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By Jason Jimenez
The Shroud of Turin has long been a fascinating relic that has spawned intense debate about its origins and authenticity while captivating people’s hearts and minds for centuries.
The ancient linen cloth, which bears the faint image of a man who appears to have suffered a brutal death consistent with the crucifixion mentioned in the Gospels of Jesus, has now undergone new X-ray testing to unravel the mysteries surrounding its origins and validity. Every avenue, from forensic analysis to historical documentation, has been explored to uncover the truth behind this enigmatic artifact.
What is the Shroud of Turin?
The Shroud of Turin is a rectangular piece of cloth measuring approximately 14 feet 5 inches by 3 feet 7 inches. It is characterized by a finer weave of the 3-over-1 herringbone pattern and is renowned for bearing a faint, brownish image of a nude man with his hands folded across his groin.
The shroud first appeared in Lirey, France, in the 1350s. A French knight named Geoffroi de Charny acquired it and placed it in a church he built there.
In 1532, a devastating fire engulfed the chapel of Saint Jean in Chambery, France, where the revered Shroud of Turin was housed. This catastrophic event occurred on December 4, 1532, sparked by a simple lit candle. The chapel, predominantly constructed of wood, provided ample fuel for the flames, leading to a rapid and widespread inferno. Thankfully, the shroud survived but sustained minor burn holes and scorch marks.
Presently, the shroud is kept in the Cathedral of Saint John the Baptist in Turin, Italy, and is revered by many Christians as the burial cloth of Jesus Christ.
The latest technological advancement in the Shroud
Since its first scientific examination in 1898, the Shroud of Turin has been thoroughly analyzed by various experts, including chemists, physicists, forensic pathologists, microbiologists, and botanists. It is widely believed that the Shroud is the most extensively studied archaeological artifact in human history.
In the 1980s, carbon dating suggested that the Shroud was only 700 years old, leading many to believe it was a medieval forgery. However, critics of the carbon dating process have long pointed out potential flaws, such as contamination of the sample or the choice of the sample location, primarily due to contamination from soot and other elements that could skew the results.
However, in the last year or so, a new technological analysis has been applied to studying the shroud. According to the Catholic Herald, a new test was applied to The Shroud of Turin: “Italian researchers have used a new X-ray technique to demonstrate that the Shroud of Turin dates from the time of Jesus Christ. Scientists at the Institute of Crystallography of the National Research Council (Consiglio Nazionale delle Ricerche, CNR) studied eight tiny samples of fabric from the shroud, a burial garment which bears the imprint of a man killed by crucifixion, using a method called wide-angle X-ray scattering (WAXS).”
Dr. Taylor Marshall points out that Wide-Angle X-ray Scattering (WAXS) technology represents a more advanced and accurate dating method compared to traditional carbon dating. In contrast, WAXS technology examines the structural integrity of the linen fibers at a molecular level, offering a much more precise dating. This method has now confirmed that the Shroud dates back 2,000 years, aligning with the historical period of Jesus Christ’s life and crucifixion.
X-ray analysis has revealed that the image on the shroud is not a painting but a result of a complex chemical reaction involving the fibers of the linen containing human blood and features a 3D image of a man who appears to have been crucified.
Other pieces of evidence of the Shroud’s authenticity
It is fascinating to note that a detailed analysis of the Shroud reveals unique features that closely align with the biblical accounts of Jesus’s crucifixion. For example, there are over 30 puncture wounds around the head, consistent with a crown of thorns, which is a detail unique to the narrative of Jesus’ suffering.
“Then Pilate took Jesus and flogged him. And the soldiers twisted together a crown of thorns and put it on his head and arrayed him in a purple robe. They came up to him, saying, “Hail, King of the Jews!” and struck him with their hands. Pilate went out again and said to them, “See, I am bringing him out to you that you may know that I find no guilt in him.”So Jesus came out, wearing the crown of thorns and the purple robe. Pilate said to them, “Behold the man!” When the chief priests and the officers saw him, they cried out, “Crucify him, crucify him!” Pilate said to them, “Take him yourselves and crucify him, for I find no guilt in him” (John 19:1-6).
Barrie Schwortz served as the Official Documenting Photographer for the Shroud of Turin Research Project, which conducted the first comprehensive scientific examination of the Shroud of Turin, and the founder of Shroud.com.
In one of his final interviews before his death on June 21, 2024, at the age of 77, Schwortz discussed the unique characteristics of the image on the Shroud, particularly its three-dimensional qualities. The image density on the Shroud varies with the distance between the cloth and the body it covers, which is inconsistent with any known artistic technique. No modern technology has replicated this type of image, which suggests that it was formed by a process that is not fully understood, potentially natural or supernatural. Several leading experts believe that at least 34 trillion watts of energy were required to form the impressions on the linen cloth. This staggering amount of energy is theorized to have been emitted during the resurrection, resulting in the 3D image on the Shroud.
Furthermore, the fact that the Shroud is made from an expensive, finely woven linen fits the description of a “rich man’s shroud” mentioned in the Gospels (see Matthew 27:57-61; Mark 15:46). The significant aging in the Shroud’s fibers compared to linen from Masada, dating back to the mid-1st century, suggests the Shroud’s much older age.
Lastly, scientists in the late 20th century discovered pollen on the shroud’s fibers that matched pollen from Jerusalem. A study published in Heritage using a small sample from the shroud also found tiny particles of Middle Eastern pollen in the linen fibers. The presence of this pollen and images of flowers on the shroud suggest that it might have originated near Jerusalem and could have been first used in March or April, around Easter.
While we can’t know for sure if this mysterious artifact is the actual linen that Joseph of Arimathea bought and placed over Jesus’s body, it does seem to align with the descriptions of the crucifixion in the Gospel narratives. The wounds on the hands, feet, and side, as well as the crown of thorns and scourging marks, are all consistent.
Apart from its religious significance, the Shroud of Turin represents a valuable part of our cultural heritage that should be preserved, respected, and researched as a historically and religiously significant artifact.