; Feller 1994).
A9) The colored coating cannot be dissolved, bleached, or changed by standard chemical agents, but it can be decolorized by reduction with diimide (hydrazine/hydrogen peroxide in boiling pyridine); the residue from reduction is colorless linen fibers (Heller 1981, Rogers 2003).
A10) The pyrolysis/ms data showed the presence of polysaccharides of lower stability than cellulose on the surface of linen fibers from the TS (Rogers 2004).

A11) Photomicrographs and samples show that the image is a result of concentrations of yellow to light brown fibers (Pellicori 1981; Jumper 1984; McCrone and Skirius 1980; Schwalbe 1982; Rogers 2002).
A12) The image-formation mechanism did not char the blood (Rogers 1978-1981).
A13) The image formed at a relatively low temperature (Rogers 1978-1981).
A14) The 1978 quantitative x-ray-fluorescence-spectrometry analysis detected significant uniform amounts of calcium and strontium concentrations (a normal impurity in calcium minerals), and iron in the Shroud (Morris 1980, Rogers 2003, Adler 1998).
A15) Microchemical tests with iodine and pyrolysis/mass spectrometry detected the presence of starch impurities on the surfaces of linen fibers from the TS (Rogers 2002, 2004).
A16) The lignin that can be seen at the wall thickenings and/or growth nodes of the linen fibers of the TS does not give the standard test for vanillin (Rogers 2002, 2005).
A17) There is no cementation signs among the image fibers (Pellicori 1981).
A18) No painting pigments or media scorched in image areas, or were rendered water soluble at the time of the AD 1532 fire (Rogers 1977-1978-1981/2002; Schwalbe 1982).
A19) No fluorescent pyrolysis products were found in image areas (Rogers 2002).
A20) After weaving, the TS yarns were washed with a very mild, natural material because of the presence of flax wax on the fibers and the specular reflectance of the non-image fibers (Rogers 2003). 

2.1b) OPTICAL CHARACTERISTICS OF THE CLOTH
A21) The cloth shows bands of slightly different colors of yarn that are best observed in ultraviolet photographs. For example between face and hair there are two non-colored bands that continue along the warp direction (Miller and Pellicori, 1981, Fanti 2003, Rogers 2002, 2005).
A22) There is a correspondence (even if not complete) between cloth bands of slightly different colors of yarn of the front and back surface (G. Ghiberti 2002; Fanti 2003).
A23) The colored fibers in non-image (background) areas show the same type of superficial color as body image fibers, their spectra are the same, and the cellulose in them is not colored (Gilbert 1980; Rogers 2002).
A24) The body image does not fluoresce in the visible under ultraviolet illumination (Gilbert 1980, Pellicori 1981).
A25) The non-image area fluoresces with a maximum at about 435 nanometers (Pellicori 1981).
A26) A redder fluorescence can be observed around the burn holes from the AD 1532 fire (Pellicori 1981).
A27) The cloth does not show any phosphorescence (Rogers 2005).
A28) All the chemical and microscopic properties of dorsal and ventral image fibers are identical (Jumper 1984).
A29) An emission image was clearly visible in the 8-14 micrometers infrared range (Accetta 1980).
A30) IR emission of the image at a uniform room temperature , and in the 3-5-micrometer range was below the instrument sensitivity (Accetta 1980).

2.1c) BODY IMAGE
A31) The body image is very faint: reflected optical densities are typically less than 0.1 in the visible range (Jumper 1984; Schwalbe 1981).
A32) The body image shows no evidence of image saturation(Jackson 1977, 1982, 1984).
A33) The body image has a resolution of 4,9±0,5 mm at the 5% MTF value (for example the lips); the resolution of the bloodstains is at least ten times better (for example the scratches in the scourge wounds) (Jackson 1982, 1984; Moran 2002; Rogers 2003, Fanti 2004-MTF, Fanti Sept. 2005-MTF).
A34) The body image does not have well defined contours (Jackson 1982, 1984; Moran 2002).
A35) A non-image area is detectable among the fingers of the TS image (Fanti 2004).
A36) There is a darker spot in correspondence of the palm of the Man’s hand near the index finger (Accetta 2001, Antonacci 2000).
A37) The thumbs are not visible in the hand image (Bucklin 1982, Ricci 1989)

A38) In correspondence to the middle of the nose there is a swelling (Fanti 2004).
A39) Detailed photographs and microscopic studies of the cloth in the nose image area show scratches and dirt (Bucklin 1982).
A40) The hair on the frontal image show high luminance levels relatively to the face: for example the left hair is darker than the cheeks (Fanti 2004).
A41) There is no evidence of image between the tops of the front and dorsal heads (Adler 1999; Moran 2002).
A42) In the positive photograph of Durante (2000), the luminance levels of the front and back body images (face excluded) are compatible within an uncertainty of 5%; the front image is generally darker than the dorsal one (Moran 2002, Fanti 2005).
A43) The image of the dorsal side of the body does not penetrate the cloth any more deeply than the image of the ventral side of the body ((Jumper 1984, Rogers 2005).
A44) The luminance level of the head image in the positive photograph of Durante (2000) is 10% and more lower (darker) than that of the whole body image (Moran 2002).
A45) The image-forming mechanismoperated regardless of different body structures such as skin, hair, beard and perhaps nail (Antonacci 2000).
A46) The thermograms did not show the lower jaw of the image (Rogers 2003), even if it is visible (Whanger 1998).
A47) A body image color is visible on the back surface of the cloth in the same position of some anatomic details as for the body image of the frontal surface of the TS. The hair appears more easily to the naked eye (Ghiberti 2002) but also other details of face and perhaps hands appear by image enhancement (Maggiolo 2002/03, Fanti and Maggiolo 2004).
A48) No image color is visible on the back surface in correspondence of the dorsal image (Ghiberti 2002; Maggiolo 2002/03, Fanti and Maggiolo 2004).
A49) The nose image on the back surface of the TS presents the same extension of both nostrils, unlike the frontal, in which the right nostril is less evident (Fanti and Maggiolo 2004).
A50) Image details corresponding to Face grooves are more faintly represented (e.g. eye sockets and skin around the nose), convex “hills” on the Face (e.g. eyeballs and nose tip) however are more clearly represented (Scheuermann 1983).
A51) Although anatomical details are generally in close agreement with standard human-body measurements, some measurements made on the Shroud image, such as hands, calves and torso, do not agree with anthropological standards (Ercoline 1982; Simionato 1998/99; Fanti and Faraon 2000; Fanti and Marinelli 2001)

A52) The body image shows no evidences of putrefaction signs, in particular around the lips. There is no evidence for tissue breakdown (formation of liquid decomposition products of a body) (Bucklin 1982; Moran 2002).
A53) No image formed under the blood stains (Heller 1981; Schwalbe 1982; Brillante 2002).
A54) The front image shows hair that goes down to the shoulders (Fanti and Faraon 2000).
A55) The image of the TS Man, appears as if he was scourged(Bucklin 1982, Ricci 1989).
A56) The image of the TS Man, appears as if he was crucified: it appears with nail holes and corresponding blood at the wrists and top of the feet (Bucklin 1982, Ricci 1989).
A57) The image of the TS Man demonstrates no evidence of maiming or disfigurement (Bucklin 1982, Ricci 1989).

 

2.1d) BLOOD AND BODY FLUIDS
A58) Body fluids other blood or serum than did not percolate into the cloth (Rogers 2003).
A59) The blood or serum have migrated by capillary imbibitions from the "warp side" to the "weft side" of the TS and, depending on their abundance and consistency, they filled the mesh apertures (Fanti 2004).
A60) There is a class of particles on the TS ranging in color from red to orange that test as blood derived residues. They test positively for the presence of protein, hemin, bilirubin, and albumin; give positive hemochromagen and cyanmethemoglobin responses; after chemical generation display the characteristic fluorescence of porphyrins (Adler 1999).

A61) The blood on the TS is not denatured. Therefore both the image-formation mechanism and the 1532 fire did not involve processes that would denature the blood (Rogers 2004).

A62) The blood from the large flow on the back darkened (scorched) at an adjoining scorch (Rogers 1978).
A63) The red flecks McCrone (1980, 2000) claimed were hematite had an organic matrix (Heller 1983, Rogers 2004).
A64) Microscopic observation of blood flecks of sample 3EB showed specular reflection: the blood went onto the surface as a liquid (Rogers 1978).
A65) Blood spots are much more visible on the TS by transmitted light than by reflected light; this implies that the blood saturated the cloth and it is not a superficial image as the body imager is (Rogers 1978).
A66) Many blood traces visible on the frontal image are also visible on the back image in the same position(Fanti 2003).
A67) Blood stains are well marked on the reverse side , although they are fainter than on the front side of TS (Fanti 2003, Whanger 2004).
A68) Some human blood stains appear on and outside of the body image (left elbow) (Heller 1980, 1981, Baima Bollone 1981, 1982, Jackson, 1987, Carreira, 1998).
A69) In correspondence to the knees on the dorsal image, there are scourge marks in correspondence to lower luminance levels of the body image (Fanti 2003).
A70) The blood on the TS does not fluoresce in ultraviolet illumination (no porphyria and no fluorescent pigments) (Rogers 1978).
A71) The blood on the TS can be removed with a proteolytic enzyme (Adler 1999).
A72) No smears are evident in the blood traces (Bucklin 1982, Ricci 1989, Antonacci 2000).
A73) No potassium signals could be found in any of the blood area data (Morris 1980).
A74) In UV fluorescence the scourge marks appear with dumbbell shapes (Bucklin 1982, Ricci 1989).
A75) In UV fluorescence the scourges are resolved into fine scratches: three, and in some cases four, parallel scratches can be distinguished (Bucklin 1982, Ricci 1989).
A76) The blood stain corresponding to the right side of the chest 6th ribs shows separation of blood from a clearer liquid material (Bucklin 1982).
A77) The DNA found in blood spots is badly degraded. (Rogers 2005).
A78) No broken fibers were found under the blood clots (N. Svensson 2005). 

2.1e) OTHER
A79) Earthy material (limestone composed of aragonite with strontium and iron) was found on the feet of TS Man (Kohlbeck 1986, Nitowski 1986, 1998, Antonacci 2000). Earthy material was also found in correspondence with the nose and the left knee (Pellicori 1981).
A80) Drops of wax were found (Maloney 1989).
A81) Microscopic observation of the bridge of the nose showed discontinuous distribution of light gold-colored fibers. All were on the top of the yarn (Rogers 1978, 2004).
A82) There is no observed microscopic, chemical, or spectroscopic evidence for the presence of any dry powder responsible for the body image on the TS (Adler 1999).
A83) Some little black spots (diameter of 1-2 mm) appear out of the body image (for example near the head, between the hair and the water stain); they are also visible, in the same position, on the back surface of the TS (Maggiolo 2002/03, Fanti 2003, Rogers 2003).
A84) Large water stains are visible on both sides of the cloth (Fanti 2004).
A85) Silver traces were found around the burn holes in the scorch area of the TS (Heller 1983).
A86) The white cloth used to cover the display board for the showing (1978) was fluorescent. Rudy Dichtel reported many intensely fluorescent short fibers on the surface of the Shroud (Rogers 2004).
A87) Aldehyde and carboxylic acid functional groups were detected in the TS fibers (Adler 1981)

2.2) Confirmed observations
Type B refers to confirmed observations or conclusions based on a proof made in reference to the TS. Therefore these observations must also be used to test any new hypothesis.


2.2a) CHEMICAL-PHYSICAL CHARACTERISTIC OF THE LINEN YARNS AND FIBERS
B1) The TS samples examined have herringbone 3:1 twill weave (Vial 1989).
B2) Traditional dimensions of the TS of 436 x 110 cm (Baima Bollone 1978) are changed after 2002 “restoration”: one side (the lower considering horizontal the body image, with the frontal side on the left) measured 437.7 cm in 2000 and 441.5 cm in 2002; the opposite side measured 434.5 in 2000 and 442.5 in 2002; its height of 112.5 and 113 cm respectively on the left and on the right in 2000 but 113.0 and 113.7 cm in 2002 (Ghiberti 2002). A measurement made in 1868 by Gastaldi (Baima Bollone 1978) reports the following dimensions: 410 x 140 cm (Scarpelli 1983).
B3) The thickness of the cloth measured by Jackson with a micrometer is variable from 318 to 391 micrometers (Rogers 2004).
B4) There appears to be more variation in the diameter of warp yarns than weft Rogers (1978).
B5) The TS weave is very tight (Raes 1974, Rogers 1978, Vial 1989).
B6) Although yarns and design of Raes sample look like the main part of the cloth, linen fibers from the Raes sample that was cut in 1973 are chemically different (from reflected spectroscopy and chemical analysis) (Adler 2000, Rogers 2002).
B7) Cotton fibers were found in the Raes samples and they were identified as Gossypium herbaceum, a common Middle East variety (Raes 1974, 1991).
B8) The sewing connecting the upper linen band of the TS is very particular and typical of very old manufacture (Flury Lemberg 2000, 2001).
B9) Reflectance spectra, chemical tests, laser-microprobe Raman spectra, pyrolysis mass spectrometry, and x-ray fluorescence all show that the image is not painted with any of the expected, historically-documented pigments (Schwalbe 1982; Morris 1980; Heller 1981, Mottern 1979).
B10) Chemical tests showed that there is no protein painting medium or protein-containing coating in image areas (Rogers 1978-1981; Heller 1981; Pellicori 1980, 1981; Gilbert 1980; Accetta 1980; Miller 1981).
B11) The image fibers do not show any sign of capillary flow of a colored or reactive liquid (Evans 1978; Pellicori 1981

B12) Flakes of image color can be seen in other places where they fell off and stuck to the adhesive. The chemical properties of the coatings are the same as the image color on image fibers. All of the color is on the surfaces of the fibers (Rogers 2002; Heller 1981).
B13) There are no pigments on the body image in a sufficient quantity to explain the presence of an image (Pellicori 1981

2.2b) OPTICAL CHARACTERISTICS OF THE CLOTH
B14) The TS linen has a lustrous finish (Rogers, 1978-1981).
B15) If a fiber is colored, it is uniformly colored around its cylindrical surface (Adler 1996, 1999); relatively long fibers show variation in color from non-image to image area (Fanti 2004).
B16) Crease below the chin of the image: on the frontal surface of the TS, the inside part of crease has a lighter color similar to the background, but it has darker margins similar to the image-color. On the back of the cloth, the same crease is darker in correspondence of the lighter color of the frontal surface and the margins are confused with the background: the darker margins are of the same straw-yellow color of the body image (Rogers 2004).
B17) In the ultraviolet emission and absorption photographs the background cloth shows a light greenish yellow emission (Adler 2002).
B18) Where one of the image-yarn crosses over another, there is often no color on the lower one (Heller 1983, Rogers 2005).

B19) The image of the dorsal side of the body shows fairly the same color density and distribution as the ventral (Jumper 1984).
B20) IR photograph of the face made by Judica Cordiglia, if compared with visible photographs of the face indicates the low absorption near the IR of the products of image formation (Judica Cordiglia 1974, Accetta 1980, Rogers 2003).

 

2.2c) BODY IMAGE
B21) Up to now, all the attempts to reproduce a copy of the TS similar in all the detected characteristics has failed (Carreira 1998, Fanti 2004).
B22) The most of the prominent parts in the vertical direction (nose, beard, sole, calf) of the body image are marked(Fanti 2003).
B23) The hair on the front image is soft and not matted as would be expected if it were soaked with a liquid (Fanti 2004).
B24) When their lengths are measured, the dorsal image is longer than the ventral image in a manner similar to the imprint on a sheet of a man having the head tilted forwards, his knees slightly bent, and his feet extended (Craig 2003; Cagnazzo 1997-98; Fanti 2000).
B25) The frontal body image (195 cm long) is compatible, within an uncertainty of +/-2 cm, with the dorsal image (202 m long) if it is supposed that the TS enveloped a corpse having the head tilted forward, the knees partially bent and the feet stretched forwards and downwards (Basso 2000).
B26) Based on cloth measurements (Baima Bollone 1978), the image corresponds to a man 175+/-2 cm tall (Simionato 1998-99; Faraon 1998-1999; Basso 2000).
B27) The body image has the normal tones of light and dark reversed with respect to a photograph, such that parts nearer to the cloth are darker (Jumper 1984, Craig 2004, Schneider 2004).
B28) The luminance distribution of both the frontal and dorsal images has been correlated to the clearances between a three-dimensional surface of the body and a covering cloth (Quidor 1913, Sullivan 1973, Gastineau 1974, Jackson 1977, 1982, 1984, Fanti 2001, Moran 2002).
B29) The luminance distribution of the body image can be correlated with a highly directional mapping function (Jackson 1977, 1982, 1984).
B30) The body image shows non-directional light sources in the sense that there are no shadows, cast shadows, highlights, and reflected lights in or on the body image (Moran 2002; Craig 2003).
B31) The absence of saturation implies that the image formation did not “go to completion”, i.e. it did not produce the maximum number of conjugated carbon-carbon double bonds (Rogers 2003, Gilbert a1980: fig. 8 and 10).
B32) In correspondence of image sections of cylindrical elements such as legs, the luminance levels variation approximates a sinusoidal law(Fanti 2004).
B33) In reference to a cloth wrapping a body, there is no evidence of body image formation at the sides of the body on both the frontal and dorsal TS images (Adler 1999; Moran 2002).
B34) The Fourier transform of the body image shows a nearly continuous spectrum in correspondence to the spatial frequencies up to 100 [1/m] (Fanti 1999; Maggiolo 2002/03).

B35) The body image indicates the absence of brush strokes (Lorre 1977).
B36) The frontal image, at least in correspondence to the head, is doubly superficial (Fanti and Maggiolo 2004).
B37) The fingers in the image appear to be longer than average for a man, but they are still within the normal range (Gaussian distribution) (Heller 1983, Whanger 2005).
B38) Image distortions of hands, calves and torso on the TS of are very close to those obtained by a man enveloped on a sheet (Ercoline 1982; Simionato 1998/99; Fanti and Faraon 2000; Fanti 2001).
B39) The very high rigidity of the body is evident on the back image especially in correspondence of the buttocks: the anatomical contours of the back image demonstrate minimal surface flattening (Bucklin 1982; Basso 2000).
B40) The image of the TS Man, shows the effects (wounds) of many pointed objects (Bucklin 1982, Ricci 1989).
B41) The tibio-femural anthropometric index of the image of the TS Man is 83% (Fanti 1999).
B42) No broken bones are evident on the body image (Bucklin 1982, Ricci 1989).

B43) There is a swelling on the face over the right cheek (Bucklin 1982).
B44) There is a slight deviation of the nose and at the tip of the nose is an area of discoloration (Bucklin 1982).
B45) A body image is visible in areas of body-sheet non-contact zones, such as those between nose and cheek (Fanti 2004).

 

2.2d) BLOOD AND BODY FLUIDS
B46) There is a first type of blood stain that corresponds to the blood exudated from clotted wounds and transferred to the cloth by being in contact with a wounded human body such as scourging and crown of thorns wounds or wrists wounds (Adler 1999).
B47) There is a second type of blood stain that corresponds to the blood that directly flowed on the TS such as feet wounds or side wound with blood separation in a dense and a serous portion (Brillante 2002, Schneider 2004).
B48) The UV photographs of single blood stains show a distinct serum clot retraction ring (Adler 999).
B49) The chemical and physical parameters of the blood stains are different than mineral compositions proposed by artists (Adler 1999).
B50) The bloodstains observable on the back surface have been described as "imbibed flows" throughout the cloth (Ghiberti 2002).
B51) Blood traces on the back surface of the TS are smaller in size when compared with the corresponding traces on the frontal side, showing that blood was transposed onto the cloth touching the frontal side of the TS (Fanti 2003).
B52) The maintenance of the red bright color of the TS blood with time was observed, but the explanation of why the color is so red is not definitive (Brillante 2002).
B53) There are blood traces not consistent with scalp hair traces soaked with blood in correspondence to the image of the hair on the front side (Lavoie 1983, Fanti 1999).
B54) The wrist wound position can be referred to as the hand nail used for the crucifixion (Fanti and Marinelli 2003).
B55) The blood clots were transposed to the linen fabric during fibrinolysis (Brillante 1983; Lavoie 1983).
The process of fibrinolysis could cause clots to liquefy sufficiently for the blood to transfer to the cloth as a serous-laden liquid rather than a moist jelly-like substance (Craig 2004).
B56) Some blood stains are comparable to transfers that would be expected if the arms were posed in non horizontal position(Lavoie 1983, 2003, Fanti 2005, Schwortz 2005).

2.2e) OTHER
B57) The limestone found on the feet contains calcium in the form of aragonite. Similar 
characteristics were found on samples coming from Ecole Biblique tomb in Jerusalem (Levi-Setti 1985, Antonacci 2000).
B58) It is unknown whether Saponaria officinalis can be detected on the Shroud (Rogers 2003; Jumper 1984 ; Gilbert 1980).
B59) Rust stains due to thumb tacks were found on the sides of the TS (Faraon 1998/99, Schwortz 2003).
B60) Characteristics of the TS face and right foot are close to those found on some Byzantine coins (gold-solidus) of the VII-XIII century A.D. (Moroni 1986).
B61) Some water stains are older than the 1532 fire because they indicate a different folding of the TS (Guerreschi and Salcito 2002).


2.3) Evidences to be confirmed
Seeing things and not seeing things, is perhaps the biggest problem in legitimate Shroud research. "I think I see" and "I don't see" seems to be the underpinning of many “scientific” analyses. The body image on the Shroud was formed by some process. We don't know, for now, what that was, nor the shape of the cloth, nor the environment where the body was positioned: we can only suppose what that might have been; we don't know many variables. Our brain-eyes system may plays tricks on the researcher. Because of a priori assumptions, it may be that he perceives things that conform to something searched for and conversely, he may fail to perceive images because of not knowing what various objects look like. Many of the images are below ordinary human perceptual threshold, therefore anything must be probed for documentable facts, including using image enhancement techniques. Type C refers to facts that were evidenced by some researchers but that are not universally accepted; therefore they can help in formulating new hypotheses, they can not be used to test a new hypothesis.

2.3a) BODY IMAGE
C1) The chiaroscuro effect is caused by a different number of yellowed fibers per unit of surface, so that this is an image with ‘areal’ density (Moran 2002, Fanti and Marinelli 2003).
C2) Body image characteristics can be referred to the hypothesized effect of a man became mechanically transparent that radiated a burst of energy (Jackson 1977, 1984, 1990).
C3) The TS face shows a sad but majestic serenity (Moroni 1997).
2.3b) OTHER
C4) Pollen grains relative to the zones of Palestine, Edessa, Constantinople and Europe were found (Frei 1979, 1983; Danin 1999).
C5) Pollen grains with incrustations soluble in water were found from the vacuumed samples taken from the back surface of the cloth (Riggi 2003).
C6) The wrapped or enveloped body was a corpse (Bucklin 1982, Lavoie 1983, Jackson 1998, Petrosillo 1988, Brillante 2002, Baima Bollone 2000, Fanti 2003, Zugibe 2005), but someone still states that the body was in a state of coma (Bonte 1992, Hoare 1994, Gruber 1998, Kuhnke 2004, Felzmann 2005).
C7) The human blood is of AB group (Baima Bollone 1981, 1982).
C8) The radiocarbon dating of 1988 states that the TS linen has an age of 1260-1390 (Damon et al. 1989).
C9) “Preliminary estimates of the kinetics constants for the loss of vanillin from lignin indicate a much older age for the cloth than the radiocarbon analyses” (Rogers 2005).
C10) There is the image of an identified coin (dilepton lituus) on the right eye (Filas 1982; Haralick 1983;
Barbesino 1997).
C11) There is an image of another identifiable coin (Pilate lepton simpulum) over the left eye (Balossino 1997; Barbesino 1997).
C12) The TS is like a funerary sheet (Persili 1998).
C13) There are some analogies between the TS and the Oviedo Sudarium, including many congruent blood stains (Whanger 1996)".
C14) There are various writings around the Face (Marion 1998).
C15) There are many identified floral images on the TS, which indicate that the Shroud originated in the vicinity of Jerusalem in the spring of the year, and which have the appearance expected from corona discharge. Some images are consistent with the fruits of pistacia plants, which were used as burial spices (Danin, 1999; Whanger, 2000).
C16) Human DNA comes from Riggi’s blood samples from the TS, this because three gene segments were cloned and studied (Garza Valdes 2001).
C17) Results from the DNA analysis, made from the TS blood at the University of Texas, S.Antonio, U.S.A., indicate that some genetic characteristics are relative to the Semitic race (for example hair) (Riggi 2003).
C18) The TS Man died because of an infarct followed by hemopericardium (Malantrucco 1992).
C19) Some teeth are visible on the image (Whanger 2000, Accetta 2001).
C20) The skull is visible on the TS (Whanger 2000).

C21) Images of the bones of the fingers, of the palms (metacarpals) and of the wrist are visible, and in particular a hidden thumb (Whanger 2000, Accetta 2001).
C22) A sponge is visible on the TS (Whanger 2000).
C24) A large nail with two crossed smaller nails are visible on the TS (Whanger 2000).
C25) A shaft and head of spear are visible on the TS (Whanger 2000).
C26) A crown of thorns with stalks and flowers is visible on the TS (Whanger 2000).
C27) Some bloodstains such as those on the arms and the “reverse-3” on the forehead present a discontinuity in which a more attenuate region is evident (Jackson 1987, Schneider 2004).
C28) Several wood tubules were found from an oak from Riggi’s samples (Garza Valdes 2001).
C29) A bioplastic coating was found around the TS linen fibers (Garza Valdes 2001).
C30) Traces of saliva are visible on the image (Scheuermann 1983).
C31) Traces of tears may be visible on the body image under the right eye (Guerreschi 2000).
C32) An ecchymosis, on the left shoulder-blade level, and a wound on the right shoulder that added to the wounds of the scourge are evident; in such areas the wounds caused by the scourge appear enlarged probably by the pressure of the patibulum (Ricci 1989).
C33) Some early paintings of Jesus (before the VI century A.D. ) in Rome have been produced independently from the TS but have a significant similarity to the image on the TS. If it is assumed that these paintings go back to people, who have known Jesus personally and knew therefore, how he has looked like. The significant similarities to the image on the TS indicates that both types of images go back to the same source: the historical Jesus (Felzmann 2003-2005).
C34) Natron (sodium carbonate) was found in the dusts aspired from the back surface of the TS (Riggi 1982).
C35) Aloe and myrrh were found by microscopic analysis (Baima Bollone 1983 and Nitowski 1986) but not by Heller (1983) and Rogers 2003).
C36) The scourge marks are part of the image and primarily not caused from blood coming out of the wounds (Hoare 1994).
C37) A ponytail is visible on the back image (Fanti and Marinelli 2001, fig. 12 B and C, Antonacci 2000, fig 3).
C38) In the image of the back of the head some blood stains are partially masked (Scheuermann 1984).
C39) Some blood stains are comparable to transfers that would be expected if a person was posed in the vertical position(Lavoie 1983, 2003).

2.3) Analogies between the TS Man and Christ, from the Old and the New Testament

 

It is hypothesized by many researchers that the TS is the burial cloth of Jesus of Nazareth. The following list presents passages in the Scriptures that have an impact on the TS. If these Scriptures are accepted as an historic document, Type D facts can be useful to verify the proposed hypotheses.

 

D1) “And no sign shall be given to it except the sign of the prophet Jonah.” (Mat 16:4). “And all flesh shall see the salvation of God.” (Luk 3:6). “And I am with you always, even to the end of the age” (Mat 28:20). The TS shows a sign promised by Jesus: like Jonah “who remained for three days in the stomach of the big fish”, the Man of the TS remained for three days inside the sepulcher (Rodante 1987).
D2) “A woman came to him with an alabaster jar of very expensive perfume, which she poured on his head as he was reclining at the table.” (Mat 26:7); “When she poured this perfume on my body, she did it to prepare me for burial.” (Mat 26:12). Less than 48 hours before his crucifixion, the hair of Jesus was anointed with a very valuable oil and this fact must be considered for an hypothesis about the TS image formation (Scheuermann 1984).

D3) “Then Pilate took Jesus and scourged Him.” (Joh 19:1). “I offered my back to those who beat Me, /my cheeks to those who pulled out my beard; /I did not hide my face /from mocking and spitting” (Isa 50:6). The whole body of the MTS is cruelly scourged, except for the breast where, hitting, one could cause death. The scourging was given like punishment apart, more abundant (120 strokes) than the normal (39 strokes) as a prelude to crucifixion (Zaninotto 1984).
D4) “Then they struck Him on the head with a reed and spat on Him” (Mar 15:19). “And they struck Him with their hands” (Joh 19:3). The TS Man was hit on his face: for instance various tumefactions and the breakage of the nasal septum are evident (Fanti and Marinelli 1998).
D5) “And the soldiers twisted a crown of thorns and put it on His head” (Joh 19:2). “When they had twisted a crown of thorns, they put it on His head” (Mat 27:29 etc). The TS Man was crowned with thorns. The head presents many wounds caused by sharp bodies (Fanti and Marinelli 1998).

D6) “And He, bearing His cross, went out to… (the) Golgotha ” (Joh 19:17). The TS Man presents on the shoulders excoriations imputable to the transport of the horizontal part of the cross (patibulum) (Ricci 1989).
D7) “Now as they came out, they found a man of Cyrene, Simon by name. Him they compelled to bear His cross” (Mat 27:32). The TS Man fell repeatedly to the ground; this is demonstrated by the dust particles on the nose and on the left knee. Likely he was helped in the transport of the cross (Fanti and Marinelli 1998).
D8) “My throat is dry” (Psa 69:3), “And for my thirst they gave me vinegar to drink” (Psa 69:21). From the forensic medicine analysis it results that the MTS died dehydrated (Intrigillo 1998).
D9) “Where (on the Golgotha) they crucified Him” (Joh 19:17). “They pierced My hands and My feet. I can count all My bones” (Psa 22:16-17) “You have taken by lawless hands, have crucified, and put to death” (Act 2:23). The TS Man too was crucified (Fanti and Marinelli 1998).
D10) “Reproach has broken my heart” (Psa 69,20). "And Jesus cried out again with a loud voice, and yielded up His spirit” (Mat 27:50) “Because for Your sake I have borne reproach; Shame has covered my face” (Psa 69:8). “My heart is like wax; It has melted within Me” (Psa 22:14). The hemopericardium, diagnosed to the TS Man like consequence of the infarct, causes a violent dilatation of the pericardic pleura with consequent shooting pain from the back breast-bone and immediate death (Malantrucco 1992).
D11) "And saw that He was already dead, they did not break His legs" (Joh 19:33).”Nor shall you break one of its bones” (Exo 12,46). Contrary to many Roman crucifixions, they didn’t break the TS Man legs (Fanti and Marinelli 1998).
D12) “But one of the soldiers pierced His side with a spear” (Joh 19:34), “But He was wounded for our transgressions ” (Isa 53,5). “then they will look on Me whom they pierced” (Zec 12:10). The TS Man too was pierced in the side after his death (Zaninotto 1989).
D13) “And immediately blood and water came out” (Joh 19:34). “Flowing from under the threshold of the temple toward the east, for the front of the temple faced east” (Eze 47:1). “This is He who came by water and blood Jesus Christ; not only by water, but by water and blood” (1Joh 5:6). The TS Man also presents a blood and serum flow(Malantrucco 1992).
D14) “And Nicodemus, who at first came to Jesus by night, also came, bringing a mixture of myrrh and aloes, about a hundred pounds” (Joh 19:39). “Then they took the body of Jesus, and bound it in strips of linen with the spices, as the custom of the Jews is to bury” (Joh 19:40). Some researchers state that the TS body was buried with aromatics such as aloe and myrrh because they found their traces on the cloth (Baima Bollone 1983).
D15) “When Joseph had taken the body, he wrapped it in a clean linen cloth (or shroud), and laid it in his new tomb” (Mat 27:59-60). The TS Man too was enveloped or wrapped in a new and expensive sheet, bought by a wealthy person (Fanti and Marinelli 1998). 

D16)“Nor will You allow Your Holy One to see corruption” (Act 2:27). “For You will not leave my soul in Sheol, Nor will You allow Your Holy One to see corruption” (Psa 16:10). The TS doesn’t show signs of putrefaction (Fanti and Marinelli 1998).
D17) “You shall let none of it (the Lamb) remain until morning, and what remains of it until morning you shall burn with fire . It is the Lord’s Passover” (Exo 12:10). Some researcher states that the TS presents a double sign: the disappearance and the burning, if one refers to the radiant hypothesis (Rinaudo 1998). 

D18) “For as lightning that comes from the east is visible even in the west, so will be the coming of the Son of Man.” (Mt 24,27); “For the Son of Man in his day will be like the lightning, which flashes and lights up the sky from one end to the other.” (Lk 17,24). The German theologian G. Schwarz (1986) rectifies the Bible by translation into the Aramaic language. It seems, in doing so, he found the Shroud image forming process in the Bible independent on the TS: “As a flash in lightning and shining: so I will exist in my day!” (“my day” = the day of Jesus Resurrection) (Scheuermann 1987).
D19) “There was a violent earthquake, for an angel of the Lord came down from heaven and, going to the tomb, rolled back the stone and sat on it.” (Matthew 28,2). Someone hypothesise the presence of an earthquake as a cause of the body image formation (Judica Cordiglia 1986, DeLiso 2002, Lattarulo 2003).
D20) “Then the other disciple, who came to the tomb first, went in also; and he saw and believed. For as yet they did not know the Scripture, that He must rise again from the dead” (Joh 20:8-9). “David, foreseeing this, spoke concerning the resurrection of the Christ” (Act 2:31). One hypothesis states that the TS Man became mechanically transparent with respect to the sheet and shed a flash of energy that would be the cause of the body image formation (Jackson 1990). Perhaps the particular shape of the TS seen by John induced him to believe in Christ’s Resurrection.
D21) “After that, He appeared to more than five hundredof the brothers at the same time, most of whom are still living, though some have fallen asleep.” (1. Cor. 15:6) Paul has written this letter in the year 53-55. The time is too short (eyewitnesses) that all this might be an invention without historical nucleus (Felzmann 2003). 

4) CONCLUSIONS
The first goal posed by the researches of ShroudScience Group on Yahoo!, in order to better understand the TS, has been reached: a list of evidences of the TS upon which to base their further debate on the body image formation problem has been defined, even if the work, is still in progress. Obviously some open questions will be easier to solve if the Turin officials become open to sharing new results and those obtained in 2002 to the Shroud Science Group and to any credible researcher interested the study about the most important relic of Christianity. In consideration of space limitations, the facts have been stated in very simplistic terms, but the rich bibliography enclosed will allow the reader to go far more in depth in reference to the argument of interest.


Many hypotheses have been presented and some natural hypotheses are under test, but hypotheses involving the Resurrection of Jesus of Nazareth can not be rejected. Among them there are hypotheses correlated to an energy source coming from the enveloped or wrapped Man, other correlated to surface electrostatic discharges caused by an electric field or other correlated to natural chemical reactions also helped by the body fluids transferred to the cloth, but none, scientifically testable, simultaneously satisfies all the facts detected on the Shroud here reported. On the other hand other hypotheses such as that of Jackson (1990) seems to satisfy almost all the presented facts, but it is not scientifically testable because it bases itself on a non-scientific fact: the mechanicallytransparent Man. Next goal of ShroudScience Group on Yahoo! will be the presentation of all the possible hypotheses about the body image formation in a detailed form in order to test them against the facts reported in this paper. Each hypothesis should have a title in reference to the tecnique involved in the TS formation, not only considering the body image formation; the author’s name who first proposed the hypothesis coupled with the researcher’s name who presents it; a detailed technique description for the formation of both the body image and the blood stains; possible correlation or interferences with the formation of other stains such as water; comments and bibliographic references.

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