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AMS Radiocarbon dating of the Shroud of Turin

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Abstract

Very small samples from the Shroud of Turin have been dated by accelerator mass spectrometry in laboratories at Arizona, Oxford and Zurich. As controls, three samples whose ages had been determined independently were also dated. The results provide conclusive evidence that the linen of the Shroud of Turin is mediaeval.
... In an article published in Nature in the late 1980s, C14 (carbon-14) dating suggested that the Turin Shroud originated in the medieval period [2]. This finding seemed to extinguish hopes that the shroud was an authentic relic associated with a biblical figure. ...
... Even authors who advocate the authenticity of the piece generated images with the expected structural deformation when they projected the marks and body onto a two-dimensional plane [7] [19]. Furthermore, it is reasonable to assume that there were artists or sculptors with sufficient knowledge to compose a piece like that, whether by painting or bas-relief, both in the period alleged by dating tests, which covers 1260-1390 [2], as for the one who claims to have been before [4] and even the other compatible with the period in which Jesus Christ would have lived [21]. The skills of 8 artists in relation to the issue of realism or techniques compatible with those in vogue today, can be observed over the millennia, even in cultures that excelled in stylized structures such as that of Ancient Egypt, most notably in the case of the statue by Kaaper composed in ca. ...
... Hands folded on the lap are a constant theme in religious figures, as well as verbal and non-verbal information about their lives [25][27] [29]. If it is taken into account that the first documented appearance of the Shroud of Turin was in 1355 in France, and that in a later report written by the Bishop of Troy for Pope Clement VII there is a part addressing ""the truth being attested by the artist who had painted it" and being presented by the Pope as a "representation" [1] [15], linking this to the C14 exam that presents a date between 1260 and 1390 [2], it seems reasonable to infer that there was already an entire artistic system available for making the piece and in relation to the location of the first documentary occurrence, there is a suspicion that, for example, the first bronze effigy in relief in England, created in 1279 may have been forged in France [26], corroborating its status as a center that radiates artistic technology, even though there were already similar productions in other regions of Europe. ...
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[ABSTRACT] Many people believe that the Shroud of Turin is the cloth that was used to wrap Jesus Christ after his death, while others consider it a medieval work or even a forgery from that period. This artifact has generated significant controversy and debate, especially with the advent of new technologies and the recent popularity of social networks. This study seeks to present a simple and objective explanation about the element of origin that imprinted in a fabric the figure of an adult man with signs of physical violence, indicating that the pattern corresponds more to a low-relief origin than to the volumetry of a real human body in a post-mortem state. The work is based on a digital environment, with free and open-source 3D modeling software. [HIGHLIGHTS] • Fabric dynamic simulation and distance texturing of meshes allowed the generation of patterns that simulate the possible structure that generated the image on the Shroud of Turin. • The pattern of the spots indicates that the source of the impression on the Shroud of Turin is more compatible with a low-relief base. • The volume of the human body would generate a distorted and significantly more robust image pattern than that present on the Shroud of Turin. • European funerary art from the medieval period shows elements very compatible with those present in the Shroud of Turin.
... In 1988, the HST was radiocarbon-dated to 1260-1390 A.D. [16], but the result is questionable [2,[17][18][19][20][21][22][23][24] also in the light of the new results discussed in Sections 6.1 and 7. ...
... Finally, a study [2] illustrates the reported Phillips' hypothesis reported [19,20] which assumed that neutron radiation on the HST would have transformed the nitrogen and 13C nuclei into 14C, thus heavily skewing the results of the radiocarbon dating of the HST performed in 1988 [16] by many centuries. ...
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After a critical revision of the main results obtained on the hematic material of the Holy Shroud in Turin, this paper presents various news of both a macroscopic and microscopic nature. At a macroscopic level, news regarding the directions and position of blood and the probable presence of pulmonary fluid are discussed. Also, the bloodstains on the left arm are examined to try to distinguish different kinds of hematic fluid. At a microscopic level, three different types of blood are evidenced. Hypotheses have been formulated to distinguish pre-mortem and post-mortem blood and to distinguish erythrocytes on the basis of their different sizes. The presence of fibrin, earthy material, creatinine typical of a tortured person, and the stacking of erythrocytes is also discussed along with their Beta-activity and fluorescence. Finally, the physical conditions relating to Jesus are discussed from a medical point of view which could explain all the news of the hematic material taken from the HST and are consistent with the tortures of Jesus Christ described in the Holy Bible.
... In 1988 the TS was radiocarbon dated by three famous laboratories (Damon et al. 1989), and it turned out to be attributed to the year 1325 AD, with uncertainty of ±65 years. This result has been widely criticized [10][11][12] (Rogers 2005;Riani et al. 2013;Fanti et al. 2015b;Casabianca et al. 2019) both for procedural and statistical deficiencies. ...
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Various images of the face of the Turin Shroud Man, acquired at different wavelengths, from the near infrared region to the ultraviolet, have been studied and compared. A correlation as a function of the wavelength, between the penetration depth in the fabric of the incident light and the anatomic details visible on the images, is discussed based on the physical properties of linen threads and light. In addition, the backside of the Turin Shroud, in correspondence of the region of the face, has been examined, evidencing the possible presence of a second superficial image impressed on the backside. Notwithstanding the high level of scientific knowledge today reached, there is no known physical/chemical process which allows to explain all the properties of the Turin Shroud’s body image. According to our scientific knowledge, the corpse of a dead man cannot produce an energy capable to imprint on a linen cloth an image with all the microscopical and macroscopical properties discovered by analyzing the body image of the Turin Shroud, which has not yet been reproduced in any laboratory in the world. According to faith the corpse of a living Man can do it, during the resurrection, assuming a different state of matter. With this respect, the Turin Shroud can be considered as a two-thousand-old relic witnessing to the humanity, just in the age of science, the reasonableness of the faith in the resurrection.
... Three laboratories from Oxford, Zurich and Arizona participated in this dating. The results were published in Nature (Damon et al. 1989) and are summarized here. ...
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The Shroud of Turin is an old linen fabric imprinted with the image of a tortured man who lies prone with his hands crossed before him. Since for many it is related to Jesus of Nazareth, this cloth is among the most studied, controversial and enigmatic of all archaeological and religious objects. Since its radiocarbon dating at the end of the eighties of the last century, it is considered by many to be an object made in the Middle Ages. The controversy is due to the fact that there are other scientific and artistic evidences that place this object outside the medieval sphere. An argument map is a critical thinking way of representing the relationships between evidences and arguments, and is used here to represent the sequences of argumen-tation that defend that the Shroud of Turin is not a medieval object.
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Chapter
The chemistry of the various stains and images on the Shroud of Turin is presented. The chemical conclusions were drawn from all the data and observations, both physical and chemical, collected by direct investigation of the Shroud in 1978. The conclusions are that the body image is made up of yellowed surface fibrils of the linen that are at more advanced stages of degradation than the non-image linen. The chromophore is a conjugated carbonyl. No evidence was found in the body image of any added substances that could have contributed to the yellow color of the fibrils that form the image. The blood images on the cloth are made of blood. The data, taken together, do not support the hypothesis that the images on the Shroud are due to an artist.
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