Shroud of TurinFrom Wikipedia, the free encyclopediaJump to: navigation, search The Shroud of Turin: modern photo of the face, positive left, negative right. Ne gative has been contrast enhanced.The Shroud of Turin or Turin Shroud (Italian: Sindone di Torino, Sacra Sindone) is a linen cloth bearing the image of a man wh o appears to have suffered physical trauma in a manner consistent with crucifixi on.[1] It is kept in the royal chapel of the Cathedral of Saint John the Baptist in Turin, northern Italy. The image on the shroud is commonly associated with J esus Christ, his crucifixion and burial. The origins of the shroud and its image are the subject of intense debate among scientists, theologians, historians and researchers. The Catholic Church has neither formally endorsed nor rejected the shroud, but in 1958 Pope Pius XII approved of the image in association with the Roman Catholic devotion to the Holy Face of Jesus.[2] The image on the shroud is much clearer in black-and-white negative than in its natural sepia color. The negative image was first observed in 1898, on the rever se photographic plate of amateur photographer Secondo Pia, who was allowed to ph otograph it while it was being exhibited in the Turin Cathedral. In 1978 a detai led examination was carried out by a team of American scientists called STURP. T hey found no reliable evidence of forgery, and called the question of how the im age was formed "a mystery".[3] In 1988, a controversial radiocarbon dating test was performed on small samples of the shroud. The laboratories at the University of Oxford, the University of A rizona, and the Swiss Federal Institute of Technology, concurred that the sample s they tested dated from the Middle Ages, between 1260 and 1390.[4] Three peer-r eviewed articles have since been published contending that the samples used for the dating test may not have been representative of the whole shroud.[5] Scientific and popular publications have presented diverse arguments for both au thenticity and possible methods of forgery. A variety of scientific theories reg arding the shroud have since been proposed, based on disciplines ranging from ch emistry to biology and medical forensics to optical image analysis. According to former Nature editor Philip Ball, "it's fair to say that, despite the seemingly definitive tests in 1988, the status of the Shroud of Turin is murkier than eve r. Not least, the nature of the image and how it was fixed on the cloth remain d eeply puzzling".[6] The shroud is one of the most studied artifacts in human his tory, and one of the most controversial.[7][8] Contents [hide] 1 Description 2 History 3 Religious perspective 3.1 John Calvin on the shroud 3.2 Devotions 3.3 Miraculous image 3.4 Vatican position 4 Scientific perspective 4.1 Early studies 4.2 Material chemical analysis 4.2.1 Radiocarbon dating 4.2.2 Tests for pigments 4.3 Material historical analysis 4.3.1 Historical fabrics 4.3.2 Dirt particles 4.4 Biological and medical forensics 4.4.1 Blood stains 4.4.2 Flowers and pollen 4.4.3 Anatomical forensics 4.5 Image and text analysis

4.5.1 Image analysis 4.5.2 Text of death certificate 4.6 Hypotheses on image origin 4.6.1 Painting and pigmentation 4.6.1.1 Painting4.6.1.2 Acid pigmentation 4.6.2 Medieval Photography 4.6.3 Dust-transfer technique 4.6.4 Bas-relief 4.6.5 Maillard reaction 4.6.6 Energy source 4.6.6.1 Corona discharge 5 Recent developments 6 References 7 Further reading 8 External links 8.1 Pro-authenticity sites 8.2 Skeptical sites Description Secondo Pia's 1898 negative of the image on the Shroud of Turin has an appearanc e suggesting a positive image. It is used as part of the devotion to Holy Face o f Jesus.The shroud is rectangular, measuring approximately 4.4 1.1 m (14.3 3.7 f t). The cloth is woven in a three-to-one herringbone twill composed of flax fibr ils. Its most distinctive characteristic is the faint, brownish image of a front and back view of a naked man with his hands folded across his groin. The two vi ews are aligned along the midplane of the body and point in opposite directions. The front and back views of the head nearly meet at the middle of the cloth.[9] Reddish brown stains that have been said to include whole blood are found on the cloth, showing various wounds that, according to proponents, correlate with the yellowish image, the pathophysiology of crucifixion, and the Biblical descripti on of the death of Jesus:[10] Markings on the lines include:[11] one wrist bears a large, round wound, claimed to be from piercing (the second wr ist is hidden by the folding of the hands) upward gouge in the side penetrating into the thoracic cavity. Proponents claim this was a post-mortem event and there are separate components of red blood cell s and serum draining from the lesion small punctures around the forehead and scalp scores of linear wounds on the torso and legs. Proponents claim that the wounds are consistent with the distinctive dumbbell wounds of a Roman flagrum. swelling of the face from severe beatings streams of blood down both arms. Proponents claim that the blood drippings from the main flow occurred in response to gravity at an angle that would occur durin g crucifixion no evidence of either leg being fractured large puncture wounds in the feet as if pierced by a single spike Full length negatives of the shroud.The details of the image on the shroud are n ot easily distinguishable by the naked eye, and were first observed after the ad vent of photography. In May 1898 amateur Italian photographer Secondo Pia was al lowed to photograph the shroud and he took the first photograph of the shroud on the evening of May 28, 1898. Pia was startled by the visible image of the negat ive plate in his darkroom. Negatives of the image give the appearance of a posit ive image, which implies that the shroud image is itself effectively a negative of some kind.[11] Pia was at first accused of doctoring his photographs, but was vindicated in 1931 when a professional photographer, Giuseppe Enrie, also photo graphed the shroud and his findings supported Pia's.[12] In 1978 Miller and Pell icori took ultraviolet photographs of the shroud.[13][14]

The image of the "Man of the Shroud" has a beard, moustache, and shoulder-length hair parted in the middle. He is muscular and tall (various experts have measur ed him as from 1.70 m, or roughly 5 ft 7 in, to 1.88 m, or 6 ft 2 in).[15] The s hroud was damaged in a fire in 1532 in the chapel in Chambery, France. There are some burn holes and scorched areas down both sides of the linen, caused by cont act with molten silver during the fire that burned through it in places while it was folded. [16] Fourteen large triangular patches and eight smaller ones were sewn onto the cloth by Poor Clare nuns to repair the damage. HistoryMain article: History of the Shroud of Turin Full-length image of the Turin Shroud before the 2002 restoration.The historical records for the shroud can be separated into two time periods: before 1390 and from 1390 to the present. The period until 1390 is subject to debate and controv ersy among historians. Prior to the 14th century there are some congruent refere nces such as the Pray Codex. It is often mentioned that the first certain histor ical record dates from 1353 or 1357.[17][18] However the presence of the Turin S hroud in Lirey, France, is only undoubtedly attested in 1390 when Bishop Pierre d'Arcis wrote a memorandum to Antipope Clement VII, stating that the shroud was a forgery and that the artist had confessed.[19][20] The history from the 15th c entury to the present is well understood. In 1453 Margaret de Charny deeded the Shroud to the House of Savoy. In 1578 the shroud was transferred in Turin. As of the 17th century the shroud has been displayed (e.g. in the chapel built for th at purpose by Guarino Guarini[21]) and in the 19th century it was first photogra phed during a public exhibition. There are no definite historical records concerning the shroud prior to the 14th century. Although there are numerous reports of Jesus' burial shroud, or an ima ge of his head, of unknown origin, being venerated in various locations before t he 14th century, there is no historical evidence that these refer to the shroud currently at Turin Cathedral.[22] A burial cloth, which some historians maintain was the Shroud, was owned by the Byzantine emperors but disappeared during the Sack of Constantinople in 1204.[23] The pilgrim medallion of Lirey (before 1453),[24] drawing by Arthur Forgeais, 18 65.Historical records seem to indicate that a shroud bearing an image of a cruci fied man existed in the small town of Lirey around the years 1353 to 1357 in the possession of a French Knight, Geoffroi de Charny, who died at the Battle of Po itiers in 1356.[17] However the correspondence of this shroud with the shroud in Turin, and its very origin has been debated by scholars and lay authors, with c laims of forgery attributed to artists born a century apart. Some contend that t he Lirey shroud was the work of a confessed forger and murderer[25] or forged by Leonardo da Vinci.[26] The history of the shroud from the 15th century is well recorded. In 1532, the s hroud suffered damage from a fire in a chapel of Chambry, capital of the Savoy re gion, where it was stored. A drop of molten silver from the reliquary produced a symmetrically placed mark through the layers of the folded cloth. Poor Clare Nu ns attempted to repair this damage with patches. In 1578 Emmanuel Philibert, Duk e of Savoy ordered the cloth to be brought from Chambry to Turin and it has remai ned at Turin ever since. Repairs were made to the shroud in 1694 by Sebastian Valfr to improve the repairs of the Poor Clare nuns.[27] Further repairs were made in 1868 by Clotilde of Sa voy. The shroud remained the property of the House of Savoy until 1983, when it was given to the Holy See, the rule of the House of Savoy having ended in 1946.[ 28]

A fire, possibly caused by arson, threatened the shroud on 11 April 1997.[29] In 2002, the Holy See had the shroud restored. The cloth backing and thirty patche s were removed, making it possible to photograph and scan the reverse side of th e cloth, which had been hidden from view. A ghostly part-image of the body was f ound on the back of the shroud in 2004. The most recent public exhibition of the Shroud was in 2010. Religious perspectiveReligious beliefs about the burial cloths of Jesus have exi sted for centuries. The Gospels of Matthew[27:59 60], Mark[15:46] and Luke[23:53] state that Joseph of Arimathea wrapped the body of Jesus in a piece of linen clo th and placed it in a new tomb. The Gospel of John[19:38 40] refers to strips of l inen used by Joseph of Arimathea and John[20:6 7] states that Apostle Peter found multiple pieces of burial cloth after the tomb was found open, strips of linen c loth for the body and a separate cloth for the head. Although pieces of burial cloths of Jesus are claimed by at least four churches in France and three in Italy, none has gathered as much religious following as t he Shroud of Turin.[30] The religious beliefs and practices associated with the shroud predate historical and scientific discussions and have continued in the 2 1st century, although the Catholic Church has never claimed its authenticity.[31 ] An example is the Holy Face Medal bearing the image from the shroud, worn by s ome Catholics.[32] John Calvin on the shroudIn 1543 John Calvin, in his Treatise on Relics, wrote o f the shroud, which was then at Nice (it was moved to Turin in 1578), "How is it possible that those sacred historians, who carefully related all the miracles t hat took place at Christ s death, should have omitted to mention one so remarkable as the likeness of the body of our Lord remaining on its wrapping sheet?" He al so noted that, according to St. John, there was one sheet covering Jesus's body, and a separate cloth covering his head. He then stated that "either St. John is a liar," or else anyone who promotes such a shroud is "convicted of falsehood a nd deceit".[33] DevotionsAlthough the shroud image is currently associated with Catholic devotio ns to the Holy Face of Jesus, the devotions themselves predate Secondo Pia's 189 8 photograph. Such devotions had been started in 1844 by the Carmelite nun Marie of St Peter (based on "pre-crucifixion" images associated with the Veil of Vero nica) and promoted by Leo Dupont, also called the Apostle of the Holy Face. In 1 851 Leo Dupont formed the "Archconfraternity of the Holy Face" in Tours, France, well before Secondo Pia took the photograph of the shroud.[34] Miraculous imageFurther information: Acheiropoieta A poster advertising the 1898 exhibition of the shroud in Turin. Secondo Pia's p hotograph was taken a few weeks too late to be included in the poster. The image on the poster includes a painted face, not obtained from Pia's photograph.The r eligious concept of "miraculous image" has been applied to the Shroud of Turin, as it has been applied to other religious artifacts such as the image of the Vir gin Mary on the cloak in the Basilica of Our Lady of Guadalupe on Tepeyac hill i n Mexico.[35][36] Without debating scientific issues, some believers state as a matter of faith th at empirical analysis and scientific methods will perhaps never advance to a lev el sufficient for understanding the divine methods used for image formation on t he shroud, since the body around whom the shroud was wrapped was not merely huma n, but divine, and believe that the image on the shroud was miraculously produce d at the moment of Resurrection.[37][38] Vatican positionAntipope Clement VII refrained from expressing his opinion on th e shroud; however, subsequent popes from Julius II on took its authenticity for

granted.[39] The Vatican newspaper Osservatore Romano covered the story of Secondo Pia's phot ograph of May 28, 1898 in its June 15, 1898 edition, but it did so with no comme nt and thereafter Church officials generally refrained from officially commentin g on the photograph for almost half a century. The first official association between the image on the Shroud and the Catholic Church was made in 1940 based on the formal request by Sister Maria Pierina De M icheli to the curia in Milan to obtain authorization to produce a medal with the image. The authorization was granted and the first medal with the image was off ered to Pope Pius XII who approved the medal. The image was then used on what be came known as the Holy Face Medal worn by many Catholics, initially as a means o f protection during World War II. In 1958 Pope Pius XII approved of the image in association with the devotion to the Holy Face of Jesus, and declared its feast to be celebrated every year the day before Ash Wednesday.[40][41] Following the approval by Pope Pius XII, Catholic devotions to the Holy Face of Jesus have be en almost exclusively associated with the image on the shroud. In 1983 the Shroud was given to the Holy See by the House of Savoy.[36] However, as with all relics of this kind, the Roman Catholic Church made no pronouncemen ts claiming whether it is Jesus' burial shroud, or if it is a forgery. As with o ther approved Catholic devotions, the matter has been left to the personal decis ion of the faithful, as long as the Church does not issue a future notification to the contrary. In the Church's view, whether the cloth is authentic or not has no bearing whatsoever on the validity of what Jesus taught nor on the saving po wer of his death and resurrection.[42] Pope John Paul II stated in 1998 that:[43] "Since it is not a matter of faith, t he Church has no specific competence to pronounce on these questions. She entrus ts to scientists the task of continuing to investigate, so that satisfactory ans wers may be found to the questions connected with this Sheet".[44] Pope John Pau l II showed himself to be deeply moved by the image of the Shroud and arranged f or public showings in 1998 and 2000. In his address at the Turin Cathedral on Su nday May 24, 1998 (the occasion of the 100th year of Secondo Pia's May 28, 1898 photograph), he said:[45] "The Shroud is an image of God's love as well as of hu man sin [...] The imprint left by the tortured body of the Crucified One, which attests to the tremendous human capacity for causing pain and death to one's fel low man, stands as an icon of the suffering of the innocent in every age." In 20 00, Cardinal Ratzinger wrote that the Shroud of Turin is ?a truly mysterious ima ge, which no human artistry was capable of producing. In some inexplicable way, it appeared imprinted upon cloth and claimed to show the true face of Christ, th e crucified and risen Lord."[46] Pope Benedict XVI has not publicly commented on the Shroud's authenticity, but h as taken steps that indirectly affect the Shroud. In June 2008 he approved the p ublic display of the Shroud in the spring of 2010 and stated that he would like to go to Turin to see it along with other pilgrims.[47] During his visit in Turi n on Sunday May 2, 2010, Benedict XVI described the Shroud of Turin as an "extra ordinary Icon", the "Icon of Holy Saturday [...] corresponding in every way to w hat the Gospels tell us of Jesus", "an Icon written in blood, the blood of a man who was scourged, crowned with thorns, crucified and whose right side was pierc ed".[48] The pope said also that in the Turin Shroud "we see, as in a mirror, ou r suffering in the suffering of Christ".[49] On May 30, 2010, Benedict XVI beati fied Sister Maria Pierina De Micheli who coined the Holy Face Medal, based on Se condo Pia's photograph of the Shroud.[50] Scientific perspective Station biologique de Roscoff in Brittany, France where the first scientific ana lysis of the photographs of the shroud was performed by Yves Delage in 1902.[51]

The term sindonology (from the Greek s??d?? sindon, the word used in the Gospel of Mark[15:46] to describe the type of the burial cloth of Jesus) is used to refer to the formal study of the Shroud. Secondo Pia's 1898 photographs of the shroud allowed the scientific community to begin to study it. A variety of scientific theories regarding the shroud have s ince been proposed, based on disciplines ranging from chemistry to biology and m edical forensics to optical image analysis. Very few scientists (e.g. STURP and the Radiocarbon dating teams) have had direct access to the shroud or very small samples from it, and most theories have been proposed "long distance" by the an alysis of images, or via secondary sources. The scientific approaches to the stu dy of the Shroud fall into three groups: material analysis (both chemical and hi storical), biology and medical forensics and image analysis. Early studiesThe initial steps towards the scientific study of the shroud were t aken soon after the first set of black and white photographs became available ea rly in the 20th century. In 1902 Yves Delage, a French professor of comparative anatomy published the first study on the subject.[51] Delage declared the image anatomically flawless and argued that the features of rigor mortis, wounds, and blood flows were evidence that the image was formed by direct or indirect contac t with a corpse. William Meacham mentions several other medical studies between 1936 and 1981 that agree with Delage.[52] However, these were all indirect studi es without access to the shroud itself. The first direct examination of the shroud by a scientific team was undertaken i n 1969 1973 in order to advise on preservation of the shroud and determine specifi c testing methods. This led to the appointment of an 11-member Turin Commission to advise on the preservation of the relic and on specific testing. Five of the commission members were scientists, and preliminary studies of samples of the fa bric were conducted in 1973.[52] In 1976 physicist John P. Jackson, thermodynamicist Eric Jumper and photographer William Mottern used image analysis technologies developed in aerospace science for analyzing the images of the Shroud. In 1977 these three scientists and over thirty others formed the Shroud of Turin Research Project. In 1978 this group, often called STURP, was given direct access to the Shroud. Material chemical analysis Phase contrast microscopic view of image-bearing fiber from the Shroud of Turin. Carbohydrate layer is visible along top edge. The lower-right edge shows that c oating is missing. The coating can be scraped off or removed with adhesive or di imide.[citation needed]Radiocarbon datingMain article: Radiocarbon 14 dating of the Shroud of Turin After years of discussion, the Holy See permitted radiocarbon dating on portions of a swatch taken from a corner of the shroud. Independent tests in 1988 at the University of Oxford, the University of Arizona, and the Swiss Federal Institut e of Technology concluded that the shroud material dated to 1260 1390 AD, with 95% confidence.[4] This 13th to 14th century dating matches the first appearance of the shroud in church history,[53] and is somewhat later than art historian W.S. A. Dale's estimate of an 11th century date based on art-historical grounds.[54] Although the quality of the radiocarbon testing itself is unquestioned, criticis ms have been raised regarding the choice of the sample taken for testing, with s uggestions that the sample may represent a medieval repair fragment rather than the image-bearing cloth.[55][56][57] In 2005, Raymond Rogers, who conducted chem ical analysis for the Shroud of Turin Research Project stated that after further study he was convinced that: "The worst possible sample for carbon dating was t aken."[58] Tests for pigmentsIn 1970s a special eleven-member Turin Commission conducted se veral tests. Conventional and electron microscopic examination of the Shroud at

that time revealed an absence of heterogeneous coloring material or pigment.[52] In 1979, Walter McCrone, upon analyzing the samples he was given by STURP, conc luded that the image is actually made up of billions of submicrometre pigment pa rticles. The only fibrils that had been made available for testing of the stains were those that remained affixed to custom-designed adhesive tape applied to th irty-two different sections of the image.[59] Mark Anderson who was working for McCrone analyzed the Shroud samples.[60] In hi s book Ray Rogers states that Anderson, who was McCrone's Raman microscopy exper t, observed that the samples acted as organic material when he subjected them to the laser, but McCrone refused to accept the observation for he wanted the conc lusion that the image was painted with hematite.[61] In his open letter to journ alists Daniel R. Porter states that McCrone suppressed the results of Anderson.[ 62] John Heller and Alan Adler examined the same samples and agreed with McCrone's r esult that the cloth contains iron oxide. However, they concluded, the exception al purity of the chemical and comparisons with other ancient textiles showed tha t, while retting flax absorbs iron selectively, the iron itself was not the sour ce of the image on the shroud.[63][64] Other microscopic analysis of the fibers seems to indicate that the image is strictly limited to the carbohydrate layer, with no additional layer of pigment visible.[65] Material historical analysisHistorical fabricsIn 2000, fragments of a burial shr oud from the 1st century were discovered in a tomb near Jerusalem, believed to h ave belonged to a Jewish high priest or member of the aristocracy. The shroud wa s composed of a simple two-way weave, unlike the complex herringbone twill of th e Turin Shroud. Based on this discovery, the researchers stated that the Turin S hroud did not originate from Jesus-era Jerusalem.[66][67][68] A Roman loom, c. 2nd century CE.According to textile expert Mechthild Flury-Lemb erg of Hamburg, a seam in the cloth corresponds to a fabric found only at the fo rtress of Masada near the Dead Sea, which dated to the 1st century. The weaving pattern, 3:1 twill, is consistent with first-century Syrian design, according to the appraisal of Gilbert Raes of the Ghent Institute of Textile Technology in B elgium. Flury-Lemberg stated, "The linen cloth of the Shroud of Turin does not d isplay any weaving or sewing techniques which would speak against its origin as a high-quality product of the textile workers of the first century."[69] In 1999, Mark Guscin investigated the relationship between the shroud and the Su darium of Oviedo, claimed as the cloth that covered the head of Jesus in the Gos pel of John[20:6 7] when the empty tomb was discovered. The Sudarium is also repor ted to have type AB blood stains. Guscin concluded that the two cloths covered t he same head at two distinct, but close moments of time. Avinoam Danin (see belo w) concurred with this analysis, adding that the pollen grains in the Sudarium m atch those of the shroud.[70] Skeptics criticize the polarized image overlay tec hnique of Guscin and suggest that pollen from Jerusalem could have followed any number of paths to find its way to the sudarium.[71] In 2002, Aldo Guerreschi and Michele Salcito argued that many of these marks on the fabric of the shroud stem from a much earlier time because the symmetries co rrespond more to the folding that would have been necessary to store the cloth i n a clay jar (like cloth samples at Qumran) than to that necessary to store it i n the reliquary that housed it in 1532.[72] Dirt particles A piece of travertine.Joseph Kohlbeck from the Hercules Aerospace Company in Uta h and Richard Levi-Setti of the Enrico Fermi Institute examined some dirt partic les from the Shroud surface. The dirt was found to be travertine aragonite limes

tone.[73] Using a high-resolution microprobe, Levi-Setti and Kolbeck compared th e spectra of samples taken from the Shroud with samples of limestone from ancien t Jerusalem tombs. The chemical signatures of the Shroud samples and the tomb li mestone were found identical except for minute fragments of cellulose linen fibe r that could not be separated from the Shroud samples.[74] Biological and medical forensicsBlood stainsThere are several reddish stains on the shroud suggesting blood, but it is uncertain whether these stains were produ ced at the same time as the image, or afterwards.[75] McCrone (see painting hypo thesis) identified these as containing iron oxide, theorizing that its presence was likely due to simple pigment materials used in medieval times. Other researc hers, including Alan Adler, identified the reddish stains as blood and interpret ed the iron oxide as a natural residue of hemoglobin. Heller and Adler further studied the dark red stains and determined and identifi ed hemoglobin, establishing, within claimed scientific certainty, the presence o f porphyrin, bilirubin, albumin, and protein.[76] Working independently forensic pathologist Pier Luigi Baima Bollone, concurred with Heller and Adler's finding s and identified the blood as AB blood group.[77] Subsequently, STURP sent blood flecks to the laboratory devoted to the study of ancient blood at the State Uni versity of New York (SUNY). Dr. Andrew Merriwether at SUNY stated that no blood typing could be confirmed, and the DNA was badly fragmented. He stated that it i s almost certain that the blood spots are blood, but no definitive statements ca n be made about its nature or provenience, i.e., whether it is male and from the Near East."[78] Joe Nickell argues that results similar to Heller and Adler's could be obtained from tempera paint.[79] Skeptics also cite other forensic blood tests whose resu lts dispute the authenticity of the Shroud[71] that the blood could belong to a person handling the shroud, and that the apparent blood flows on the shroud are unrealistically neat.[71][80][81] Flowers and pollen A Chrysanthemum coronariumIn 1997 Avinoam Danin, a botanist at the Hebrew Univer sity of Jerusalem, reported that he had identified the type of Chrysanthemum cor onarium, Cistus creticus and Zygophyllum whose pressed image on the shroud was f irst noticed by Alan Whanger in 1985 on the photographs of the shroud taken in 1 931. He reported that the outlines of the flowering plants would point to March or April and the environs of Jerusalem.[82][83] In a separate report in 1978 Dan in and Uri Baruch reported on the pollen grains on the cloth samples, stating th at they were appropriate to the spring in Israel.[84] Max Frei, a Swiss police c riminologist who initially obtained pollen from the shroud during the STURP inve stigation stated that of the 58 different types of pollens found, 45 were from t he Jerusalem area, while 6 were from the eastern Middle East, with one pollen sp ecies growing exclusively in Constantinople, and two found in Edessa, Turkey.[85 ] Mark Antonacci argues that the pollen evidence and flower images are inherentl y interwoven and strengthen each other.[86] Skeptics have argued that the flower images are too faint for Danin's determinat ion to be definite, that an independent review of the pollen strands showed that one strand out of the 26 provided contained significantly more pollen than the others, perhaps pointing to deliberate contamination.[87] Skeptics also argue th at Max Frei had previously been duped in his examination of the Hitler Diaries a nd that he may have also been duped in this case, or may have introduced the pol lens himself.[88] J. Beaulieau has stated that Frei was a self-taught amateur pa lynologist, was not properly trained, and that his sample was too small.[89] In 2008 Avinoam Danin reported analysis based on the ultraviolet photographs of Miller and Pellicori[13][14] taken in 1978. Danin reported five new species of f lower, which also bloom in March and April and stated that a comparison of the 1

931 black and white photographs and the 1978 ultraviolet images indicate that th e flower images are genuine and not the artifact of a specific method of photogr aphy.[90] Anatomical forensicsA number of studies on the anatomical consistency of the ima ge on the shroud and the nature of the wounds on it have been performed, followi ng the initial study by Yves Delage in 1902.[51] While Delage declared the image anatomically flawless, others have presented arguments to support both authenti city and forgery. In 1950 physician Pierre Barbet wrote a long study called A Doctor at Calvary wh ich was later published as a book.[91] Barbet stated that his experience as a ba ttlefield surgeon during World War I led him to conclude that the image on the s hroud was authentic, anatomically correct and consistent with crucifixion.[92] In 1997 physician and forensic pathologist Robert Bucklin constructed a scenario of how a systematic autopsy on the man of the shroud would have been conducted. He noted the series of traumatic injuries which extend from the shoulder areas to the lower portion of the back, which he considered consistent with whipping; and marks on the right shoulder blade which he concluded were signs of carrying a heavy object. Bucklin concluded that the image was of a real person, subject t o crucifixion.[93] For over a decade, medical examiner Frederick Zugibe performed a number of studi es using himself and volunteers suspended from a cross, and presented his conclu sions in a book in 1998.[94] Zugibe considers the shroud image and its proportio ns as authentic, but disagrees with Barbet and Bucklin on various details such a s blood flow. Zugibe concluded that the image on the shroud is of the body of a man, but that the body had been washed.[95] In 2001, Pierluigi Baima Bollone, a professor of forensic medicine in Turin, sta ted that the forensic examination of the wounds and bloodstains on the Shroud in dicate that the image was that of the dead body of a man who was whipped, wounde d around the head by a pointed instrument and nailed at the extremities before d ying.[96] In 2010 Giulio Fanti, professor of mechanical measurements, wrote that "apart fr om the hands afterward placed on the pubic area, the front and back images are c ompatible with the Shroud being used to wrap the body of a man 1752 cm tall, whic h, due to cadaveric rigidity, remained in the same position it would have assume d during crucifixion".[97] Artist Isabel Piczek stated in 1995 that while a general research opinion sees a flatly reclining body on the Shroud, the professional figurative artist can see substantial differences from a flatly reclining position. She stated that the p rofessional arts cannot find discrepancies and distortions in the anatomy of the "Shroud Man".[98] Artist Lillian Schwartz, who had previously claimed to have matched the face of the Mona Lisa to a self-portrait of Leonardo da Vinci, stated in 2009 that the p roportions of the face image on the shroud are correct, and that they match the dimensions of the face of da Vinci.[99] Authors Joe Nickell, in 1983, and Gregory S. Paul in 2010, separately state that the proportions of the image are not realistic. Paul stated that the face and p roportions of the shroud image are impossible, that the figure cannot represent that of an actual person and that the posture was inconsistent. They argued that the forehead on the shroud is too small; and that the arms are too long and of different lengths and that the distance from the eyebrows to the top of the head is non-representative. They concluded that the features can be explained if the

shroud is a work of a Gothic artist.[100][101] Image and text analysisImage analysisBoth Digital image processing and analog te chniques have been applied to the shroud images. The VP8 Image Analyzer was produced by Pete Schumacher and was delivered by him to John Jackson and Eric Jumper in Colorado Springs in 1976.[102] It showed the Shroud image has properties that, when processed through this analog computer, y ield a 3-dimensional image.[103] Rather than being like a photographic negative, the shroud image unexpectedly has the property of decoding into a 3-dimensional image of the man when the darker parts of the image are interpreted to be those features of the man that were closest to the shroud and the lighter areas of th e image those features that were farthest. This is not a property that occurs in photography, and researchers could not replicate the effect when they attempted to transfer similar images using techniques of block print, engravings, a hot s tatue, and bas-relief.[104] NASA researchers Jackson, Jumper, and Stephenson report detecting the impression s of coins placed on both eyes after a digital study in 1978.[105] The two-lepto n coin on the right eyelid was presumably coined under Pilate in 29-30,[106] whi le the one-lepton coin on the left eyebrow was minted in 29.[107] The authentici ty of the alleged coins has come under dispute.[108] In 2004, in an article in Journal of Optics A, Fanti and Maggiolo reported findi ng a faint second face on the backside of the cloth, after the 2002 restoration. [109] The front image of the Turin Shroud, 1.95 m long, is not directly compatible wit h the back image, 2.02 m long.[110] In order to verify the possibility that both images were generated by the same human body, a numeric-anthropomorphous maniki n was constructed by computer and wrapped in the digitized front and back images . Kinematic analysis showed that the front and back images are compatible with t he Shroud being used to wrap the body of a man 1752 cm tall, which, due to cadave ric rigidity, remained in the same position it would have assumed during crucifi xion.[111] Text of death certificateIn 1979 Greek and Latin letters were reported as writte n near the face. These were further studied by Andr Marion, professor at the cole suprieure d'optique and his student Anne Laure Courage, in 1997. Subsequently, co mputerized analysis and microdensitometer, other writings were reported, among t hem INNECEM (a shortened form of Latin "in necem ibis" "you will go to death"), NN AZAPE(N)NUS (Nazarene), IHSOY (Jesus) and IC (Iesus Chrestus). The uncertain let ters IBE(R?) have been conjectured as "Tiberius".[112] Linguist Mark Guscin disp uted the reports of Marion and Courage. He stated that the inscriptions made lit tle grammatical or historical sense and that they did not appear on the slides t hat Marion and Courage indicated.[113] In 2009, Barbara Frale, a paleographer in the Vatican Secret Archives, who had p ublished two books on the Shroud of Turin reported further analysis of the text. [114] In her books Frale had stated that the shroud had been kept by the Templar s after 1204.[115] In her books Frale had stated that the shroud had been kept b y the Templars after 1204.[115] In 2009 Frale stated that it is possible to read on the image the burial certificate of Jesus the Nazarene, or Jesus of Nazareth , imprinted in fragments of Greek, Hebrew and Latin writing.[116][117] Frale stated the text on the Shroud reads: "In the year 16 of the reign of the E mperor Tiberius Jesus the Nazarene, taken down in the early evening after having been condemned to death by a Roman judge because he was found guilty by a Hebre w authority, is hereby sent for burial with the obligation of being consigned to his family only after one full year."[116][118] Since Tiberius became emperor a

fter the death of Octavian Augustus in AD 14, the 16th year of his reign would b e within the span of the years AD 30 to 31.[117][116] Frale's methodology has be en criticized, partly based on the objection that the writings are too faint to see.[119][120][121] Hypotheses on image originMany hypotheses have been formulated and tested to exp lain the image on the Shroud. To date, despite numerous and often media-related claims, it can be said that "the body image of the Turin Shroud has not yet been explained by traditional science; so a great interest in a possible mechanism o f image formation still exists."[122] Painting and pigmentation A thermographic image of a glass of water.PaintingThe technique used for produci ng the image is, according to W. McCrone, already described in a book about medi eval painting published in 1847 by Charles Lock Eastlake ("Methods and Materials of Painting of the Great Schools and Masters"). Eastlake describes in the chapt er "Practice of Painting Generally During the XIVth Century" a special technique of painting on linen using tempera paint, which produces images with unusual tr ansparent features which McCrone compares to the image on the shroud.[123] This hypothesis was declared to be unsound as the X-ray fluorescence examination , as well as infrared thermography, did not point out any pigment.[124][125][126 ] It was also found that 25 different solvents, among them water, do not reduce or sponge out the image.[127] The non-paint origin has been further claimed by F ourier transform of the image: common paintings show a directionality that is ab sent from the Turin Shroud.[128] Acid pigmentationIn 2009, Luigi Garlaschelli, professor of organic chemistry at the University of Pavia, announced that he had made a full size reproduction of the Shroud of Turin using only medieval technologies. Garlaschelli placed a line n sheet over a volunteer and then rubbed it with an acidic pigment. The shroud w as then aged in an oven before being washed to remove the pigment. He then added blood stains, scorches and water stains to replicate the original.[129] But acc ording to Giulio Fanti, professor of mechanical and thermic measurements at the University of Padua, "the technique itself seems unable to produce an image havi ng the most critical Turin Shroud image characteristics".[130][131] Medieval PhotographyAccording to the art historian Nicholas Allen the image on t he shroud was formed by a photographic technique in the 13th century.[132] Allen maintains that techniques already available before the 14th century e.g., as desc ribed in the Book of Optics, which was at just that time translated from Arabic to Latin were sufficient to produce primitive photographs, and that people familia r with these techniques would have been able to produce an image as found on the shroud. To demonstrate this, he successfully produced photographic images simil ar to the shroud using only techniques and materials available at the time the s hroud was made. He described his results in his PhD thesis,[133] in papers publi shed in several science journals,[134][135] and in a book.[136] Lynn Picknett has written a book proposing that Leonardo da Vinci had faked the Shroud.[137][138] Picknett and Larissa Tracy appeared on a Channel 5 (UK) TV pro gram that claimed the Shroud to be the oldest known surviving photograph.[138] T he progam claimed that da Vinci used a real corpse, treated it with chemicals an d then exposed it in an early form of camera obscura to obtain the image.[138] H owever John Jackson, director of the Turin Shroud Centre of Colorado dismissed t hese hypotheses.[138] Jackson et al have argued that se, should have considered the f photographic superimposition n Shroud instead correspond to a double photographic exposure, needed in that ca distances and in this case there would be areas o with different lights and shades. The distances o the body position.[139]

Dust-transfer techniqueScientists Emily Craig and Randall Bresee have attempted to recreate the likenesses of the shroud through the dust-transfer technique, wh ich could have been done by medieval arts. They first did a carbon-dust drawing of a Jesus-like face (using collagen dust) on a newsprint made from wood pulp (w hich is similar to 13th and 14th century paper). They next placed the drawing on a table and covered it with a piece of linen. They then pressed the linen again st the newsprint by firmly rubbing with the flat side of a wooden spoon. By doin g this they managed to create a reddish brown image with a life-like positive li keness of a person, a three dimensional image and no sign of brush strokes.[140] However, according to Fanti and Moroni, this does not reproduce many special fe atures of the Shroud at microscopic level.[141] Bas-reliefAnother hypothesis suggests that the Shroud may have been formed using a bas-relief sculpture. Researcher Jacques di Costanzo, noting that the Shroud image seems to have a three-dimensional quality, suggested that perhaps the imag e was formed using an actual three-dimensional object, such as a sculpture. Whil e wrapping a cloth around a life-sized statue would result in a distorted image, placing a cloth over a bas-relief would result in an image like the one seen on the shroud. To demonstrate the plausibility of his hypothesis, Costanzo constru cted a bas-relief of a Jesus-like face and draped wet linen over the bas-relief. After the linen dried, he dabbed it with a mixture of ferric oxide and gelatine . The result was an image similar to that of the Shroud. The imprinted image tur ned out to be wash-resistant, impervious to temperatures of 250 C (482 F) and was undamaged by exposure to a range of harsh chemicals, including bisulphite which, without the help of the gelatine, would normally have degraded ferric oxide to the compound ferrous oxide.[142] Similar results have been obtained by former st age magician and author Joe Nickell. Instead of painting, the bas-relief could a lso be heated and used to burn an image into the cloth. According to Fanti and Moroni, after comparing the histograms of 256 different g rey levels, it was found that the image obtained with a bas-relief has grey valu es included between 60 and 256 levels, but it is much contrasted with wide areas of white saturation (levels included between 245 and 256) and lacks of intermed iate grey levels (levels included between 160 and 200). The face image on the Sh roud instead has grey tonalities that vary in the same values field (between 60 and 256), but the white saturation is much less marked and the histogram is prac tically flat in correspondence of the intermediate grey levels (levels included between 160 and 200).[143] Maillard reactionThe Maillard reaction is a form of non-enzymatic browning invol ving an amino acid and a reducing sugar. The cellulose fibers of the shroud are coated with a thin carbohydrate layer of starch fractions, various sugars, and o ther impurities. In a paper entitled "The Shroud of Turin: an amino-carbonyl rea ction may explain the image formation,"[144] Raymond Rogers and Anna Arnoldi pro pose that amines from a recently deceased human body may have undergone Maillard reactions with this carbohydrate layer within a reasonable period of time, befo re liquid decomposition products stained or damaged the cloth. The gases produce d by a dead body are extremely reactive chemically and within a few hours, in an environment such as a tomb, a body starts to produce heavier amines in its tiss ues such as putrescine and cadaverine. However the potential source for amines r equired for the reaction is a decomposing body,[145] while no signs of decomposi tion have been found on the Shroud.[146] The image resolution and the uniform co loration of the linen resolution seem to be not compatible with a mechanism invo lving diffusion.[147] Alan A. Mills argued that the image was formed by the chemical reaction auto-oxi dation. He noted that the image corresponds to what would have been produced by a volatile chemical if the intensity of the color change were inversely proporti onal to the distance from the body of a loosely draped cloth.[148]

Energy sourceThis section discusses energy source hypotheses. However, the hypot heses presented here do not account for where the energy came from, e.g. the cor ona discharge requires high levels of energy, which would have needed to have be en generated from a human body. None of the papers cited in this section have pr esented a detailed analysis regarding the application of the law of conservation of energy with respect to the generation of the energy needed to support the hy potheses presented. Moreover, none of these suggestions have produced a similar image in a scientific setting and remain untested hypotheses. Since 1930[149] several researchers (J. Jackson, G. Fanti, T. Trenn, T. Phillips , J.-B. Rinaudo and others) endorsed the flash-like irradiation hypothesis. It w as suggested that the relatively high definition of the image details can be obt ained through the energy source (specifically, protonic) acting from inside.[139 ] The Russian researcher Alexander Belyakov proposed an intense, but short flash light source, which lasted some hundredths of second.[150] Some other authors su ggest the X-radiation[151] or a burst of directional ultraviolet radiation may h ave played a role in the formation of the Shroud image.[152] From the image char acteristics, several researchers have theorized that the radiant source was prev alently vertical. These theories do not include the scientific discussion of a m ethod by which the energy could have been produced.[127] A harsh criticism of the energy source hypothesis comes from Raymond N. Rogers w ho was involved in work with The Shroud since the conception of the STURP projec t in 1978. As he states, "If any form of radiation (thermal, electromagnetic, or particle) degraded the cellulose of the linen fibers to produce the image color , it would have had to penetrate the entire diameter of a fiber in order to colo r its back surface. Some lower fibers are colored, requiring more penetration. R adiation that penetrated the entire 10-15-m-diameter of a fiber would certainly c olor the walls of the medulla. All image fibers show color on their surfaces but not in the medullas."[153] Corona dischargeDuring restoration in 2002, the back of the cloth was photograph ed and scanned for the first time. An article on this subject by Giulio Fanti an d others envisages the electrostatic corona discharge as the probable mechanism to produce the images of the body in the Shroud.[154] Congruent with that mechan ism, they also describe an image on the reverse side of the fabric, much fainter than that on the front view of the body, consisting primarily of the face and p erhaps hands. As with the front picture, it is entirely superficial, with colora tion limited to the carbohydrate layer. The images correspond to, and are in reg istration with, those on the other side of the cloth. No image is detectable in the reverse side of the dorsal view of the body. Results of some new experiments propose that a Corona discharge mechanism could have been involved in the Turin Shroud body image formation, but it is impossibl e to reproduce all the characteristics of the image in a laboratory because the energy source required is too high.[147][155] This theory and the experiment hav e not addressed a method by which the high level of energy could have been contr discuss] olled and directed, without damaging the Shroud.[dubious Recent developmentsIn 2010, professors of statistics Marco Riani and Anthony C. Atkinson wrote in a scientific paper that the statistical analysis of the raw da tes obtained from the three laboratories for the radiocarbon test suggests the p resence of an important contamination in the samples.[156] A team of graphic artists tried to recreate the real face of Jesus in a special two-hour documentary on the History Channel broadcast for the first time in Marc h 2010. The image was made by taking information and blood encoded on the Turin Shroud and transforming it into a 3D image.[157]

The Shroud was placed back on public display (the 18th time in its history) in T urin from 10 April to 23 May 2010. According to Church officials, more than 2 mi llion visitors came to see the Shroud.[158] In December 2010 Professor Timothy Jull, editor of Radiocarbon, coauthored an ar ticle with a textile expert in this peer-reviewed journal.[159] They analyzed an unknown sample of 1988 and concluded that they found no evidence of a repair. H owever this article was strongly criticized, even by traditional skeptics.[160] In November 2011, F. Curciarello et al published a paper that analyzed the abrup t changes in the yellowed fibril density values on the Shroud image. They conclu ded that the rapid changes in the body image intensity are not anomalies in the manufacturing process of the linen but that they can be explained with the prese nce of aromas and/or burial ointments.[161] The paper also states that this cons istent with the observation that based on the stochastic distribution of yellowe d fibrils the image is not the work of an artist, and may have been formed over several decades.[161] However, their work leaves the existence of an energy sour ce for the image an open question.[161] In December 2011 scientists at Italy's National Agency for New Technologies, Ene rgy and Sustainable Development ENEA announced that their series of tests demons trated the image on the shroud could, in their opinion, only have been created b y "some form of electromagnetic energy" such as a flash of light at short wavele ngth.[162][163] References1.^ Robert Bucklin "The Shroud of Turin: a Pathologist's Viewpoint", L egal Medicine Annual, 1982 ; Frederick Zugibe, The Crucifixion of Jesus: A Foren sic Inquiry, 2nd edition, M. Evans Publ., 2005, ISBN 1-59077-070-6 2.^ Joan Carroll Cruz, Saintly Men of Modern Times, Our Sunday Visitor, 2003, IS BN 1-931709-77-7, page 200. 3.^ Summary of STURP's Conclusions (1981) 4.^ a b Damon, P. E.; D. J. Donahue, B. H. Gore, A. L. Hatheway, A. J. T. Jull, T. W. Linick, P. J. Sercel, L. J. Toolin, C. R. Bronk, E. T. Hall, R. E. M. Hedg es, R. Housley, I. A. Law, C. Perry, G. Bonani, S. Trumbore, W. Woelfli, J. C. A mbers, S. G. E. Bowman, M. N. Leese, M. S. Tite (1989-02). "Radiocarbon dating o f the Shroud of Turin". Nature 337 (6208): 611 615. doi:10.1038/337611a0. http://w ww.nature.com/nature/journal/v337/n6208/abs/337611a0.html. Retrieved 2007-11-18. 5.^ R.N Rogers, "Studies on the Radiocarbon Sample from the Shroud of Turin", Th ermochimica Acta, Vol. 425, 2005, pp. 189 194, article; S. Benford, J. Marino, "Di screpancies in the radiocarbon dating area of the Turin shroud", Chemistry Today , vol 26 n 4 / July August 2008, p. 4-12, article; G. Fanti, F. Crosilla, M. Riani , A.C. Atkinson, "A Robust statistical analysis of the 1988 Turin Shroud radioca rbon analysis", Proceedings of the IWSAI, ENEA, 2010. 6.^ Ball, P. (2008). "Material witness: Shrouded in mystery". Nature Materials 7 (5): 349. doi:10.1038/nmat2170. PMID 18432204. 7.^ According to LLoyd A. Currie, it is "widely accepted" that "the Shroud of Tu rin is the single, most studied artifact in human history" in Lloyd A. Currie, " The Remarkable Metrological History of Radiocarbon Dating [II",] Journal of the National Institute of Standards and Technology 109, 2004, p. 200. 8.^ William Meacham, The Authentication of the Turin Shroud: An Issue in Archaeo logical Epistemology, Current Anthropology, Volume 24, No 3, June 1983. 9.^ Alan D. Adler (2002). The orphaned manuscript: a gathering of publications o n the Shroud of Turin. p. 103. ISBN 88-7402-003-1. 10.^ John H. Heller (1983). Report on the Shroud of Turin. Houghton Mifflin. ISB N 0-395-33967-7. 11.^ a b Bernard Ruffin (1999). The Shroud of Turin. Our Sunday Visitor. p. 14. ISBN 0-87973-617-8. 12.^ John Beldon Scott (2003). Architecture for the shroud: relic and ritual in Turin. University of Chicago Press. p. 302. ISBN 0-226-74316-0.

13.^ a b Miller, V. D.; Pellicori, S. F. (July 1981). "Ultraviolet fluorescence photography of the Shroud of Turin". Journal of Biological Photography 49 (3): 7 1 85. PMID 7024245. 14.^ a b Pellicori, S. F. (1980). "Spectral properties of the Shroud of Turin". Applied Optics 19 (12): 1913 1920. doi:10.1364/AO.19.001913. PMID 20221155. 15.^ "How Tall is the Man on the Shroud?". Shroud Of Turn For Journalists. http: //www.shroudofturin4journalists.com/Details/howtall.htm. Retrieved 2009-04-12. 16.^ Joan Carroll Cruz (1984). Relics. Our Sunday Visitor. p. 49. ISBN 0-87973-7 01-8. 17.^ a b W. Meacham, "The Authentication of the Turin Shroud, An Issue in Archeo logical Epistemogy", Current Anthropology, 24, 3, 1983 Article 18.^ "Turin shroud 'older than thought'". BBC News. 31 January, 2005. http://new s.bbc.co.uk/2/hi/4210369.stm. 19.^ Joe Nickell, Inquest on the Shroud of Turin: Latest Scientific Findings, Pr ometheus Books, 1998, ISBN 978-15739227 20.^ Emmanuel Poulle, ?Les sources de l'histoire du linceul de Turin. Revue crit ique?, Revue d'Histoire Ecclsiastique, 2009/3-4, p. 776.Abstract 21.^ John Beldon Scott, Architecture for the shroud: relic and ritual in Turin, University of Chicago Press, 2003, ISBN 0-226-74316-0 page xxi 22.^ Humber, Thomas: The Sacred Shroud. New York: Pocket Books, 1980. ISBN 0-671 -41889-0 23.^ Emmanuel Poulle, ?Les sources de l'histoire du linceul de Turin. Revue crit ique?, Revue d'Histoire Ecclsiastique, 2009/3-4, pp. 747 781.Abstract 24.^ Catalogue of the Muse National du Moyen Age, Paris, A souvenir from Lirey by Mario Latendresse 25.^ Watson E. Mills et alii, Mercer dictionary of the Bible, Mercer University Press, 1999, ISBN 0-86554-373-9 page 822 26.^ Alastair Jamieson (July 1, 2009). "Turin Shroud may have been faked by da V inci". The Independent. http://www.independent.ie/world-news/europe/turin-shroud -may-have-been-faked-by-da-vinci-1799357.html. 27.^ Architecture for the shroud: relic and ritual in Turin by John Beldon Scott 2003 ISBN 0-226-74316-0 page 26 28.^ Ian Wilson, Highlights of the Undisputed History, 1996 29.^ "Shroud of Turin Saved From Fire in Cathedral". The New York Times. April 1 2, 1997. http://www.nytimes.com/1997/04/12/world/shroud-of-turin-saved-from-fire -in-cathedral.html. 30.^ Joan Carrol Cruz, 1984 Relics ISBN 0-87973-701-8 page 55 31.^ Ann Ball, Encyclopedia of Catholic Devotions and Practices, Our Sunday Visi tor, 2002 ISBN 0-87973-910-X page 533 32.^ Ann Ball, Encyclopedia of Catholic Devotions and Practices, Our Sunday Visi tor, 2002, ISBN 0-87973-910-X page 239 33.^ John Calvin, 1543, Treatise on Relics, trans. by Count Valerian Krasinski, 1854; 2nd ed. Edinburgh: John Stone, Hunter, and Company, 1870; reprinted with a n introduction by Joe Nickell, Amherst, N.Y.: Prometheus Books, 2009. 34.^ Dorothy Scallan, The Holy Man of Tours, TAN Books and Publishers, 2009, ISB N 0-89555-390-2 35.^ Joan Carrol Cruz, Relics, Our Sunday Visitor, 1984, ISBN 0-87973-701-8 page 77 36.^ a b Michael Freze, 1993, Voices, Visions, and Apparitions, OSV Publishing, ISBN 0-87973-454-X page 57 37.^ Charles S. Brown, Bible "Mysteries" Explained, Crystal Publishing, 2007, IS BN 0-9582813-0-0 page 193 38.^ Peter Rinaldi, The man in the Shroud, Futura Publications Ltd, 1972, ISBN 0 -86007-010-7 page 45 39.^ Encyclopaedia Britannica, art. Shroud of Turin (relic)., 28 Dec. 2010 40.^ Maria Rigamonti, Mother Maria Pierina, Cenacle Publishing, 1999 41.^ Joan Carroll Cruz, Saintly Men of Modern Times, Our Sunday Visitor, 2003, I SBN 1-931709-77-7 42.^ Matthew Bunson, OSV's encyclopedia of Catholic history, revised edition, Ou r Sunday Visitor, 2004, ISBN 1-59276-026-0 page 912

43.^ Francis D'Emilio article on Pope John Paul II's visit to the Shroud of Turi n, Pittsburgh Post-Gazette May 25, 1998 44.^ Address of John Paul II May 24, 1998. 45.^ Vatican website: Pope John Paul II's Address of May 24, 1998 in Turin Cathe dral [1] 46.^ In Joseph Ratzinger, The spirit of Liturgy, Ignatius Press, 2000, ISBN 0-89 870-784-6, cf. [2] and [3] 47.^ Catholic News Service 48.^ Meditation of Benedict XVI, Official Translation 49.^ Homely of Benedict XVI, Official Translation 50.^ CNA 51.^ a b c Delage, Yves. 1902. Le Linceul de Turin. Revue Scientifique 22:683 87. 52.^ a b c Meacham, William. "The Authentication of the Turin Shroud: An Issue i n Archaeological Epistemology". http://www.shroud.com/meacham2.htm. Retrieved 24 March 2010. [4] 53.^ "The Holy Shroud (of Turin)". Catholic Encyclopedia. New York: Robert Appl eton Company. 1913. 54.^ W.S.A. Dale, "The Shroud of Turin: Relic or Icon?" Nuclear Instruments and Methods in Physics Research B29 (1987) 187 192 http://dx.doi.org/10.1016/0168-583X (87)90233-3. This paper is significant in that it was presented to the internati onal radiocarbon community shortly before radiocarbon dating was performed on th e shroud. 55.^ Busson, P. Letter Sampling error? Nature, Vol. 352, July 18, 1991, p. 187. 56.^ John L. Brown, "Microscopical Investigation of Selected Raes Threads From t he Shroud of Turin"Article (2005) 57.^ Robert Villarreal, "Analytical Results On Thread Samples Taken From The Rae s Sampling Area (Corner) Of The Shroud Cloth" Abstract (2008) 58.^ Turin Shroud 'could be genuine as carbon-dating was flawed Stephen Adams in the Daily Telegraph 10 Apr 2009 59.^ McCrone, W. C., Skirius, C., The Microscope, 28, 1980, pp 1 13; McCrone, W. C ., The Microscope, 29, 1981, p. 19-38. Microscope 1980, 28, 105, 115; 1981, 29, 19; Wiener Berichte uber Naturwissenschaft in der Kunst 1987/1988, 4/5, 50 and A cc. Chem. Res. 1990, 23, 77 83. 60.^ Materials evaluation, Volume 40, Issues 1-5, 1982, Page 630 61.^ Raymond N. Rogers, A Chemist's Perspective On The Shroud of Turin, 2008, IS BN 0-615-23928-5, page 61 62.^ Daniel R. Porter: Open letter to journalists 63.^ Ian Wilson, The Blood and the Shroud. New York: Free Press, 1998. pp. 80 81 I SBN 0-684-85359-0 64.^ Debunking The Shroud: Made by Human Hands 65.^ Wilson, p. 21-25 66.^ "DNA of Jesus-era shrouded man in Jerusalem reveals earliest case of lepros y". Physorg.com. December 16, 2009. http://www.physorg.com/news180165623.html. R etrieved December 16, 2009. 67.^ Bell, Bethany (December 16, 2009). "'Jesus-era' burial shroud found". BBC N ews. http://news.bbc.co.uk/2/hi/middle_east/8415377.stm. Retrieved December 16, 2009. 68.^ "Shroud of Turin Not Jesus', Tomb Discovery Suggests". National Geographic Daily News. 2009-12-19. http://news.nationalgeographic.com/news/2009/12/091216-s hroud-of-turin-jesus-jerusalem-leprosy.html. Retrieved 2010-03-22. 69.^ "SECRETS OF THE DEAD . Shroud of Christ? . Interview". PBS. http://www.pbs. org/wnet/secrets/previous_seasons/case_shroudchrist/interview.html. Retrieved 20 10-07-28. 70.^ The Sudarium of Oviedo 71.^ a b c "shroud of Turin". Skepdic.com. 2000-08-23. http://www.skepdic.com/sh roud.html. Retrieved 2009-04-12. 72.^ Aldo Guerreschi and Michele Salcito IV Symposium Scientifique International , Paris 2002 [5]PDF (526 KB) 73.^ "Were particles of limestone dirt found on the Shroud of Turin?". Shroud St ory. http://www.shroudstory.com/faq/Shroud-Turin-Travertine.htm. Retrieved 2010-

02-27. 74.^ Ian Wilson, The Blood and the Shroud. New York: Free Press, 1998. ISBN 0-68 4-85359-0 page 328 75.^ Heller, J.H. and Adler, A.D.: "Blood on the Shroud of Turin", Applied Optic s 19:2742 4 (1980) 76.^ Heller, J.H., and Adler, A.D. 1981 [6]PDF (117 KB) 77.^ P. L. Baima Bollone, Indagini identificative su fili della Sindone , Giornale d ella Accademia di Medicina di Torino, n 1-12, 1982, pp. 228 239. 78.^ Rogers, Raymond. "Frequently Asked Questions (FAQs) by Raymond N. Rogers". http://www.shroud.com/pdfs/rogers5faqs.pdf. Retrieved 2009-06-15. 79.^ Scandals and Follies of the 'Holy Shroud' Skeptical Inquirer Find Articles at BNET.com[dead link] 80.^ Baden, Michael. 1980. Quoted in Reginald W. Rhein, Jr., The Shroud of Turin : Medical examiners disagree. Medical World News, December 22, p. 50. 81.^ McCrone in Wiener Berichte uber Naturwissenschaft in der Kunst,4/5, 50 1987 /1988, 82.^ Avinoam Danin Where Did the Shroud of Turin Originate? A Botanical Quest ER ETZ Magazine, November/December 1998 [7] 83.^ Sheler, Jeffery L. (2000-07-24). "Shroud of Turin - Mysteries of History". U.S. News & World Report. http://www.usnews.com/usnews/doubleissue/mysteries/shr oud.htm. Retrieved 19 December 2010. 84.^ Avinoam Danin, "The Origin of the Shroud of Turin from the Near East as Evi denced by Plant Images and by Pollen Grains" Article 85.^ Max Frei, "Nine Years of Palynological Studies on the Shroud", Shroud Spect um International, (June 1982) p. 3-7 86.^ Mark Antonacci,The Resurrection of the Shroud, M. Evans and Company, Inc, 2 000, ISBN 0-87131-963-2 p. 111 87.^ Nickell, Joe: "Pollens on the 'shroud': A study in deception". Skeptical In quirer, Summer 1994., pp 379 385 88.^ Carroll, Robert T. The Skeptic Dictionary, Hoboken, John Wiley and Sons, 20 03, ISBN 0-471-27242-6 89.^ Bernard Ruffin, The Shroud of Turin, 1999, ISBN 0-87973-617-8 p. 76 90.^ Avinoam Danin, 2008 Botany of the Shroud of Turin, An addition concerning n ew information since the 1999 report. Shroud of Turin Conference, 2008, Ohio. [8 ] 91.^ Barbet, Pierre. 1963. A Doctor at Calvary. New York: Image Publishers 92.^ Bernard Ruffin, The Shroud of Turin, Our Sunday Visitor, 1999 ISBN 0-87973617-8 page 17 93.^ Robert Bucklin, An Autopsy on the Man of the Shroud, 1997, Article 94.^ Frederick Zugibe, The Crucifixion of Jesus: A Forensic Inquiry, M.Evans Pub l., 2005, ISBN 1-59077-070-6 95.^ Frederick Zugibe, "The Man of the Shroud was Washed", Sindon, Quad. No. 1, June 1989 [9] 96.^ Pierluigi Baima Bollone, "Interpreting the Image on the Shroud", in Gian Ma ria Zaccone, Le due facce della Sindone. Pellegrini e scienziati alla ricerca di un volto, Torino, ODPF, 2001. , p. 119-126. 97.^ G. Fanti, R. Basso, G. Bianchini, Turin Shroud: Compatibility Between a Dig itized Body Image and a Computerized Anthropomorphous Manikin, Journal of Imagin g Science and Technology September/October 2010 Volume 54, Issue 5, pp. 050503-( 8), Abstract 98.^ Isabel Piczek, "Is the Shroud of Turin a painting ?", Article 99.^ Daily Telegraph, July 1, 2009 100.^ Joe Nickell, Inquest on the Shroud of Turin, 1983 101.^ Paul, Gregory S. (6 May 2010). "The Shroud of Turin: The Great Gothic Art Fraud". Secular Web Kiosk. Internet Infidels. http://secweb.infidels.org/article 815.html. Retrieved 9 May 2010. 102.^ Talk by Pete Schumacher presented on the web page of the museum he created , http://shroudnm.com/vp8talk.html 103.^ Bernard Ruffin, 1999, The Shroud of Turin ISBN 0-87973-617-8 page 79 104.^ Heller, John H. Report on the Shroud of Turin, Houghton Mifflin, 1983. ISB

N 0-395-33967-7 page 207 105.^ Jackson, John P., Eric J. Jumper, Bill Mottern, and Kenneth E. Stevenson. 1977. "The three-dimensional image of Jesus' burial cloth", Proceedings, 1977 Un ited States Conference of Research on The Shroud of Turin, Holy Shroud Guild, Ne w York, 1977, pp. 74 94. 106.^ F. Filas, The dating of the Shroud from coins of Pontius Pilate, Cogan, Yo ungtown (Arizona), 1982 107.^ N. Balossino, L immagine della Sindone, ricerca fotografica e informatica, E ditrice Elle Di Ci, 1997, ISBN 88-01-00798-1 108.^ Doubts Concerning the Coins Over the Eyes Antonio Lombatti "British Societ y for the Turin Shroud" Newsletter #45. 1997. 109.^ G. Fanti, R. Maggiolo, "The double superficiality of the frontal image of the Turin Shroud", Journal of Optics A, 6, 2004, pp. 491-503, abstract 110.^ G. Fanti, R. Basso, G. Bianchini,"Turin Shroud: Compatibility Between a Di gitized Body Image and a Computerized Anthropomorphous Manikin", Journal of Imag ing Science and Technology September/October 2010 Volume 54, Issue 5, pp. 050503 -(8), abstract 111.^ http://jist.imaging.org/resource/1/jimte6/v54/i5/p050503_s1?isAuthorized=n o 112.^ A. Marion, A.-L. Courage, Nouvelles dcouvertes sur le suaire de Turin, Pari s, Albin Michel, 1998, ISBN 2-226-09231-5 113.^ Mark Guscin. "The "Inscriptions" on the Shroud" (PDF). British Society for the Turin Shroud Newsletter. http://www.shroud.com/pdfs/guscin2.pdf. Retrieved 2010-03-27. 114.^ Frale 2009 115.^ a b Owen, Richard (26 April 2009). "Knights Templar hid the Shroud of Turi n, says Vatican". The Times. http://www.timesonline.co.uk/tol/comment/faith/arti cle6040521.ece. Retrieved 24 October 2010. "her study of the trial of the Knight s Templar had brought to light a document in which Arnaut Sabbatier (...) was sh own a long linen cloth on which was impressed the figure of a man and instructed t o venerate the image by kissing its feet three times." 116.^ a b c Owen, Richard (21 November 2009). "Death certificate is imprinted on the Shroud of Turin, says Vatican scholar". The Times. http://www.timesonline.c o.uk/tol/comment/faith/article6925371.ece. Retrieved 24 October 2010. "." 117.^ a b Daily Telegraph: "Jesus Christ's 'death certificate' found on Turin Sh roud" [10] 118.^ Images of the Shroud text 119.^ The Jesus Inquest: The Case for and Against the Resurrection of the Christ by Charles Foster 2011 ISBN 0849948118 Appendix 2: The Turin Shroud 120.^ Poulle, Emmanuel, ?Les sources de l'histoire du linceul de Turin. Revue cr itique?, Revue d'Histoire Ecclsiastique, 2009/3-4, pp. 747 782, abstract. Retrieved on 2010-10-24. 121.^ Vallerani, Massimo, "I templari e la Sindone: l'"ipotetica della falsit" e l'invenzione della storia", Historia Magistra, 2, 2009, abstract. Retrieved on 2 010-10-24. 122.^ G. Baldacchini, P. di Lazzaro, D. Murra, G. Fanti, "Coloring linens with e xcimer lasers to simulate the body image of the Turin Shroud", Applied Optics,Vo l. 47, Issue 9, pp. 1278 1285 (2008) Abstract; Giulio Fanti :"The body image visib le on the Turin Shroud (TS) has not yet been explained by science", in "Can a Co rona Discharge Explain the Body Image of the Turin Shroud?", Journal of Imaging Science and Technology, March/April 2010 Volume 54, Issue 2, pp. 020508-(11), Ab stract ; Philip Ball in 2005 : "it is simply not known how the ghostly image of a serene, bearded man was made" editorial 123.^ Walter C. McCrone, Judgment day for the Shroud of Turin, Amherst, N.Y., Pr ometheus Books, (1999) ISBN 1-57392-679-5 124.^ G. Imbalzano, "Il linguaggio della Sindone", Sindon journal of the Centro Internazionale di Sindonologia of Turin, n.29, December 1980, pp. 13-23 125.^ Morris et al., "X-Ray fluorescence investigation of the Shroud of Turin", X-Ray Spectrometry, vol. 9, n. 2, april 1980, pp. 40 47 126.^ A. D. Adler, "Aspetti fisico-chimici delle immagini sindoniche", Sindone,

cento anni di ricerca, Istituto Poligrafico e Zecca dello Stato, Libreria dello Stato, Roma 1998, pp. 165 184 127.^ a b Giulio Fanti, Emanuela Marinelli. "Results of a Probabilistic Model Ap plied to the Research Carried Out on the Turin Shroud". Shroud.com. http://www.s hroud.com/fanti3en.pdf. Retrieved 2010-03-26. 128.^ J. J. Lorre D. J. Lynn, "Digital enhancement of images of the Shroud of Tu rin", in: Proceedings of the 1977 United States Conference of research on the Sh roud of Turin, Albuquerque 1977, Holy Shroud Guild, New York 1977 129.^ Garlaschelli, Luigi, Life-size Reproduction of the Shroud of Turin and its Image, Journal of Imaging Science and Technology July/August 2010 Volume 54, Is sue 4, pp. 040301-(14), abstract. Retrieved on 2010-10-24. 130.^ Heimburger T., Fanti G., "Scientific Comparison between the Turin Shroud a nd the First Handmade Whole Copy", International Workshop on the Scientific Appr oach to the Acheiropoietos Images, 2010, article 131.^ Fanti G., Heimburger T., "Letter to the Editor Comments on Life-Size Reprod uction of the Shroud of Turin and Its Image by L. Garlaschelli", Journal of Imagi ng Science and Technology, Vol. 55, 2, March/April 2011, pp. 020102-(3). 132.^ Nicholas P L Allen, Verification of the Nature and Causes of the Photo-neg ative Images on the Shroud of Lirey-Chambry-Turin 133.^ Allen, Nicholas P. L.(1993) The methods and techniques employed in the man ufacture of the Shroud of Turin. Unpublished DPhil thesis, University of DurbanWestville. 134.^ Allen, Nicholas P. L.(1993) Is the Shroud of Turin the first recorded phot ograph? The South African Journal of Art History, November 11, 23 32 135.^ Allen, Nicholas P. L.(1994)A reappraisal of late thirteenth-century respon ses to the Shroud of Lirey-Chambry-Turin: encolpia of the Eucharist, vera eikon o r supreme relic? The Southern African Journal of Medieval and Renaissance Studie s, 4 (1),62 94 136.^ Allen, Nicholas P. L.(1998)The Turin Shroud and the Crystal Lens. Empowerm ent Technologies Pty. Ltd., Port Elizabeth, South Africa 137.^ The Turin Shroud: How Da Vinci Fooled History by Lynn Picknett and Clive P rice 2007 ISBN 0743292170 138.^ a b c d Was Turin Shroud faked by Leonardo da Vinci? Daily Telegraph July 1, 2009 139.^ a b J. Jackson et al., "Correlation of image intensity on the Turin Shroud with the 3-D structure of a human body shape", Applied Optics, vol. 23, n. 14, 15 July 1984, pp. 2244 2270 140.^ Craig, Emily A, Bresee, Randal R, Image Formation and the Shroud of Turin, Journal of Imaging Science and Technology, Volume 34, Number 1, 1994 141.^ G. Fanti, M. Moroni,"Comparison of Luminance Between Face of Turin Shroud Man and Experimental Results", The Journal of Imaging Science and Technology Mar ch/April 2002, vol. 46, n2, p. 142-154, abstract. 142.^ Ingham, Richard (2005-06-21). "Turin Shroud Confirmed as Fake". Physorg.co m (Agence France-Presse). http://www.physorg.com/news4652.html. Retrieved 2008-0 2-17. 143.^ G. Fanti, Moroni,Comparison of Luminance Between Face of Turin Shroud Man and Experimental Results,The Journal of Imaging Science and Technology, March/Ap ril 2002, vol. 46, no. 2; p. 142-154,http://www.imaging.org/ist/store/epub.cfm?a bstrid=8125 144.^ Rogers, R.N. and Arnoldi, A.: "The Shroud of Turin: an amino-carbonyl reac tion (Maillard reaction) may explain the image formation.", Melanoidins in Food and Health, Volume 4, Office for Official Publications of the European Communiti es, Luxembourg, 2003, pp. 106 113, ISBN 92-894-5724-4 145.^ Raymond N. Rogers, A Chemist's Perspective On The Shroud of Turin, 2008, I SBN 0-615-23928-5, p. 100 146.^ "Features of the Center". Shroud Center of Southern California. http://www .shroudcentersocal.com/. Retrieved 2010-03-27. 147.^ a b G. Fanti et alii, Microscopic and Macroscopic Characteristics of the S hroud of Turin Image Superficiality, Journal of Imaging Science and Technology Jul y/August 2010 Volume 54, Issue 4, p. 040201-6

148.^ Alan A. Mills, "Image formation on the Shroud of Turin", in Interdisciplin ary Science Reviews, 1995, vol. 20 No. 4, pp 319 326. 149.^ N. Noguier de Malijay, La Santa Sindone di Torino, Libreria del S. Cuore, Torino, 1930 150.^ A. Belyakov, "Prospettive di ricerca in Russia sulla Sindone di Torino", A tti del convegno di San Felice Circeo (LT) 24 25 agosto 1996, pp. 19 24 151.^ G. Carter, "Formation of the Image on the Shroud of Turin", American Chemi cal Society Volume on Archaeological Chemistry, 1983 152.^ G. Baldacchini, P. Di Lazzaro, D. Murra, and G. Fanti, "Coloring linens wi th excimer lasers to simulate the body image of the Turin Shroud," Applied Optic s, 47, 1278 1285 (2008) Article ; P. Di Lazzaro; G. Baldacchini; G. Fanti; D. Murr a; A. Santoni, "Colouring fabrics with Excimer lasers to simulate encoded images : the case of the Shroud of Turin"Abstract and Article 153.^ Raymond N. Rogers, A. Arnoldi, "Scientific method applied to the Shroud of Turin", 2002, Article 154.^ G. Fanti, F. Lattarulo, O. Scheuermann, "Body Image Formation Hypotheses B ased on Corona Discharge", 2005, Article 155.^ G. Fanti, "Can a Corona Discharge Explain the Body Image of the Turin Shro ud ?" J. Imaging Sci. Technol., March/April 2010 --Volume 54, Issue 2, pp. 02050 8-(11),abstract 156.^ Riani M., Atkinson A.C., Fanti G., Crosilla F., "Carbon Dating of the Shro ud of Turin : Partially Labelled Regressor and the Design of Experiments", 4 May 2010, article. Retrieved on 2010-10-24. 157.^ T. Trachtenberg, S. Clarke, "Computer Artists Say They've Re-Created Chris t's Face Using Shroud of Turin", ABC GMA, 30 March 2010, article 158.^ "To see the Shroud : 2M and counting", Zenit, May 5, 2010, article 159.^ R.A. Freer-Waters, A.J.T. Jull, Investigating a Dated piece of the Shroud of Turin, Radiocarbon, 52, 2010, pp. 1521-1527. 160.^ Gian Marco Rinaldi, "Autogoal a Tucscon" (Own goal in Tucson),article (in italian). 161.^ a b c F. Curciarello, V. De Leo, G. Fazio & G. Mandaglio, The abrupt chang es in the yellowed fibril density in the Linen of Turin in Radiation Effects and Defects in Solids Nov 20011 doi: 10.1080/10420150.2011.629320 [11] 162.^ Montreal Gazette 163.^ http://opac.bologna.enea.it:8991/RT/2011/2011_14_ENEA.pdf (in italian) Further readingWilson, Ian : The Turin Shroud: The Burial Cloth of Jesus Christ? , Galilee Trade; Revised edition, 1979, ISBN 0-385-15042-3 Picknett, Lynn and Prince, Clive: The Turin Shroud: In Whose Image?, Harper-Coll ins, 1994 ISBN 0-552-14782-6. Nickell, Joe : Inquest on the Shroud of Turin: Latest Scientific Findings, Prome theus Books; Subsequent edition, 1998, ISBN 1-57392-272-2. McCrone, Walter : Judgment Day for The Turin Shroud, Prometheus Books, 1999, ISB N 1-57392-679-5 Antonacci, Mark : The Resurrection of the Shroud, M. Evans & Co., New York 2000, ISBN 0-87131-890-3 Zugibe, Frederick : The Crucifixion of Jesus: A Forensic Inquiry (2005), 2nd edi tion, ISBN 1-59077-070-6 Whiting, Brendan, The Shroud Story, Harbour Publishing, 2006, ISBN 0-646-45725-X Rogers, Raymond N., A Chemist's Perspective on the Shroud of Turin, Joan Rogers and Barrie Schwortz, 2008, ISBN 978-0-615-23928-6 Wilson, Ian : The Shroud : the 2000-Year-Old Mystery Solved, Bantam Press, 2010, ISBN 0-593-06359-7 External links Wikimedia Commons has media related to: Shroud of Turin Official site of the custodians of the Shroud in Turin The Shroud of Turin through History A photographic slideshow history of the shro ud at Discovery.com "Science And The Shroud", Time Magazine, April 20, 1998 Online Length Measurements on Shroud Photographs Pro-authenticity sitesShroud.com by Barrie Schwortz, STURP member.

Shroud of Turin Story Guide to the Facts (Dan Porter) Forensic Medicine and the Shroud of Turin (Dr Frederick Zugibe) Shroud University Explore the Mystery (Russ Breault) Dating The Shroud (Brendan Whiting) Skeptical sitesShroud of Turin, sacred relic or religious hoax? McCrone Research Institute presentation of its findings Assertion that the shrou d is a painting. The Shroud of Turin The Skeptic's Dictionary The Shroud of Turin is a Forgery Coordinates: 4504'23?N 0741'09?E? / ?45.07306N 7.68583E? / 45.07306; 7.68583 Retrieved from "http://en.wikipedia.org/w/index.php?title=Shroud_of_Turin&oldid= 467076338" View page ratingsRate this page Rate this page Page ratings What's this?Current average ratings. Trustworthy Objective Complete Well-written I am highly knowledgeable about this topic (optional) I have a relevant college/university degreeIt is part of my professionIt ep personal passionThe source of my knowledge is not listed here I would help improve Wikipedia, send me an e-mail (optional) We will send you a ation e-mail. We will not share your e-mail address with outside parties our feedback privacy statement.Submit ratings is a de like to confirm as per

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