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Theory of Intelligent Design, the best explanation of Origins » Bible / Christian faith / Apolotetics » The shroud of turin

The shroud of turin

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1 The shroud of turin on Sat Apr 19, 2014 2:16 pm


The shroud of turin

For you were BOUGHT at a price; therefore glorify God in your body and in your spirit, which are God's.
1 Corinthians 6:20
Therefore take heed to yourselves and to all the flock, among which the Holy Spirit has made you overseers, to shepherd the church of God which He PURCHASED with His own blood.
Acts 20:28
"...just as the Son of Man did not come to be served, but to serve, and to give His life a RANSOM for many."
Matthew 20:28
For there is one God and one Mediator between God and men, the Man Christ Jesus, who gave Himself a RANSOM for all, to be testified in due time,
1 Timothy 2:5-6
knowing that you were not REDEEMED with corruptible things, like silver or gold, from your aimless conduct received by tradition from your fathers, but with the precious blood of Christ, as of a lamb without blemish and without spot.
1 Peter 1:18-19
These are all terms used to describe a financial transaction.
When you complete a transaction at the store the cashier gives you a piece of paper that describes the details of the price paid
It's called a 'receipt'.

Above is a negative of the face on the Shroud of Turin.  It was taken by Giuseppe Enri in 1931.

1) The bloodstains on the Shroud have been forensically matched with the Sudarium of Oviedo which is inarguably centuries older than the Carbon test results.

2) There are pictures of the Shroud in the Hungarian Pray Codex which was written about 200 years before the results on the Carbon dating test.

Additionally, a published study found that the fragments tested in the Shroud were from a section of the Shroud that had been repaired in the middle ages.

The second mystery is related to the dating of the Shroud.  In 1988, samples were taken from the bottom corner opposite the feet and sent to three laboratories in Oxford, Zurich, and Tucson for C14 dating.  The average date from the three laboratories was 1260 ± 31 AD, which produced a two sigma (95% probability) range of 1260 to 1390 AD when corrected for the changing production of C14 in the upper atmosphere.  But the values from these three laboratories did not agree well with each other.  Statistical analysis of the average values from each laboratory indicated only a 5% chance that these average values are consistent with the measurement uncertainties.  When plotted, these average values from the three laboratories produce a slope for the C14 dates of about 40 years/cm as a function of the distance from the bottom edge of the Shroud, so that if the sampling location were moved about an inch closer to the center of the body mass, then the C14 date would increase by about 100 years.  This indicates that something probably caused a spatially dependent shift in the experimental C14 dates.  And the C14 date to the Middle-Ages contradicts other scientific and archeological dating methods noted above.  It contradicts the conclusions of historical investigation which indicates that the Shroud of Turin dates back prior to 944 AD.  It contradicts physical evidence that the Shroud could not have been produced in the Middle Ages due to the bizarre characteristics of the image, and it contradicts other evidence that the Shroud of Turin is the authentic burial cloth of Jesus.  Though multiple hypotheses (contamination, isotopic change, bio-plastic film, invisible reweave, and neutron absorption) have been offered to explain the C14 dating to the Middle Ages, this will remain an area of active research until conclusive evidence is obtained.

         The third mystery is related to the blood marks on the Shroud.  Most of the blood would have dried on the body by the time that the body was placed into the Shroud in the tomb.  Dried blood will not soak into a piece of cloth placed over the blood.  In fact, blood that is dried on skin must be scrubbed off of the skin to remove it.  Yet the blood marks on the Shroud are not only on the surface of the linen but often soak through it to the other side, and the dried surface of the blood marks on the cloth are pristine in appearance with no cracking or chipping on the outer edge.  This indicates that the Shroud was not lifted off of a body from which it had soaked up the blood.  So the third mystery is how the dried blood could have transferred from the body to the cloth and produce the blood marks that can be seen on the Shroud.

         The conference on the Shroud of Turin in Tri-Cities, Washington, in July of 2017 will present recent research related to these mysteries as well as other issues.  It is also intended to help form a basis for future research.

Photographs Below

         The four photographs below show additional views of the Shroud of Turin.  The first photo is a close-up of the face taken by Giuseppe Enrie, who was the official photographer for the exhibition of the Shroud in 1931.  This is a negative based on front lighting of the image of the face.  The next photo down is a positive of the entire front image based on front lighting.  The next photo is a positive of the front image based on rear lighting.  And the last photo is a positive of the back (dorsal) image based on rear lighting.  The value of these last two photographs is that they indicate that no substance was transferred to the Shroud to form the images since no images can be seen in rear lighting, and that horizontal striations of the linen can be seen that are continuous across the width of the Shroud, including the area near the feet.  The horizontal striations are in the Shroud and not in the backing cloth because slight discontinuities in the striations can be seen where the 3-inch wide side strip is sown onto the main piece of the Shroud.  These continuous horizontal striations in the linen argue against the possibility that an invisible reweave or patch was made in the area from which the samples were removed in 1988 for the C-14 dating.

What is on the Shroud?

1.   Rigor mortis in feet shows that the victim was on the cross for a significant amount of time after he had died.

2.  Two nails are through one foot, but only one of the nails is through the other foot.  This allows one foot to rotate, so that the victim can push up and down on the cross in order to breath during crucifixion.  If the victim of crucifixion is not pushing up and down, then it is clear that he is dead.  The soldiers had no doubt that Jesus was dead (Mark 15:43-45, John 19:31-35).

3.  In 1532, the church where the Shroud was located caught fire.  This fire produced two scorch lines on either side of the front and dorsal images.  Water stains can also be seen on the Shroud from water thrown onto the metal box containing the Shroud after it was rescued from the fire.  The heat from the fire did not produce a gradation in the intensity of the image discoloration, indicating that the image is not due to application of an organic compound.

4.  Shortly after the fire in 1532, charred material was removed and replaced by patches.  The repeating pattern of patches and scorch marks that can be seen on the Shroud resulted from the way in which the cloth was folded at the time of the fire.   One corner of the folded Shroud that burned resulted in the many areas that had to be patched.

5.  The Shroud has four sets of burn holes in an L-shaped pattern.  This same pattern of holes appears on a picture in a document known as the Hungarian Pray Manuscript, which is dated to 1192-1195 AD.  This indicates that the Shroud of Turin ought to be identified as the cloth, sometimes called the Mandylion, that was in Constantinople until the city was sacked during the fourth crusade in 1204 AD.  It is generally believed that this cloth was brought to Constantinople from Edessa, Turkey, in 944 AD.  In Edessa, it was called the Image of Edessa.  Thus, the Shroud of Turin is the same as the Image of Edessa, so it can be historically traced back prior to 944 AD.  This indicates that the C-14 date range of 1260 to 1390 AD for the Shroud of Turin is erroneous.  Other dating methods are consistent with a first century date for the Shroud:  1) test results of tensile strength and reflectivity of linen as it ages,  2) stitching used to sew on the 3-inch wide side piece onto the main Shroud is nearly identical to that found at Masada which was destroyed in 73-74 AD,  3) the size of the Shroud being very close to 2 by 8 cubits - the ancient unit of measurement,  4) crucifixion being outlawed after the fourth century, and  5) a possible Roman Lepton over one eye dating to 27 - 30 AD.  Several hypotheses have been made to explain the erroneous C-14 date, including an invisible reweave of the sample area and neutron absorption in the trace amount of nitrogen in the linen shifting the C-14 date by the (N14 + neutron --> C14 + proton) reaction.   Details of this last option are discussed further at RECENT RESEARCH.  Pros and cons of the various options will be considered at the conference.

6.  The back (dorsal) image on the Shroud shows a separation of blood & clear blood serum that flowed from the  wound in the his side that shows on the front image.  This separation indicates that the victim’s heart was not beating for long enough to allow the red blood cells to settle out of the clear blood serum before the side wound was made.  Compare this with the "blood and water" that is said to have exited from Jesus' side wound in John 19:34.

7.  The Shroud shows 100 to 120 scourge marks from two Roman flagrum, one striking from each side, with dumbbell shaped weights on the ends of the straps.  The blood marks from these wounds show blood serum rings (visible only under UV) around the dried blood exudate.

8.  There are abrasions on both shoulders evidently caused by the victim carrying a heavy rough object.  Compare this with Jesus carrying his own cross (John 19:17).  This refers to the horizontal piece (patibulum) but not the vertical piece, which would have been stationary in the ground at the location of the crucifixion.

9.  The front and back of the head show puncture wounds from sharp objects.  Jesus had a cap of thorns beat into his scalp with rods (Matthew 27:30, Mark 15:17-19).

10.  Pollen is on the Shroud that is unique to the area around Jerusalem.  Pollen from a plant with long thorns was found around his head.

11.  The front and back (dorsal) images of the crucified man are negative images and contain 3D or topographical information content related to the distance of the cloth from the body.  Of the 100 to 200 fibers in a thread, the images result from only the top one or two layers of fibers in a thread being discolored.  The thickness of discoloration in a fiber is less than 0.4 microns, which is less than a wavelength of light.  There is no indication of capillarity (soaking up of a liquied) between the fibers or the threads.  The discolored regions of the fibers in the image result from a change in the covalent bonding of the carbon atoms that were originally in the cellulose molecules in the linen.  This change in the covalent bonding of the carbon atoms is equivalent to a dehydration and oxidation of the cellulose molecule.  The conclusion is that an artist or forger could not have produced the bizarre characteristics of the images in any era, either ancient or modern.  How the image of a crucified man could have formed on the cloth with these image characteristics will be considered at the conference.

12.  The image on the Shroud has swollen cheeks and a possible broken nose from a beating (John 18:3) or a fall.  Abrasions on the tip of the nose have a microscopic amount of dirt in the abrasions.  Jesus probably fell while carrying his cross (Matthew 27:32, Mark 15:21).

13.  The side of the front image on the Shroud shows a 2 inch wide elliptical wound - the size of a typical Roman spear (John 19:34).  Post-mortem (after death) blood and watery fluid flowed down from this wound.

14.  The blood running down his arms is at the correct angles for a crucifixion victim.  Two angles for the blood flow can be seen on his arms.  These two angles are consistent with the crucifixion victim shifting between two positions while on the cross in order to breath.  (See #2 above)  What appears to be blood on the Shroud has passed 13 tests proving that it is real human blood.  The presence of "X" and "Y" chromosomes indicates that the blood is from a male.  The blood type is AB.  And most significantly, the blood is high in bilirubin which is a compound produced by the liver when it processes damaged red blood cells,  which occurs when a victim is severely beaten, as Jesus was.  Normal blood turns very dark brown to black as it ages over days and weeks, but the blood marks on the Shroud show a reddish hue.  There are multiple possible causes for this coloration.

15.  All paintings of the Middle Ages showed the nails through the center of the palms, but nails through the palms do not support sufficient weight since there is no bone structure above this location.  Archeology has confirmed that during crucifixion, the nails were driven through the wrists.  The Shroud shows the correct nail locations - through the wrist instead of through the palm.

16.  On the Shroud, the thumbs are folded under, contrary to all paintings of the Middle Ages.  Nails through the wrists automatically fold the thumbs under due to contact of the nail with the nerve that goes through the wrist.

17.  Abrasions on one knee show a microscopic amount of dirt, which is evidence of a fall.

18.  The three-inch wide side strip is sown on with a unique stitch nearly identical to that found only at Masada which was destroyed in 73-74 AD.  This is evidence that the Shroud was made in the first century.  The reason for this three-inch side piece is not certain, but the most likely explanation is that it probably was sown on in the process of originally making the Shroud.

19.  Small chips of travertine aragonite limestone were found in dirt near the feet.  This rare form of limestone is commonly called "Jerusalem limestone" because Jerusalem is the main location in the world where it is found.  This limestone found in dirt on the Shroud had a spectral signature nearly identical to a sample of limestone taken from the Damascus Gate - the closest gate to Golgotha.  No other place on earth is known to have the identical spectral image.  This indicates that the victim whose image is shown on the Shroud almost certainly walked on the streets of Jerusalem before being crucified.

         It is important to note that there is one item that should be on a burial cloth such as this that is not present.  That one item is the products of the body's decay.  There are no body decay products on the Shroud of Turin, in spite of the fact that the pristine nature of the blood marks indicates that this Shroud was not lifted off of the body from which the blood had come.  There is also no evidence on the Shroud of other organic chemicals that might have been used in the burial process, such as myrrh and aloes (John 19:39).

The Shroud of Turin, also commonly called the Turin Shroud, is a burial cloth that has been located in Turin, Italy, since 1578, and has a well-documented history back to about 1355.  The amazing thing about this burial cloth is that it contains full size good resolution images of the front and back of a naked man that was crucified exactly as the New Testament says that Jesus of Nazareth was crucified.  When put on display in Turin, Italy, which usually occurs several times each century, millions of people file past the Shroud and see the images of the crucified man.  Long standing tradition maintains that the Shroud of Turin is the authentic burial cloth of Jesus.  Ancient documentation and a variety of ancient coins and artistic works are consistent with this view.  The scientific investigation of the Shroud began in 1898 when Secondo Pia took the first photograph of the Shroud which revealed that the image was a good resolution negative image.  It has now been scientifically studied for over 115 years making it the most studied ancient artifact in existence.  This scientific research has shown that the characteristics of the image are so bizarre that it could not be the result of a human agent, either an artist or forger, because the technology to create this image did not exist in a previous era and still does not exist even today.  Based on this scientific research, the general consensus of Shroud researchers is that the Shroud wrapped the body of a real human being that was crucified, and that in some way this body encoded front and back images of itself onto the inside of the Shroud.  

How did the Turin Shroud get its image?

1. It's a painting 1
If this were true, it should be possible to identify the pigments used by chemical analysis, just as conservators can do for the paintings of Old Masters. But the Sturp team found no evidence of any pigments or dyes on the cloth in sufficient amounts to explain the image. Nor are there any signs of it being rendered in brush strokes. In fact the image on the linen is barely visible to the naked eye, and wasn't identified at all until 1898, when it became apparent in the negative image of a photograph taken by Secondo Pia, an amateur Italian photographer. The faint coloration of the flax fibres isn't caused by any darker substance being laid on top or infused into them - it's the very material of the fibres themselves that has darkened. And in contrast to most dyeing or painting methods, the colouring cannot be dissolved, bleached or altered by most standard chemical agents. The Sturp group asserted that the image is the real form of a "scourged, crucified man… not the product of an artist". There are genuine bloodstains on the cloth, and we even know the blood group (AB, if you're interested). There are traces of human DNA too, although it is badly degraded.
That didn't prevent the American independent chemical and microscopy consultant, Walter McCrone, who collaborated with the Sturp team, from asserting that the red stains attributed to blood were in fact very tiny particles of the red pigment iron oxide, or red ochre. Like just about every other aspect of the shroud, McCrone's evidence is disputed; few now credit it. Another idea is that the image is a kind of rubbing made from a bas-relief statue, or perhaps imprinted by singeing the fabric while it lay on top of such a bas-relief - but the physical and chemical features of the image don't support this.

2. It was made by a natural chemical process
If the coloured imprint comes from the darkening of the cellulose fibres of the cloth, what might have caused it? One of the doyens of scientific testing of the shroud, Raymond Rogers of the Los Alamos National Laboratory in New Mexico, argued in 2002 that a simple chemical transformation could do the job. He suggested that even very moderate heat - perhaps 40C (104F) or so, a temperature that post-mortem physicians told him a dead body could briefly attain if the person died from hyperthermia or dehydration - could be enough to discolour the sugary carbohydrate compounds that might be found on the surface of cotton fibres. It doesn't take a miracle, Rogers insisted. This is a reassuringly mundane idea, but there is little evidence for it in this particular circumstance - it's not as if it happens all the time on funeral shrouds. Another idea is that the discoloration of the fibres was caused by a chemical reaction with some substance that emanated from the body. The French biologist, Paul Vignon, proposed in the early 1900s that this substance might have been ammonia, produced by the breakdown of urea in sweat. That won't work, though: the image would be too blurry. In 1982, biophysicist John DeSalvo suggested instead that the substance could be lactic acid from sweat. This compound is one of those responsible for so-called Volckringer images of plant leaves, left for years between the pages of a book: substances are exuded from the leaf and react with paper fibres to produce a dark, negative image.

3. It's a photograph
Secondo Pia's photograph showed that the image on the cloth is a negative: dark where it should be bright. This deepens the mystery, and Pia himself casually suggested that the shroud could have been made by some primitive kind of photography. That idea has been inventively pursued by South African art historian Nicholas Allen, who argues that it could in principle have been achieved using materials and knowledge available to medieval scholars many centuries before genuine photography was invented. The key to the idea is the light-sensitive compound silver nitrate, the stuff that darkened the emulsion of the first true photographic plates in the 19th Century, as light transformed the silver salt into tiny black particles of silver metal. This substance does seem to have been known in the Middle Ages, Allen says: it was described in the writings of the 8th Century Arabic alchemist, Jabir ibn Hayyan, and also by the German Dominican Albertus Magnus in the 13th Century. It could have been coated on to the cloth in a darkened chamber and exposed to sunlight through a lens - made of quartz not glass, since the silver is in fact darkened by ultraviolet light, which glass absorbs but quartz does not. Allen has made replicas of a shroud this way using model figurines. But how the image stays on the cloth when the silver is removed, and how mediaeval forgers gathered all this sophisticated knowledge about optics and chemistry without there being any trace in surviving documents poses problems for the idea. So do various issues about the exact shape and contrast of an image made this way. For most Turin Shroud theorists, Allen's idea is a triumph of ingenuity over plausibility.

STURP determined that the image was caused by rapid dehydration, oxidation and degradation of the linen by an unidentified process, coloring it a sepia or straw yellow.  Several Physicists, including Dr. John Jackson of the Colorado Shroud Center, suggest that a form of columnated radiation is the best explanation for how the image was formed, leaving a scorch-like appearance (the scorch caused by light versus heat, as the image does not fluoresce).  Dr. Thomas Phillips (nuclear physicist at Duke University and formerly with the High Energy Labs at Harvard) says a potential miliburst of radiation (a neutron flux) could be consistent with the moment of resurrection.  Such a miliburst might cause the purely surface phenomenon of the scorch-like (scorch-by-light) images, and possibly add Carbon-14 to the Cloth.  As Dr. Phillips points out: "We never had a resurrection to study" and more testing should be done to ascertain whether a neutron-flux occurred.
The coloration on the linen fibers of the Shroud is extremely thin.  Sticky tape samples taken from different parts of the image on the Shroud's surface in 1978 were too thin to measure accurately with a standard optical microscope, which means they were thinner than the wavelength of visible light, or less than about 0.6 micrometers.  A more recent measurement of the coloration on one of the fibers was found to be about 0.2 micrometers thick (or one-fifth of a thousandth of a millimeter).
Italian scientists working at the National Agency for New Technologies, Energy and Sustainable Economic Development (ENEA) conducted experiments on their own time between 2005 and 2010, applying ultraviolet radiation to strips of linen to see if they could match the coloration on the fibers of the Shroud of Turin.  In their ENEA technical report, published in November 2011, they wrote that particular doses of radiation left a thin coating on linen fibers that resemble the colored fibers on the image of the Shroud of Turin.  When questioned, the lead scientist in the study, Paolo Di Lazzaro, said that vacuum ultraviolet radiation (VUV, wavelength 200-100 nanometers) from laser pulses lasting less than 50 nanoseconds produced the best effect.
These findings support the idea that the image on the Shroud was made by a sudden flash of high-energy radiation.  They also refute the possibility of forgery, since lasers were obviously not available in medieval times.
The technical report: P. Di Lazzaro, D. Murra, E. Nichelatti, A. Santoni, G. Baldacchini: "Colorazione similsindonica di tessuti di lino tramite radiazione nel lontano ultravioletto: riassunto dei risultati ottenuti presso il Centro ENEA di Frascati negli anni 2005-2010" RT/2011/14/ENEA (2011).

Why Shroud of Turin's Secrets Continue to Elude Science
Di Lazzaro and his colleagues at Italy’s National Agency for New Technologies, Energy and Sustainable Economic Development (ENEA) conducted five years of experiments, using state-of-the-art excimer lasers to train short bursts of ultraviolet light on raw linen, in an effort to simulate the image’s coloration. The ENEA team, which published its findings in 2011, came tantalizingly close to approximating the image’s distinctive hue on a few square centimeters of fabric. But they were unable to match all the physical and chemical characteristics of the shroud image. Nor could they reproduce a whole human figure.

The ultraviolet light necessary to do so “exceeds the maximum power released by all ultraviolet light sources available today,” says Di Lazzaro. It would require “pulses having durations shorter than one forty-billionth of a second, and intensities on the order of several billion watts.”

If the most advanced technologies available in the 21st century could not produce a facsimile of the shroud image, he reasons, how could it have been executed by a medieval forger?

For believers, the radiation thesis suggests that a “divine light” in the tomb might have seared the crucified form of Jesus Christ onto the shroud. “One could look at hypotheses outside the realm of science, a sort of miracle,” says Di Lazzaro. “But a miracle cannot be investigated by the scientific method.”..

The Shroud of Turin - Evidence it is authentic

Below is a summary of scientific and historical evidence supporting the authenticity of the Shroud of Turin as the ancient burial cloth of the historical Jesus of Nazareth.

by J. Michael Fischer, adapted from the original article by John C. Iannone

The Shroud is a linen cloth woven in a 3-over-1 herringbone pattern, and measures 14'3" x 3'7".  These dimensions correlate with ancient measurements of 2 cubits x 8 cubits - consistent with loom technology of the period.  The finer weave of 3-over-1 herringbone is consistent with the New Testament statement that the "sindon" (or shroud) was purchased by Joseph of Arimathea, who was a wealthy man.
In 1532, there was a fire in the church in Chambery, France, where the Shroud was being kept.  Part of the metal storage case melted and fell on the cloth, leaving burns, and efforts to extinguish the fire left water stains.  Yet the image of the man was hardly touched.
In 1534, nuns sewed patches over the fire-damaged areas and attached a full-size support cloth to the back of the Shroud.  This became known as the "Holland" backing cloth.
The Shroud was moved to Turin in 1578, where it remains to this day.

In 2002, a team of experts did restoration work, such as removing the patches from 1534 and replacing the backing cloth.  One of the specialists was Swiss textile historian Mechthild Flury-Lemberg.  She was surprised to find a peculiar stitching pattern in the seam of one long side of the Shroud, where a three-inch wide strip of the same original fabric was sewn onto a larger segment.
The stitching pattern, which she says was the work of a professional, is quite similar to the hem of a cloth found in the tombs of the Jewish fortress of Masada.  The Masada cloth dates to between 40 BC and 73 AD.
This kind of stitch has never been found in Medieval Europe.
The 1988 Carbon-14 tests done at Oxford, Zurich and Arizona Labs used pieces of the same sample cut from a corner (lower left of above pictures).
1. A Jan 20, 2005 paper in the professional journal ThermoChimica Acta by Dr. Ray Rogers, retired Fellow with the Los Alamos Scientific Laboratory and lead chemist with the original science team STURP (the 1978 Shroud of Turin Research Project, involving approximately 35 scientists directly examining the Shroud for five days), has shown conclusively that the sample cut from The Shroud of Turin in 1988 was taken from an area of the cloth that was re-woven during the middle ages.  Here are some excerpts:
"Pyrolysis-mass-spectrometry results from the sample area coupled with microscopic and microchemical observations prove that the radiocarbon sample was not part of the original cloth of the Shroud of Turin. The radiocarbon date was thus not valid for determining the true age of the shroud."
"As part of the Shroud of Turin research project (STURP), I took 32 adhesive-tape samples from all areas of the shroud and associated textiles in 1978."  "It enabled direct chemical testing on recovered linen fibers and particulates".
"If the shroud had been produced between 1260 and 1390 AD, as indicated by the radiocarbon analyses, lignin should be easy to detect.  A linen produced in 1260 AD would have retained about 37% of its vanillin in 1978...  The Holland cloth, and all other medieval linens gave the test [i.e. tested positive] for vanillin wherever lignin could be observed on growth nodes.  The disappearance of all traces of vanillin from the lignin in the shroud indicates a much older age than the radiocarbon laboratories reported."
"The fire of 1532 could not have greatly affected the vanillin content of lignin in all parts of the shroud equally.  The thermal conductivity of linen is very low... therefore, the unscorched parts of the folded cloth could not have become very hot."  "The cloth's center would not have heated at all in the time available.  The rapid change in color from black to white at the margins of the scorches illustrates this fact."  "Different amounts of vanillin would have been lost in different areas.  No samples from any location on the shroud gave the vanillin test [i.e. tested positive]."  "The lignin on shroud samples and on samples from the Dead Sea scrolls does not give the test [i.e. tests negative]."
"Because the shroud and other very old linens do not give the vanillin test [i.e. test negative], the cloth must be quite old."  "A determination of the kinetics of vanillin loss suggests that the shroud is between 1300- and 3000-years old.  Even allowing for errors in the measurements and assumptions about storage conditions, the cloth is unlikely to be as young as 840 years."
"A gum/dye/mordant [(for affixing dye)] coating is easy to observe on... radiocarbon [sample] yarns.  No other part of the shroud shows such a coating."  "The radiocarbon sample had been dyed.  Dyeing was probably done intentionally on pristine replacement material to match the color of the older, sepia-colored cloth."  "The dye found on the radiocarbon sample was not used in Europe before about 1291 AD and was not common until more than 100 years later."  "Specifically, the color and distribution of the coating implies that repairs were made at an unknown time with foreign linen dyed to match the older original material."  "The consequence of this conclusion is that the radiocarbon sample was not representative of the original cloth."
"The combined evidence from chemical kinetics, analytical chemistry, cotton content, and pyrolysis-mass-spectrometry proves that the material from the radiocarbon area of the shroud is significantly different from that of the main cloth.  The radiocarbon sample was thus not part of the original cloth and is invalid for determining the age of the shroud."
"A significant amount of charred cellulose was removed during a restoration of the shroud in 2002."  "A new radiocarbon analysis should be done on the charred material retained from the 2002 restoration."
Raymond N. Rogers. 20 January 2005. Studies on the radiocarbon sample from the shroud of turin. Thermochimica Acta, Vol. 425, Issue 1-2, Pages 189-194.
2. The Fire-Model Tests of Dr. Dmitri Kouznetsov in 1994 and Drs. John Jackson and Propp in 1998, which replicated the famous Fire of 1532, demonstrated that the fire added carbon isotopes to the linen.
Dmitri Kouznetsov, Andrey Ivanov, Pavel Veletsky. 5 January 1996. Effects of fires and biofractionation of carbon isotopes on results of radiocarbon dating of old textiles: the Shroud of Turin. Journal of Archaeological Science, Volume 23, Issue 1, Pages 109-121. doi:10.1006/jasc.1996.0009
Jackson, John P. and Propp, Keith. 1997. On the evidence that the radiocarbon date of the Turin Shroud was significantly affected by the 1532 fire. Actes du III Symposium Scientifique International du CIELT, Nice, France.
New experiments date the Shroud of Turin to the 1st century AD.They comprise three tests; two chemical and one mechanical. The chemical tests were done with Fourier Transform Infrared Spectroscopy (FTIR) and Raman spectroscopy, examining the relationship between age and a spectral property of ancient flax textiles.The mechanical test measured several micro-mechanical characteristics of flax fibers, such as tensile strength.The results were compared to similar tests on samples of cloth from between 3250 BC and 2000 AD whose dates are accurately known.
FTIR identifies chemical bonds in a molecule by producing an infrared absorption spectrum. The spectra produce a profile of the sample, a distinctive molecular fingerprint that can be used to identify its components.
Raman Spectroscopy uses the light scattered off of a sample as opposed to the light absorbed by a sample.It is a very sensitive method of identifying specific chemicals.
The tests on fibers from the Shroud of Turin produced the following dates: FTIR = 300 BC + 400 years; Raman spectroscopy = 200 BC + 500 years; and multi-parametric mechanical = 400 AD + 400 years. All the dates have a 95% certainty. The average of all three dates is 33 BC + 250 years (the collective uncertainty is less than the individual test uncertainties).  The average date is compatible with the historic date of Jesus' death on the cross in 30 AD, and is far older than the medieval dates obtained with the flawed Carbon-14 sample in 1988.  The range of uncertainty for each test is high because the number of sample cloths used for comparison was low; 8 for FTIR, 11 for Raman, and 12 for the mechanical test.  The scientists note that "future calibrations based on a greater number of samples and coupled with ad hoc cleaning procedures could significantly improve its accuracy, though it is not easy to find ancient samples adequate for the test."
They used tiny fibers extracted from the Shroud by micro-analyst Giovanni Riggi di Numana, who gave them to Fanti.Riggi passed away in 2008, but he had been involved in the intensive scientific examination of the Shroud of Turin by the STURP group in 1978, and on April 21, 1988 was the man who cut from the Shroud the thin 7 x 1 cm sliver of linen that was used for carbon dating.
These tests were carried out in University of Padua laboratories by professors from various Italian universities, led by Giulio Fanti, Italian professor of mechanical and thermal measurement at the University of Padua's engineering faculty. He co-authored reports of the findings in 1) a paper in the journal Vibrational Spectroscopy, July 2013, "Non-destructive dating of ancient flax textiles by means of vibrational spectroscopy" by Giulio Fanti, Pietro Baraldi, Roberto Basso, and Anna Tinti, Volume 67, pages 61-70; 2) a paper titled "A new cyclic-loads machine for the measurement of micro-mechanical properties of single flax fibers coming from the Turin Shroud" by Giulio Fanti and Pierandrea Malfi for the XXI AIMETA (Italian Association of Theoretical and Applied Mechanics) congress in 2013, and 3) the 2013 book "Il Mistero della Sindone" (The Mystery of the Shroud), written by Giulio Fanti and Saverio Gaeta in Italian.
No one knows for sure how the images were created.  The images are scorch-like, yet not created by heat, and are a purely surface phenomenon limited to the crowns of the top fibers.  The Shroud is clearly not a painting; no evidence of pigments or media was found.  The blood was on the Cloth before the image (an unlikely way for an artist to work).  There is no outline, no binders to hold paint, no evidence that paint, dye, ink, or chalk created the images, and there are no brush strokes.  According to world-renowned artist Isabel Piczek, the images have no style that would fit into any period of art history.  The images show perfect photo-negativity and 3-dimensionality.  It is not a Vaporgraph or natural result of vapors.
Note: some microscopic particles of paint exist on the Shroud, but these do not constitute the image.  During the Middle Ages, a practice called the "sanctification of paintings" permitted about 50 artists to paint replicas of the Shroud and then lay their paintings over the Shroud to "sanctify" them.  This permitted contact transfer of particles, which then migrated around the cloth with the folding and rolling of the Shroud when it was opened for exhibit and closed again afterwards.
STURP determined that the image was caused by rapid dehydration, oxidation and degradation of the linen by an unidentified process, coloring it a sepia or straw yellow.  Several Physicists, including Dr. John Jackson of the Colorado Shroud Center, suggest that a form of columnated radiation is the best explanation for how the image was formed, leaving a scorch-like appearance (the scorch caused by light versus heat, as the image does not fluoresce).  Dr. Thomas Phillips (nuclear physicist at Duke University and formerly with the High Energy Labs at Harvard) says a potential miliburst of radiation (a neutron flux) could be consistent with the moment of resurrection.  Such a miliburst might cause the purely surface phenomenon of the scorch-like (scorch-by-light) images, and possibly add Carbon-14 to the Cloth.  As Dr. Phillips points out: "We never had a resurrection to study" and more testing should be done to ascertain whether a neutron-flux occurred.
The coloration on the linen fibers of the Shroud is extremely thin.  Sticky tape samples taken from different parts of the image on the Shroud's surface in 1978 were too thin to measure accurately with a standard optical microscope, which means they were thinner than the wavelength of visible light, or less than about 0.6 micrometers.  A more recent measurement of the coloration on one of the fibers was found to be about 0.2 micrometers thick (or one-fifth of a thousandth of a millimeter).
Italian scientists working at the National Agency for New Technologies, Energy and Sustainable Economic Development (ENEA) conducted experiments on their own time between 2005 and 2010, applying ultraviolet radiation to strips of linen to see if they could match the coloration on the fibers of the Shroud of Turin.  In their ENEA technical report, published in November 2011, they wrote that particular doses of radiation left a thin coating on linen fibers that resemble the colored fibers on the image of the Shroud of Turin.  When questioned, the lead scientist in the study, Paolo Di Lazzaro, said that vacuum ultraviolet radiation (VUV, wavelength 200-100 nanometers) from laser pulses lasting less than 50 nanoseconds produced the best effect.
These findings support the idea that the image on the Shroud was made by a sudden flash of high-energy radiation.  They also refute the possibility of forgery, since lasers were obviously not available in medieval times.
The technical report: P. Di Lazzaro, D. Murra, E. Nichelatti, A. Santoni, G. Baldacchini: "Colorazione similsindonica di tessuti di lino tramite radiazione nel lontano ultravioletto: riassunto dei risultati ottenuti presso il Centro ENEA di Frascati negli anni 2005-2010" RT/2011/14/ENEA (2011).
Most bloodstains on the Shroud are exudates from clotted wounds transferred to the cloth by contact with a wounded human body.
The blood on the Shroud is real, human male blood of the type AB (typed by Dr. Baima Ballone in Turin and confirmed in the U.S.).  This blood type is rare (about 3% of the world population), with the frequency varying from one region to another.  Blood chemist Dr. Alan Adler (University of Western Connecticut) and the late Dr. John Heller (New England Institute of Medicine) found a high concentration of the pigment bilirubin, consistent with someone dying under great stress or trauma and making the color more red than normal ancient blood.  Drs. Victor and Nancy Tryon of the University of Texas Health Science Center found X & Y chromosomes representing male blood and "degraded DNA" (approximately 700 base pairs) "consistent with the supposition of ancient blood."

New test dates Shroud of Turin to era of Christ
Many experts have stood by a 1988 carbon-14 dating of scraps of the cloth carried out by labs in Oxford, Zurich and Arizona that dated it from 1260 to 1390, which, of course, would rule out its used during the time of Christ.
The new test, by scientists at the University of Padua in northern Italy, used the same fibers from the 1988 tests but disputes the findings. The new examination dates the shroud to between 300 BC and 400 AD, which would put it in the era of Christ.
It determined that the earlier results may have been skewed by contamination from fibers used to repair the cloth when it was damaged by fire in the Middle Ages, the British newspaper reported. The cloth has been kept at the cathedral since 1578.

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2 Re: The shroud of turin on Tue Oct 20, 2015 7:37 pm



The image on the Shroud is of a man 5 feet 10 1/2 inches tall, about 175 pounds, covered with scourge wounds and blood stains.  Numerous surgeons and pathologists (including Dr. Frederick Zugibe (Medical Examiner - Rockland, New York), Dr. Robert Bucklin (Medical Examiner - Las Vegas, Nevada), Dr. Herman Moedder (Germany), the late Dr. Pierre Barbet (France), and Dr. David Willis (England)) have studied the match between the Words, Weapons and Wounds, and agree that the words of the New Testament regarding the Passion clearly match the wounds depicted on the Shroud, and that these wounds are consistent with the weapons used by ancient Roman soldiers in Crucifixion.
Specifically, the scourge marks on the shoulders, back, and legs of the Man of the Shroud match the flagrum (Roman whip) which has three leather thongs, each having two lead or bone pellets (plumbatae) on the end.  The lance wound in the right side matches the Roman Hasta (4cm x 1 cm spear wound).  Iron nails (7" spikes) were used in the wrist area (versus the palms as commonly depicted in Medieval art).  These marks, combined with the capping of thorns which is not found anywhere else in Crucifixion literature of ancient Roman (Tacitus, Suetonius, Pliny the Elder or Pliny the Younger) or Jewish historians (Flavius Joesphus, Philo of Alexandria) create a unique signature of the historical Jesus of Nazareth.
The burial is consistent with ancient Jewish burial customs in all respects, including the use of cave-tombs, attitude of the body (hands folded over loins), and types of burial cloths.  The Sindon (Shroud) enveloped the body.  The Sudarium was a face-cloth used to cover the face out of respect during removal from the cross through entombment.  It was then removed and placed to one side.  There was also a chin-band holding the mouth closed.  The Othonia were bandages used to bind the wrists and legs.  All are mentioned in the New Testament and evidenced on the Cloth.  Such cloths are spoken of in the Misnah - oral traditions of the Rabbis written down in the second and third century.
The Cave-Tombs were carved out of sides of limestone hills. The presence of Calcium Carbonate (limestone dust) on the Cloth was noted by Dr. Eugenia Nitowski (Utah archaeologist) in her studies of the cave tombs of Jerusalem.  Optical Engineer Sam Pellicori noted in 1978 the presence of dirt particles on the nose as well as on the left knee and heel.  Prof. Giovanni Riggi noted burial mites.  Dr. Garza-Valdes discovered oak tubules (microscopic splinters) in the blood of the occipital area (back of the head) as well as natron salts.  Traces of aloe and myrrh have also been identified on the Cloth.  These are consistent with Jewish burial customs of antiquity.
Persian King Chosroes I attacked the Byzantine city of Edessa in 544 AD but was repulsed.  Evagrius Scholasticus (born 536 AD), in his 590 AD book Ecclesiastical History, wrote that the people of Edessa believed an image of Christ of "divine origin" allowed them to destroy the siege mound.  This is the first reference to the Image of Edessa being a divinely created image (acheiropoieta, meaning "not made by human hands").
The legend of King Abgar V, ruler of the city of Edessa (400 miles north of Jerusalem in Turkey) from 13 to 50 AD, locates a cloth with the image of Jesus in Edessa, though it is not called a burial shroud.  It says that Jesus was given a towel, and when He had washed Himself, He wiped His face with it.  His image having been imprinted upon the linen, He sent it to Abgar with a message.  The Acts of Holy Apostle Thaddaeus (6th Century) calls the cloth a tetradiplon (cloth doubled-in-four).  This Greek term only appears twice in historical texts, and both times refers to the Image of Edessa.  Dr. John Jackson's raking light test in 1978 confirmed tetradiplon fold marks in the Shroud.  If it is folded in half three times, the Shroud of Turin displays only the face of the man.  There is a famous icon from the 10th century that depicts the image of Edessa being held by Abgar:


In 943 AD the Byzantine Emperor Romanus I sent an army of 80,000 men to besiege the Muslim-held city of Edessa in order to take the Image of Edessa.  The cloth was given up, and on August 15, 944 AD it arrived in the Byzantine capitol Constantinople.  TheNarration De Imagine Edessena, written one year later gives a history of the Image including the legend of Abgar, and tells of a private viewing of the Image by the future emperor Constantine VII and his two brothers-in-law, the sons of Emperor Romanus.  One of the most famous Medieval Greek writers, monk Symeon Magister Metaphrastes, wrote the Chronicle around 944, which describes the same event.  These documents report that Constantine could see only a faint image, like a "moist secretion, without pigment or the painter's art".  The other two men were said to be barely able to make out an image at all because it was so faint.
The next day, August 16, the population welcomed the Image to the city.  Archdeacon Gregory Referendarius gave a public sermon in which he spoke of the legend of Abgar, and then said "...this reflection... has been imprinted only by the sweat from the face of the originator of life... For these are the beauties that have made up the true imprint of Christ, since after the drops fell, it was embellished by drops from his own side.  Both are highly instructive - blood and water there, here sweat and image."  Till then the cloth had only been reported to have a facial image.
In 958 AD, Emperor Constantine VII sent a letter to his army which was engaged near Tarsus.  To inspire them, he mentioned "...the sacred linens, the sindon which God wore, and other symbols of the immaculate passion."  "Passion" refers to the suffering and death of Christ.  Thus he states clearly that the burial cloth (sindon) was in the possession of the Byzantine Empire.
In 1201 AD, Nicholas Mesarites, overseer of the Imperial Relic Collection in Constantinople, published an inventory.  It includes "...burial sindones of Christ" that "wrapped the... naked body after the Passion... In this place He rises again..."
The French Crusader knight Robert de Clari wrote in his memoirs that the "sindoines in which our Lord had been wrapped" was kept in a church and displayed every Friday, until it disappeared in 1204 with the attack and looting of Constantinople by French Crusaders during the Fourth Crusade.
The Shroud was displayed in 1355 in the French town of Lirey.  It was in the possession of a famous Templar Knight, Geoffrey de Charny, who claimed it was the cloth that "wrapped the Lord Jesus Christ after his death".
In the Budapest National Library is the Hungarian Pray Manuscript, or Pray Codex, the oldest surviving text of the Hungarian language.  It was written between 1192 and 1195 AD (65 years before the earliest Carbon-14 date in the 1988 tests).  One of its illustrations shows preparations for the burial of Christ.  The picture includes a burial cloth with the same herringbone weave as the Shroud, plus 4 holes near one of the edges.  The holes form an "L" shape.  This odd pattern of holes is found on the Shroud of Turin.  They are burn holes, perhaps from a hot poker or incense embers that predate the 1532 fire.  There are four sets of the holes, showing how the Shroud must have been folded in four layers when the holes were made.  The holes in the top layer are large, and they get progressively smaller in the next three.


In the Cathedral of Oviedo in northern Spain is a linen cloth called the Sudarium Christi, or the Face Cloth of Christ.  It is often referred to as the Cloth of Oviedo.  The Sudarium Christi is a poor-quality linen cloth, like a handkerchief, measuring 33 by 21 inches.  Unlike the Shroud of Turin, it does not have an image.  However, it does have bloodstains and serum stains from pulmonary edema fluid which match the blood and serum patterns and blood type (AB) of the Shroud of Turin.

The Sudarium Christi has a well-documented history.  One source traces the cloth back as far as 570 AD.  Pelayo, Bishop of Oviedo in the 1100's, noted in his Chronicles that the Oviedo Cloth left Jerusalem in 614 AD in response to an attack led by Persian King Chosroes II, and made its way across North Africa to Spain.  It was transported to Oviedo in a silver ark (large box) along with many other sacred relics.  The Sudarium was never in contact with the Shroud since its arrival in Spain around 711 AD.
The Oviedo Cloth was placed around the head at the time of death on the Cross and remained there until the body was to be covered by the Shroud in the Garden Tomb.  Then it was removed and placed to one side (John 20:7).  Oviedo scholar Mark Guscin notes that the practice of covering the face is referenced in the Talmud (Moed Katan 27a).  He adds that Rabbi Alfred Kolatch of New York talks of the Kevod Ha-Met or "respect for the dead" as the reason for covering the head.  Rabbi Michael Tuktzinsky of Jerusalem in his Sefer Gesher Cha'yim (Volume 1, Chapter 3, 1911) offers as a reason that it is a hardship for onlookers to gaze on the face of a dead person.
According to Guscin, studies by members of the Spanish Centre for Sindonology (Dr. Jose Villalain, Jaime Izquierdo and Guillermo Heras of the University of Valencia) using infrared and ultraviolet photography and electron microscopy have demonstrated that this Cloth and the Shroud of Turin touched the same face, although at different points in the burial process.  They note that the length of the nose on both cloths is 8 centimeters (3 Inches).  Tradition and historical information support the idea that the face touched by both cloths was that of the historical Jesus of Nazareth.
Those interested in the work of Oviedo scholar Mark Guscin can read about it in his book The Oviedo Cloth, 1998, The Luttenworth Press, Cambridge, CT. ISBN 07188-2985-9.

Original text by John C. Iannone 1999-2001.  Adapted by J.M. Fischer from 2004 to 2016.
Shroud photos courtesy of Barrie M. Schwortz. 1978

For an in-depth scientific analysis of the Shroud, see Dr. Rogers' FAQ
[url= HISTORICAL CASE FOR JESUS.pdf]Download PDF[/url]

In his 2007 book THE CASE FOR THE REAL JESUS, Lee Strobel, former legal editor of the Chicago Tribune, interviewed some of the most accomplished historians specializing in ancient texts.The case was made without a single mention of the Shroud of Turin or the Sudarium.

"In recent years, six major challenges to the traditional view of Jesus have emerged... They are among the most powerful and prevalent objections to creedal Christianity that are currently circulating in popular culture." (Page 14)
After grilling the experts, he summarized his findings on pages 266 and 267:

  •       "Are scholars discovering a radically different Jesus in ancient documents just as credible as the four gospels?No, the alternative texts that are touted in liberal circles are too late to be historically credible - for instance, the Gospel of Thomas was written after AD 175 and probably closer to 200.According to eminent New Testament scholar I. Howard Marshall of the University of Aberdeen in Scotland, the Thomas gospel has 'no significant new light to shed on the historical Jesus.'The Secret Gospel of Mark, with its homoerotic undercurrents, turned out to be an embarrassing hoax that fooled many liberal scholars too eager to buy into bizarre theories about Jesus, while no serious historians give credence to the so-called Jesus Papers.The Gnostic depiction of Jesus as a revealer of hidden knowledge - including the teaching that we all possess the divine light that he embodied - lacks any connection to the historical Jesus.

  •       Is the Bible's portrait of Jesus unreliable because of mistakes or deliberate changes by scribes through the centuries?No, there are no new disclosures that have cast any doubt on the essential reliability of the New Testament.Only about one percent of the manuscript variants affect the meaning of the text to any degree, and not a single cardinal doctrine is at stake.Actually, the unrivaled wealth of New Testament manuscripts greatly enhances the credibility of the Bible's portrayal of Jesus.

  •       Have new explanations refuted Jesus' resurrection?No, the truth is that a persuasive case for Jesus rising from the dead can be made by using five facts that are well-evidenced and which the vast majority of today's scholars on the subject - including skeptical ones - accept as true: Jesus' death by crucifixion; his disciples' belief that he rose and appeared to them; the conversion of the church persecutor Paul; the conversion of the skeptic James, who was Jesus' half-brother; and Jesus' empty tomb.All the attempts by skeptics and Muslims to put Jesus back into his tomb utterly fail when subjected to serious analysis, while the overblown and ill-supported claims of the Jesus Tomb documentary and book have been decimated by knowledgeable scholars.

  •       Were Christian beliefs about Jesus stolen from pagan religions?No, they clearly were not.Allegations that the virgin birth, the resurrection, communion, and baptism came from earlier mythology simply evaporated when the shoddy scholarship of 'copycat' theorists was exposed.There are simply no examples of dying and rising gods that preceded Christianity and which have meaningful parallels to Jesus' resurrection.In short, this is a theory that careful scholars discredited decades ago.

  •       Was Jesus an imposter who failed to fulfill the messianic prophecies?On the contrary, a compelling case can be made that Jesus - and Jesus alone - matches the 'fingerprint' of the Messiah.Only Jesus managed to fulfill the prophecies that needed to come to fruition prior to the fall of the Jewish temple in AD 70.Consequently, if Jesus isn't the predicted Messiah, then there will never be one.What's more, Jesus' fulfillment of these prophecies against all odds makes it rational to conclude that he will fulfill the final ones when the time is right.

  •       Should people be free to pick and choose what they want to believe about Jesus?Obviously, we have the freedom to believe anything we want.But just because the U.S. Constitution provides equal protection for all religions doesn't mean that all beliefs are equally true.Whatever we believe about Jesus cannot change the reality of who he clearly established himself to be: the unique Son of God.So why cobble together our own make-believe Jesus to try to fulfill our personal prejudices when we can meet and experience the actual Jesus of history and faith?"

Anyone with doubts about these issues would do well to read all of this excellent book.

Italian study claims Turin Shroud is Christ's authentic burial robe

check starting at 20.30

Just days before Christmas, a new study has emerged that suggests that one of Christianity's most prized but mysterious relics – the Turin Shroud – is not a medieval forgery but could be the authentic burial robe of Christ.

Italian scientists have conducted a series of advanced experiments which, they claim, show that the marks on the shroud – purportedly left by the imprint of Christ's body – could not possibly have been faked with technology that was available in the medieval period.
The research will be an early Christmas present for shroud believers, but is likely to be greeted with scepticism by those who doubt that the sepia-coloured, 14ft-long cloth dates from Christ's crucifixion 2,000 years ago.
Sceptics have long claimed that the shroud is a medieval forgery, and radiocarbon testing conducted by laboratories in Oxford, Zurich and Arizona in 1988 appeared to back up the theory, suggesting that it dated from between 1260 and 1390.
But those tests were in turn disputed on the basis that they were skewed by contamination by fibres from cloth that was used to repair the relic when it was damaged by fire in the Middle Ages.
The new study is the latest intriguing piece of a puzzle which has baffled scientists for centuries and spawned an entire industry of research, books and documentaries

"The double image (front and back) of a scourged and crucified man, barely visible on the linen cloth of the Shroud of Turin, has many physical and chemical characteristics that are so particular that the staining ... is impossible to obtain in a laboratory," concluded experts from Italy's National Agency for New Technologies, Energy and Sustainable Development.
The scientists set out to "identify the physical and chemical processes capable of generating a colour similar to that of the image on the Shroud." They concluded that the exact shade, texture and depth of the imprints on the cloth could only be produced with the aid of ultraviolet lasers – technology that was clearly not available in medieval times.
The scientists used extremely brief pulses of ultraviolet light to replicate the kind of marks found on the burial cloth.
They concluded that the iconic image of the bearded man must therefore have been created by "some form of electromagnetic energy (such as a flash of light at short wavelength)." Although they stopped short of offering a non-scientific explanation for the phenomenon, their findings will be embraced by those who believe that the marks on the shroud were miraculously created at the moment of Christ's Resurrection.
"We are not at the conclusion, we are composing pieces of a fascinating and complex scientific puzzle," the team wrote in their report.
Prof Paolo Di Lazzaro, the head of the team, said: "When one talks about a flash of light being able to colour a piece of linen in the same way as the shroud, discussion inevitably touches on things like miracles and resurrection." "But as scientists, we were concerned only with verifiable scientific processes. We hope our results can open up a philosophical and theological debate but we will leave the conclusions to the experts, and ultimately to the conscience of individuals."
The research, conducted in laboratories in Frascati, a town outside Rome famous for its white wine, backs up the outcome of tests by a group of 31 American scientists between 1978 and 1981.
The Americans – who called themselves the Shroud of Turin Research Project or STURP – conducted 120 hours of X-rays and ultraviolet light tests on the linen cloth.
They concluded that the marks were not made by paints, pigments or dyes and that the image was not "the product of an artist", but that at the same time it could not be explained by modern science.
"There are no chemical or physical methods known which can account for the totality of the image, nor can any combination of physical, chemical, biological or medical circumstances explain the image adequately."
The US team – which included nuclear physicists, thermal chemists, biophysicists and forensic pathologists – concluded: "The image is an ongoing mystery." One of Christianity's greatest objects of veneration, the shroud appears to show the imprint of a man with long hair and a beard whose body bears wounds consistent with having been crucified.
Each year it lures millions of pilgrims to Turin Cathedral, where it is kept in a specially designed, climate-controlled case.
Scientists have never been able to explain how the image of a man's body, complete with nail wounds to his wrists and feet, pinpricks from thorns around his forehead and a spear wound to his chest, could have formed on the cloth.
The Vatican has never said whether it believes the shroud to be authentic or not, although Pope Benedict XVI has said that the enigmatic image imprinted on the cloth "reminds us always" of Christ's suffering.

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Five reasons why the Shroud of Turin could be authentic

Shroud of Turin front and back negative image. Burn marks from a 1532 fire run the entire length of the cloth.
Today, Christians celebrate the resurrection of Jesus Christ commonly known as Easter or, less commonly, Resurrection Sunday.
If it were not for this event Christianity, the world’s largest religion, would not exist and Jesus, instead of being the most significant person in history, would have been just another forgotten Jewish man crucified by the Romans around  33 AD.
For those who are truly celebrating Christ’s resurrection today and not absorbed with chocolate-covered marshmallow bunnies, here are some questions, facts and answers that you could roll like eggs at your family’s Easter gathering.
First, the BIG question: Does scientific evidence for Christ’s resurrection exist today? The answer, millions of other faithful and I believe, is “yes” and it is called the Shroud of Turin.

What is the Shroud of Turin? 
It is a linen cloth measuring 14.3 ft by 3.7 ft with the mysterious negative image of a crucified man appearing on the front and back. The Shroud is the most sacred religious relic that exists in the world today as well as the most studied, tested and analyzed.
The Shroud of Turin is preserved in an underground vault in the Cathedral of Saint John the Baptist in Turin, Italy. The next time it will be on public display is April 19 – June 24, 2015.
It has only been since 1983 that the Shroud has been “owned” by the Holy See. (In Catholic-speak this means the current pope.) At that time it was gifted from its previous owners, the House of Savoy, a royal European family in possession of the Shroud since 1453.
The Shroud’s existence and ownership can be directly traced from the year 1390 to the present. However, before 1390 the chain of custody is not historically definitive but there are many interesting clues.
Now, in honor of Easter, here are four scientifically proven groups of reasons and one Biblical reason pointing to the authenticity of the Shroud of Turin.
1. The cloth and what is on it
Scientists have concluded that human male blood appearing on the Shroud is a rare type AB. The blood penetrates the cloth as you would expect but the blood on the cloth was there BEFORE the image of the crucified man. “Blood first, image second” is a phrase familiar to Shroud researchers.
Moreover, the image of the man does not penetrate the cloth and was formed at a later time. Even more remarkable, is that the man’s image can be scraped away with a razor blade because it sits on TOP of the cloth.
Researchers have determined that the weave of the flax linen cloth would have commanded a high price. This is consistent with all the Gospel accounts in the Bible stating that Joseph of Arimathea a “wealthy man,” donated his own tomb and provided the burial shroud that wrapped Jesus.
Additionally, pollen found on the Shroud is consistent with the types of plants and flowers in Jerusalem at the time of Jesus.
Adding to the mystery is travertine aragonite limestone (road dust) almost exclusively found in the vicinity of Jerusalem, is also on the Shroud around the knees and feet.

Close-up of Shroud man with crown of thorns and scourge marks.

2. The substance comprising the image is still unknown
Scientists all agree that paints, pigments, stains or dyes could NOT have been used to create the man’s image. This is because substances available to an artist centuries ago would have penetrated the cloth, similar to the blood.
Scientific tests conclude that the substance forming the image was applied with 100 percent consistency. The depth of the image only penetrates the top two microfibers everywhere on the Shroud without ANY variation. A human artist would not be capable of such consistency
More baffling is the man’s image is a photo negative and a “positive image” is only reflected when a photo is taken. This astounding fact was discovered in 1898 by Secondo Pia, an Italian amateur photographer, when he applied the “new technology” of photography to the Shroud.
The man’s image also contains “distance information” which means the image can be read like a 3D map when using relief mapping techniques first developed by NASA. This technology was used to develop the History Channel’s 2010 mega-hit documentary The Real Face of Jesus?

Professor Fanti displays a 3D “distance information” image of the Shroud of Turin.

3. The formation of the image
How was the image formed on the cloth? The answer to this question can be found in a 2012 study by world-renowned Shroud researcher Professor Giulio Fanti of Padua University in Italy. His study strongly suggested that the force which caused the man’s image to be imprinted on the cloth was radiation released in the form of an electrical discharge. In layman’s terms, a burst of light and energy.
4. The age of the cloth
Headlines such as: “Shroud of Turin is not a medieval forgery” were typical of what appeared across all media platforms around Good Friday, March 29, 2013. The headlines referred to Professor Fanti’s Shroud dating test, debunking the faulty 1988 carbon-14 testing concluding that the Shroud was a “middle age forgery” dating from the years 1260 – 1390. The carbon-14 test was performed on an outer piece of the Shroud that had been sewn on later for handling purposes.
Fanti’s 2013 test method’s examined the decay rate of microscopic fibers within the Shroud as compared to similar linen cloths known to be both older and newer. As a result, Fanti concluded that the Shroud ranged in age from 280 BC to 220 AD with a 95 percent confidence level. That timeframe obviously includes 33AD when Jesus was wrapped in his burial shroud.
5. Shroud is totally consistent with Biblical accounts of Jesus’ death
Is it a coincidence that every mark left on the Shroud is consistent with the physical torments endured by Jesus Christ as described in the New Testament Bible Gospels of Matthew, Mark, Luke and John?
The cloth reveals the man was brutalized with a crown of thorns. He wasrepeatedly scourged with Roman flagrum, and suffered nail puncture wounds on his wrists and feet. His knees were bruised from falling and the mark of a spear wound is on his side. Also consistent with the Gospels is that the man in the Shroud had no broken bones.
It is important to note that the Shroud indicates nail marks are on the man’s wrists and not on the palms of the hands as is commonly depicted in statues and paintings. This is intriguing and accurate because the Romans knew that hands would not have supported the weight of a hanging body during crucifixion. However, an “artist forger” would have been more likely to have painted nail wounds on the palms so not to counter accepted norms.
Finally, the larger question for Easter Sunday is how did the Shroud survive fires, wars, clashes of civilizations and general tumult for centuries? For example, the strange marks running the entire length of the Shroud are evidence of just how close a 1532 church fire came to destroying the folded cloth.
It is possible the Shroud survived as evidence of Christ’s resurrection for those who need proof in order to believe in him?
Remember what Christ said to “Doubting” Thomas who insisted on seeing his nail wounds after his resurrection before Thomas would believe in Jesus.  “Because you have seen me, you have believed; blessed are those who have not seen and yet have believed.” John 20:29 NIV
Christians who already believe that the events of Easter Sunday really happened do not need the Shroud of Turin to confirm their faith in Christ’s resurrection, but the Shroud could be considered the perfect intersection of faith and science.

Model of Shroud Face from History Channel.

Last edited by Admin on Thu Feb 18, 2016 3:32 am; edited 1 time in total

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4 Re: The shroud of turin on Fri Feb 05, 2016 8:29 am


Experts question scientist’s claim of reproducing Shroud of Turin

 the crucified body of Jesus, called the Shroud of Turin.  However, CNA spoke with experts who maintain that there are still several major differences between the new shroud and the ancient one.
According to Reuters, Luigi Garlaschelli, an organic chemistry professor at the University of Pavia announced that he and his team “have shown it is possible to reproduce something which has the same characteristics as the Shroud.”  The scientist plans to present his findings at a conference on the paranormal this weekend in Italy.
The Shroud of Turin is considered by many to bear an image of the face of Jesus Christ. Made of herring bone linen, the shroud is nearly four feet by 14 feet and bears faint brown discolorations forming the negative image of a crucified man.
The shroud’s positive image, revealed by modern photography, shows the outline of a bearded man.  While skeptics contend that the shroud is a medieval forgery, scientists have been unable to explain how the image appeared on the cloth.
Garlaschelli and his team, who were funded by an Italian association of atheists and agnostics, created their image by placing the linen over a volunteer before rubbing it with a pigment called ochre with traces of acid.
The linen was then “aged” by heating it in an oven and washing it with water.  Reuters reports that the team then added blood stains, burn holes and water stains to finalize their product.
CNA spoke with Dr. John Jackson who runs the Turin Shroud Center of Colorado and is a physics lecturer at the University of Colorado at Colorado Springs.  Jackson led a team of 30 researchers in 1978 who determined that the shroud was not painted, dyed or stained.  He explained to CNA that that based off the Reuters report as well as photos of Garlaschelli’s shroud on the internet, it appeared that it doesn’t exactly match the Shroud of Turin.
Dr. Jackson first questioned the technique used by Garlaschelli’s team, taking issue with the method of adding blood after aging the cloth.  Jackson explained that he has conducted “two independent observations that argue that the blood features on the shroud” show “that the blood was on it first, then the body image came second.”
Dr. Keith Propp, a physicist who is also a colleague of Jackson's, told CNA that while Garlaschelli’s shroud “does create an image that could’ve been done in medieval times,” there are a many things that “are not consistent with what the actual shroud shows us.”
For example, he continued, we know that the blood contacted the shroud before the body “because there’s no image beneath the shroud.”  He added that this image pattern would be difficult to duplicate “because it would ruin the blood stains.”
Another area concern for the scientists is the three dimensionality of the shroud. 
Propp explained that while Garlaschelli’s cloth does have some aspects of light and dark to create a three-dimensional perspective, “it’s nowhere near as sophisticated as the shroud” and that “it misses out on the accuracy and subtleties that are in the actual image.”
Dr. Jackson from the Turin Shroud Center also touched on the same point, saying, “The shroud’s image intensity varies with” the distances in between the cloth and the body.  While he admitted that the images of Garlaschelli’s shroud on the internet look authentic, when taken from a 3-D perspective, “it’s really rather grotesque.”
“The hands are embedded into the body and the legs have unnatural looking lumps and bumps,” he explained.
Jackson noted that he or his colleagues would be open to testing the Garlaschelli shroud or any other “idea about the shroud relative to the scientific characteristics that have been documented in respect to the shroud,” however to do so they would need “more detailed information about what was specifically done.”
Garlachelli’s technique has also received criticism from other experts.  One scientist from the Shroud Science Group, a private forum of about 100 scientists, historians and researchers provided CNA with some of the critiques made in the forum.
One English-speaking expert explained that the blood used on the Shroud of Turin is not whole blood.  “They didn't just go out and kill a goat and paint the blood on the cloth.  The blood chemistry is very specific,” he said explaining that the blood is from “actual wounds.”
He added that most of the blood on the shroud flowed after death. “The side wound and the blood that puddles across the small of the back are post-mortem blood flows,” he said, adding that blood flowing after death “shows a clear separation of blood and serum.”
Propp added, “In some ways, it comes out better than most others I’ve seen before.  Still there are too many things – the shroud is more than just the image.”
Jackson also pointed out that Garlaschelli’s findings have yet to be peer reviewed.  What scientists need “to do is present their work for publication before their peers.”  
He explained that any person can conduct his or her own research, but it doesn’t matter whether or not the author believes his or her hypothesis was proven. In the end, what the scientific community decides “upon seeing and reviewing the work” is what counts, he said.
Pope Benedict has announced that the Shroud will be open for public viewing in 2010 and that he is planning to visit the image at some point during its exposition.
The Catholic Church has not taken an official position on the authenticity of the Shroud of Turin.

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5 Re: The shroud of turin on Sun Feb 28, 2016 4:20 am


Shroud Of Turin Real? New Research Dates Relic To 1st Century, Time Of Jesus Christ

03/28/2013 02:51 pm ET | Updated Mar 29, 2013

After decades of speculation, new research suggests that the Shroud of Turin, one of the Catholic Church's holiest relics, may be the real deal.

Believed by some to have been Jesus' burial cloth, the Shroud has been the subject of much research. The latest battery of experiments led experts to conclude the cloth may have come from the first century A.D., making it old enough to have been used to bury Jesus Christ

Giulio Fanti, a professor of mechanical and thermal measurement at the University of Padua, announced the findings in a book that hit shelves Wednesday in Italy, reports Vatican Insider. Fanti has written several papers about the shroud, including one in 2011 that hypothesized how radiation could have caused the image of a man's bloody face and body to appear on the cloth.

In his most recent effort, Fanti and a research team from the University of Padua conducted three tests on tiny fibers extracted from the shroud during earlier carbon-14 dating tests conducted in 1988, according to Vatican Insider. The first two tests used infrared light and Raman spectroscopy, respectively, while the third employed a test analyzing different mechanical parameters relating to voltage.

The results date the cloth to between 300 B.C. and 400 A.D., per The Telegraph.

In an email with The Huffington Post, Fanti said that researchers also found trace elements of soil "compatible with the soil of Jerusalem."

"For me the [Shroud] comes from God because there are hundreds of clues in favor to the authenticity," he wrote, adding that there also "no sure proofs."

"The tests will revive the debate about the true origins of one of Christianity's most prized but mysterious relics and are likely to be hotly contested by sceptics," The Telegraph's Nick Squires writes about Fanti's experiments.

Much of the controversy about the Shroud centers around carbon-14 dating tests from 1988 that concluded the piece of linen was a medieval forgery. However, those results may have been contaminated by fibers used to repair the cloth during the Middle Ages, according to the BBC.

Fanti's book, Il Mistero della Sindone (translated to The Mystery of the Shroud) , co-authored by journalist Saverio Gaeta, was released ahead of the Easter holiday, as Christians around the world prepare to celebrate the resurrection of Jesus.

The Shroud generally resides in a climate-controlled case in a cathedral in Turin, Italy, and is rarely viewed. It will make a rare televised appearance this year, however, on the Saturday before Easter.

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6 Physical Descriptions of Jesus on Sun Feb 28, 2016 5:10 am


Physical Descriptions of Jesus

The Description of Publius Lentullus

The following was taken from a manuscript in the possession of Lord Kelly, and in his library, and was copied from an original letter of Publius Lentullus at Rome. It being the usual custom of Roman Governors to advertise the Senate and people of such material things as happened in their provinces in the days of Tiberius Caesar, Publius Lentullus, President of Judea, wrote the following epistle to the Senate concerning the Nazarene called Jesus.

"There appeared in these our days a man, of the Jewish Nation, of great virtue, named Yeshua [Jesus], who is yet living among us, and of the Gentiles is accepted for a Prophet of truth, but His own disciples call Him the Son of God- He raiseth the dead and cureth all manner of diseases. A man of stature somewhat tall, and comely, with very reverent countenance, such as the beholders may both love and fear, his hair of (the colour of) the chestnut, full ripe, plain to His ears, whence downwards it is more orient and curling and wavering about His shoulders. In the midst of His head is a seam or partition in His hair, after the manner of the Nazarenes. His forehead plain and very delicate; His face without spot or wrinkle, beautified with a lovely red; His nose and mouth so formed as nothing can be reprehended; His beard thickish, in colour like His hair, not very long, but forked; His look innocent and mature; His eyes grey, clear, and quick- In reproving hypocrisy He is terrible; in admonishing, courteous and fair spoken; pleasant in conversation, mixed with gravity. It cannot be remembered that any have seen Him Laugh, but many have seen Him Weep. In proportion of body, most excellent; His hands and arms delicate to behold. In speaking, very temperate, modest, and wise. A man, for His singular beauty, surpassing the children of men"


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7 Re: The shroud of turin on Fri Mar 31, 2017 2:17 pm


Admin If anyone wants to wade through the recent findings on the shroud of turin. I found these cited documentaries, sufficient to list the important details of the findings: and I have no confidence whatsoever in ANY radiometric dating methods. I have read enough papers on the topic to be convinced that none of the radiometric methods can date ANYTHING accurately. These videos partially explain why that is the case: and there are far too many assumptions made to come to any accurate conclusions whatsoever using any of those methods. Nevertheless, upon reexamination, they found that the shroud is "between 1300 and 3000 years old". But there are dozens of facts that clearly conclude it is the burial cloth of the Messiah, Yahoshuah. (watch the documentaries cited) Fools want the whole world to think that all these scientists are FRAUDS; that they are all lying to the world about their findings! Each and every one of those scientists could sue any and all persons claiming the Shroud is a fraud for libel, slander and defamation! Fools want the world to believe they are more of an authority on the topic than the world's leading experts! Fools want people to imagine that the shroud has been fabricated WHEN NO MODERN TECHNOLOGIES CAN REPLICATE IT, in all its details; let alone those of the middle ages! "We can conclude for now that the Shroud image is that of a real human form of a scourged, crucified man. It is not the product of an artist. " - So the next time some God-hating/God-denying atheist/evil-u-shun-ist steps up to claim the Shroud of Turin is a fraud or fabrication, ask them if they're willing to be scourged and crucified like Yahoshuah was in order to prove their claim, because that is what they are suggesting when they accuse the Shroud, the burial cloth of Yahoshuah Ha Meschiach, of not being authentic. People everywhere need to understand that the Shroud of Turin is the most studied artifact in the entire history of the world. So the scientific opinion that it is factually an image of scourged and crucified man and that image and the details of the Shroud cannot be replicated by any known method to date; should give pause to any and all skeptics to reconsider their opinion before claiming the Shroud is anything but the authentic burial cloth of Yahoshuah Ha Meschiach. People act like radiometric dating is a reliable method for dating things, when all forms of radiometric dating are not. Let me give an illustration as to why that is the case. A person buys a package of candles, new candles all the same length. In order to give an illustration of just one of the assumptions, they cut the candles into various lengths and light them all, then ask viewers to tell how long each one has been burning. The viewers carefully study the burn rate of the candles and come to their conclusions. given FACTS: the studied candles in question are all the same age, and candles have all been burning the same length of time in the same environmental conditions ASSUMPTIONS: each candle contains the same wax and composition, and were the same length when lit and burned by the same observed method that the viewers beheld. So of course the viewers all come to incorrect conclusions. And that is only very few of the reasons radiometric dating of any and all kinds are completely unreliable.

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8 Re: The shroud of turin on Mon Apr 03, 2017 2:36 am


The Shroud of Turin, Authenticated Again

First among the major mysteries is how the image was made. Second, what is the substance constituting the image, which can be scraped away with a razor blade? The substance is undetermined — all man-made materials have been ruled out — and only rests on top of the cloth; it does not penetrate the cloth’s linen fibers. The third mystery is related to the second: Blood from the crucified man penetrated the cloth, as one would expect, but also preceded the impression of the man’s image. “Blood first, image second” is a mantra of Shroud researchers. This order is logical if the “man in the Shroud” was in fact Christ, who would have been wrapped in the linen Shroud days before the electrical event (see below) that accompanied his resurrection and resulted in the human image. The patterns of blood flow on the Sudarium are consistent with those of a crucified man.Fanti concluded that an electrical charge in the form of radiation is what likely caused the man’s image to be imprinted on the Shroud. He has also dated the Shroud to the time of Jesus, debunking the flawed carbon-14 testing conducted in 1988.  
I recommend that you research first the Shroud and then the Sudarium. Both have survived centuries. Their markings are consistent with Scripture accounts of Christ’s torture and execution. Both contain not only the same rare blood type but also pollen of a kind found only in ancient Israel. The Shroud and the Sudarium authenticate each other.

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9 Re: The shroud of turin on Mon Apr 03, 2017 3:06 pm


Shroud of Turin in 3D

The first photographs that were taken by SECONDO PIA in 1898 showed the positive image of a man on the negative glass plates that he used, and also showed that the original image on the Shroud had the properties of a photographic negative. This aroused the interest of the scientific community and from that moment on the Shroud became the most investigated artifact in the world. One of these scientists, in the early part of the 20th century was PAUL VIGNON from the University of Paris, and he spent quite some time investigating the Shroud. One of his observations was, that the image on the Shroud varied inversely with the cloth-to-body distance, which means that the parts of the body that were close to the cloth, were imaged darker than the parts that were further away. The density of the image is proportional to the distance between the body and the cloth and that is caused by the fact that more fibers per square unit are discolored. This translates to 3D information encoding of the image in the grayscale of the photographs of the Shroud. VIGNON could not prove his observations scientifically.

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10 Re: The shroud of turin on Tue Jul 11, 2017 8:27 pm


Shroud, new study: there is blood of a man tortured and killed 1

According to Professor Giulio Fanti of the University of Padua, the analyses show how “the peculiar structure, size and distribution of the nanoparticles cannot be artifacts made over the centuries on the fabric of the Shroud.” Many fanciful reconstructions of the Turin Shroud being a painted object are once again denied.” Additionally, Fanti says, “the wide presence of creatinine particles bound to ferrihydrite particles is not a situation typical of the blood serum of a healthy human organism. Indeed, a high level of creatinine and ferritin is related to patients suffering of strong polytrauma like torture. Hence, the presence of these biological nanoparticles found during our experiments point a violent death for the man wrapped in the Turin shroud.”

There is no longer any doubt that the Shroud has wrapped the body of a man tortured and killed in the same manner as described in the Gospels for the Crucifixion of Jesus.

Atomic resolution studies detect new biologic evidences on the Turin Shroud 2

We performed reproducible atomic resolution Transmission Electron Microscopy and Wide Angle X-ray Scanning Microscopy experiments studying for the first time the nanoscale properties of a pristine fiber taken from the Turin Shroud. We found evidence of biologic nanoparticles of creatinine bounded with small nanoparticles of iron oxide. The kind, size and distribution of the iron oxide nanoparticles cannot be dye for painting but are ferrihydrate cores of ferritin. The consistent bound of ferritin iron to creatinine occurs in human organism in case of a severe polytrauma. Our results point out that at the nanoscale a scenario of violence is recorded in the funeral fabric and suggest an explanation for some contradictory results so far published.

On the basis of the experimental evidences of our atomic resolution TEM studies, the man wrapped in the TS suffered a strong polytrauma. We studied a fiber of the TS by atomic resolution TEM experiments and WAXS. This is the first time that the TS is studied at this resolution and this range of view produced a series of experimental results, which thanks to recent studies on ancient dye painting, ferritin, creatinine and human pathology can be connected and understood in relationship with a macroscopic scenario in which the TS was committed [41,42,43]. In fact, the fiber was soaked with a blood serum typical of a human organism that suffered a strong trauma, as HRTEM evidenced that the TS is covered by well-dispersed 30nm-100nm creatinine nanoparticles bounded with internal 2nm-6nm ferrihydrate structures. The bond between the iron cores of ferritin and creatinine on large scale occurs in a body after a strong polytrauma [41,42,43]. This result cannot be impressed on the TS by using ancient dye pigments, as they have bigger sizes and tend to aggregate, and it is highly unlikely that the eventual ancient artist would have painted a fake by using the hematic serum of someone after a heavy polytrauma.


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