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[[Fasciculus:Shroudofturin.jpg|thumb|Sindon Taurinensis ab [[Iosephus Enrie|Iosepho Enrie]] anno 1931 lucis ope picta]]
The '''Shroud of Turin''' or '''Turin Shroud''' ({{lang-it|Sindone di Torino, Sacra Sindone}}) is a [[linen]] cloth bearing the image of a man who appears to have suffered [[physical trauma]] in a manner consistent with [[crucifixion]].<ref>Robert Bucklin "The Shroud of Turin: a Pathologist's Viewpoint", ''Legal Medicine Annual'', 1982 ; [[Frederick Zugibe]], ''The Crucifixion of Jesus: A Forensic Inquiry'', 2nd edition, M. Evans Publ., 2005, ISBN 1-59077-070-6</ref> It is [[Conservation of the Shroud of Turin|kept]] in the royal chapel of the [[Cathedral of Saint John the Baptist (Turin)|Cathedral of Saint John the Baptist]] in [[Turin]], northern [[Italy]]. The image on the [[shroud]] is commonly associated with [[Jesus Christ]], [[Crucifixion of Jesus|his crucifixion]] and [[Burial of Jesus|burial]]. It is much clearer in black-and-white [[Negative (photography)|negative]] than in its natural sepia color. The negative image was first observed in 1898, on the reverse photographic plate of amateur photographer [[Secondo Pia]], who was allowed to photograph it while it was being exhibited in the Turin Cathedral.
'''Sindon Taurinensis''' est [[linteum]] in [[Ecclesia Cathedralis Taurinensis|ecclesiam cathedralem Taurinensem]] servatum quo corpus[[Iesus|Iesu]] post [[crucifixio Iesu|crucifixionem]] involutum esse traditur. De vera antiquitate sindonis atque de origine figurae hominis quae in ea impressa videtur ab eruditis disputatur.
== Bibliographia ==
The origins of the shroud and its image are the subject of intense debate among scientists, theologians, historians and researchers. Scientific and popular publications have presented diverse arguments for both authenticity and possible methods of forgery. A variety of scientific theories regarding the shroud have since been proposed, based on disciplines ranging from chemistry to biology and medical forensics to optical image analysis. 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 [[RCTerm|Roman Catholic]] [[Catholic devotion|devotion]] to the [[Holy Face of Jesus]].<ref>Joan Carroll Cruz, ''Saintly Men of Modern Times'', Our Sunday Visitor, 2003, ISBN 1-931709-77-7, page 200.</ref>
* Giulio Fanti, Saverio Gaeta, ''Il Mistero della Sindone''. Mediolani: Rizzoli, 2013
* Andrea Tornielli, "[http://vaticaninsider.lastampa.it/en/inquiries-and-interviews/detail/articolo/sindone-23579/ New experiments on Shroud show it's not medieval]" in ''[[La Stampa]]: Vatican Insider'' (26 Mar. 2013)
* Lynn Picknett, Clive Prince, ''The Turin Shroud: In Whose Image?'' Novi Eboraci: Harper-Collins, 1994. ISBN 0-552-14782-6.
* Ian Wilson, ''The Shroud: the 2000-Year-Old Mystery Solved'', Novi Eboraci: Bantam Press, 2010. ISBN 0-593-06359-7
== Nexus externi ==
In 1978, a detailed examination was carried out by a team of American scientists called [[STURP]]. STURP found no reliable evidence of forgery, and called the question of how the image was formed "a mystery".<ref>[http://www.shroud.com/78conclu.htm Summary of STURP's Conclusions (1981)]</ref> In 1988 a [[Radiocarbon 14 dating of the Shroud of Turin|radiocarbon dating test]] was performed on small samples of the shroud. The laboratories at the [[University of Oxford]], the [[University of Arizona]], and the [[ETH Zurich|Swiss Federal Institute of Technology]], concurred that the samples they tested dated from the [[Middle Ages]], between 1260 and 1390.<ref name="Turin_Nature" /> In 2008 a former STURP member stated that sample was representative of the whole shroud.<ref name=JJackson2008 />
{{CommuniaCat|Shroud of Turin|sindonem Taurinensem}}
* [http://www.sindone.org/ Situs custodiorum Sindonis]
* [http://dsc.discovery.com/news/2008/03/21/shroud-of-turin.html Historia illustrata] apud discovery.com
* [http://www.sindonology.org/ Situs amatorum]
{{Coord|45|04|23|N|07|41|09|E|source:itwiki_region:IT_type:landmark|display=title}}
{{Reli-stipula}}
Since 2005, at least four articles have been published in scholarly sources stating that the samples used for the dating test may not have been representative of the whole Shroud.<ref name=Sampling >R.N Rogers, "Studies on the Radiocarbon Sample from the Shroud of Turin", ''Thermochimica Acta'', Vol. 425, 2005, pp. 189–194, [http://www.shroud.it/ROGERS-3.PDF article]; S. Benford, J. Marino, "Discrepancies in the radiocarbon dating area of the Turin shroud", ''Chemistry Today'', vol 26 n 4 / July–August 2008, p. 4-12, [http://chemistry-today.teknoscienze.com/pdf/benford%20CO4-08.pdf article];Emmanuel Poulle, ″Les sources de l'histoire du linceul de Turin. Revue critique″, ''[[Revue d'Histoire Ecclésiastique]]'', 2009/3-4, [http://www.rhe.eu.com/pages/rhe195.asp Abstract]; G. Fanti, F. Crosilla, M. Riani, A.C. Atkinson, [http://www.acheiropoietos.info/proceedings/RianiWeb.pdf "A Robust statistical analysis of the 1988 Turin Shroud radiocarbon analysis",] ''Proceedings of the IWSAI'', ENEA, 2010.</ref> According to former ''[[Nature (journal)|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 ever. Not least, the nature of the image and how it was fixed on the cloth remain deeply puzzling".<ref>{{Cite journal
| last1 = Ball | first1 = P.
| title = Material witness: Shrouded in mystery
| doi = 10.1038/nmat2170
| journal = Nature Materials
| volume = 7
| issue = 5
| pages = 349
| year = 2008
| pmid = 18432204
| pmc =
}}</ref> The shroud continues to remain one of the most studied and controversial artifacts in [[human history]].<ref>According to LLoyd A. Currie, it is "widely accepted" that "the Shroud of Turin is the single, most studied artifact in human history" in Lloyd A. Currie, [http://nvlpubs.nist.gov/nistpubs/jres/109/2/j92cur.pdf "The Remarkable Metrological History of Radiocarbon Dating] ''Journal of the [[National Institute of Standards and Technology]]'' 109, 2004, p. 200.</ref><ref name="jstor.org">William Meacham, [http://www.shroud.com/meacham2.htm ''The Authentication of the Turin Shroud: An Issue in Archaeological Epistemology'',] ''Current Anthropology'', Volume 24, No 3, June 1983.</ref>
{{TOC limit|4}}
==Description==
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[[File:Secundo Pia Turinske platno 1898.jpg|thumb|180px|[[Secondo Pia]]'s 1898 negative of the image on the Shroud of Turin has an appearance suggesting a positive image. It is used as part of the devotion to [[Holy Face of Jesus]]. Image from [[Musée de l'Élysée]], [[Lausanne]].]]
The shroud is rectangular, measuring approximately 4.4 × 1.1 [[metre|m]] (14.3 × 3.7 [[foot (length)|ft]]). The cloth is woven in a three-to-one [[herringbone (cloth)|herringbone]] [[twill]] composed of [[flax]] fibrils. 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 views 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.<ref>{{Cite book |title=The orphaned manuscript: a gathering of publications on the Shroud of Turin |author=Alan D. Adler |year=2002 |isbn=88-7402-003-1 |page=103}}</ref>
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 description of the death of [[Jesus]]:<ref name="heller">{{Cite book |author=John H. Heller |title=Report on the Shroud of Turin |publisher=Houghton Mifflin |year=1983 |isbn=0-395-33967-7}}</ref>
Markings on the cloth include:<ref name="Bernard Ruffin 1999, page 14">{{Cite book |title=The Shroud of Turin |author=Bernard Ruffin |publisher=Our Sunday Visitor |year=1999 |isbn=0-87973-617-8 |page=14}}</ref>
[[File:Shroudofturin1.jpg|thumb|left|180px|Front image of the Shroud. The image of the face on the right is a [[Negative (photography)|negative]].]]
* one wrist bears a large, round wound, claimed to be from [[piercing]] (the second wrist 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 cells 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 during crucifixion
* large puncture wounds in the feet as if pierced by a single spike
The details of the image on the shroud are not easily distinguishable by the naked eye, and were first observed after the advent of photography. In May 1898 amateur Italian photographer [[Secondo Pia]] was allowed 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 [[negative (photography)|negative plate]] in his [[darkroom]]. Negatives of the image give the appearance of a positive image, which implies that the shroud image is itself effectively a negative of some kind.<ref name="Bernard Ruffin 1999, page 14"/> Pia was at first accused of doctoring his photographs, but was vindicated in 1931 when a professional photographer, Giuseppe Enrie, also photographed the shroud and his findings supported Pia's.<ref>{{Cite book |title=Architecture for the shroud: relic and ritual in Turin |author=John Beldon Scott |publisher=University of Chicago Press |year=2003 |isbn=0-226-74316-0 |page=302}}</ref> In 1978 Miller and Pellicori took [[Ultraviolet photography|ultraviolet photograph]]s of the shroud.<ref name="ncbi.nlm.nih.gov">{{Cite journal
| last1 = Miller | first1 = V. D.
| last2 = Pellicori | first2 = S. F.
| title = Ultraviolet fluorescence photography of the Shroud of Turin
| journal = Journal of Biological Photography
| volume = 49
| issue = 3
| pages = 71–85
| year = 1981
| month = July
| pmid = 7024245
}}</ref><ref name="opticsinfobase.org">{{Cite journal
| last1 = Pellicori | first1 = S. F.
| title = Spectral properties of the Shroud of Turin
| doi = 10.1364/AO.19.001913
| journal = Applied Optics
| volume = 19
| issue = 12
| pages = 1913–1920
| year = 1980
| pmid = 20221155
| pmc =
}}</ref>
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 measured him as from 1.70 m, or roughly 5 ft 7 in, to 1.88 m, or 6 ft 2 in).<ref>{{cite web|url= http://www.shroudofturin4journalists.com/Details/howtall.htm|title=How Tall is the Man on the Shroud? |publisher=Shroud Of Turn For Journalists |accessdate=2009-04-12}}</ref>
The shroud 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 contact with molten silver during the fire that burned through it in places while it was folded.<ref>{{Cite book |author=Joan Carroll Cruz |title=Relics |publisher=Our Sunday Visitor |year=1984 |isbn=0-87973-701-8 |page=49}}</ref> Fourteen large triangular patches and eight smaller ones were sewn onto the cloth by [[Poor Clare]] nuns to repair the damage.
==History==
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{{Main|History of the Shroud of Turin}}
[[File:Shroudofturin.jpg|thumb|upright|Full-length image of the Turin Shroud before the [[Conservation of the Shroud of Turin#Restorations|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 controversy among historians.<ref name= "Article" /> Author Ian Wilson has proposed that the Shroud was the [[Image of Edessa]], but scholars such as [[Averil Cameron]] have stated that the history of the Image of Edessa represents "very murky territory", can not be traced back as a miraculous image and it may not have even been a cloth.<ref>[[Averil Cameron]]: "The History of the Image of Edessa: The Telling of a Story", in the ''Harvard Ukrainian Studies'' Vol. 7, 1983 [http://www.jstor.org/pss/41036083]</ref><ref>[[Averil Cameron]], Review of "The Image of Edessa. The Medieval Mediterranean" in ''[[The Medieval Review]]'' 09.09.21 [https://scholarworks.iu.edu/dspace/bitstream/handle/2022/3734/09.09.21.html;jsessionid=7ABDDC142381F36730891DB7D050CEFB?sequence=1]</ref>
Prior to the 14th century there are some congruent references such as the [[Pray Codex]]. It is often mentioned that the first certain historical record dates from 1353 or 1357.<ref name= "Article">W. Meacham, "The Authentication of the Turin Shroud, An Issue in Archeological Epistemogy", ''Current Anthropology'', 24, 3, 1983 [http://www.shroud.com/meacham2.htm Article]</ref><ref>{{Cite news |date=31 January 2005 |title=Turin shroud 'older than thought' |url=http://news.bbc.co.uk/2/hi/4210369.stm |work=BBC News}}</ref> However the presence of the Turin Shroud 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.<ref>Joe Nickell, ''Inquest on the Shroud of Turin: Latest Scientific Findings'', Prometheus Books, 1998, ISBN 97815739227 {{Please check ISBN|reason=Invalid length.}}</ref><ref>Emmanuel Poulle, ″Les sources de l'histoire du linceul de Turin. Revue critique″, ''[[Revue d'Histoire Ecclésiastique]]'', 2009/3-4, p. 776.[http://www.rhe.eu.com/pages/rhe195.asp Abstract]</ref> The history from the 15th century 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 that purpose by [[Guarino Guarini]]<ref>John Beldon Scott, ''Architecture for the shroud: relic and ritual in Turin'', University of Chicago Press, 2003, ISBN 0-226-74316-0 page xxi</ref>) and in the 19th century it was first photographed 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 image of his head, of unknown origin, being venerated in various locations before the 14th century, there is no historical evidence that these refer to the shroud currently at [[Turin Cathedral]].<ref>Humber, Thomas: ''The Sacred Shroud''. New York: Pocket Books, 1980. ISBN 0-671-41889-0</ref> 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.<ref>Emmanuel Poulle, ″Les sources de l'histoire du linceul de Turin. Revue critique″, ''[[Revue d'Histoire Ecclésiastique]]'', 2009/3-4, pp. 747–781.[http://www.rhe.eu.com/pages/rhe195.asp Abstract]</ref>
[[File:Shroud of Lirey Pilgrim Badge.jpg|thumb|upright|left|The pilgrim medallion of Lirey (before 1453),<ref>Catalogue of the [[Musée National du Moyen Age]], Paris, [http://www.sindonology.org/papers/clunySouvenir.shtml A souvenir from Lirey] by Mario Latendresse</ref> drawing by Arthur Forgeais, 1865.]]
Historical records seem to indicate that a shroud bearing an image of a crucified 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 Poitiers (1356)|Battle of Poitiers]] in 1356.<ref name="Article"/> However the correspondence of this shroud with the shroud in Turin, and its very origin has been debated by scholars and lay authors, with claims of forgery attributed to artists born a century apart. Some contend that the Lirey shroud was the work of a confessed forger and murderer.<ref>Watson E. Mills et alii, ''Mercer dictionary of the Bible'', Mercer University Press, 1999, ISBN 0-86554-373-9 page 822</ref>
The history of the shroud from the 15th century is well recorded. In 1532, the shroud suffered damage from a fire in a chapel of [[Chambéry]], capital of the [[Savoy]] region, 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 Nuns]] attempted to repair this damage with patches. In 1578 [[Emmanuel Philibert, Duke of Savoy]] ordered the cloth to be brought from Chambéry to Turin and it has remained at Turin ever since.
Repairs were made to the shroud in 1694 by [[Sebastian Valfrè]] to improve the repairs of the Poor Clare nuns.<ref>''Architecture for the shroud: relic and ritual in Turin'' by John Beldon Scott 2003 ISBN 0-226-74316-0 page 26</ref> Further repairs were made in 1868 by [[Clotilde of Savoy]]. 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.<ref>[[Ian Wilson (writer)|Ian Wilson]], [http://www.shroud.com/history.htm Highlights of the Undisputed History], 1996</ref>
A fire, possibly caused by [[arson]], threatened the shroud on 11 April 1997.<ref>{{Cite news |work=The New York Times |date=April 12, 1997 |title=Shroud of Turin Saved From Fire in Cathedral |url=http://www.nytimes.com/1997/04/12/world/shroud-of-turin-saved-from-fire-in-cathedral.html}}</ref> In 2002, the Holy See had the shroud restored. The cloth backing and thirty patches were removed, making it possible to photograph and scan the reverse side of the cloth, which had been hidden from view. A ghostly part-image of the body was found on the back of the shroud in 2004. The most recent public exhibition of the Shroud was in 2010.
==Religious perspective==
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Religious beliefs about the burial cloths of Jesus have existed for centuries. The Gospels of [[Gospel of Matthew|Matthew]]{{Bibleref2c-nb|Matthew|27:59–60|NIV}}, [[Gospel of Mark|Mark]]{{Bibleref2c-nb|Mark|15:46|NIV}} and [[Gospel of Luke|Luke]]{{Bibleref2c-nb|Luke|23:53|NIV}} state that [[Joseph of Arimathea]] wrapped the body of Jesus in a piece of linen cloth and placed it in a new tomb. The [[Gospel of John]]{{Bibleref2c-nb|John|19:38–40|NIV}} refers to strips of linen used by Joseph of Arimathea and [[Gospel of John|John]]{{Bibleref2c-nb|John|20:6–7|NIV}} states that [[Apostle Peter]] found multiple pieces of burial cloth after the tomb was found open, strips of linen cloth 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 the Shroud of Turin.<ref>Joan Carrol Cruz, 1984 ''Relics'' ISBN 0-87973-701-8 page 55</ref> The religious beliefs and practices associated with the shroud predate historical and scientific discussions and have continued in the 21st century, although the Catholic Church has never claimed its authenticity.<ref>Ann Ball, ''Encyclopedia of Catholic Devotions and Practices'', Our Sunday Visitor, 2002 ISBN 0-87973-910-X page 533</ref> An example is the [[Holy Face Medal]] bearing the image from the shroud, worn by some Catholics.<ref>Ann Ball, ''Encyclopedia of Catholic Devotions and Practices'', Our Sunday Visitor, 2002, ISBN 0-87973-910-X page 239</ref>
===John Calvin on the shroud===
In 1543 [[John Calvin]], in his ''Treatise on Relics'', wrote of 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 that 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 also 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 and deceit".<ref>John Calvin, 1543, ''Treatise on Relics'', trans. by Count Valerian Krasinski, 1854; 2nd ed. Edinburgh: John Stone, Hunter, and Company, 1870; reprinted with an introduction by Joe Nickell, Amherst, N.Y.: Prometheus Books, 2009.</ref> However, the [[Sudarium of Oviedo]] is claimed to be another cloth wrapped around the head of [[Jesus Christ]] after he died. This cloth may have also been placed in the tomb due to particular emphasis on the sanctity and burial of blood in Jewish tradition.<ref>Lisa Alcalay Klug, ''Jewish Funeral Customs: Saying Goodbye to a Loved One'' http://www.jewishfederations.org/page.aspx?id=937</ref>
===Devotions===
Although the shroud image is currently associated with Catholic devotions to the [[Holy Face of Jesus]], the devotions themselves predate [[Secondo Pia]]'s 1898 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 Veronica]]) and promoted by [[Leo Dupont]], also called the [[Apostle of the Holy Face]]. In 1851 Leo Dupont formed the "Archconfraternity of the Holy Face" in [[Tours]], France, well before Secondo Pia took the photograph of the shroud.<ref>Dorothy Scallan, ''The Holy Man of Tours'', TAN Books and Publishers, 2009, ISBN 0-89555-390-2</ref>
===Miraculous image===
{{Further|Acheiropoieta}}
[[File:Shroud of Turin 1898 poster.jpg|thumb|A poster advertising the 1898 exhibition of the shroud in Turin. [[Secondo Pia]]'s photograph 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 religious concept of "miraculous image" has been applied to the Shroud of Turin, as it has been applied to other religious artifacts such as the [[Our Lady of Guadalupe|image of the Virgin Mary]] on the cloak in the [[Basilica of Our Lady of Guadalupe]] on Tepeyac hill in [[Mexico]].<ref>Joan Carrol Cruz, ''Relics'', Our Sunday Visitor, 1984, ISBN 0-87973-701-8 page 77</ref><ref name="Michael Freze 1993, page 57">Michael Freze, 1993, ''Voices, Visions, and Apparitions'', OSV Publishing, ISBN 0-87973-454-X page 57</ref>
Without debating scientific issues, some believers state as a matter of faith that empirical analysis and scientific methods will perhaps never advance to a level sufficient for understanding the divine methods used for image formation on the shroud, since the body around whom the shroud was wrapped was not merely human, but divine, and believe that the image on the shroud was miraculously produced at the moment of [[Resurrection of Christ|Resurrection]].<ref>Charles S. Brown, ''Bible "Mysteries" Explained'', Crystal Publishing, 2007, ISBN 0-9582813-0-0 page 193</ref><ref>Peter Rinaldi, ''The man in the Shroud'', Futura Publications Ltd, 1972, ISBN 0-86007-010-7 page 45</ref>
While most miraculous theories do not attempt to provide explanations, John Jackson (a member of [[STURP]]) has proposed that the image was formed by radiation methods beyond the understanding of current science, in particular via the "collapsing cloth" onto a body that was radiating energy at the moment of resurrection.<ref name=Ruffin155 >''The Shroud of Turin'' by Bernard Ruffin 1999 ISBN 0-87973-617-8 pages 155-156</ref> However, STURP member Alan Adler has stated that Jackson's theory is not generally accepted as scientific, given that it runs counter to the known laws of physics.<ref name=Ruffin155 />
In 1989 physicist Thomas Phillips, theorized that the Shroud image was formed by [[neutron radiation]] due to a miraculous bodily resurrection.<ref>Thomas J. Phillips, "Shroud irradiated with neutrons?", [[Nature (Journal)|Nature]], volume 337, Feb.16 1989, {{doi|10.1038/337594a0}}</ref>
===Vatican position===
[[Antipope Clement VII]] refrained from expressing his opinion on the shroud; however, subsequent popes from [[Pope Julius II|Julius II]] on took its authenticity for granted.<ref>''Encyclopaedia Britannica'', art. Shroud of Turin (relic)., 28 Dec. 2010</ref>
The Vatican newspaper [[Osservatore Romano]] covered the story of [[Secondo Pia]]'s photograph of May 28, 1898 in its June 15, 1898 edition, but it did so with no comment and thereafter Church officials generally refrained from officially commenting 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 Micheli to the [[Curia (religion)|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 offered to [[Pope Pius XII]] who approved the medal. The image was then used on what became known as the [[Holy Face Medal]] worn by many Catholics, initially as a means of 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 of the Holy Winding Sheet of Christ|feast]] to be celebrated every year the day before [[Ash Wednesday]].<ref>Maria Rigamonti, ''Mother Maria Pierina'', Cenacle Publishing, 1999</ref><ref>Joan Carroll Cruz, ''Saintly Men of Modern Times'', Our Sunday Visitor, 2003, ISBN 1-931709-77-7</ref> Following the approval by Pope Pius XII, Catholic devotions to the Holy Face of Jesus have been almost exclusively associated with the image on the shroud.
In 1983 the Shroud was given to the Holy See by the [[House of Savoy]].<ref name="Michael Freze 1993, page 57"/> However, as with all relics of this kind, the [[Roman Catholic Church]] made no pronouncements claiming whether it is Jesus' burial shroud, or if it is a forgery. As with other approved [[Catholic devotions]], the matter has been left to the personal decision 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 power of his death and resurrection.<ref>Matthew Bunson, ''OSV's encyclopedia of Catholic history'', revised edition, Our Sunday Visitor, 2004, ISBN 1-59276-026-0 page 912</ref>
[[Pope John Paul II]] stated in 1998 that:<ref>Francis D'Emilio article on Pope John Paul II's visit to the Shroud of Turin, Pittsburgh Post-Gazette – May 25, 1998</ref> "Since it is not a matter of faith, the Church has no specific competence to pronounce on these questions. She entrusts to scientists the task of continuing to investigate, so that satisfactory answers may be found to the questions connected with this Sheet".<ref>[http://www.vatican.va/holy_father/john_paul_ii/travels/documents/hf_jp-ii_spe_24051998_sindone_en.html Address of John Paul II] May 24, 1998.</ref> Pope John Paul II showed himself to be deeply moved by the image of the Shroud and arranged for public showings in 1998 and 2000. In his address at the Turin Cathedral on Sunday May 24, 1998 (the occasion of the 100th year of Secondo Pia's May 28, 1898 photograph), he said:<ref>Vatican website: Pope John Paul II's Address of May 24, 1998 in [[Turin Cathedral]] [http://www.vatican.va/holy_father/john_paul_ii/travels/documents/hf_jp-ii_spe_24051998_sindone_en.html]</ref> "The Shroud is an image of God's love as well as of human 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 fellow man, stands as an icon of the suffering of the innocent in every age."
In 2000, Cardinal Ratzinger, later to be known as [[Pope Benedict XVI]], wrote that the Shroud of Turin is "a truly mysterious image, 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, the crucified and risen Lord."<ref>In Joseph Ratzinger, ''The spirit of Liturgy'', Ignatius Press, 2000, ISBN 0-89870-784-6, cf. [http://www.adoremus.org/0202artliturgy.html] and [http://www.catholicnews.com/data/stories/cns/1000490.htm]</ref> In June 2008, three years after he assumed the papacy, Pope Benedict announced that the Shroud would be publicly displayed in the spring of 2010, and stated that he would like to go to Turin to see it along with other pilgrims.<ref>[http://www.catholicnews.com/data/stories/cns/0802940.htm Catholic News Service]</ref> During his visit in Turin on Sunday May 2, 2010, Benedict described the Shroud of Turin as an "extraordinary Icon", the "Icon of [[Holy Saturday]] [...] corresponding in every way to what 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 pierced".<ref>[http://www.vatican.va/holy_father/benedict_xvi/speeches/2010/may/documents/hf_ben-xvi_spe_20100502_meditazione-torino_en.html Meditation of Benedict XVI, Official Translation]</ref> The pope said also that in the Turin Shroud "we see, as in a mirror, our suffering in the suffering of Christ".<ref>[http://www.vatican.va/holy_father/benedict_xvi/homilies/2010/documents/hf_ben-xvi_hom_20100502_torino_en.html Homely of Benedict XVI, Official Translation]</ref> On May 30, 2010, Benedict XVI [[Beatification|beatified]] [[Sister Maria Pierina De Micheli]] who coined the [[Holy Face Medal]], based on Secondo Pia's photograph of the Shroud.<ref>[http://www.catholicnewsagency.com/news/holy-face-nun-beatified-remembered-by-pope-benedict-xvi/ CNA]</ref>
==Scientific perspective==
[[File:Station biologique de Roscoff.jpg|thumb|300px|right|[[Station biologique de Roscoff]] in [[Brittany]], France where the first scientific analysis of the photographs of the shroud was performed by [[Yves Delage]] in 1902.<ref name="Delage, Yves 1902">Delage, Yves. 1902. ''Le Linceul de Turin''. Revue Scientifique 22:683–87.</ref>]]
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The term '''sindonology''' (from the [[Greek (language)|Greek]] σινδών—sindon, the word used in the [[Gospel of Mark]]{{Bibleref2c-nb|Mark|15:46|NIV}} 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 since been proposed, based on disciplines ranging from chemistry to biology and medical forensics to optical image analysis. The scientific approaches to the study of the Shroud fall into three groups: ''material analysis'' (both chemical and historical), ''biology and medical forensics'' and ''image analysis''.
===Early studies===
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The initial steps towards the scientific study of the shroud were taken soon after the first set of black and white photographs became available early in the 20th century. In 1902 [[Yves Delage]], a French professor of [[comparative anatomy]] published the first study on the subject.<ref name="Delage, Yves 1902"/> 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 contact with a corpse. William Meacham mentions several other medical studies between 1936 and 1981 that agree with Delage.<ref name='Meacham'>{{cite web|last=Meacham|first=William|title=The Authentication of the Turin Shroud: An Issue in Archaeological Epistemology|date= |url=http://www.shroud.com/meacham2.htm|accessdate=24 March 2010}} [http://www.jstor.org/pss/2742663]</ref> However, these were all indirect studies without access to the shroud itself.
The first direct examination of the shroud by a scientific team was undertaken in 1969–1973 in order to advise on preservation of the shroud and determine specific 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 fabric were conducted in 1973.<ref name="Meacham"/>
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===
[[File:discyellow.jpg|thumbnail|Phase contrast microscopic view of image-bearing fiber from the Shroud of Turin. The [[carbohydrate]] layer is visible along top edge. The lower-right edge shows that coating is missing. The coating can be scraped off or removed with adhesive or diimide.{{Citation needed|date=November 2010}}]]
====Radiocarbon dating====
{{Main|Radiocarbon 14 dating of the Shroud of Turin}}
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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 [[ETH Zurich|Swiss Federal Institute of Technology]] concluded with 95% confidence that the shroud material dated to 1260–1390 AD.<ref name='Turin Nature'>{{cite journal|title=Radiocarbon dating of the Shroud of Turin|journal=Nature|date=1989-02|first=P. E.|last= Damon|coauthors=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. Hedges, R. Housley, I. A. Law, C. Perry, G. Bonani, S. Trumbore, W. Woelfli, J. C. Ambers, S. G. E. Bowman, M. N. Leese, M. S. Tite|volume=337|issue=6208|pages=611–615|doi= 10.1038/337611a0|url=http://www.nature.com/nature/journal/v337/n6208/abs/337611a0.html|accessdate=2007-11-18}}</ref> This 13th to 14th century dating is much too recent for the shroud to have been associated with [[Jesus of Nazareth]]. The dating does however match the first appearance of the shroud in church history.<ref name=HST>{{CathEncy|wstitle=The Holy Shroud (of Turin)}}</ref> This dating is also slightly more recent than that estimated by art historian W.S.A. Dale, who postulated on artistic grounds that the shroud is an 11th century icon made for use in worship services.<ref name="dale">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 international radiocarbon community shortly before radiocarbon dating was performed on the shroud.</ref>
Although the quality of the radiocarbon testing itself is unquestioned, criticisms have been raised regarding the choice of the sample taken for testing, with suggestions that the sample may represent a medieval "invisible" repair fragment rather than the image-bearing cloth.<ref>Busson, P. – Letter – Sampling error? – Nature, Vol. 352, July 18, 1991, p. 187.</ref><ref>John L. Brown, "Microscopical Investigation of Selected Raes Threads From the Shroud of Turin"[http://www.shroud.com/pdfs/brown1.pdf Article] (2005)</ref><ref>Robert Villarreal, "Analytical Results On Thread Samples Taken From The Raes Sampling Area (Corner) Of The Shroud Cloth" [http://www.ohioshroudconference.com/a17.htm Abstract] (2008)</ref> Additionally, the shroud was damaged in fire in 1532 and the carbon dating results may be significantly skewed by more than 1,000 years.<ref>[http://www.wnd.com/2008/05/64881/ Shroud of Turin's age miscalculated?] World Net Daily May 20, 2008.</ref>
The official report of the dating process, written by the people who performed the sampling, states that the sample "came from a single site on the main body of the shroud away from any patches or charred areas."<ref>Damon et al, Nature, Vol. 337, No. 6208, pp. 611-615, see http://www.shroud.com/nature.htm</ref> In 2008 former STURP member John Jackson rejected the possibility that the C14 sample may have been conducted on a medieval repair fragment, on the basis that the radiographs and transmitted light images taken by STURP in 1978 clearly show that the natural colour bandings present throughout the linen of the shroud propagate in an uninterrupted fashion through the region that would later provide the sample for radiocarbon dating. Jackson stated that this could not have been possible if the sampled area was a later addition.<ref name=JJackson2008 >''A New Radiocarbon Hypothesis'' by John P. Jackson; [Turin Shroud Center of Colorado; May 5, 2008 http://www.shroud.com/pdfs/jackson.pdf]</ref>
Since the C14 dating at least four articles have been published in scholarly sources contending that the samples used for the dating test may not have been representative of the whole shroud.<ref name=Sampling /> These included a 2005 article by [[Raymond Rogers]], who conducted chemical analysis for the [[Shroud of Turin Research Project]] and who was involved in work with the Shroud since the STURP project began in 1978. Rogers stated that after further study he was convinced that: "The worst possible sample for carbon dating was taken."<ref>[http://www.telegraph.co.uk/news/religion/5137163/Turin-Shroud-could-be-genuine-as-carbon-dating-was-flawed.html ''Turin Shroud 'could be genuine as carbon-dating was flawed''] Stephen Adams in the [[Daily Telegraph]] 10 Apr 2009</ref> However such claims are disputed by Professor Christopher Ramsey of the Oxford Radiocarbon Accelerator Unit, who observed in 2011 that "There are various hypotheses as to why the dates might not be correct, but none of them stack up."<ref>[http://blogs.telegraph.co.uk/news/tomchiversscience/100125247/the-turin-shroud-is-fake-get-over-it/ ''The Turin Shroud is fake. Get over it'']</ref>
====Tests for pigments====
In 1970s a special eleven-member Turin Commission conducted several tests. Conventional and electron microscopic examination of the Shroud at that time revealed an absence of heterogeneous coloring material or pigment.<ref name='Meacham'/> In 1979, [[Walter McCrone]], upon analyzing the samples he was given by [[STURP]], concluded that the image is actually made up of billions of submicrometre pigment particles. The only [[fibril]]s that had been made available for testing of the stains were those that remained affixed to custom-designed adhesive tape applied to thirty-two different sections of the image.<ref>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 Acc. Chem. Res. 1990, 23, 77–83.</ref>
Mark Anderson who was working for McCrone analyzed the Shroud samples.<ref>''[[Materials evaluation (journal)|Materials evaluation]]'', Volume 40, Issues 1-5, 1982, Page 630</ref> In his book Ray Rogers states that Anderson, who was McCrone's [[Raman microscope|Raman microscopy]] expert, 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 conclusion that the image was painted with [[hematite]].<ref name=Rogers61 >Raymond N. Rogers, ''A Chemist's Perspective On The Shroud of Turin'', 2008, ISBN 0-615-23928-5, page 61</ref> In his open letter to journalists Daniel R. Porter states that McCrone suppressed the results of Anderson.<ref>[http://www.shroudstory.com/letter2journalists.pdf Daniel R. Porter: ''Open letter to journalists'']</ref>
John Heller and Alan Adler examined the same samples and agreed with McCrone's result that the cloth contains iron oxide. However, they concluded, the exceptional purity of the chemical and comparisons with other ancient textiles showed that, while [[Flax#Retting flax|retting flax]] absorbs iron selectively, the iron itself was not the source of the image on the shroud.<ref>Ian Wilson, ''The Blood and the Shroud''. New York: Free Press, 1998. pp. 80–81 ISBN 0-684-85359-0</ref><ref>[http://www.shroud.com/bar.htm Debunking The Shroud: Made by Human Hands<!-- Bot generated title -->]</ref> 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.<ref>Wilson, p. 21-25</ref>
===Material historical analysis===
====Historical fabrics====
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In 2000, fragments of a burial shroud from the 1st century were discovered in a tomb near Jerusalem, believed to have belonged to a Jewish high priest or member of the aristocracy. The shroud was composed of a simple two-way weave, unlike the complex [[herringbone (cloth)|herringbone]] [[twill]] of the Turin Shroud. Based on this discovery, the researchers stated that the Turin Shroud did not originate from Jesus-era Jerusalem.<ref>{{cite news|title=DNA of Jesus-era shrouded man in Jerusalem reveals earliest case of leprosy|work=Physorg.com|url= http://www.physorg.com/news180165623.html|date=December 16, 2009|accessdate=December 16, 2009}}</ref><ref>{{cite news|title= 'Jesus-era' burial shroud found|work=BBC News|first=Bethany|last=Bell|url=http://news.bbc.co.uk/2/hi/middle_east/8415377.stm|date= December 16, 2009|accessdate=December 16, 2009}}</ref><ref>{{cite journal|journal=National Geographic Daily News|title=Shroud of Turin Not Jesus', Tomb Discovery Suggests|url=http://news.nationalgeographic.com/news/2009/12/091216-shroud-of-turin-jesus-jerusalem-leprosy.html|accessdate=2010-03-22|date=2009-12-19}}</ref> However, according to biblical scholar Diana Fulbright, the assumption made by Shimon Gibson and others is "over-reaching, without foundation and contradictory to abundant archeological evidence".<ref>Diana Fulbright,[http://www.acheiropoietos.info/proceedings/FulbrightAkeldamaWeb.pdf ''Akeldama Repudiation of the Turin Shroud Omits Evidence from the Judean Desert''] in Paolo di Lazzaro (ed.), ''Proceedings of the IWSAAI'', ENEA, Frascati, 2010.</ref>
[[File:Roman loom.jpg|thumb|left|150px|A [[Roman empire|Roman]] [[loom]], c. 2nd century CE.]]
According to textile expert Mechthild Flury-Lemberg of Hamburg, a seam in the cloth corresponds to a fabric found at the fortress 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 Belgium. Flury-Lemberg stated, "The linen cloth of the Shroud of Turin does not display any weaving or sewing techniques which would speak against its origin as a high-quality product of the textile workers of the first century."<ref>{{cite web|url=http://www.pbs.org/wnet/secrets/previous_seasons/case_shroudchrist/interview.html|title=SECRETS OF THE DEAD . Shroud of Christ? . Interview |publisher=PBS|date= |accessdate=2010-07-28}}</ref>
In 1999, Mark Guscin investigated the relationship between the shroud and the [[Sudarium of Oviedo]], claimed as the cloth that covered the head of Jesus in the [[Gospel of John]]{{Bibleref2c-nb|John|20:6–7|NIV}} when the empty tomb was discovered. The Sudarium is also reported to have type AB blood stains. Guscin concluded that the two cloths covered the same head at two distinct, but close moments of time. Avinoam Danin (see [[#Flowers and pollen|below]]) concurred with this analysis, adding that the pollen grains in the Sudarium match those of the shroud.<ref>[http://www.shroud.com/guscin.htm The Sudarium of Oviedo<!-- Bot generated title -->]</ref> Skeptics criticize the polarized image overlay technique of Guscin and suggest that pollen from Jerusalem could have followed any number of paths to find its way to the sudarium.<ref name="skepdic"/>
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 correspond more to the folding that would have been necessary to store the cloth in a clay jar (like cloth samples at [[Qumran]]) than to that necessary to store it in the reliquary that housed it in 1532.<ref>Aldo Guerreschi and Michele Salcito ''IV Symposium Scientifique International'', Paris 2002 {{PDFlink|[http://www.shroud.com/pdfs/aldo3.pdf]|526 KB}}</ref>
====Dirt particles====
[[File:Travertin.JPG|thumb|A piece of [[travertine]].]]
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Joseph Kohlbeck from the Hercules Aerospace Company in Utah and Richard Levi-Setti of the [[Enrico Fermi Institute]] examined some dirt particles from the Shroud surface. The dirt was found to be [[travertine]] [[aragonite]] [[limestone]].<ref name="KLS">{{cite web|url=http://www.shroudstory.com/faq/Shroud-Turin-Travertine.htm|title= Were particles of limestone dirt found on the Shroud of Turin?|publisher=Shroud Story|author= |accessdate=2010-02-27}}</ref> Using a high-resolution microprobe, Levi-Setti and Kolbeck compared the spectra of samples taken from the Shroud with samples of limestone from [[History of Jerusalem|ancient Jerusalem]] tombs. The chemical signatures of the Shroud samples and the tomb limestone were found identical except for minute fragments of [[cellulose]] linen fiber that could not be separated from the Shroud samples.<ref>Ian Wilson, ''The Blood and the Shroud''. New York: Free Press, 1998. ISBN 0-684-85359-0 page 328</ref>
===Biological and medical forensics===
====Blood stains====
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There are several reddish stains on the shroud suggesting blood, but it is uncertain whether these stains were produced at the same time as the image, or afterwards.<ref>Heller, J.H. and Adler, A.D.: "Blood on the Shroud of Turin", ''Applied Optics'' 19:2742–4 (1980)</ref> McCrone (see [[#Painting|painting hypothesis]]) identified these as containing [[iron oxide]], theorizing that its presence was likely due to simple pigment materials used in medieval times. Other researchers, including Alan Adler, identified the reddish stains as blood and interpreted the [[iron oxide]] as a natural residue of [[hemoglobin]].
Heller and Adler further studied the dark red stains and determined and identified [[hemoglobin]], establishing, within claimed scientific certainty, the presence of [[porphyrin]], [[bilirubin]], [[albumin]], and [[protein]].<ref>Heller, J.H., and Adler, A.D. 1981 {{PDFlink|[http://www.shroud.com/pdfs/ford1.pdf]|117 KB}}</ref> Working independently [[forensic pathologist]] Pier Luigi Baima Bollone, concurred with Heller and Adler's findings and identified the blood as AB blood group.<ref>P. L. Baima Bollone,"Indagini identificative su fili della Sindone", ''Giornale della Accademia di Medicina di Torino'', n° 1-12, 1982, pp. 228–239.</ref> Subsequently, [[STURP]] sent blood flecks to the laboratory devoted to the study of ancient blood at the [[State University of New York]] (SUNY), Binghamton. Dr. Andrew Merriwether at SUNY stated that no blood typing could be confirmed, and the [[DNA]] was badly fragmented. He stated that it is almost certain that the blood spots are blood, but no definitive statements can be made about its nature or provenience, i.e., whether it is male and from the Near East."<ref>{{cite web|url=http://www.shroud.com/pdfs/rogers5faqs.pdf|title=Frequently Asked Questions (FAQs) by Raymond N. Rogers|accessdate=2009-06-15|last=Rogers|first= Raymond}}</ref>
[[Joe Nickell]] argues that results similar to Heller and Adler's could be obtained from [[tempera]] paint.<ref>[http://findarticles.com/p/articles/mi_m2843/is_5_25/ai_77757762/pg_3 Scandals and Follies of the 'Holy Shroud'|Skeptical Inquirer|Find Articles at BNET.com<!-- Bot generated title -->]{{Dead link|date=April 2009}}</ref> Skeptics also cite other forensic blood tests whose results dispute the authenticity of the Shroud<ref name="skepdic" /> that the blood could belong to a person handling the shroud, and that the apparent blood flows on the shroud are unrealistically neat.<ref name="skepdic">{{cite web|url=http://www.skepdic.com/shroud.html|title=shroud of Turin|publisher=Skepdic.com|date=2000-08-23|accessdate=2009-04-12}}</ref><ref>Baden, Michael. 1980. Quoted in Reginald W. Rhein, Jr., The Shroud of Turin: Medical examiners disagree. Medical World News, December 22, p. 50.</ref><ref>McCrone in ''Wiener Berichte uber Naturwissenschaft in der Kunst'',4/5, 50 1987/1988,</ref>
====Flowers and pollen====
[[File:Glebionis February 2008-1.jpg|thumb|A ''[[Chrysanthemum coronarium]]'']]
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In 1997 Avinoam Danin, a botanist at the [[Hebrew University of Jerusalem]], reported that he had identified the type of ''[[Chrysanthemum coronarium]]'', ''[[Cistus creticus]]'' and ''[[Zygophyllum]]'' whose pressed image on the shroud was first noticed by Alan Whanger in 1985 on the photographs of the shroud taken in 1931. He reported that the outlines of the flowering plants would point to March or April and the environs of Jerusalem.<ref>Avinoam Danin ''Where Did the Shroud of Turin Originate? A Botanical Quest'' ERETZ Magazine, November/December 1998 [http://www.shroud.com/danin.htm]</ref><ref>{{cite news|url= http://www.usnews.com/usnews/doubleissue/mysteries/shroud.htm|title=Shroud of Turin - Mysteries of History|last=Sheler|first= Jeffery L.|date=2000-07-24|work=[[U.S. News & World Report]]|accessdate=19 December 2010}}</ref> In a separate report in 1978 Danin and Uri Baruch reported on the pollen grains on the cloth samples, stating that they were appropriate to the spring in Israel.<ref>Avinoam Danin, "The Origin of the Shroud of Turin from the Near East as Evidenced by Plant Images and by Pollen Grains" [http://www.shroud.com/danin2.htm Article]</ref> Max Frei, a Swiss police [[criminologist]] who initially obtained pollen from the shroud during the STURP investigation stated that of the 58 different types of pollens found, 45 were from the Jerusalem area, while 6 were from the eastern [[Middle East]], with one pollen species growing exclusively in [[Constantinople]], and two found in [[Edessa, Mesopotamia|Edessa]], Turkey.<ref>Max Frei, "Nine Years of Palynological Studies on the Shroud", Shroud Spectum International, (June 1982) p. 3-7</ref> Mark Antonacci argues that the pollen evidence and flower images are inherently interwoven and strengthen each other.<ref>Mark Antonacci,''The Resurrection of the Shroud'', M. Evans and Company, Inc, 2000, ISBN 0-87131-963-2 p. 111</ref>
Skeptics have argued that the flower images are too faint for Danin's determination 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.<ref>Nickell, Joe: "Pollens on the 'shroud': A study in deception". ''Skeptical Inquirer'', Summer 1994., pp 379–385</ref> Skeptics also argue that Max Frei had previously been duped in his examination of the [[Hitler Diaries]] and that he may have also been duped in this case, or may have introduced the pollens himself.<ref>Carroll, Robert T. ''The Skeptic Dictionary'', Hoboken, John Wiley and Sons, 2003, ISBN 0-471-27242-6</ref> J. Beaulieau has stated that Frei was a self-taught amateur [[palynologist]], was not properly trained, and that his sample was too small.<ref>Bernard Ruffin, ''The Shroud of Turin'', 1999, ISBN 0-87973-617-8 p. 76</ref>
In 2008 Avinoam Danin reported analysis based on the [[ultraviolet photography|ultraviolet photograph]]s of Miller and Pellicori<ref name="ncbi.nlm.nih.gov"/><ref name="opticsinfobase.org"/> taken in 1978. Danin reported five new species of flower, which also bloom in March and April and stated that a comparison of the 1931 black and white photographs and the 1978 ultraviolet images indicate that the flower images are genuine and not the artifact of a specific method of photography.<ref>Avinoam Danin, 2008 ''Botany of the Shroud of Turin, An addition concerning new information since the 1999 report''. Shroud of Turin Conference, 2008, Ohio. [http://www.ohioshroudconference.com/papers/p05.pdf]</ref>
====Anatomical forensics====
A number of studies on the anatomical consistency of the image on the shroud and the nature of the wounds on it have been performed, following the initial study by [[Yves Delage]] in 1902.<ref name="Delage, Yves 1902"/> While Delage declared the image anatomically flawless, others have presented arguments to support both authenticity and forgery.
In 1950 [[physician]] [[Pierre Barbet (physician)|Pierre Barbet]] wrote a long study called ''A Doctor at Calvary'' which was later published as a book.<ref name="Barbet, Pierre 1963">Barbet, Pierre. 1963. A Doctor at Calvary. New York: Image Publishers</ref> Barbet stated that his experience as a battlefield surgeon during [[World War I]] led him to conclude that the image on the shroud was authentic, anatomically correct and consistent with crucifixion.<ref>Bernard Ruffin, ''The Shroud of Turin'', Our Sunday Visitor, 1999 ISBN 0-87973-617-8 page 17</ref>
[[File:Full length negatives of the shroud of Turin.jpg|thumb|left|280px|Full length negatives of the shroud.]]
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 to crucifixion.<ref>Robert Bucklin, ''An Autopsy on the Man of the Shroud'', 1997, [http://www.shroud.com/bucklin.htm Article]</ref>
For over a decade, [[medical examiner]] [[Frederick Zugibe]] performed a number of studies using himself and volunteers suspended from a cross, and presented his conclusions in a book in 1998.<ref>[[Frederick Zugibe]], ''The Crucifixion of Jesus: A Forensic Inquiry'', M.Evans Publ., 2005, ISBN 1-59077-070-6</ref> Zugibe considers the shroud image and its proportions as authentic, but disagrees with Barbet and Bucklin on various details such as blood flow. Zugibe concluded that the image on the shroud is of the body of a man, but that the body had been washed.<ref>[[Frederick Zugibe]], "The Man of the Shroud was Washed", ''Sindon'', Quad. No. 1, June 1989 [http://www.crucifixion-shroud.com/Washed.htm]</ref>
In 2001, Pierluigi Baima Bollone, a professor of forensic medicine in Turin, stated that the forensic examination of the wounds and bloodstains on the Shroud indicate that the image was that of the dead body of a man who was whipped, wounded around the head by a pointed instrument and nailed at the extremities before dying.<ref>Pierluigi Baima Bollone, "Interpreting the Image on the Shroud", in Gian Maria Zaccone, ''Le due facce della Sindone. Pellegrini e scienziati alla ricerca di un volto'', Torino, ODPF, 2001, pp. 119–126.</ref>
In 2010 Giulio Fanti, professor of mechanical measurements, wrote that "apart from the hands afterward placed on the pubic area, the front and back images are compatible with the Shroud being used to wrap the body of a man 175±2 cm tall, which, due to cadaveric rigidity, remained in the same position it would have assumed during crucifixion".<ref>G. Fanti, R. Basso, G. Bianchini,'' Turin Shroud: Compatibility Between a Digitized Body Image and a Computerized Anthropomorphous Manikin'', Journal of Imaging Science and Technology – September/October 2010 – Volume 54, Issue 5, pp. 050503-(8), [http://scitation.aip.org/getabs/servlet/GetabsServlet?prog=normal&id=JIMTE6000054000005050503000001&idtype=cvips&gifs=yes&ref=no Abstract]</ref>
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 professional arts cannot find discrepancies and distortions in the anatomy of the "Shroud Man".<ref>Isabel Piczek, "Is the Shroud of Turin a painting ?", [http://www.shroud.com/piczek.htm Article]</ref>
<!--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 proportions of the face image on the shroud are correct, and that they match the dimensions of the face of da Vinci.<ref>[http://www.telegraph.co.uk/news/newstopics/religion/5706640/Turin-Shroud-is-face-of-Leonardo-da-Vinci.html Daily Telegraph, July 1, 2009]</ref> -->
Authors Joe Nickell, in 1983, and [[Gregory S. Paul]] in 2010, separately state that the [[body proportions|proportions]] of the image are not realistic. Paul stated that the face and proportions 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 art]]ist.<ref>Joe Nickell, Inquest on the Shroud of Turin, 1983</ref><ref name="paul gothic fraud">{{cite web|url=http://secweb.infidels.org/article815.html|title=The Shroud of Turin: The Great Gothic Art Fraud|last=Paul|first=Gregory S.|date=6 May 2010|work=Secular Web Kiosk|publisher=[[Internet Infidels]]|accessdate=9 May 2010|authorlink=Gregory Paul}}</ref>
===Image and text analysis===
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====Image analysis====
Both [[Digital image processing]] and analog techniques have been applied to the shroud images.
In 1976 Pete Schumacher, John Jackson and Eric Jumper analysed a photograph of the shroud image using a [[VP8 Image Analyzer]], which was developed for NASA to create 3D images of the moon.<ref>Talk by Pete Schumacher presented on the web page of the museum he created.http://shroudnm.com/vp8talk.html</ref><ref>Paper by Pete Schumacher in English.http://shroudnm.com/docs/1999-05-Photogrammetric-Responses-from-the-Shroud-of-Turin.pdf</ref><ref>Paper by Pete Schumacher in Spanish.http://shroudnm.com/docs/1999-05-Las-respuestas-de-Fotogrametr%C3%ADa-De-La-S%C3%A1bana-Santa-de-Tur%C3%ADn.pdf</ref> They found that, unlike any photograph they had analyzed, the shroud image has the property of decoding into a 3-dimensional image, 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 the image those features that were farthest. The researchers could not replicate the effect when they attempted to transfer similar images using techniques of block print, engravings, a hot statue, and [[bas-relief]]''.<ref>Heller, John H. ''Report on the Shroud of Turin'', Houghton Mifflin, 1983. ISBN 0-395-33967-7 page 207</ref>
NASA researchers Jackson, Jumper, and Stephenson report detecting the impressions of coins placed on both eyes after a digital study in 1978.<ref>Jackson, John P., Eric J. Jumper, Bill Mottern, and Kenneth E. Stevenson. 1977. "The three-dimensional image of Jesus' burial cloth", ''Proceedings, 1977 United States Conference of Research on The Shroud of Turin'', Holy Shroud Guild, New York, 1977, pp. 74–94.</ref> The two-[[Greek lepton|lepton]] coin on the right eyelid was presumably coined under [[Pilate]] in 29-30,<ref>F. Filas, ''The dating of the Shroud from coins of Pontius Pilate'', Cogan, Youngtown (Arizona), 1982</ref> while the one-lepton coin on the left eyebrow was minted in 29.<ref>N. Balossino, ''L'immagine della Sindone, ricerca fotografica e informatica'', Editrice Elle Di Ci, 1997, ISBN 88-01-00798-1</ref> The authenticity of the alleged coins has been disputed and defended.<ref>[http://www.shroud.com/lombatti.htm Doubts Concerning the Coins Over the Eyes] Antonio Lombatti "British Society for the Turin Shroud" Newsletter #45. 1997.</ref>
In 2004, in an article in ''[[Journal of Optics A]]'', Fanti and Maggiolo reported finding a faint second face on the backside of the cloth, after the 2002 restoration.<ref>G. Fanti, R. Maggiolo, "The double superficiality of the frontal image of the Turin Shroud", ''Journal of Optics A'', 6, 2004, pp. 491-503, [http://iopscience.iop.org/1464-4258/6/6/001/ abstract]</ref>
The front image of the Turin Shroud, 1.95 m long, is not directly compatible with the back image, 2.02 m long.<ref>G. Fanti, R. Basso, G. Bianchini,"Turin Shroud: Compatibility Between a Digitized Body Image and a Computerized Anthropomorphous Manikin", ''Journal of Imaging Science and Technology'' – September/October 2010 – Volume 54, Issue 5, pp. 050503-(8), [http://scitation.aip.org/getabs/servlet/GetabsServlet?prog=normal&id=JIMTE6000054000005050503000001&idtype=cvips&gifs=yes&ref=no abstract]</ref> In order to verify the possibility that both images were generated by the same human body, a numeric-anthropomorphous manikin 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 the Shroud being used to wrap the body of a man 175±2 cm tall, which, due to cadaveric rigidity, remained in the same position it would have assumed during crucifixion.<ref>http://jist.imaging.org/resource/1/jimte6/v54/i5/p050503_s1?isAuthorized=no</ref>
====Text of death certificate====
[[File:Maggi, Giovanni Battista (183..-18...) - n. 34 - Torino - Cappella Regia, SS. Sudario.jpg|thumb|A late 19th century photograph of the Chapel of the Shroud]]
In 1979 Greek and Latin letters were reported as written near the face. These were further studied by André Marion, professor at the École supérieure d'optique and his student Anne Laure Courage, in 1997. Subsequently, computerized analysis and [[wiktionary:microdensitometer|microdensitometer]], other writings were reported, among them INNECEM (a shortened form of Latin "in necem ibis"—"you will go to death"), NNAZAPE(N)NUS (Nazarene), IHSOY (Jesus) and IC (Iesus Chrestus). The uncertain letters IBE(R?) have been conjectured as "[[Tiberius]]".<ref>A. Marion, A.-L. Courage, ''Nouvelles découvertes sur le suaire de Turin'', Paris, Albin Michel, 1998, ISBN 2-226-09231-5</ref> Linguist Mark Guscin disputed the reports of Marion and Courage. He stated that the inscriptions made little grammatical or historical sense and that they did not appear on the slides that Marion and Courage indicated.<ref>{{cite web|url=http://www.shroud.com/pdfs/guscin2.pdf|format=PDF|title=The "Inscriptions" on the Shroud|publisher=British Society for the Turin Shroud Newsletter|author=Mark Guscin|accessdate=2010-03-27}}</ref>
In 2009, [[Barbara Frale]], a [[paleographer]] in the [[Vatican Secret Archives]], who had published two books on the Shroud of Turin reported further analysis of the text.<ref>Frale 2009</ref> In her books Frale had stated that the shroud had been kept by the [[Knights Templar|Templars]] after 1204.<ref name=FraleTimes >{{cite news|title=Knights Templar hid the Shroud of Turin, says Vatican|first=Richard|last=Owen|url=http://www.timesonline.co.uk/tol/comment/faith/article6040521.ece|newspaper=The Times|date=26 April 2009|accessdate=24 October 2010|quote=her study of the trial of the Knights Templar had brought to light a document in which Arnaut Sabbatier (...) was shown "a long linen cloth on which was impressed the figure of a man" and instructed to venerate the image by kissing its feet three times.}}</ref> 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.<ref name=TimesFrale /><ref name=FraleTeleg />
Frale stated the text on the Shroud reads: "In the year 16 of the reign of the Emperor 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 Hebrew authority, is hereby sent for burial with the obligation of being consigned to his family only after one full year."<ref name=TimesFrale >{{cite news|title=Death certificate is imprinted on the Shroud of Turin, says Vatican scholar|first=Richard|last= Owen|url=http://www.timesonline.co.uk/tol/comment/faith/article6925371.ece|newspaper=The Times|date=21 November 2009|accessdate=24 October 2010|quote=''.}}</ref><ref>[http://www.saintanthonyofpadua.net/messaggero/pagina_stampa.asp?R=&ID=485 Images of the Shroud text]</ref> Since Tiberius became emperor after the death of [[Octavian Augustus]] in AD 14, the 16th year of his reign would be within the span of the years AD 30 to 31.<ref name=TimesFrale /><ref name=FraleTeleg >Daily Telegraph: "Jesus Christ's 'death certificate' found on Turin Shroud" [http://www.telegraph.co.uk/news/newstopics/religion/6617018/Jesus-Christs-death-certificate-found-on-Turin-Shroud.html]</ref> Frale's methodology has been criticized, partly based on the objection that the writings are too faint to see.<ref>''The Jesus Inquest: The Case for and Against the Resurrection of the Christ'' by Charles Foster 2011 ISBN 0-8499-4811-8 ''Appendix 2: The Turin Shroud''</ref><ref>Poulle, Emmanuel, ″Les sources de l'histoire du linceul de Turin. Revue critique″, ''[[Revue d'Histoire Ecclésiastique]]'', 2009/3-4, pp. 747–782, [http://www.rhe.eu.com/pages/rhe195.asp abstract]. {{Retrieved|accessdate=2010-10-24}}</ref><ref>Vallerani, Massimo, "I templari e la Sindone: l'"ipotetica della falsità" e l'invenzione della storia", Historia Magistra, 2, 2009, [http://www.francoangeli.it/Riviste/Scheda_Riviste.asp?IDarticolo=37645 abstract]. {{Retrieved|accessdate=2010-10-24}}</ref>
===Hypotheses on image origin===
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Many hypotheses have been formulated and tested to explain the image on the Shroud. According to authors Baldacchini and Fanti 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 of image formation still exists", a conclusion also supported by Philip Ball.<ref>G. Baldacchini, P. di Lazzaro, D. Murra, G. Fanti, "Coloring linens with excimer lasers to simulate the body image of the Turin Shroud", [[Applied Optics]],Vol. 47, Issue 9, pp. 1278–1285 (2008) [http://www.opticsinfobase.org/ao/abstract.cfm?uri=ao-47-9-1278 Abstract]; Giulio Fanti :"The body image visible on the Turin Shroud (TS) has not yet been explained by science", in "Can a Corona 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), [http://scitation.aip.org/getabs/servlet/GetabsServlet?prog=normal&id=JIMTE6000054000002020508000001&idtype=cvips&gifs=Yes&ref=no Abstract] ; [[Philip Ball]] in 2005 : "it is simply not known how the ghostly image of a serene, bearded man was made" [http://www.nature.com/news/2005/050128/full/news050124-17.html editorial]</ref>
====Painting and pigmentation====
=====Painting=====
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The technique used for producing the image is, according to W. McCrone, already described in a book about medieval painting published in 1847 by [[Charles Lock Eastlake]] ("Methods and Materials of Painting of the Great Schools and Masters"). Eastlake describes in the chapter "Practice of Painting Generally During the XIVth Century" a special technique of painting on linen using tempera paint, which produces images with unusual transparent features—which McCrone compares to the image on the shroud.<ref>Walter C. McCrone, ''Judgment day for the Shroud of Turin'', Amherst, N.Y., Prometheus Books, (1999) ISBN 1-57392-679-5</ref>
This hypothesis was declared to be unsound as the [[X-ray fluorescence]] examination, as well as [[infrared thermography]], did not point out any pigment.<ref>G. Imbalzano, "Il linguaggio della Sindone", Sindon journal of the ''Centro Internazionale di Sindonologia'' of Turin, n.29, December 1980, pp. 13-23</ref><ref>Morris et al., "X-Ray fluorescence investigation of the Shroud of Turin", ''X-Ray Spectrometry'', vol. 9, n. 2, april 1980, pp. 40–47</ref><ref>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</ref> It was also found that 25 different [[solvents]], among them water, do not reduce or sponge out the image.<ref name='Fanti Marinelli'>{{cite web|url=http://www.shroud.com/fanti3en.pdf|author=Giulio Fanti, Emanuela Marinelli|title= Results of a Probabilistic Model Applied to the Research Carried Out on the Turin Shroud|publisher=Shroud.com|date= |accessdate= 2010-03-26}}</ref> The non-paint origin has been further claimed by [[Fourier transform]] of the image: common paintings show a directionality that is absent from the Turin Shroud.<ref>J. J. Lorre – D. J. Lynn, "Digital enhancement of images of the Shroud of Turin", in: ''Proceedings of the 1977 United States Conference of research on the Shroud of Turin'', Albuquerque 1977, Holy Shroud Guild, New York 1977</ref>
=====Acid pigmentation=====
In 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 linen sheet over a volunteer and then rubbed it with an acidic pigment. The shroud was 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.<ref>Garlaschelli, Luigi, ''Life-size Reproduction of the Shroud of Turin and its Image'', Journal of Imaging Science and Technology – July/August 2010 – Volume 54, Issue 4, pp. 040301-(14), [http://scitation.aip.org/getabs/servlet/GetabsServlet?prog=normal&id=JIMTE6000054000004040301000001&idtype=cvips&gifs=yes&ref=no abstract]. {{Retrieved|accessdate=2010-10-24}}</ref> But according to Giulio Fanti, professor of mechanical and thermic measurements at the [[University of Padua]], "the technique itself seems unable to produce an image having the most critical Turin Shroud image characteristics".<ref>Heimburger T., Fanti G., "Scientific Comparison between the Turin Shroud and the First Handmade Whole Copy", International Workshop on the Scientific Approach to the Acheiropoietos Images, 2010, [http://www.acheiropoietos.info/proceedings/HeimburgerWeb.pdf article]</ref><ref>Fanti G., Heimburger T., "Letter to the Editor Comments on "Life-Size Reproduction of the Shroud of Turin and Its Image" by L. Garlaschelli", Journal of Imaging Science and Technology, Vol. 55, 2, March/April 2011, pp. 020102-(3).</ref>
====Medieval photography====
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According to the art historian Nicholas Allen the image on the shroud was formed by a photographic technique in the 13th century.<ref>[http://www.unisa.ac.za/Default.asp?Cmd=ViewContent&ContentID=7268 Nicholas P L Allen, ''Verification of the Nature and Causes of the Photo-negative Images on the Shroud of Lirey-Chambéry-Turin]''</ref> Allen maintains that techniques already available before the 14th century—e.g., as described 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 familiar with these techniques would have been able to produce an image as found on the shroud. To demonstrate this, he successfully produced photographic images similar to the shroud using only techniques and materials available at the time the shroud was made. He described his results in his PhD thesis,<ref>Allen, Nicholas P. L.(1993) ''The methods and techniques employed in the manufacture of the Shroud of Turin.'' Unpublished DPhil thesis, University of Durban-Westville.</ref> in papers published in several science journals,<ref>Allen, Nicholas P. L.(1993) ''Is the Shroud of Turin the first recorded photograph? The South African Journal of Art History, November 11, 23–32</ref><ref>Allen, Nicholas P. L.(1994)''A reappraisal of late thirteenth-century responses to the Shroud of Lirey-Chambéry-Turin: encolpia of the Eucharist, vera eikon or supreme relic?'' The Southern African Journal of Medieval and Renaissance Studies, 4 (1),62–94</ref> and in a book.<ref>Allen, Nicholas P. L.(1998)''The Turin Shroud and the Crystal Lens.'' Empowerment Technologies Pty. Ltd., – Port Elizabeth, South Africa</ref>
Lynn Picknett has written a book proposing that [[Leonardo da Vinci]] had faked the Shroud.<ref>''The Turin Shroud: How Da Vinci Fooled History'' by Lynn Picknett and Clive Price 2007 ISBN 0-7432-9217-0</ref><ref name=Telegraph701 /> Picknett and Larissa Tracy appeared on a [[Channel 5 (UK)]] TV program that claimed the Shroud to be the oldest known surviving photograph.<ref name=Telegraph701 >[http://www.telegraph.co.uk/news/religion/5706640/Turin-Shroud-is-face-of-Leonardo-da-Vinci.html Was Turin Shroud faked by Leonardo da Vinci? ''Daily Telegraph'' July 1, 2009]</ref> The program claimed that da Vinci used a real corpse, obtained an old-looking piece of linen, treated it with photo-sensitive chemicals and then exposed it in an early form of [[camera obscura]] to obtain the image.<ref name=Telegraph701 /> However John Jackson, director of the Turin Shroud Centre of Colorado dismissed these hypotheses.<ref name=Telegraph701 /> Jackson ''et al.'' have argued that a [[Multiple exposure#Double exposure|double photographic exposure]], needed in that case, should have considered the distances and in this case there would be areas of photographic [[superimposition]] with different lights and shades. The distances on Shroud instead correspond to the body position.<ref name="Jacksonet">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</ref>
====Dust-transfer technique====
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Scientists Emily Craig and Randall Bresee have attempted to recreate the likenesses of the shroud through the dust-transfer technique, which 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 (which 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 against the newsprint by firmly rubbing with the flat side of a wooden spoon. By doing this they managed to create a reddish brown image with a lifelike positive likeness of a person, a three dimensional image and no sign of brush strokes.<ref>Craig, Emily A, Bresee, Randal R, Image Formation and the Shroud of Turin, ''Journal of Imaging Science and Technology'', Volume 34, Number 1, 1994</ref> However, according to Fanti and Moroni, this does not reproduce many special features of the Shroud at microscopic level.<ref>G. Fanti, M. Moroni,"Comparison of Luminance Between Face of Turin Shroud Man and Experimental Results", ''The Journal of Imaging Science and Technology'' March/April 2002, vol. 46, n°2, p. 142-154, [http://www.imaging.org/ist/store/epub.cfm?abstrid=8125 abstract].</ref>
====Bas-relief====
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Another 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 image was formed using an actual three-dimensional object, such as a sculpture. While 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 constructed 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 turned out to be wash-resistant, impervious to temperatures of {{convert|250|C|abbr=on}} 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.<ref name='Ingham'>{{cite news|first=Richard|last=Ingham| coauthors = |title=Turin Shroud Confirmed as Fake|date=2005-06-21|publisher=[[Agence France-Presse]]|url =http://www.physorg.com/news4652.html|work =Physorg.com|pages= |accessdate=2008-02-17|language= }}</ref> Similar results have been obtained by former stage magician and author [[Joe Nickell]]. Instead of painting, the bas-relief could also be heated and used to burn an image into the cloth.
According to Fanti and Moroni, after comparing the [[Color histogram|histogram]]s of 256 different grey levels, it was found that the image obtained with a bas-relief has grey values 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 intermediate grey levels (levels included between 160 and 200). The face image on the Shroud 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 practically flat in correspondence of the intermediate grey levels (levels included between 160 and 200).<ref>G. Fanti, Moroni,Comparison of Luminance Between Face of Turin Shroud Man and Experimental Results,The Journal of Imaging Science and Technology, March/April 2002, vol. 46, no. 2; p. 142-154,http://www.imaging.org/ist/store/epub.cfm?abstrid=8125</ref>
====Maillard reaction====
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The [[Maillard reaction]] is a form of non-enzymatic browning involving 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 other impurities. In a paper entitled "The Shroud of Turin: an amino-carbonyl reaction may explain the image formation,"<ref>Rogers, R.N. and Arnoldi, A.: "The Shroud of Turin: an amino-carbonyl reaction (Maillard reaction) may explain the image formation.", ''Melanoidins in Food and Health'', Volume 4, Office for Official Publications of the European Communities, Luxembourg, 2003, pp. 106–113, ISBN 92-894-5724-4</ref> [[Raymond N. Rogers|Raymond Rogers]] and Anna Arnoldi propose that [[amine]]s from a recently deceased human body may have undergone Maillard reactions with this carbohydrate layer within a reasonable period of time, before liquid [[decomposition]] products stained or damaged the cloth. The gases produced 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 tissues such as [[putrescine]] and [[cadaverine]]. However the potential source for amines required for the reaction is a decomposing body,<ref>Raymond N. Rogers, ''A Chemist's Perspective On The Shroud of Turin'', 2008, ISBN 0-615-23928-5, p. 100</ref> while no signs of decomposition have been found on the Shroud.<ref>{{cite web|url=http://www.shroudcentersocal.com/|format= |title=Features of the Center|publisher=Shroud Center of Southern California|author= |accessdate=2010-03-27}}</ref> The image resolution and the uniform coloration of the linen resolution seem to be not compatible with a mechanism involving diffusion.<ref name= "ReferenceA">G. Fanti et alii, ''Microscopic and Macroscopic Characteristics of the Shroud of Turin Image Superficiality'', Journal of Imaging Science and Technology—July/August 2010—Volume 54, Issue 4, p. 040201-6</ref>
Alan A. Mills argued that the image was formed by the chemical reaction [[auto-oxidation]]. 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 proportional to the distance from the body of a loosely draped cloth.<ref>Alan A. Mills, "Image formation on the Shroud of Turin", in ''Interdisciplinary Science Reviews'', 1995, vol. 20 No. 4, pp 319–326.</ref>
====Energy source====
Since 1930<ref>N. Noguier de Malijay, ''La Santa Sindone di Torino'', Libreria del S. Cuore, Torino, 1930</ref> several researchers (J. Jackson, G. Fanti, T. Trenn, T. Phillips, J.-B. Rinaudo and others) endorsed the flash-like irradiation hypothesis. It was suggested that the relatively high definition of the image details can be obtained through the energy source (specifically, [[proton]]ic) acting from inside.<ref name="Jacksonet" /> The Russian researcher Alexander Belyakov proposed an intense, but short flashlight source, which lasted some hundredths of second.<ref>A. Belyakov, "Prospettive di ricerca in Russia sulla Sindone di Torino", ''Atti del convegno di San Felice Circeo (LT)'' 24–25 agosto 1996, pp. 19–24</ref> Some other authors suggest the X-radiation<ref>G. Carter, "Formation of the Image on the Shroud of Turin", ''[[American Chemical Society]] Volume on Archaeological Chemistry'', 1983</ref> or a burst of directional [[ultraviolet radiation]] may have played a role in the formation of the Shroud image.<ref>G. Baldacchini, P. Di Lazzaro, D. Murra, and G. Fanti, "Coloring linens with excimer lasers to simulate the body image of the Turin Shroud," Applied Optics, 47, 1278–1285 (2008) [http://www.opticsinfobase.org/ao/abstract.cfm?URI=ao-47-9-1278 Article] ; P. Di Lazzaro; G. Baldacchini; G. Fanti; D. Murra; A. Santoni, "Colouring fabrics with Excimer lasers to simulate encoded images: the case of the Shroud of Turin"[http://spie.org/x648.html?product_id=816826 Abstract] and [http://holyshroudguild.org/media/A$20PHYSICAL$20HYPOTHESIS$20ON$20THE$20ORIGIN$20OF$20THE$20BODY$20IMAGE$20EMBEDDED$20INTO$20THE$20TURIN$20SHROUD.pdf Article]</ref> From the image characteristics, several researchers have theorized that the radiant source was prevalently vertical. These theories do not include the scientific discussion of a method by which the energy could have been produced.<ref name='Fanti Marinelli'/>
Raymond Rogers criticized the theory, saying, "Radiation that penetrated the entire 10-15-μm-diameter of a fiber would certainly color the walls of the medulla. All image fibers show color on their surfaces but not in the medullas."<ref>Raymond N. Rogers, A. Arnoldi, "Scientific method applied to the Shroud of Turin", 2002, [http://www.shroud.com/pdfs/rogers2.pdf Article]</ref>
=====Corona discharge=====
During restoration in 2002, the back of the cloth was photographed and scanned for the first time. An article on this subject by Giulio Fanti and others envisages the electrostatic [[corona discharge]] as the probable mechanism to produce the images of the body in the Shroud.<ref>G. Fanti, F. Lattarulo, O. Scheuermann, "Body Image Formation Hypotheses Based on Corona Discharge", 2005, [http://www.dim.unipd.it/fanti/corona.pdf Article]</ref> Congruent with that mechanism, 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 perhaps hands. As with the front picture, it is entirely superficial, with coloration limited to the carbohydrate layer. The images correspond to, and are in registration 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 impossible to reproduce all the characteristics of the image in a laboratory because the energy source required is too high.<ref name="ReferenceA"/><ref>G. Fanti, "Can a Corona Discharge Explain the Body Image of the Turin Shroud ?" J. Imaging Sci. Technol., March/April 2010 --Volume 54, Issue 2, pp. 020508-(11),[http://scitation.aip.org/getabs/servlet/GetabsServlet?prog=normal&id=JIMTE6000054000002020508000001&idtype=cvips&gifs=Yes&ref=no abstract]</ref>
[[Raymond Rogers]] who conducted chemical analysis for the [[Shroud of Turin Research Project]] stated that corona discharges and/or plasmas could have made no contribution to image formation because: "It is clear that a corona discharge (plasma) in air will cause easily observable changes in a linen sample. No such effects can be observed in image fibers from the Shroud of Turin."<ref>THE SHROUD OF TURIN: RADIATION EFFECTS, AGING AND IMAGE FORMATION By Raymond N. Rogers [http://www.shroud.com/pdfs/rogers8.pdf]</ref>
==2010s developments==
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In 2010, professors of statistics Marco Riani and Anthony C. Atkinson wrote in a scientific paper that the statistical analysis of the raw dates obtained from the three laboratories for the radiocarbon test suggests the presence of contamination in some of the samples. They conclude that: "The effect is not large over the sampled region … our estimate of the change is about two centuries."<ref>Riani M., Atkinson A.C., Fanti G., Crosilla F., (4 May 2010). [http://www2.lse.ac.uk/statistics/research/RAFC04May2010.pdf "Carbon Dating of the Shroud of Turin: Partially Labelled Regressor and the Design of Experiments"]. [[The London School of Economics and Political Science]]. Retrieved 2010-10-24.</ref>
A team of graphic artists tried to recreate the real face of the man depicted on the cloth in a special two-hour documentary on the [[History (U.S. TV channel)|History Channel]] broadcast for the first time in March 2010. The image was made by taking the image of the Turin Shroud and transforming it onto a 3D form to compose and inspire a CGI image of a detailed face.<ref>T. Trachtenberg, S. Clarke (30 March 2010). [http://abcnews.go.com/GMA/real-face-jesus-christ/story?id=10235129 "Computer Artists Say They've Re-Created Christ's Face Using Shroud of Turin"] ''[[Good Morning America]]''. [[ABC News]].</ref>
The Shroud was placed back on public display (the 18th time in its history) in Turin from 10 April to 23 May 2010. According to Church officials, more than 2 million visitors came to see the Shroud.<ref>[http://www.zenit.org/rssenglish-29146 "To see the Shroud : 2M and counting"]. ''Zenit''. May 5, 2010</ref>
In December 2010 Professor [[A.J. Timothy Jull|Timothy Jull]], editor of ''Radiocarbon'', coauthored an article with a textile expert in this peer-reviewed journal.<ref>R.A. Freer-Waters, A.J.T. Jull, ''Investigating a Dated piece of the Shroud of Turin'', Radiocarbon, 52, 2010, pp. 1521-1527.</ref> They analyzed an unknown sample of 1988 and concluded that they found no evidence of a repair.<ref>Gian Marco Rinaldi. [http://sindone.weebly.com/autogoltucson.html "Autogoal a Tucscon"]. (Italian). ''La Sindone di Torino''. Retrieved January 20, 2013.</ref>
In November 2011, F. Curciarello ''et al.'' published a paper that analyzed the abrupt changes in the yellowed [[fibril]] density values on the Shroud image. They concluded 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 presence of aromas and/or burial ointments.<ref name=Fazio11 >F. Curciarello, V. De Leo, G. Fazio & G. Mandaglio, ''The abrupt changes in the yellowed fibril density in the Linen of Turin'' in [[Radiation Effects and Defects in Solids]] Nov 2011 {{doi|10.1080/10420150.2011.629320}} [http://www.tandfonline.com/doi/abs/10.1080/10420150.2011.629320#preview]</ref> The paper also states that this consistent with the observation that based on the stochastic distribution of yellowed fibrils the image is not the work of an artist, and may have been formed over several decades. However, their work leaves the existence of an energy source for the image an open question.<ref name=Fazio11/>
In December 2011 scientists at Italy's ''National Agency for New Technologies, Energy and Sustainable Development'' [[ENEA (Italy)|ENEA]] announced that their series of tests demonstrated the image on the shroud could, in their opinion, only have been created by "some form of electromagnetic energy" such as a flash of light at short wavelength.<ref>{{cite news|url=http://www.montrealgazette.com/technology/Turin+Shroud+could+have+been+faked+scientists/5883796/story.html|title=The Turin Shroud could not have been faked, say scientists|author=Squires, Nick|publisher=Montreal Gazette|date=December 19, 2011|newspaper=[[Montreal Gazette]]|accessdate=December 23, 2011}}</ref><ref>http://opac.bologna.enea.it:8991/RT/2011/2011_14_ENEA.pdf ''(in italian)''</ref> Professor Paolo Di Lazzaro, the lead researcher, indicated in an e-mail interview that '….it appears unlikely a forger may have done this image with technologies available in the Middle Ages or earlier', but their study does not mean the Shroud image was created by the flash of a miraculous resurrection, contrary to how the story was presented in the media, especially on the Web.<ref name=lazzaro>{{cite web |url=http://cosmiclog.msnbc.msn.com/_news/2011/12/22/9636065-was-holy-shroud-created-in-a-flash-italian-researchers-resurrect-claim |title=Was Holy Shroud created in a flash? Italian researchers resurrect claim |author=Boyle, Alan |publisher=[[MSNBC]]|date=December 23, 2011|accessdate=December 23, 2011}}</ref> Prominent skeptic [[Joe Nickell]], however, is not impressed with the news. He indicates the latest findings is nothing new despite being 'dressed up in high-tech tests' and doesn't prove much of anything.<ref name=lazzaro/>
In December 2011 physicist Giulio Fanti published a critical compendium of the major hypotheses regarding the formation of the body image on the shroud. Fanti stated that "none of them can completely explain the mysterious image". Fanti then considered corona discharge as the most probable hypothesis regarding the formation of the body image.<ref name=Fanti1211 >G. Fanti. [http://jist.imaging.org/resource/1/jimte6/v55/i6/p060507_s1?isAuthorized=no abstract "Hypotheses regarding the Formation of the Body Image: A Critical Compendium"]. (November–December 2011). ''[[The Journal of Imaging Science and Technology]]''. 55(6) 060507</ref>
In his 2012 book ''The Sign'', art historian Thomas de Wesselow (who has stated that religiously he remains an [[agnostic]] and does not believe in the resurrection of Jesus) has written that he has come to view the shroud as genuine.<ref name=TeldeW/><ref name=deWI >''Exhibit A in a 2,000-year-old mystery'' [http://www.irishtimes.com/newspaper/features/2012/0326/1224313882989.html The Irish Times, March 26, 2012]</ref><ref>''The Sign: The Shroud of Turin and the Secret of the Resurrection'' by Thomas de Wesselow (April 2012) ISBN 0525953655</ref> In the book he argues that the Shroud caused the disciples to believe that Jesus had resurrected, but he does not support the historicity of the resurrection itself.<ref name=deWI/> According to ''[[The Daily Telegraph]]'', de Wesselow has mostly assembled and reinterpreted the work of other researchers, rather than doing firsthand research himself.<ref name=TeldeW>Stanford, Peter (24 Mar 2012). [http://www.telegraph.co.uk/news/religion/9162459/Mystery-solved-Turin-Shroud-linked-to-Resurrection-of-Christ.html "Mystery solved? Turin Shroud linked to Resurrection of Christ"]. ''[[The Daily Telegraph]]''.</ref>
==See also==
* [[Acheiropoieta]]: images "Not made by Hands"
* [[Depiction of Jesus]]
* [[Manoppello Image]]
* [[Relics associated with Jesus]]
* [[Sudarium of Oviedo]]
* [[Veil of Veronica]], the other "true image" (''vera icon'')
==References==
{{reflist|colwidth=30em}}
==Further reading==
* [[Ian Wilson (writer)|Wilson, Ian]] : ''The Turin Shroud: The Burial Cloth of Jesus Christ?'', Galilee Trade; Revised edition, 1979, ISBN 0-385-15042-3
* [[Lynn Picknett|Picknett, Lynn]] and Prince, Clive: ''The Turin Shroud: In Whose Image?'', Harper-Collins, 1994 ISBN 0-552-14782-6.
* [[Joe Nickell|Nickell, Joe]] : ''Inquest on the Shroud of Turin: Latest Scientific Findings'', Prometheus Books; Subsequent edition, 1998, ISBN 1-57392-272-2.
* [[Walter McCrone|McCrone, Walter]] : ''Judgment Day for The Turin Shroud'', Prometheus Books, 1999, ISBN 1-57392-679-5
* [[Mark Antonacci|Antonacci, Mark]] : ''The Resurrection of the Shroud'', M. Evans & Co., New York 2000, ISBN 0-87131-890-3
* [[Frederick Zugibe|Zugibe, Frederick]] : ''The Crucifixion of Jesus: A Forensic Inquiry'' – (2005), 2nd edition, ISBN 1-59077-070-6
* [[Brendan Whiting|Whiting, Brendan]], ''The Shroud Story'', Harbour Publishing, 2006, ISBN 0-646-45725-X
* [[Raymond N. Rogers|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
* Danin, Avinoam. ''Botany of the Shroud: The Story of the Floral Images on the Shroud of Turin.'' Jerusalem: Danin Publishing, 2010.
==External links==
{{Commons category|Shroud of Turin}}
* [http://www.sindone.org/ Official site of the custodians of the Shroud in Turin]
* [http://dsc.discovery.com/news/2008/03/21/shroud-of-turin.html The Shroud of Turin through History] – A photographic slideshow history of the shroud at [http://www.discovery.com Discovery.com]
* [http://www.time.com/time/magazine/article/0,9171,988184-1,00.html "Science And The Shroud", ''Time Magazine'', April 20, 1998]
* [http://www.sindonology.org/lengthMeasurements/lengthMeasurements.shtml Online Length Measurements on Shroud Photographs]
===Pro-authenticity sites===
* [http://www.shroud.com/ Shroud.com] by Barrie Schwortz, [[STURP]] member.
* [http://shroudstory.com/ Shroud of Turin Story – Guide to the Facts] (Dan Porter)
* [http://e-forensicmedicine.net/Washed.htm Forensic Medicine and the Shroud of Turin] (Dr Frederick Zugibe)
* [http://www.shrouduniversity.com/ Shroud University – Explore the Mystery] (Russ Breault)
* [http://www.datingtheshroud.com/ Dating The Shroud] (Brendan Whiting)
===Skeptical sites===
* [http://www.crimelibrary.com/criminal_mind/scams/shroud_of_turin/index.html?sect=27 Shroud of Turin, sacred relic or religious hoax?]
* [http://www.mcri.org/home/section/63-64/the-shroud-of-turin McCrone Research Institute presentation of its findings] Assertion that the shroud is a painting.
* [http://www.skepdic.com/shroud.html The Shroud of Turin – The Skeptic's Dictionary]
* [http://shroudturinfake.yolasite.com/ The Shroud of Turin is a Forgery]
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[[Categoria:Reliquiae religiosae]]
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[[Categoria:Iesus]]
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[[Categoria:Taurinum]]
[[Category:Visitor attractions in Turin]]
[[Categoria:Res opinabiles]]
[[Category:Culture in Turin]]
[[Category:Forgery controversies]]
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