- II - THE RESEARCH BEGINS
- III - CARBON-14 DATING EXPERIMENTS
- The underlying principle of the radiocarbon dating (C-14)
- The first and little-known dating experiment (unofficial) on a Shroud's sample with the C-14 method
- The 1988 authorized radiocarbon dating experiments: why they did not produce acceptable results
- IV - A POTENTIAL MEDIEVAL FORGER WOULD HAVE BEEN THE ALL-TIME GREATEST GENIUS AND A MURDEROUS CRIMINAL MONSTER
- V - CHRONOLOGY (Brief hystory of the Shroud of Turin)
- PRIMARY SOURCES
- Appendix - “Amici della Reale Chiesa di San Lorenzo [Friends of the Royal Church of St. Lawrence]”: association of volunteers for the Shroud explanation during the 2000 Jubilee
AUTHOR'S INTRODUCTION (#ulink_38b1a706-0fa7-5242-8ab7-7a8c5c6cc743)
If it is true that the Cloth par excellence has led many people to embrace or rediscover Christianity, a phenomenon called “apostolate through the Shroud”
, this book is not going to persuade that the Shroud truly wrapped Christ's body two thousand years ago or, as commonly said, that it is authentic. On the other hand, the concept of authenticity could have a different meaning in this context, because you can even believe that the relic preserved in Turin is the shroud which enveloped Jesus' body, but you can simply assume that this sheet is just a two thousand years old item. I suppose that we cannot deny that the Shroud is a very ancient relic, but I do not wish to take a position on the circumstance that it really would wrap the body of Christ. At the moment, there are much evidence to support the hypothesis that it is a very ancient relic rather than the only two against this theory, which are: a) radiocarbon dating experiments on Shroud's samples, which determined the age of the Sheet at lower medieval period (although many Christian scholars express scientific doubts regarding those tests); b) the prejudice, both from anticlerical laity and from most of the Reformed Christians. The first simply neglect the argument, and sometimes they mock it; the Protestant believers, on the contrary, condemn the veneration of the Shroud, which they consider to be a simple “icon” created by human hands: they follow the Old Testament verse “you must not to make for yourself an idol of any kind of image...”, which was historically written down for anti-idolatrous reasons
.. In this regard, the Catholics argued that this banning existed only before the Incarnation of God in Jesus, when God made flesh and showed himself to the world as an “image”. Moreover, there are Catholics who deny the authenticity of the Shroud as the relic which wrapped the body of Jesus
. And, on the contrary, there are Protestants who believe it is a genuine 1st century artifact, and sometimes even the real burial cloth of Jesus. In any case, it should be stressed that the Christian faith is not based on the Shroud of Turin but, historically, on the oral testimonials of the Apostles on the Christ's resurrection, collected during the 1st century in the New Testament's books
; the work of the Church to match, over the centuries, the new evidence with the oldest one, has allowed to pass them down to us
. I admit that in the past I was not particularly interested in the Shroud. But in 1998 I met Dr. Giovanni Latino, who was introduced to me by a common friend, and since then I was intrigued and involved by the relic. The passion of Dr. Latino prompted me to attend conferences of experts; and, besides, the weekly meetings arranged by him and the association “Amici della Reale Chiesa di San Lorenzo [Friends of Saint Lawrence Royal Church]” in a room of Saint Lawrence Church during the two years before the 2000 Holy Year Exhibition, aimed at deepening the study and the debate on the Shroud. Later, I became a member of that organization and a volunteer for the Shroud explanation during the Exhibition
. But my belief is always based on the New Testament's books, not on the Sheet. With that idea in mind, I'm publishing this new edition of my essay about the Shroud, by adding new details and adjustments with respect to the book released years ago and the report I promoted online on the occasion of the 2000 Holy Year Exhibition. This work examines certain topics several times, from different perspectives; and the reader should not consider those repetitions as redundant and unintended.
The essay presents:
a general introduction (although some insights are already inside, such as the medical conclusions by the pathologist Pierluigi Baima Bollone);
a section in chapters, with detailed discussion about the topics introduced in the first part (for example, the photographs of the Shroud); and finally a chronology.
T (#ulink_38b1a706-0fa7-5242-8ab7-7a8c5c6cc743)HE MYSTERIOUS SHROUD (#ulink_38b1a706-0fa7-5242-8ab7-7a8c5c6cc743)
Positive and negative image of the Turin Shroud
A) (#ulink_38b1a706-0fa7-5242-8ab7-7a8c5c6cc743) (#ulink_38b1a706-0fa7-5242-8ab7-7a8c5c6cc743)General introduction (#ulink_38b1a706-0fa7-5242-8ab7-7a8c5c6cc743): (#ulink_38b1a706-0fa7-5242-8ab7-7a8c5c6cc743)
The Shroud – Holy Shroud for Catholics – is a linen cloth (sindòn = shroud, cloth) just 0.34 mm thick; the relic's weave pattern is a "herringbone", with a technique used two thousand years ago in Egypt (there are even five-thousand-year-old Egyptian artifacts) , in Palestine and in other Middle Est areas; the yarn is described as a "Z-twist" (clockwise twisting), unlike the "S-twist" process (counter-clockwise twisting) used in later times
. They are spinning and weaving techniques no longer considered since the early Middle Ages. The Cloth is 4.41 meters long and 1.13 wide, after the 2002 conservative restoration (see Chronology, , 2002 AD)
. The Archbishop pro tempore of Turin (namely, in office at the time) is its Custodian. The Shroud is housed in Turin since 1578, with some temporary displacements due to wars: such as when the French besieged the city in 1706, or when the Shroud was transferred to the Montevergine Abbey (near Avellino, Italy) to protect it from the bombings when Italy entered the World War II in 1939. It returned to Turin in 1946.
The Shroud of Turin, simply known as “The Shroud” all over the world, is still a mysterious cloth for the most part.
Several stains, whose origin and interpretation is only partially known, can be found on the Shroud, which is like a photographic negative for some of them and not for others.
No doubt (#ulink_38b1a706-0fa7-5242-8ab7-7a8c5c6cc743). (#ulink_38b1a706-0fa7-5242-8ab7-7a8c5c6cc743).. (#ulink_38b1a706-0fa7-5242-8ab7-7a8c5c6cc743)
Patches and burn marks are clearly detectable on this sheet.
After sampling and analysis by experts, microscopic pollen of plants from Middle East and Alps were found on the Shroud. Furthermore, evidence of aloe and myrrh was identified, along with aragonite (a composition of calcium carbonate, iron and strontium); the latter is a mineral present in Jerusalem, and in particular inside a tomb examined by the University of Chicago researcher Riccardo Levy-Setti who claimed that the two soil, respectively coming from the Shroud and from the Jerusalem grave, were exactly the same type.
Definitely there are AB type clotted bloodstains with trace of human male DNA on the linen cloth, according to studies by several internationally renowned pathologists, such as Pier Luigi Baima Bollone (professor emeritus of Forensic Medicine at the University of Turin).
By the way: It is curious that the same AB group blood was detected on the Sudarium of Oviedo (Spain), a 83x52 cm cloth. These are mirror-like bloodstains and, according to many, they overall would look like a human face
. Furthermore, it is interesting that the remains (relics) of the miracle which, according to tradition, occurred in the city of Lanciano, Italy, in the 8th century (a monk had doubted the presence of Christ in the Eucharist when, during a Mass celebration, bread and wine suddenly turned into flesh and blood) are: AB group clotted blood, the same as the Shroud; human flesh from myocardial tissue (as emerged from the analysis by the pathologist Professor Odoardo Linoli in 1970).
Below, pictures depicting the Sudarium of Oviedo
and
the Ostensory at the Sanctuary of Lanciano with the flesh and a crystal cup containing the clotted blood :
Some bloodstains on the Shroud present blood serum (typical of a postmortem blood); but others, instead, appear to have been produced by a person still alive.
The Cloth definitely suffered burns in the past. For example, the scorch marks resulting from the fire in the chapel of Chambery, Savoy, where the Sheet was safeguarded, on December 4th 1532 (see Chronology, 1532 A.D.) are clearly visible: two charred lines throughout the length of the Cloth; holes, which later were patched up by the Poor Clare nuns of a nearby convent, who also sewed a backing Holland Cloth on the back of the sheet. Those repairs and the Holland cloth were removed during the 2002 restoration of the Shroud.
Burn marks
charred line ___ hole O
The back and front image of a human body is clearly imprinted on the linen cloth. Essentially, this figure appears as a photographic negative; but, once exposed on a photographic film, or earlier on a photographic plate, it emerged as a photographic positive. It is as the Man on the Shroud had looked himself in the mirror and his reflected image had been imprinted on it as a photographic negative: like in each negative and like in a mirrored image, the right side appears as the left one, and vice versa.
For clarity, I'm going to compare a positive and negative picture of a Byzantine painted icon with a photographic positive and negative of the Shroud Man's face:
1) Photograph of an icon (by human hands)
2): Negative of the same photograph
3)Photograph of the Shroud's Face
4) Negative of the same photograph
The lines crossing the Shroud Face's hair and beard are two folds on the sheet, probably caused by the backing cloth sewed by the Poor Clares Nuns of Chambery on its back after the 1532 fire. They appear positive in the right photo and negative in the left one, unlike the face; likewise the bloodstains, such as one very clear on the forehead, which has a
(or a "reversed 3") shape in the right image (on the left of the reader) and a "3" shape in the mirrored left picture.
One of the two paintings by Giovanni Battista della Rovere “il Fiammenghino”, depicting Jesus wrapped in the Shroud (the other one is printed on cover page)
