The stitching pattern, which she says was the work of a professional, is quite similar to the hem of a cloth found in the tombs of the Jewish fortress of Masada. This kind of stitch has never been found in Medieval Europe. The Carbon tests done at Oxford, Zurich and Arizona Labs used pieces of a sample cut from a corner lower left of above pictures.
Ray Rogers, retired Fellow with the Los Alamos Scientific Laboratory and lead chemist with the original science team STURP the Shroud of Turin Research Project involving 33 scientists, 26 of them directly examining the Shroud for five days , has shown conclusively that the sample cut from The Shroud of Turin in was taken from an area of the cloth that was re-woven during the middle ages. Here are some excerpts:. The radiocarbon date was thus not valid for determining the true age of the shroud.
The Holland cloth, and all other medieval linens gave the test [i. The disappearance of all traces of vanillin from the lignin in the shroud indicates a much older age than the radiocarbon laboratories reported. The thermal conductivity of linen is very low The rapid change in color from black to white at the margins of the scorches illustrates this fact. No samples from any location on the shroud gave the vanillin test [i.
Even allowing for errors in the measurements and assumptions about storage conditions, the cloth is unlikely to be as young as years. No other part of the shroud shows such a coating.
Dyeing was probably done intentionally on pristine replacement material to match the color of the older, sepia-colored cloth. The radiocarbon sample was thus not part of the original cloth and is invalid for determining the age of the shroud. Raymond N. Studies on the radiocarbon sample from the shroud of turin.
Thermochimica Acta, Vol. The Fire-Model Tests of Dr. Dmitri Kouznetsov in and Drs. John Jackson and Propp in , which replicated the famous Fire of , demonstrated that the fire added carbon isotopes to the linen. Effects of fires and biofractionation of carbon isotopes on results of radiocarbon dating of old textiles: the Shroud of Turin. On the evidence that the radiocarbon date of the Turin Shroud was significantly affected by the fire.
New experiments date the Shroud of Turin to the 1st century AD. They comprise three tests; two chemical and one mechanical. The chemical tests were done with Fourier Transform Infrared Spectroscopy FTIR and Raman spectroscopy, examining the relationship between age and a spectral property of ancient flax textiles.
The mechanical test measured several micro-mechanical characteristics of flax fibers, such as tensile strength. The results were compared to similar tests on samples of cloth from between BC and AD whose dates are accurately known. FTIR identifies chemical bonds in a molecule by producing an infrared absorption spectrum.
The spectra produce a profile of the sample, a distinctive molecular fingerprint that can be used to identify its components. Raman Spectroscopy uses the light scattered off of a sample as opposed to the light absorbed by a sample. It is a very sensitive method of identifying specific chemicals. The average date is compatible with the historic date of Jesus' death on the cross in 30 AD, and is far older than the medieval dates obtained with the flawed Carbon sample in The range of uncertainty for each test is high because the number of sample cloths used for comparison was low; 8 for FTIR, 11 for Raman, and 12 for the mechanical test.
The scientists note that "future calibrations based on a greater number of samples and coupled with ad hoc cleaning procedures could significantly improve its accuracy, though it is not easy to find ancient samples adequate for the test.
They used tiny fibers extracted from the Shroud by micro-analyst Giovanni Riggi di Numana, who gave them to Fanti. Riggi passed away in , but he had been involved in the intensive scientific examination of the Shroud of Turin by the STURP group in , and on April 21, was the man who cut from the Shroud the thin 7 x 1 cm sliver of linen that was used for carbon dating. These tests were carried out in University of Padua laboratories by professors from various Italian universities, led by Giulio Fanti, Italian professor of mechanical and thermal measurement at the University of Padua's department of industrial engineering.
The images are scorch-like, yet not created by heat, and are a purely surface phenomenon limited to the crowns of the top fibers. The Shroud is clearly not a painting; no evidence of pigments or media was found. The blood was on the Cloth before the image an unlikely way for an artist to work. There is no outline, no binders to hold paint, no evidence that paint, dye, ink, or chalk created the images, and there are no brush strokes.
According to world-renowned artist Isabel Piczek, the images have no style that would fit into any period of art history. The images show perfect photo-negativity and 3-dimensionality. It is not a Vaporgraph or natural result of vapors. Note: some microscopic particles of paint exist on the Shroud, but these do not constitute the image.
During the Middle Ages, a practice called the "sanctification of paintings" permitted about 50 artists to paint replicas of the Shroud and then lay their paintings over the Shroud to "sanctify" them. This permitted contact transfer of particles, which then migrated around the cloth with the folding and rolling of the Shroud when it was opened for exhibit and closed again afterwards. STURP determined that the image was caused by rapid dehydration, oxidation and degradation of the linen by an unidentified process, coloring it a sepia or straw yellow.
Several Physicists, including Dr. John Jackson of the Colorado Shroud Center, suggest that a form of columnated radiation is the best explanation for how the image was formed, leaving a scorch-like appearance the scorch caused by light versus heat, as the image does not fluoresce. Thomas Phillips nuclear physicist at Duke University and formerly with the High Energy Labs at Harvard says a potential miliburst of radiation a neutron flux could be consistent with the moment of resurrection.
Such a miliburst might cause the purely surface phenomenon of the scorch-like scorch-by-light images, and possibly add Carbon to the Cloth. As Dr. Phillips points out: "We never had a resurrection to study" and more testing should be done to ascertain whether a neutron-flux occurred. The coloration on the linen fibers of the Shroud is extremely thin.
Sticky tape samples taken from different parts of the image on the Shroud's surface in were too thin to measure accurately with a standard optical microscope, which means they were thinner than the wavelength of visible light, or less than about 0. A more recent measurement of the coloration on one of the fibers was found to be about 0. Italian scientists working at the National Agency for New Technologies, Energy and Sustainable Economic Development ENEA conducted experiments on their own time between and , applying ultraviolet radiation to strips of linen to see if they could match the coloration on the fibers of the Shroud of Turin.
In their ENEA technical report, published in November , they wrote that particular doses of radiation left a thin coating on linen fibers that resemble the colored fibers on the image of the Shroud of Turin. When questioned, the lead scientist in the study, Paolo Di Lazzaro, said that vacuum ultraviolet radiation VUV, wavelength nanometers from laser pulses lasting less than 50 nanoseconds produced the best effect. These findings support the idea that the image on the Shroud was made by a sudden flash of high-energy radiation.
They also refute the possibility of forgery, since lasers were obviously not available in medieval times. The technical report: P. Di Lazzaro, D. Murra, E. Nichelatti, A. Santoni, G. The blood on the Shroud is real, human male blood of the type AB typed by Dr. Baima Ballone in Turin and confirmed in the U.
Blood chemist Dr. John Heller New England Institute of Medicine found a high concentration of the pigment bilirubin, consistent with someone dying under great stress or trauma and making the color more red than normal ancient blood. This is the first time that the Shroud of Turin has been studied at this resolution. The fiber, about two millimeters long, comes from the area of the feet on the backside dorsal image. PLoS ONE editors determined that evidence from one fiber was insufficient for making a conclusion about the whole Shroud, so they retracted the paper in July However, there was no challenge to the accuracy of the test results.
The fiber is covered with creatinine nanoparticles nm in size embedding small nm nanoparticles made of defective ferrihydrite typical of biologic ferritin cores.
This is not typical of the blood serum of a healthy human being. High levels of creatinine in the blood are observed in the case of severe trauma. Other research has noted the interaction between creatinine and ferritin in fatal accidents or as a consequence of the rhabdomyolysis due to torture.
The peculiar structure, size and distribution of the iron oxide nanoparticles found on the fiber exclude ancient dyes for painting which are in general, on the scale of hundreds of nanometers.
Red ochre and vermillion organic and inorganic particles have sizes at least one hundred times bigger than those observed here. This study shows that the Shroud of Turin is covered by well-dispersed creatinine nanoparticles bound with ferrihydrite structures. The bond between the iron cores of ferritin and creatinine on a large scale occurs in a body after a severe polytrauma. This result cannot be put on the Shroud by using ancient dye pigments, as they have bigger sizes and tend to aggregate, and it is highly unlikely that an ancient artist would have painted a fake by using the hematic serum of someone after a heavy polytrauma.
Atomic resolution studies detect new biologic evidences on the Turin Shroud. Numerous surgeons and pathologists including Dr. Herman Moedder Germany , the late Dr. Pierre Barbet France , and Dr. David Willis England have studied the match between the Words, Weapons and Wounds, and agree that the words of the New Testament regarding the Passion clearly match the wounds depicted on the Shroud, and that these wounds are consistent with the weapons used by ancient Roman soldiers in Crucifixion.
Specifically, the scourge marks on the shoulders, back, and legs of the Man of the Shroud match the flagrum Roman whip which has three leather thongs, each having two lead or bone pellets plumbatae on the end. The lance wound in the right side matches the Roman Hasta 4cm x 1 cm spear wound. Iron nails 7" spikes were used in the wrist area versus the palms as commonly depicted in Medieval art. These marks, combined with the capping of thorns which is not found anywhere else in Crucifixion literature of ancient Roman Tacitus, Suetonius, Pliny the Elder or Pliny the Younger or Jewish historians Flavius Joesphus, Philo of Alexandria create a unique signature of the historical Jesus of Nazareth.
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