More things Horatio …
Investigations Concerning the Shroud of Turin.
The Shroud of Turin is a 4.4 x 1.1 meter linen cloth in Turin, Italy, that bears the faint image of a crucified man. Believers hold it to be the burial cloth of Jesus and the cloth has been a subject of scientific and religious debate over many centuries.
Concerning the context of the Shroud and the historic events taking place soon after the death by crucifixion of Jesus of Nazareth, below is a New Testament description of these events from the Gospel of John, written some sixty years after they occurred. The earliest account of these events, in the Gospel of Matthew, was written around forty years after the crucifixion, not an eyewitness account but written within living memory of the event. The Gospels of Mark and Luke followed soon after.
The four accounts do not align perfectly in specific detail, which is only to be expected regarding any human eye-witness accounts of a newsworthy event. Also, in the Gospel accounts you have descriptions by hearsay, years after the event. In which case, perfectly aligned accounts would likely imply collusion rather than the actuality of flawed human perception. However none of the four Gospels vary in essentials, the message of the empty tomb and account of the resurrection of the crucified Christ.
Herewith the New Testament Account of The Discovery of the Empty Tomb According to John:
Early on the first day of the week, while it was still dark, Mary Magdalene went to the tomb and saw that the stone had been removed from the entrance. So she came running to Simon Peter and the other disciple, the one Jesus loved, and said, “They have taken the Lord out of the tomb, and we don’t know where they have put him!”
So Peter and the other disciple started for the tomb. Both were running, but the other disciple outran Peter and reached the tomb first. He bent over and looked in at the strips of linen lying there but did not go in. Then Simon Peter came along behind him and went straight into the tomb. He saw the strips of linen lying there, as well as the cloth that had been wrapped around Jesus’ head. The cloth was still lying in its place, separate from the linen. John 20- 1.
Few relics following Jesus’ crucifixion have generated as much discussion as the Shroud of Turin after its transfer in 1453 from Lirey in France, to the House of Savoy in Italy and later, in the 1500s’, to the Royal Chapel of the Cathedral of San Giovanni Battista in Turin. Regarding the above gospel accounts and the authenticity of the Shroud of Turin as Jesus’ burial cloth, two main theories present…
Theories One and Two…
The first theory is that the Shroud is the genuine burial cloth, or ‘sindon,’ of a crucified man whose Christ-like image is mysteriously imprinted on the sindon. The second theory is that the Shroud of Turin is a cleverly constructed false relic that has been radio carbon dated to around 1300 A.D. and cannot therefore be Jesus’ burial cloth.
The strongest evidence for the authenticity of the Shroud of Turin as an image of a crucified man is twofold. First, it involves details of the image as some kind of imprint, no paint or brush marks have been found on the shroud. The ‘lines’ making up the image are approximately 1/100 the width of a human hair, making it virtually impossible for the Shroud to be a painting or a rubbing. Secondly, beginning around 1900, evidence of authenticity includes medical and pathological data that modern forensic analysis of the Shroud of Turin has revealed.
Positive evidence that the shroud image was an imprint occurred in 1898, with the advent of photography. Its inventor, Secondo Pia, while photographing the Shroud of Turin, was surprised to discover that the sepia image he had photographed was actually a negative image which he had unexpectedly converted into a positive image to show the face and body of a crucified man in much more detail than it had previously revealed.
Secondo Pia’s photograph revealed the image of a body slightly bent in rigor mortis and exhibiting foreshortening, a concept not portrayed by pre-Renaissance painters, another reason to rule out the possibility that the image was a painted forgery. To argue, therefore, that the relic must be a photographic fraud, would entail its forger be some kind of time-traveller, who acquired all the necessary advanced optical and chemical knowledge and ability to carry out the many processes needed to create such an image, which appears impossible. Consider also, there’s the problem of accessing the number of crucified victims he would have needed to create his forgery. Crucifixion had been abolished as a punishment in Rome in the fourth century A.D.
Added to the above, perhaps the strongest evidence that the Shroud of Turin is authentic is the medical and pathological data that has been revealed by modern scientific examination. Beginning around 1900 at the Sorbonne, a study was undertaken under the direction of Professor of Comparative Anatomy, Yves Delage, to investigate the physiology and pathology of the body imprint of the Shroud of Turin. The image was found to be anatomically convincing down to its most minor details.
A Paper by archaeologist William Meacham, provides a comprehensive account of medical studies on the Shroud of Turin since 1900 that agree with Delage. Hynek, 1936, Moedder, 1049, Barbet, 1963, Willis, in Wilson, 1978, Bucklin, 1970, to name a few, consider that features of rigor mortis, details of wounds and blood flow, indicate that the image on the shroud was formed by direct or indirect contact with a young male who died while in a position of suspension that suggested death by crucifixion.
Each type of wound on the cloth is viewed as characteristic and not easily faked. There are pre-crucifixion wounds all over the body with, approximately 60-120 lash marks, each about 3.7 cm long. There are also contusions on both knees, as from repeated falls. Superimposed on the shoulder are excoriated areas generally considered to be caused by friction from carrying the crossbar or from writhing on the cross.
The Crucifixion wounds are also convincing. A feature of the Shroud image is that nail wounds appear on the wrists and not the palm of the hand as traditionally portrayed in art. Barbet by experiments on cadavers showed that if nailed to the cross by the hands, the palm would fail to support the body weight and be torn from the cross. Barbet also noted that damage to the median nerve of the wrist would cause the thumb to retract into the palm so that only the four fingers would be visible, as can be seen on the Shroud image.
Blood flows from the wounds on wrists and feet correspond to the nature of the injury, ‘blood flow followed gravity in every instance.’ (Bucklin.) The blood flow from the wrists trails down the forearms at two angles, roughly 55 and 65 degrees from the axis of the arm. The blood stains accurately depict blood clots, showing a concentration of red corpuscles around the edge of the clot and tiny areas of serum inside.
Injuries thus far described are typical of any crucified victim but lacerations observed on the upper head and on the right side of the body are unusual. Around the upper scalp are at least thirty blood flows from spike punctures which exhibit the same realism as those of the wrists and feet. Between the fifth and sixth ribs on the right side of the ribcage is an oval puncture about 4.4 x 1.1 cm in area. Blood flowing from this wound and on to the lower back indicates a late flow when the body was moved to a horizontal position after death.
So convincing were these wounds and their association with the biblical accounts of the crucifixion that following the Sorbonne study, Yves Delage, an agnostic, declared them ‘a bundle of imposing probabilities,’ and concluded that the Shroud figure was indeed Christ.
In addition to the medical forensics suggesting the Shroud of Turin’s authenticity, details of its history outline its travels. Pollen samples on the shroud imply that it has been in Jerusalem, Turkey and France. The provenance of the Shroud of Turin, however, is less certain the further back in time we look. Its presence in Europe as one of the spoils of the Crusades, appears well documented. The Shroud was in the possession of knight templar Geoffrey de Charny who housed it in the Church de Liry where it remained until Margaret de Charny bequeathed it to the Italian Savoy family. In 1464 Lous1 of Savoy agreed to pay the Lirey canons an annual rent as compensation for their loss of Shroud revenues.
Prior to these recorded events the Shroud’s presence in Constantinople in the early 13th century is supported by the claim of a French soldier named Robert de Clari in 1203, that every Friday there was exhibited in the Church of St Mary de Blachernae, the cloth in which Christ was buried, and ‘his figure could be plainly seen there’. It is likely that this cloth and the Turin Shroud are the same, especially in view of the fact that these are the only known “Shrouds of Christ” with a body imprint.
Supporting Robert de Clari’s claim of a burial cloth depicting Christ’s image in Constantinople, is the appearance of The Hungarian Pray Codex, an illuminated manuscript of liturgical texts, prayers and illustrations named after Georgy Pray who catalogued it in the 18th century. Written in the Hungarian language and dated between 1192-1195, the Pray Codex includes one illustration that appears to reflect direct knowledge of the Shroud of Turin… there’s the nude body with crossed hands and thumbs missing on the hands, also the herring bone weave of the burial cloth and L- shaped burn holes on the cloth that appear on the Turin shroud.
So supporting Theory 1 that the Shroud of Turin is the authentic burial cloth of a crucified man, possibly Jesus of Nazareth, we are presented with a wide range of forensic data across disciplines.
Theory 2, however, is yet to be considered before we can (maybe) decide whether the Shroud of Turin is a genuine Christian relic or a remarkably clever fake…
For sceptics of the shroud’s authenticity there’s the problem of its early absence in the historical record. For more than a thousand years there was no documentation of the burial cloth with image which appeared in 1353 in France, under mysterious circumstances. Its exhibition in the Church of Liry was condemned by the resident bishop, Henri de Poitiers. In 1389, de Poitiers’ successor, Pierre d’Arcis, wrote to the Pope urging him to prohibit further exhibitions of the relic. He wrote that the shroud’s fraudulent nature had been discovered by de Poitiers who had said that an unnamed artist had confessed to painting the image. D’Arcis also considered the absence of historical reference suspicious, that it was ‘quite unlikely that the Holy Evangelists would have omitted to record an imprint on Christ’s burial linens, or that the fact should have remained hidden until the present time.’ (Quoted in Thurston 1903).
While this complaint by D’Arsis may have been motivated by local rivalry, there was some justification for suspicion of the display, the sale of fake Christian relics was a common corrupt practice during medieval times. Described in medieval literature, Chaucer’s Pardonner in ‘The Canterbury Tales’ boasts of how he enriches himself by selling religious relics to his credulous congregation.
Scepticism of the Shroud of Turin’s authenticity continued into the 20th century. A member of the Shroud of Turin Research Team (STURP) scientists, who examined the shroud in 1978, chemical microscopist Walter McCrone, a leading expert in forensic documents and works of art, contrary to the rest of the STURP team, asserted that the image was a painting, judging by microscopic identification of traces of iron oxide and a protein (i.e., possible pigment and binder) appearing in image areas of the shroud… What to make, then, of Secondo Pia’s photo image? Could a medieval artist visualise and accurately paint a negative image, 500 years before such a thing could possibly have been observed?
The strongest evidence for the forgery theory is the radio carbon dating that took place in 1988. Here’s the reference -‘Radiocarbon Dating of the Shroud of Turin’ by P.E. Damon , D.J Donahue et al, Reprinted from Nature, Vol.337, No 6208, 16/Feb. 1989.
A number of university laboratories and departments were involved in the Shroud of Turn radio carbon dating, – The Department of Physics, University of Arizona, USA,- The Research Laboratory for Archaeology and History of Art, University of Oxford, UK.- Institut für Mittelenergiephysik, ETH-Hönggerberg, Zürich, Switzerland – Lamont-Doherty Geological Observatory, Columbia University, Palisades, New York, USA. Also involved, The Research Laboratory, British Museum, London, UK.
Their Report includes the following:
‘A meeting was held in Turin in September-October 1986 at which seven radiocarbon laboratories (five AMS and two small gas-counter) recommended a protocol for dating the shroud. In October 1987, the offers from three AMS laboratories (Arizona, Oxford and Zurich) were selected by the Archbishop of Turin, Pontifical Custodian of the shroud, acting on instructions from the Holy See, owner of the shroud. At the same time, the British Museum was invited to help in the certification of the samples provided and in the statistical analysis of the results. The procedures for taking the samples and treating the results were discussed by representatives of the three chosen laboratories at a meeting at the British Museum in January 1988 and their recommendations were subsequently approved by the Archbishop of Turin.’
Working from small samples cut from the edge of the Shroud, and using different cleaning methods, the three laboratories subjected the cloth samples to carbon dating at their three separate locations. Below are their combined conclusions:
‘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 of radiocarbon measurements at Arizona, Oxford and Zurich yield a calibrated calendar age range with at least 95% confidence for the linen of the Shroud of Turin of AD 1260 – 1390 (rounded down/up to nearest 10 yr). These results therefore provide conclusive evidence that the linen of the Shroud of Turin is mediaeval.’
That was not the end of the matter. One expert finding vying with another. The sample used in dating the shroud was taken from the bottom corner of the shroud, which was where it was held up for display, subject to damage and contamination. And as unlikely as it seems, says Raymond Rodgers, former member of the STURP team of scientists that examined the Shroud of Turin in 1978, the sample was taken from a rewoven patch of the shroud.
Rogers is one among a number of scientists that argue the sample is not typical of the main shroud. The presence of patching on the shroud doesn’t come as a surprise. It is known that the Shroud of Turin survived several damaging events, including a church fire in Chambery, France in 1532. It was then restored by nuns who patched burn holes and stitched the shroud to a reinforcing cloth now referred to as the Holland Cloth.
Most challenging of the expert claims for or against The Shroud of Turin’s authenticity is a claim presented by nuclear engineer, Robert Rucker, past member of the STURP project. In 2017 the STURP team found that the samples of the Dating Test were not homogenous, therefore not representative of the Shroud, so its dating should be rejected. The STURP team also discovered that the thin line- image encoded 3D information which you would not get in a photograph or in a painting. Rucker raises the third problem of blood in the image that dried on the skin after death Since dried blood does not absorb into cloth, how is the blood that would have dried on the body now on the cloth?
Says Rucker, the hypothesis of an extremely brief intense burst of radiation emitted in the body offers a possible explanation ‘because it is the only concept that is consistent with the evidence and can explain the three main mysteries of the Shroud—namely, image formation, carbon dating, and features of the blood.’ (Rucker 2020).
Rucker describes radiation pressure as a process by which radiation transfers momentum to an object and causes it to move. ‘If the radiation burst was sufficiently brief and sufficiently intense, it would thrust wet or dried blood off the body onto the cloth by a natural process called particle radiation.’ If the radiation emitted from the body that caused the images ‘also included neutrons, then a small fraction of these neutrons would be absorbed in the trace amount of nitrogen in the cloth to produce new C-14 in the fibers (Lind et al. 2010).This production of new C-14 would cause the carbon dating process to produce a more recent carbon date than the true date.’
Two opposing theories, each supported by expert evidence, each requiring leaps of faith. The question of authenticity is unresolved, the mystery of the Shroud of Turin requires ongoing investigation… As Hamlet famously said to his friend: ‘There are more things in Heaven and Earth, Horatio, than are dreamed of in your philosophy.’




















