2013 Favs: New Tests Date the Shroud from the Time of Christ

2013 Favs: New Tests Date the Shroud from the Time of Christ December 30, 2013

New scientific tests on the Shroud of Turin, which went on display Saturday (March 30) in a special TV appearance introduced by the pope, date the cloth to ancient times, challenging earlier experiments that dated it only to the Middle Ages.

… The new test, by scientists at the University of Padua in northern Italy, used the same fibers from the 1988 tests but disputes the earlier findings. The new examination dates the shroud to between 300 B.C. and 400 A.D., 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.

… The new tests also supported earlier results claiming to have found traces of dust and pollen on that shroud that could only have come from the Holy Land. (Read the rest here.)

(Doug Stanglin writes for USA Today.)

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3 responses to “2013 Favs: New Tests Date the Shroud from the Time of Christ”

  1. Sorry, this statement is simply false. “All evidence?” Hardly. In reality, the preponderance of the evidence favors authenticity. The cloth is consistent with 1st century, Jewish manufacture and use. The blood is real, human blood. The image cannot be reproduced by any known means — never mind one available to a medieval artist. Pollen and dirt on the cloth derive exclusively from the environs of Jerusalem. The body is anatomically correct, the wounds accurately depicted, and serum halos around some blood stains indicate clotted, post-mortem blood. The list (quite literally) goes on and on: http://www.acheiropoietos.info/proceedings/FantiListWeb.pdf

  2. The real miracle was the invention of an entirely new artistic style that was never used before or since. Even a glance at other 14th century art is enough to make one scratch his head and wonder why anyone would forge a painting that would have looked all wrong to the medieval viewer. You can’t even see the image under normal conditions. And the figure is, like, you know, naked. The nail marks are in the wrists, and everyone “knew” they had been driven through the palms.

    There was at least one copy of the shroud painted, possibly more. This was common in those days. Even today one may find artists in the museums painting copies of older masterpieces.

    AD 1349. The
    cathedral at Besançon (where the looted Shroud had been hung after the hijacked crusade) was struck by lightning and burnt to the ground.
    Perhaps fearing for the safety of the Shroud, a copy was painted and
    when the Shroud of Besançon went on display again three years later in a
    rebuilt cathedral, it was this copy that was used. Everyone knew it
    was a painted copy.
    AD 1355. According to the “D’Arcis Memorandum”, written more than
    thirty years later, the first known expositions of the Shroud are held
    in Lirey at around this time. Large crowds of pilgrims are attracted and
    special souvenir medallions are struck. A unique surviving specimen can
    still be found today at the Cluny Museum in Paris. Reportedly, Bishop
    Henri refused to believe the Shroud could be genuine and ordered the
    expositions halted. The Shroud was then hidden away.

    Since this was roughly when the painted copy went on display at
    Besançon, it is possible that the Bishop of Troyes confused the original at Lirey with the copy at Besançon when
    famously said that an artist was known to have painted the Shroud.

    The painting of the Shroud continued on display at the Chapel of
    the Holy Shroud in Saint-Etienne (Besançon). It had become an important
    object of veneration in the seventeenth century, a period of conflict
    (Thirty Years War, annexations and withdrawals of France from this
    region) and yet another round of the plague. Indeed, the surrender of
    the city to French armed forces, in 1674, was conditioned upon a requirement to keep this relic at the Cathédrale Saint-Jean
    de Besançon. When the Revolution came, the Rationalists sent the Shroud
    of Besançon to Paris (27 Floréal, an II — or May 16, 1794, in real time),
    where they threw it in a rational fire.

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