Shroud of Turin Truth

Warning: The Shroud of Turin is one of the most contentious subjects in the intellectual world. Whenever it is mentioned, vigorous debate follows. It has been studied more rigorously and scientifically than any other object in history. There is an army of scholars (Sindonologists) and entire libraries that are solely dedicated to studying it. It is unwise to advertise an opinion on any claim concerning the Shroud before learning all the facts. You have been warned.

The Shroud of Turin is both a photographic negative and an image encoded with 3-dimensional data. Leading experts in the field of carbon-dating no longer consider the 1988 test to be scientifically valid, as the sampling was most likely contaminated. Other scientific and historical methods can accurately place the Shroud prior the medieval period of the faulty carbon dating test. Of the myriad of Christian relics, the Shroud stands alone as veritable encyclopedic tapestry of scientific evidence.

The skeptics who scream so loudly that it has to be a forgery should ask themselves one question and one question alone: Why? Not how, but WHY? Many have tried to replicate how the image could have been formed. But all have refused to address the far more relevant question of why would anyone centuries prior to the invention of photography go to such elaborate pains to produce a forgery that no one would want or even understand in that day and age.

This 'Master' forger would have had to be able to accurately anticipate the eventual science of photography and its worldwide cultural impact, as well as 3-dimensional encoding and a compendium of other scientific data all evidenced on the Shroud and give this master forgery to a world that didn't want it or could possibly appreciate its preternatural symphony of science. If such a person did exist, they are more supernatural than the Shroud itself.

There is a great deal of public misunderstanding about the historical and scientific evidence concerning the Shroud of Turin. See below for the real story.

Latest Research on the Shroud

The Dailymail: Turin Shroud is stained with the blood of torture victim.

FOR THE SKEPTICS and those that still believe the outdated and misinformed idea that 'Science' proved the Shroud to be a medieval forgery, you need to check the facts.

Here is a great place to start, at Dan Porter's legendary blog.

The Definitive FAQ

The biggest misunderstanding concerning the Shroud is the 1988 Carbon 14 dating test. Many people believe that the Shroud was then proven to be a fake and that's the end of the story. The truth is, that the test was improperly administered and world experts in that sphere of science have determined the test to be invalid.

1. In 2005, the peer-reviewed scientific journal Thermochimica Acta (Volume 425 pp. 189-194) published Raymond Rogers article on the subject, which proved the C14 dating to be incorrect.

2. Philip Ball, the Senior Editor of Physical Sciences for the Nature Journal of Science paraphrased Rogers writing, "It is, [Rogers] says, between 1300 and 2000 years old. Let's call it somewhere around the middle of that range, which puts the age at about 2,000 years. . . ."

3. Robert Villarreal of Los Alamos National Laboratory, states:

The age-dating process failed to recognize one of the first rules of analytical chemistry that any sample taken for characterization of an area or population must necessarily be representative of the whole.

For all the facts about the failed test:

1988 Test Fail

In short, they took samples from a highly contaminated area (the corner where the Shroud was most commonly handled) which also proved to have medieval interwoven repairs to the cloth. Moreover, the vanillin decomposition of the flax fibers show a different composition between sample area and the rest of the Shroud.

Thou shall not put the Lord thy God to the test...

Resources

37x73.com is proud to add three more resources to those interested in studying the Shroud of Turin. To see how the Golden Ratio can be found on the Shroud of Turin, read:

The Divine Proportion

Another research resource is Anno Domini, a listing of historical dates that coincide with Biblical mathematics. Shroud Code outlines the gematric evidence for the Shroud of Turin being encoded in the Scriptures.

Anno Domini

Shroud Code

By employing the above resources and any other gematric evidence one may be able to discover more hidden patterns in the history of the Shroud. Here is a good summary of its history.

Shroud History

The above image is from a Hungarian Prayer Manuscript, displaying a cloth with a 3:1 twill weave and 'Poker' holes, features that are unique to the Shroud of Turin. This manuscript has been positively dated to 1192, prior to the infamous 1988 C14 dating claim of 1260-1390.

For those new to Sindonology (the study of the Shroud) a good place to start is Robert Clifton Robinson's page on the evidence for the Resurrection based on the historical facts and the Shroud itself.

The Resurrection

Sindonology, the study of the Shroud, is also a website that has some fantastic tools for analyzing the Shroud. The best is the humorously named, but seriously scientific 'Shroudscope' which is an online interactive microscopic photograph of the Shroud.

Shroudscope

Sindonology

For those interested in the science, here is a collection of scientific papers on the Shroud of Turin.

Scientific Papers

Another impressive aspect about the Shroud, is the fact that it is embedded with 3D information. Just think about that...

3D Shroud

The more one studies the Shroud of Turin, the more one realizes that the fabric is like a sponge that has soaked up an encyclopedia of scientific evidence over the ages. The botanical evidence for the Shroud comes to us from Dr. Avinoam Danin of the Hebrew University, Jerusalem, who testified to the Middle Eastern origin of the Shroud.

Middle Eastern Origin

One of the exciting aspects about the modern study of the Shroud is connecting the online dots between various researchers. More evidence than ever before is now available online. One researcher (J.R. Watts) believes there are codes in the Bible about the Shroud.

If there is a code on the Shroud written in blood, then there should definitely be codes about it in the Bible.

If you are a Shroud Researcher, a Sindonologist, a Shroudy or just Christian, you should know about the 3/7 Code in the Bible. It is your duty as a follower of God, aka Jesus Christ, to learn about this important discovery in His Word.

The Three-Seven Code

Recently I emailed the historian Jack Kilmon concerning his defense of the historicity of the Shroud of Turin. His response was prompt and rigorously engaging. To read his correspondence concerning the deep history of the Shroud see:

The Kilmon Correspondence

For a powerful presentation of the entire argument for the Shroud, read Jack Kilmon's argument here:

The Kilmon Argument

For your entertainment here is an excerpt that makes the case.

If the Shroud is a forgery then, according to Kilmon, the following must also be true.

1. The forger first painted the bloodstains before he painted the image.

2. The forger integrated forensic qualities to his image that would only be known 20^th century science.

3. The forger duplicated blood flow patterns in perfect forensic agreement to blood flow from the wrists at 65° from vertical to suggest the exact crucifixion position of the arms.

4. The forger "painted" the blood flows with genuine group AB blood that he had "spiked" with excessive amounts of bilirubin since the forger knew that severe concussive scourging with a Roman flagrum would cause erythrocyte hemolysis and jaundice.

5. The forger "plotted" the scourge marks on the body of the "man in the shroud" to be consistent under forensic examination with two scourgers of varying height.

6. The forger also duplicated abrasion and compression marks on the scourge wounds of the shoulders to suggest to 20^th century forensic examiners that the "man in the shroud" had carried a heavy weight following the scourging.

7. The forger, against all convention of medieval artistry, painted the body he was "hoaxing" as Jesus of Nazareth, nude to conform to genuine Roman crucifixions.

8. The forger, as the forensic genius he was, illustrated the nails of crucifixion accurately through the wrists rather than the hands as in all other conventional medieval representations. He also took into account that the thumbs of a crucified victim would rotate inward as a result of median nerve damage as the nails passed through the spaces of Destot.

9. The forger was clever enough to "salt" the linen with the pollens of plants indigenous only to the environs of Jerusalem in anticipation of 20th century palynological analysis.

10. The forger was an artist who surpassed the talents of all known artists to the present day, being able to "paint" an anatomically and photographically perfect human image in a photographic negative manner, centuries before photography, and be able to do so without being able to check his work, close up, as he progressed.

11. The forger was able to paint this image with some unknown medium using an unknown technique, 30-40 feet away in order to discern the shadowy image as he continued.

12. The forger was clever enough to depict an adult with an unplaited pony-tail, sidelocks and a beard style consistent with a Jewish male of the 1^st century.

13. The forger thought of such minute details as incorporating dirt from the bare feet of the "man in the shroud" consistent with the calcium carbonate soil of the environs of Jerusalem.

14. This forger was such an expert in 20^th century biochemistry, medicine, forensic pathology and anatomy, botany, photography and 3-D computer analysis that he has foiled all the efforts of modern science. His unknown and historically unduplicated artistic technique surpasses all great historical artists, making the pale efforts of DaVinci, Michaelangelo, Raphael and Botticelli appear as infantile scribblings.

If the Shroud of Turin is a forgery of the 14^th century, as the radiocarbonists claim, and not a genuine artifact of the 1^st century, all of these qualities of the purported medieval "forger" must be accepted. If the Shroud was "forged" it would have to have been painted.

It is an irrefutable fact that there is NO paint or pigment on the Shroud of Turin leaving the only explanation of the technique of the forger to have used "photography" to manufacture the relic in the THIRTEENTH CENTURY!! Some authors have gone so far as to suggest exactly that. This is patently absurd!

We can add to this list, that the forger must have known how to fake torture forensics, since the recent discovery of creatinine and ferritin, nanoparticles are indicative of torture.

Torture Science