Thursday, April 3, 2008

Shroud News - March 2008

This is my Shroud of Turin News for March 2008. The previous issue was February 2008.

[Left (click to enlarge): Prof. Christopher Bronk Ramsey's name, as "C.R. Bronk," on the 1989 Nature paper which claimed (falsely - see below) of the 1988 radiocarbon dating of the Shroud that, "The results provide conclusive evidence that the linen of the Shroud of Turin is mediaeval" (my emphasis)]

My comments are in bold. References are hyperlinked to their respective `tagline' quote below.

Experimental Archaeology and the Shroud of Turin, Kris's Archaeology Blog, K. Kris Hirst ... some have argued that the dates were affected by a fire which added carbon monoxide to the fabric. John Jackson, director of the Turin Shroud Center of Colorado [Right: John P. Jackson, Shroud.com] and the University of Oxford Radiocarbon Accelerator Unit conducted additional work in an attempt to identify if carbon monoxide might have been a factor in the dates. What they did was experimental archaeology--Dr. Jackson's center subjected modern linen cloth to very high levels of carbon monoxide; and the ORAU monitored the effects. The results--that exposure to even the highest carbon monoxide levels does not affect modern linen at all-- were communicated in a BBC2 documentary this past week. ... See combined comments below.

International radiocarbon dating experts revisit the Turin Shroud, HULIQ, NC - Mar 26, 2008 ...The Oxford Radiocarbon Accelerator [Left: Frontal image of the Shroud, >Oxford Radiocarbon Accelerator Unit] Unit, in collaboration with an international research team, has carried out further tests to examine the evidence for the authenticity of the Shroud of Turin, reputedly Christ's burial cloth. Professor Christopher Ramsey, director of the Unit that showed the cloth to be medieval in 1989, was part of a team looking at a new hypothesis that could put the date much earlier. Dr John Jackson, of the Turin Shroud Center of Colorado in the United States, put the new hypothesis forward. Dr Jackson suggests that the shroud might over time have been contaminated with carbon monoxide, which is naturally enriched in radiocarbon. What is significant in this particular hypothesis is that only a two per cent carbon contamination from carbon monoxide is needed to move the medieval radiocarbon date of the Shroud to the first century. However, initial tests show that in normal conditions there is no contamination at the level needed to alter radiocarbon dates at all. The researchers at Oxford conclude the original medieval date is still most likely to be correct, based on current evidence, but they have yet to test whether there is anything in the specific storage conditions of the shroud that might affect this conclusion... Presumably this is the theory proposed in (Jackson & Propp, 1998, pp.61-82). It agrees with the "Update on the recent BBC Documentary" ("Shroud Of Turin - Material Evidence," 22 March, 2008) that I received the other day from Barrie Schwortz's The Shroud of Turin Website [join that mailing list], that:

"Jackson's hypothesis for the next website update, but it is based on possible c14 enrichment of linen due to the CO (carbon monoxide) in the atmosphere. According to Jackson, a 2% contamination could skew the resulting date by as much as 1400 years"

But while it is no support for Jackson's theory that the ORAU's experiments have shown "that exposure to even the highest carbon monoxide levels does not affect modern linen at all," as Prof. Ramsey himself has pointed out (see below), because neither the Shroud itself, nor the unique conditions of the fire of 1532, have been (or can be?) reproduced, "It remains possible ... that in these specific conditions there are reactions which provide significant contamination" (my emphasis).

Shroud of Turin , Oxford Radiocarbon Accelerator Unit, Christopher Ramsey, 23/3/2008 ... The Oxford Radiocarbon Accelerator Unit [Right: Oxford Radiocarbon Accelerator Unit's new AMS machine, Wessex Archaeology] has been working with a team from Performance Films Ltd making a documentary about the Shroud of Turin for the BBC. The film (transmitted on BBC2 at 8:30pm on 22nd March) examined the evidence for the authenticity of the Shroud. It also marked the 20th anniversary of the original carbon dating completed by the Zurich, Arizona and Oxford radiocarbon laboratories. All three labs gave a consistent, mediaeval date for the Shroud. Another contributor to the film, John Jackson (Turin Shroud Center of Colorado), while not doubting the validity of the original radiocarbon measurements, has developed a new hypothesis, which he believes may explain why the mediaeval date for the Shroud is incorrect. The hypothesis put forward in the film is that the linen of the Shroud might have been contaminated by carbon monoxide. Unlike most contaminants, carbon monoxide is naturally enriched in radiocarbon when found in the environment and would therefore in principle be able to alter the radiocarbon age significantly. A relatively small amount of carbon monoxide (roughly 2% of the carbon in the linen) could alter the age of the sample by a thousand years. This is the only contamination hypothesis which could affect the radiocarbon age of the Shroud enough to allow it to be 2000 years old ... The only way to see if this sort of contamination is possible is to do experimental work on modern linen. The key question is whether carbon monoxide reacts to any significant extent with linen. The Oxford Radiocarbon Accelerator Unit has been collaborating with John Jackson's team to test the reaction rates. So far the linen samples have been subjected to normal conditions (but with very high concentrations of carbon monoxide). These initial tests show no significant reaction .... The research continues because the effect of the specific storage conditions of the Turin Shroud have yet to be reproduced by John Jackson's team. It remains possible, though not at all likely, that in these specific conditions there are reactions which provide significant contamination. There are also other possible types of contaminant, and it could be that one, or some combination of these, might mean that the Shroud is somewhat older than the radiocarbon date suggests. It is important to realise, however, that only if some enriched contaminant can be identified does it become credible that the date is wrong by 2000 years. As yet there is no direct evidence for this - or indeed any direct evidence to suggest the original radiocarbon dates are not accurate. There is a lot of other evidence that suggests to many that the Shroud is older than the radiocarbon dates allow and so further research is certainly needed. Note Prof. Ramsey's very significant admissions above that the Shroud could be 2,000 years old, despite having a 14th century radiocarbon date! This exposes as false the dogmatic (and therefore unscientific) assertion that the 1988 radiocarbon dating provided "conclusive evidence that the linen of the shroud of Turin is mediaeval" (Damon, P.E., et al., 1989, pp.612,614; Wilson, 1991, pp.9-10) and anyone who believed otherwise was the equivalent of a "Flat Earther" (Wilson, 1991, p.10; 1998, pp.8-9).

There is indeed "a lot of other evidence that suggests to many that the Shroud is older than the radiocarbon dates allow." The fact is that the non-radiocarbon dating evidence that the Shroud is authentic (i.e. the very burial sheet of Jesus Christ), is overwhelming (see next). And, as archaeologist Dr Eugenia Nitowski pointed out, in respect of the conflict between the radiocarbon-dating, and the other evidence for the Shroud's authenticity:

"In any form of enquiry or scientific discipline, it is the weight of evidence which must be considered conclusive: In archaeology, if there are ten lines of evidence, carbon dating being one of them, and it conflicts with the other nine, there is little hesitation to throw out the carbon date as inaccurate" (Wilson, 1991, pp.178-179. My emphasis).

Again, because of problems of dating the Shroud's linen, compounded by numerous different contamination effects, including at least two fires, it may be that the radiocarbon-dating issue can never be resolved, unless the contamination-resistant pollen of the Shroud is radiocarbon-dated!

Shroud of Turin still a puzzle: Questions arise over carbon-dating that traced it to Middle Ages, Pittsburgh Post-Gazette, March 23, 2008, Ann Rodgers .... The Shroud of Turin.It has been 20 years since radiocarbon tests concluded that the Shroud of Turin, which bears a mysterious image of a crucified man, was woven in the Middle Ages and thus couldn't be the burial cloth of Jesus, as many believed. ...What keeps the debate alive today is ... also the insistence of many scientists and others caught up in the dispute that the puzzle pieces still don't add up to an object created in the Middle Ages. They include not just Christians, but Jews and agnostics, and argue, among other things, that there were major problems with the carbon dating ... Scientists and archaeologists who spent years studying the 14-foot shroud agree that it bears the faint image, front and back, of a naked, beaten, crucified man in the grip of rigor mortis. ... His wounds fit with gospel accounts of a crown of thorns and legs that were not broken as other crucifixion victims' were. ... under a forensic light, a medically correct separation of serum from clotted blood is visible. Nail holes [are] in the wrists ... not the palm wounds found in medieval art. ... In 1898, the shroud was photographed, and when examined, it turned out the image was a negative, far more detailed on the reversed plate. In 1976, that inexplicable finding led two American rocket scientists to wonder what would happen if they put its picture under a VP-8 image analyzer, used to view pictures from space probes. ... Ordinary photos or paintings placed under the VP-8 are wildly distorted ... The shroud photo came back a perfectly proportioned, three-dimensional image. ... about 50 scientists and scholars from different disciplines, and obtained church permission to study the shroud. After three years of analysis, their consensus was that the image was formed by premature aging of the topmost fibrils in the linen thread, and the blood stains were human blood. ... Barrie Schwortz ... who was team photographer for a 1978 scientific research project on the shroud ... is Jewish ...

[Left: The Hungarian Pray Codex painting (c.1191) of the Shroud, which supposedly did not exist until at least 1260!: The Shroud of Turin Story]

His favourite argument against the carbon date is an illuminated manuscript from 1191, called the Hungarian Pray Codex. It shows a detailed painting of a cloth that resembles the shroud, including a set of odd, L-shaped burn holes that are known to predate the 1532 burns.

[Right: Burn holes on the Shroud that are represented on the c. 1191 Pray Codex.]

"This artist had seen it at least 70 years earlier than the earliest date that the carbon dating said it could be from," he said. ... A summary of only a part of the many lines of evidence (cf. Guscin, 1998, pp.64-65). That and the lack of any plausible explanation how the Shroud was produced in or prior to the 14th century (cf. Guscin, 1998, pp.84-88), shows that the 1988 radiocarbon date of ~AD1325 cannot be right.

Shrouded In Secrecy, Daily Record, Mar 22 2008, Sheenagh Harrington ... Documentary Of The Week Shroud Of Turin: Material Evidence Saturday, BBC 2, 7.30pm. It has been 20 years since the scientific world gave its religious counterpart a good kicking by insisting the Turin Shroud, one of the most revered religious relics in the world, was a complete fake, dating back a few hundred years, not thousands. ... Here, journalist Rageh Omaar re-examines the story of the shroud, and meets Dr John Jackson, the leader of the first investigative team, [Left: Prof. Christopher Bronk Ramsey, Oxford Radiocarbon Accelerator Unit] and professor Chris Ramsey, who conducted the original carbon test. ... It is significant that Prof. Ramsey was involved in Oxford laboratory's original 1988 radiocarbon dating of the Shroud, not as a junior bit-player back then as I had previously assumed, but to the extent that his name is on the 1989 Nature paper, as "C.R. Bronk"! Indeed, before that Prof. Ramsey (as "C.R. Bronk") was also Oxford's representative at the 1987 meeting convened by Prof. Harry E. Gove, the co-inventor of AMS radiocarbon dating, "to discuss the inordinate delay in a decision to proceed with the carbon dating of the shroud" (Gove, 1996, pp.185-188).Therefore presumably the now Prof. Ramsey (who was at that meeting with the leaders of the other two labs, Arizona and Zurich, which together with Oxford did the Shroud dating) is aware how the Oxford lab knew well before its own dating, the Arizona lab's AD1350 date, and whether it was Oxford lab which in turn leaked that date to a Dr Richard Luckett of Cambridge University, who in turn leaked it to the media (Gove, 1996, pp.277-278, p.278)?

Shroud of Turin's Authenticity Probed Anew, Discovery News, Rossella Lorenzi, March 21, 2008 -- The Shroud of Turin, the 14- by 4-foot linen believed by some to have been wrapped around Jesus after the crucifixion, might not be a fake after all, according to new research. ... The director of one of three laboratories that dismissed the shroud as a medieval artifact 20 years ago has called for the science community to reinvestigate the linen's authenticity. `With the radiocarbon measurements and with all of the other evidence which we have about the shroud, there does seem to be a conflict in the interpretation of the different evidence," said Christopher Ramsey, director of England's Oxford Radiocarbon Accelerator Unit, which carried out radiocarbon dating tests on the cloth in 1988. ... In 1988, three reputable laboratories in Oxford, Zurich and [Right: From left to right, Prof. E. Hall (Oxford), M. Tite (British Museum) & R. Hedges (Oxford) on 13 October 1988 announcing the Shroud's radiocarbon date is "1260-1390!"] Tucson carried out radiocarbon tests on the cloth and declared it a brilliant, medieval fake produced between 1260 and 1390. ... Shroud scholars, known as sindonologists, have always argued that no medieval forger could either have produced such an accurate fake or anticipated the invention of photography. ... In this latest chapter, Ramsey's call to revisit the subject follows tests taken by Ramsey, himself, to investigate a contamination hypothesis by John Jackson, a U.S. physicist who conducted the first major investigation of the shroud in 1978. Jackson, the director of the Turin Shroud Center in Colorado, has long claimed that a 1532 fire which damaged the cloth may have affected procedures used to date the shroud. ... Jackson's theory suggests that only a two percent contamination could skew results by 1,500 years. For his part, Ramsey, an expert in the use of carbon dating in archaeological research, is keeping an open mind toward the new hypothesis. `Everyone who has worked in this area, radiocarbon scientists and all of the other experts, need to have a critical look at the evidence that they've come up with in order for us to try to work out some kind of coherent story that tells us the true history of this intriguing cloth,' he said. ..." So, given Prof. Christopher Bronk Ramsey, as "C.R. Bronk," was at the very centre of the 1988 radiocarbon dating of the Shroud, is he really as genuine as he sounds? Because if the Shroud really is the very 1st century burial sheet of Christ (as the overwhelming preponderance of the other evidence indicates - Guscin, 1998, pp.64-65), then either: 1) there really was a carbon-14 enrichment process as proposed by Jackson that gave the Shroud a radiocarbon date of between 1260-1390 AD, i.e. 1325 ± 65, which just happened to be immediately before the Shroud appeared in the 1350s in the European historical record (Gove, 1989, p.237; Gove, 1996, p.264); or 2) there was no C-14 enrichment process and the Shroud's true radiocarbon date was 1st - 5th century AD (even a radiocarbon date of ~AD600 would be consistent with the Shroud being 1st century (Meacham, 1986), but the three labs each independently made major errors of thousands of years, and by sheer coincidence each still arrived at a date of ~1325 AD; or 3) the three labs dated their Shroud sample much earlier (as above), and then in collusion (Guerrera, 2000, p.132) adjusted their dates to agree together around ~1325 AD (Sox, 1988, p.134; Gove, 1996, p252). These seem to be the only three alternative scenarios. But 1) and 2) each rely on a too-incredible coincidence of the radiocarbon date, with or without error, just happening to turn out to be around the historic date, ~1350. But if 3) is the only remaining alternative, then "C.R. Bronk," as a signatory to the 1989 Nature paper, would presumably have had to be either a part of that scenario, or at least aware of it?... Meanwhile, a new study ... carried out by the researcher Gerardo Ballabio ... looks at ... how the linen sample was divided into sub-samples by the three laboratories who performed the radiocarbon tests in 1988," ...

[Above: How the Shroud sample was divided between the three laboratories, Bryan J. Walsh]

"Basically, it is a re-analysis of the available data which takes into consideration the spatial positions of the sub-samples on the shroud. It shows that the 1988 statistical results are not correct," ... A previous study by Bryan Walsh ? suggested that differing levels of cabon-14 were present when examining the horizontal positions of sub-samples from the shroud. But the question of whether a gradient also existed in the vertical direction remained open. It is known that the samples distributed to each lab in 1988 were first cut from a corner of the shroud. ...according to Ballabio. "Each lab subdivided the sample in various pieces, making it a puzzle to reconstruct their original position on the shroud," ... In order to reconstruct how the samples were cut, their physical positions on the shroud, and the lab measurements for each sub-sample, Ballabio collected information from many key people involved in the testing operation. "I ended up with 256 possible combinations," ... The researchers performed a statistical analysis which involved each of the 256 configurations and concluded that there is a strong difference in the 14C concentration of the small rectangle used in the tests, with the upper-right corner being about 300 years younger than the lower left corner. According to Ballabio, the study shows that the sample must have been substantially contaminated. "The statistical tests performed by the labs assumed a 14C homogeneity in the samples, but my statistical evaluation shows exactly the opposite and puts into serious question the validity of the dating. Since a 300-year difference is present in a few square inches, one must wonder how this data translates into a 14- by 4-foot-long linen," .... According to Raymond Schneider ... Ballabio's paper might be an important new contribution to support the request for new tests on the shroud. "?if he really succeeded in improving the estimation of any gradient present, we can say that there are serious and compelling reasons to consider the sample site anomalous or contaminated or both," Schneider [said]. Yet another blow to the scientific relevance of the ~1325 radiocarbon date of the Shroud. But again, if the dating process was so flawed, how was it that all three laboratories just happened to arrive independently on a date that was immediately before the Shroud first appeared in the undisputed historical record?

Shroud mystery 'refuses to go away', BBC, 21 March 2008, Rageh Omaar ... There are very few Christian relics as important and as controversial as the Shroud of Turin. ... [Right: "The Shroud Center of Colorado depicts a burial configuration," BBC] This linen cloth ... holds the concealed image of a man bearing all the signs of crucifixion. Scientific tests have proved that there are blood stains around the marks consistent with a crown of thorns and a puncture from a lance to the side. ... Until the 1980s, millions of Christians around the world believed the Shroud to be the burial cloth of Christ. ... But in 1989, the significance of the Shroud seemed to evaporate after a radiocarbon dating test pronounced ... the Shroud ... a medieval fake. ... With that judgement the extraordinary story of the Shroud of Turin fell out of the public imagination. ... But the amazing story of the Shroud of Turin has simply refused to fade into obscurity and die, for the simple reason that a conflict of evidence has emerged which is about the re-ignite the debate around this compelling religious artefact. If it is a medieval forgery, then how was this image made? So far, no one has been able to explain it. ... In the film I interview John Jackson who led a major investigation on the shroud in 1978 and has made the study of the Shroud his life's work. ... Jackson ... introduced me to a wealth of fresh historical and forensic evidence that linked the Shroud of Turin to two earlier Shrouds of Christ. The first was in Constantinople and mysteriously disappeared in the sack of the city in the Fourth Crusade in 1204. The second is, of course, the Shroud referred to in the Gospels. ...The irresistible force of science seems to have hit an immovable object. The mysterious image of a crucified man has refused to lie down and die. ... To `kill off' the Shroud as the very burial sheet of Christ, naturalistic ("nature is all there is") science needs to plausibly explain naturalistically all the evidence (including historical and artistic evidence that the Shroud existed in the 6th century AD), the match between the Shroud and the Sudarium of Oviedo, and then provide a plausible alternative explanation of how the Shroud came to be. Radiocarbon dating is just one of many lines of evidence (Wilson, 1991, pp.178-179), and an unreliable one at that!

Shroud of Turin debate rekindled, MSNBC, Mike Celizic, March 21, 2008 ... Twenty years after radiocarbon dating supposedly proved once and for all that the Shroud of Turin was a medieval hoax, scientists are revisiting their research to see if the tests were erroneous and the shroud really dates back to the time of Christ. ... A small piece was snipped from a corner and divided into three samples that were sent to laboratories to be dated by radiocarbon analysis. In 1988, the labs reported that the cloth dated back to no earlier than 1290 A.D. Since then, various groups dedicated to research on the relic have argued that the tests were done hastily and were flawed for a number of reasons. ... the segment tested may have been otherwise contaminated. "The shroud has been handled so many times. It's been displayed publicly. It has been hung from a balcony for public display, so the opportunity for contamination to settle on the cloth. Also, remember, it's been burned in fires; the heating of the cloth could have contributed to the contamination," Schwortz [said] ... Skeptics have attempted to reproduce the image by various means. Advanced analysis showed that the image had three-dimensional qualities, which many feel has eliminated the idea that it is a clever painting. .... One scientist who examined evidence collected during the 1978 examination reported that he found grains of pollen on the shroud that could only have come from the Middle East. A DNA test was conducted in 1995 on a sample of the pigment. ... it was done from an actual sample of the shroud's blood .... ... they were able to determine that it was male and human. ... "The Shroud of Turin is now the most intensively studied artifact in the history of the world" (Heller, 1983, p.219). Many (if not most) STURP scientists expected that the Shroud was a fake and would be exposed as such during their week of intensive scientific testing in 1978 (Stevenson & Habermas, 1990, p.120-121). The very fact that the Shroud has passed all scientific tests (except radiocarbon dating) it has been subjected to for over a century, and especially in the last 30 years, is itself strong evidence that the Shroud is no fake.

Interpreting the resurrection, Colorado Springs Gazette, March 21, 2008, Mark Barna ... As convincing as that biblical exegesis may be, some people still yearn for physical evidence. Believers say it's there in the Shroud of Turin. A documentary appearing today on BBC 2 in the United Kingdom argues that the shroud, the cloth the crucified Christ may have been wrapped in for entombment, could be genuine. ... Numerous scholars have examined the Bible for evidence that the resurrection actually happened. ... As convincing as that biblical exegesis may be, some people still yearn for physical evidence. Believers say it's there in the Shroud of Turin. A documentary appearing today on BBC 2 in the United Kingdom argues that the shroud, the cloth the crucified Christ may have been wrapped in for entombment, could be genuine. Doubts were cast on the shroud's authenticity in 1988 when carbon-14 dating concluded it was of medieval origin. According to the documentary, "Shroud of Turin: Material Evidence," a recent analysis suggests that the 1988 sample might have been flawed, which could have thrown off the results by 1,500 years. Among the documentary's experts are John and Rebecca Jackson of the Turin Shroud Center in Colorado Springs. Rebecca Jackson said the relic brims with evidence of Jewish burial practices from the early centuries, such as the figure's open palms and the shroud's division into Jewish cubits. ... More tidbits about what is in the documentary. I would be interested in comments from anyone who saw it.

Finding Christ's Imprint: Interview With Expert on the Shroud of Turin, ZENIT, Antonio Gaspari, ROME, MARCH 4, 2008 ... Those who won't admit to seeing Christ in the imprint of the Shroud of Turin are those who are afraid to acknowledge him, according to the vice director of the International Center for Shroud Studies. ... An interview with Nello Balossino, Professor of Computer Science at the University of Turin: ... Interdisciplinary studies ... coincide in truly finding that the shroud is not a counterfeit, but rather, it could well be the cloth that covered the body of a man who was submitted to the martyrdom of crucifixion following the characteristics described in the Gospels. So it could be Christ. Even skeptics like Steven Schafersman admit that "the odds as 1 in 83 million that the man of the shroud is not Jesus Christ" is "a very conservative estimate" and agree that "If the shroud is authentic, the image is that of Jesus" (Stevenson & Habermas, 1990, pp.196-197). As well, the computer technology research we've conducted has added credence to this hypothesis ... As far as the validity of the radioactive dating applied to the shroud, which is well known to have been contaminated a number of ways over the centuries, among them in the Chambery fire, we should be very cautious of extrapolating rash conclusions based on the results. This is also due to the fact that the protocol followed in [the] 1988 [test] was outside of standard practice, such as the blind selection of sample material, which was not followed. ... why are so many people afraid of discovering the imprint of Jesus in the mysterious shroud? ... Maybe because they are afraid of admitting there was a man 2,000 years ago willing to sacrifice himself for humanity.

[Left: Is this the Face that is to be our Judge on the Last Day?", The Shroud of Turin Story] Today there are also many people who, although not to the same extreme degree of Christ, lay themselves out for their neighbor and don't just think about their own egoism. The $64M question, "why are so many people afraid of discovering the imprint of Jesus in the mysterious shroud?" Because they know deep down that if the Shroud is the very burial sheet of Jesus, with a 3-D photographic imprint of His body on it that has defied all naturalistic explanations, and has survived ~2,000 years against all the odds, then maybe Christianity is true after all, and the Face on the Shroud will be their Judge on the Last Day! (Wilson, 1991, p.189)!

See supporting `tagline' quotes (Emphasis italics original, emphasis bold mine).

Posted 3 April 2008. Updated 25 August 2025.


"Living fungi and bacteria have been discovered growing inside the fibers of the Shroud, representing potential carbon contaminants for the carbon-14 studies [Gove, H., et al., 1997, "A problematic source of organic contaminants of linen," in Nuclear Instruments and Methods in Physics Research-Section B, Vol. 123, No. 1, March 1997, pp.504-507]. To what extent the carbon-14 content of the cloth was altered by the intense heat of a 1532 fire, which caused the burn marks and the water stains on the Shroud, is not known. Research has shown that significant increase in carbon 14 may take place under the unusual circumstances that might have been present during the fire [Jackson, J.P. & Propp, K., 1998, "On the evidence that the radiocarbon date of the Shroud was significantly affected by the 1532 fire," in Actes du Symposium Scientifique International du CIELT, Nouvelle Imprimerie Laballery: Clamecy, France, pp.61-82 ]." (Danin, A., Whanger, A.D., Baruch, U. & Whanger, M., 1999, "Flora of the Shroud of Turin," Missouri Botanical Garden Press: St. Louis MO, p.6).

"Gove, 1989, p.237My main concern was that this highly public application of the AMS technique, which I had played a major role in inventing and developing, be successful. The new procedures seemed to me to be fraught with peril. If one of the three laboratories obtained an outlier result as one did in the British Museum inter-laboratory comparisons it would be impossible statistically to identify it and the three measurements would all have to be included in the average thereby producing an incorrect result. The inclusion of the other laboratories would have obviated this potential risk. As it turned out my fears were not realized. The three laboratories performed their measurements flawlessly and the final result is a public triumph for AMS if not for the `true believers'. That the shroud's age is the historic one is the dullest result one could have wished for. But in science as in many other aspects of life one does not always get what one wishes." (Gove, H.E., "Letter To The Editor: The Turin Shroud," Archaeometry, Vol. 31, No. 2, 1989, pp.235-237, p.237).

"The Fourth International Symposium on Accelerator Mass Spectrometry was held between the 27th and 30th of April 1987 at Niagara-on-the-Lake, Ontario, Canada. ... The meeting was the tenth anniversary of the first measurement of carbon-14 in natural material by tandem accelerators. One of the sessions included the history of the development of accelerator mass spectrometry. The after dinner talk at the symposium banquet was titled 'The Shroud of Turin: Relic or Icon' and was given by W S A Dale, chair of the Department of Visual Arts at the University of Western Ontario in Canada. ... Dale stated that the shroud's most probable date would be somewhere between 1000 and 1050 AD. ... At the conference, I presented a poster on the conclusions and the procedural steps which were agreed to at the Turin workshop. It was published as a paper in the proceedings of the meeting in the journal Nuclear Instruments and Methods in Physics Research. I organized a meeting of those people at the conference representing the five AMS laboratories that had participated in the Turin workshop to discuss the inordinate delay in a decision to proceed with the carbon dating of the shroud. I was asked to write to Chagas [late Professor Carlos Chagas, President of the Pontifical Academy of Sciences] re-affirming our support for the protocol we had all agreed to at the workshop and to press for action. ... The text of the letter follows: `Dear Professor Chagas: A meeting was held at the Pillar and Post Inn in Niagara-on-the-Lake, Canada the site of the 4th International Symposium on Accelerator Mass Spectrometry on Thursday, 30 April 1987 concerning radiocarbon dating of the Turin Shroud. Present were representatives of the 5 AMS laboratories who will be involved in the measurements, all of whom with the exception of the representative of Oxford were present at the Turin workshop. Since this international meeting concerned accelerator mass spectrometry, AMS, there were no delegates present from the 2 counter laboratories at Harwell and Brookhaven. As a result of the meeting, the undersigned wished to reaffirm their strong, continuing support for the conclusions and procedural steps agreed to by the delegates to the Turin workshop of September 29 to 1 October and in particular: (a) all seven laboratories must be involved in the tests; (b) Madame Flury-Lemberg of the Abegg-Stiftung must be responsible for the selection and actual removal of the material from the shroud; (c) representatives of all seven laboratories should be present at the actual sample removal; (d) a representative of the Pontifical Academy of Sciences, the British Museum and the Archbishopric of Turin will supervise the shroud samples from the time of removal to the time of their delivery, also with a dummy sample and control samples to a representative of each of the seven laboratories. We emphasize the above because of a report in the 27 April 1987 issue of La Stampa, the Turin newspaper, attributed to Professor Luigi Gonella, that the carbon-14 measurements will be carried out in two or three laboratories. That so directly contravenes the Turin workshop agreement that it could severely jeopardize the carbon dating enterprise. The people present at the Niagara-on-the-Lake meeting were S L Brignall, Rochester, C R Bronk, Oxford, P E Damon, Arizona, D J Donahue, Arizona, J C Duplessy, Gif-sur-Yvette, H E Gove, Rochester and W Woelfli, ETH Zurich." Only Bronk had not attended the Turin workshop." (Gove, H.E., 1996, "Relic, Icon or Hoax?: Carbon Dating the Turin Shroud," Institute of Physics Publishing: Bristol UK, pp.185-188).

"Gove, 1996, p252On 25 April at 11 am, Harbottle called. He had learned from Otlet that the shroud samples had been removed on 21 April 1988. Hall had flown into London on 25 April with the samples in hand and he received a lot of publicity. The archbishop had been, according to Harbottle, furious about Hall's trying to commercially capitalize on the venture. Harbottle also said that the BBC were going to film the measurements at Zurich. He said that, according to Otlet, there was no possibility this time of any outliers because the three labs would consult together so the answers would come out the same. I must say I thought that Otlet was being either paranoid or surprisingly cynical." (Gove, 1996, p.252).

"Meanwhile, the story that the Shroud of Turin was a fake was getting increased attention from the press. The original rumour that the shroud was medieval appeared in the article by Kenneth Rose in the London Sunday Telegraph. Aside from a naive statement from Ballestrero that the labs would not know which of four samples was the shroud, there was not much reaction to the Rose report. However, this changed when the 27th August 1988 edition of the Washington Post carried a story by Tim Radford of the Guardian that "The furor began after Dr Richard Luckett of Cambridge University wrote in the Evening Standard yesterday that a date of 1350 'looks likely' for the 14-foot piece of linen which appears to bear the imprint... of Jesus. He also referred to laboratories as "leaky institutions".' ... Somehow the impression had been created that the 'leaky institution' Luckett referred to was Hall's Oxford Laboratory because the Washington Post quoted Gonella as saying `Frankly we in Italy feel we have been taken for a ride. I am amazed that there should be indiscretions of this sort from a university like Oxford. We had expected different behaviour from a laboratory of this reputation.' ... A friend of mine who was visiting Mexico sent me a clipping from the 27th August edition of the Mexico City News. It quoted the report carried by the Evening Standard on 26 August and provided a few more details from that report. The Evening Standard report claimed that Oxford had found the shroud to be a fake which dated only to 1350 AD. It gave no attribution for its report but quoted Dr Richard Luckett of Magdalen College, Cambridge as saying `I think that as far as seems possible the scientific argument is now settled and the shroud is a fake'. ... Oxford had completed their measurements during the first week of August and had sent them to the British Museum. Hall certainly knew the Oxford result at the time of the leak and may also have known the overall result that was to be published in Nature. Both gave a mean several decades less than 1350 AD. Hall had no motive for perpetrating the leak and the clear disparity between what he knew the answer to be and the leaked date is convincing evidence that he did not." (Gove, 1996, pp.277-278).

"The Rochester Democrat and Chronicle also carried the story on the front page of their 27th August edition under the headline 'UR (University of Rochester) scientist rejects story of relic's age'. The subhead read 'London paper claims tests show Shroud of Turin a fake'. The report read: `The ... London Evening Standard yesterday reported, without attribution, that radio-carbon tests at Oxford University showed the shroud was made about 1350. ... ' ... The article stated that Luckett, whose university is an ancient rival of Oxford, was not connected with the tests but had been associated with investigations of the shroud's history. `He wrote in a separate article in the Evening Standard that laboratories "are rather leaky places" but did not elaborate.' ... An Associated Press story appeared in the 9 September 1988 issue of the Rochester Democrat and Chronicle headlined 'Shroud's age remains secret Oxford research chief says', with the subhead 'He claims forgery report was just a guess'. Teddy Hall was quoted to this effect in the Oxford Mail. The article went on `But Dr Richard Luckett, a Cambridge University professor, said he stood by his word, adding, "I had an absolutely marvellous leak from one of the laboratories and it wasn't Oxford." Luckett, last month, said tests at Oxford showed the shroud was made in 1350. ... I must say I wondered about Luckett's date of 1350 because it was the date Donahue announced to me when I was present at the first radiocarbon measurement on the shroud in 6 May 1988. Of course, it also corresponds very closely to the shroud's known historic date. However, I still assumed Luckett had said he got the number from Oxford. When I read that he claimed he got it from one of the other two labs I worried that it might have come from someone who was present at Arizona during the first measurement." (Gove, 1996, pp.278-279).

"The first sample run was OX1. Then followed one of the controls. Each run consisted of a 10 second measurement of the carbon-13 current and a 50 second measurement of the carbon-14 counts. This is repeated nine more times and an average carbon-14/carbon-13 ratio calculated. All this was under computer control and the calculations produced by the computer were displayed on a cathode ray screen. The age of the control sample could have been calculated on a small pocket calculator but was not-everyone was waiting for the next sample-the Shroud of Turin! At 9:50 am 6 May 1988, Arizona time, the first of the ten measurements appeared on the screen. We all waited breathlessly. The ratio was compared with the OX sample and the radiocarbon time scale calibration was applied by Doug Donahue. His face became instantly drawn and pale. At the end of that one minute we knew the age of the Turin Shroud! The next nine numbers confirmed the first. ... Based on these 10 one minute runs, with the calibration correction applied, the year the flax had been harvested that formed its linen threads was 1350 AD-the shroud was only 640 years old! It was certainly not Christ's burial cloth but dated from the time its historic record began." (Gove, 1996, p.264).

"When rumors of forgery reached Turin, it provoked the ire of Gonella. He complained, `If any researcher has spoken, it means that he took the trouble to verify which of the three samples delivered to each of the three laboratories came from the Shroud.' We had trusted them; now we are disillusioned.' [Il Giorno, September 6, 1988] Contrary to Tite's protocol letter which stated the labs would not communicate with one another, he acknowledged that the `results from each testing centre have been circulated to the others with a proposal for a coordinated date on the Shroud from the samples....' [Shroud News, October 1988, p.7 ] Years later it was reported that the Arizona laboratory had produced eight different measurements rather than the four mentioned in the Nature report. [Van Haelst, R., "Radiocarbon Dating the Shroud of Turin: A Critical Review of the Nature Report," p.7]" (Guerrera, V., 2000, "The Shroud of Turin: A Case for Authenticity," TAN: Rockford IL, 2000, p.132).

"Carbon 14, Again We are faced with a choice. There are two irreconcilable conclusions, one of which must be wrong. All the studies on the sudarium point to its having covered the same face as the Shroud did, and we know that the sudarium was in Oviedo in 1075. On the other hand, the carbon dating specialists have said that the Shroud dates from 1260 to 1390. Either the sudarium has nothing to do with the Shroud, or the carbon dating was wrong - there is no middle way, no compromise. If the sudarium did not cover the same face as the Shroud, there are an enormous number of coincidences, too many for one small piece of cloth. If there was only one connection, maybe it could be just a coincidence, but there are too many. The only logical conclusion from all the evidence is that both the Oviedo sudarium and the Turin Shroud covered the same face. As we have already seen from the Cagliari congress, there are also many inherent reasons why the Shroud cannot be fourteenth century, reasons that nobody has been able to disprove, and only one that suggests a medieval origin-carbon dating. Those who believe in the carbon dating have never been able to offer any serious proof or evidence to explain why every other scientific method practised on the Shroud has given a first century origin as a result, most have not even tried. It can hardly be considered rational or scientific to blindly accept what conveniently fits in with one's own personal ideas without even taking into consideration what others say. And after all, carbon dating is just one experimental method compared with dozens of others, and it stands alone in its medieval theory. If both the sudarium and the Shroud date from the first century, then the carbon dating must be mistaken, and it is the duty of those who believe in the dual authenticity of the cloths to show why carbon dating has shown the Shroud to be first century. Those who have attempted this can be broadly divided into two bands, those who think that the particular process of the Shroud's carbon dating was a fake, a deliberate deception by the scientists involved, and those who believe that the whole process of carbon dating is not as reliable as it is made out to be, and is far from infallible." (Guscin, M., 1998, "The Oviedo Cloth," Lutterworth Press: Cambridge UK, pp.64-65).

"However, let us suppose for a while that the results obtained from the carbon dating of both the sudarium and the Shroud are accurate, and neither cloth ever touched the body of Jesus. In that case, the following story would have to be true. Sometime in the seventh century, in Palestine, after reading the gospel of John, a well known forger of religious relics saw the opportunity of putting a new product on the market - a cloth that had been over the face of the dead body of Jesus. This forger was also an expert in medicine, who knew that a crucified person died from asphyxiation, and that when this happened, special liquids fill the lungs of the dead body, and can come out through the nose if the body is moved. The only way he could get this effect on the cloth was by re-enacting the process, so this is exactly what he did. He crucified a volunteer, eliminating those candidates who did not fulfil the right conditions - swollen nose and cheeks, forked beard to stain the cloth, etc. When the body was taken down from the cross, he shook it around a bit with the help of a few friends, holding the folded cloth to the dead volunteer's nose so that future generations would be able to see the outline of his fingers. He even stuck a few thorns in the back of the dead man's neck, knowing that relic hunters would be looking for the bloodstains from the crown of thorns. Being an eloquent man, he convinced people that this otherwise worthless piece of cloth was stained with nothing less than the blood and pleural liquid of Christ, and so it was guarded in Jerusalem with other relics, and considered so genuine and spiritually valuable that it was worth saving first from the invading Persians and later from the Arabs. A few hundred years later, some time between 1260 and 1390, another professional forger, a specialist in religious relics too, decided that the time was ripe for something new, something really convincing. There were numerous relics from various saints in circulation all round Europe, bones, skulls, capes, but no, he wanted something really original. Various possibilities ran through his mind, the crown of thorns, the nails from the crucifixion, the table cloth from the last supper, and then suddenly he had it - the funeral shroud of Jesus! And not only that, but he would also put an image on the Shroud, the image of the man whom the Shroud had wrapped! The first step was difficult. Being an expert in textile weaves, (one of his many specialities, the others being pollen, Middle East blood groups, numismatism of the years of Tiberius, photography, Roman whips, and electronic microscopes) he needed linen of a special kind, typical of the Middle East in the first century. Once this had been specially ordered and made, he folded it up before starting his work, as a neighbour had suggested that such a cloth would have been folded up and hidden in a wall in Edessa for a few hundred years, so the image would be discontinuous on some of the fold marks. Leaving the cloth folded up, he travelled to Oviedo in the north of Spain, where he knew that a forerunner in his trade had left a cloth with Jesus' blood stains. On obtaining permission to analyse the sudarium, he first checked the blood group - AB of course, common in the Middle East and relatively scarce in Europe - then made an exact plan of the blood stains (carefully omitting those which would have already clotted when the sudarium was used) so that his stains would coincide exactly. After his trip to Oviedo, he went on a tour of what is now Turkey, forming a composite portrait of Jesus from all the icons, coins and images he could find. After all, he needed people to think that his Shroud had been around for over a thousand years, and that artists had used it as their inspiration for painting Christ. He didn't really understand what some of the marks were, the square box between the eyes, the line across the throat, but he thought he'd better put them on anyway. He didn't want to be accused of negligence, because he was an internationally famous forger and had a reputation to maintain. Once he was back home, he somehow obtained some blood (AB, naturally) and decided to begin his work of art with the blood stains, before even making the body image. Unfortunately, he miscalculated the proportions, and the nail stains appeared on the wrist instead of on the palms of the hands, where everyone in the fourteenth century knew that they had been. `Well', he thought, `it's just a question of a few inches, nobody will notice.' Now, even the omniscient author is forbidden to enter in the secret room where the forger `paints' the image of Christ, a perfect three dimensional negative, without paint or direction. His method was so secret that it went to the tomb with him. After a few hours, he opened the door, and called his wife, who was busy preparing dinner in the kitchen. `What do you think?' `Not bad. But you've forgotten the thumbs' `No, I haven't. Don't you know that if a nail destroys the nerves in the wrist, the thumbs bend in towards the palm of the hand, so you wouldn't be able to see them?' `But didn't the nails go through the palms?' `Well, yes, but I put the blood on first, and didn't quite get the distance right' `Oh, in that case ... and what about the pollen?' `What pollen?' `Well, if this Shroud has been in Palestine, Edessa, and let's suppose it's been in Constantinople too, it's going to need pollen from all those places.' Our forger loved the idea, got the pollen from all the places his wife had indicated, and delicately put it all over his Shroud. And then, the final touch. Two coins from the time of Christ, minted under the emperor Tiberius, to put over the man's eyes. Our man had a sense of humour too - he decided that the coins would be included in the image in such a way that they would only be visible under an electronic microscope. Such a story, even without the embellishments, is more incredible than the Shroud's authenticity." (Guscin, 1998, pp.84-88).

"So where does all this huge amount of science leave us? The Shroud of Turin is now the most intensively studied artifact in the history of the world. Somewhere between 100,000 and 150,000 scientific man-hours have been spent on it, with the best analytical tools available. The physical and chemical data fit hand in glove. It is certainly true that if a similar number of data had been found in the funerary linen attributed to Alexander the Great, Genghis Khan, or Socrates, there would be no doubt in anyone's mind that it was, indeed, the shroud of that historical person. But because of the unique position that Jesus holds, such evidence is not enough." (Heller, J.H. , 1983, "Report on the Shroud of Turin," Houghton Mifflin Co: Boston MA, p.219).

"Undeniably, a `bullseye' result with mid-point at 20 or 1320 A.D. would lend strong support to the proponents or opponents of authenticity. But a result of 300 or 700 or 1000 AD would create more controversy than it settled, especially with the necessary margin of error at -t 300 years or more. As flax is extremely short-lived, minor fluctuations in atmospheric C-14 levels may require that an uncertainty of up to + 120 years (Farmer and Baxter 1972) or ~ 150 years (Bruns et al 1980) be added to the normal statistical errors (+ 80 on a good sample). Calibrated and reported at 95% confidence level, the radiocarbon age of the Shroud would thus probably span 500-600 years. It is of course futile to speculate in advance on the interpretation of results, and I shall proceed to a consideration of the types of contamination which may be present on the Shroud, and of other factors which may influence the C-14 result. ... A C-14 age later than the first century would not of course constitute scientific proof of the inauthenticity of the Shroud, since radiocarbon dating is a based on a number of unverifiable assumptions -- the most important in this context being that the carbon extracted from the sample is indeed identical with the carbon absorbed from the environment when the sample was alive." (Meacham, W., "Radiocarbon Measurement and the Age of the Turin Shroud: Possibilities and Uncertainties," Proceedings of the Symposium `Turin Shroud - Image of Christ?', Hong Kong, March 1986).

"[Cardinal] Ballestrero gave the laboratory representatives a letter to enable the containers to pass though customs without any difficulty. Teddy Hall placed his in his briefcase, and with Hedges was the only one of the scientists to meet television cameras when returning home. They didn't say much to BBC except when pressed about when the world would know the answer. Hall responded: `We've waited five years for this.' In another interview Hall repeated his earlier remark that `I'd be hopping mad if I wasn't chosen', but added: `Having only three labs doesn't undermine the validity of the dating. I think it was absolutely the right decision. You only need one lab to get it badly wrong to confuse everything, and the chances of that are higher with seven than with three. [Schoon, N., "Analysing the Strands of Time," The Independent, 25 April 1988] That was hardly the way the unchosen saw the matter, and privately they were saying the three were going to make certain they agreed - no matter how long it took." (Sox, H.D., 1988, "The Shroud Unmasked: Uncovering the Greatest Forgery of All Time," The Lamp Press: Basingstoke UK, p.134).

"Very small samples from the Shroud of Turin have been dated by accelerator mass spectrometry in laboratories at Arizona, Oxford and Zurich. As controls, three samples whose ages had been determined independently were also dated. The results provide conclusive evidence that the linen of the Shroud of Turin is mediaeval. ... The results of radiocarbon measurements at Arizona, Oxford and Zurich yield a calibrated calendar age range with at least 95% confidence for the linen of the Shroud of Turin of AD 1260 - 1390 (rounded down/up to nearest 10 yr). These results therefore provide conclusive evidence that the linen of the Shroud of Turin is mediaeval." (Damon, P.E., et al., 1989, "Radiocarbon Dating of the Shroud of Turin," Nature, Vol. 337, 16 February, pp.611-615, pp.612,614).

"A number of scientists have testified that before their investigations they believed the Shroud was a fake. `Give me twenty minutes and I'll have this thing shot full of holes,' testified STURP chemist Ray Rogers. [Rogers, R., in Murphy, C., "Shreds of Evidence," Harper's, November, 1981, pp.42-65, p.61] Bill Mottern of Sandia Laboratory, another STURP scientist, said, 'I went in as a doubting Thomas.' [Mottern, R.W., in Murphy, 1981, p.47] Heller reported that, `For numerous reasons, Adler and I had been assuming all along that the Shroud was a forgery.' [Heller, J.H., "Report on the Shroud of Turin," Houghton Mifflin Co: Boston MA, 1983, p.201] Testimonies like these could be multiplied. Many STURP scientists thought that the Shroud was simply a fake to be exposed by scientific testing. But in the 1981 meeting at New London, Connecticut, the scientists reported: `No pigments, paints, dyes or stains have been found on the fibrils. X-ray fluorescence and microchemistry on the fibrils preclude the possibility of paint being used as a method for creating the image. Ultraviolet and infrared evaluation confirm these studies.' ["Text," The Shroud of Turin Research Project, Press Release, 8 October 1981]. Ever since then, several STURP scientists have continued to report that forgery could not be the cause of the Shroud's image. [Murphy, 1981, pp.61-62] Heller notes: `At the end of months of work, we had pretty well eliminated all paints, pigments, dyes, and stains.... the images were not the result of any colorant that had been added.' [Heller, 1983, p.198] Heller points out that fraud can be checked by at least two scientific methods-chemistry and physics. Concerning the first means, he said, `Adler and I had reached the conclusion that the image could not have been made by artistic endeavor.' [Ibid., p.207] The second method revealed no forgery either: `The conclusion of the physical scientists was that the Shroud could not be the result of eye/brain/hand.' [Ibid., p.209] (Stevenson, K.E. & Habermas, G.R., 1990, "The Shroud and the Controversy," Thomas Nelson: Nashville TN, pp.120-121).

"Oddly enough, the Shroud opponents have actually helped to make our case. Certainly the need to resort to a denigration of the scientists on the basis of their religious preferences shows a decided bias on their part. In addition, if critics feel the need to declare Jesus a myth, are they not actually suggesting that the Shroud evidence indeed matches the Gospel narratives of Christ's passion and death? At least a few of them are willing to admit this in print. For example, Schafersman states, `Stevenson and Habermas even calculate the odds as 1 in 83 million that the man of the shroud is not Jesus Christ ... a very conservative estimate. I agree with them on all of this. If the shroud is authentic, the image is that of Jesus. Otherwise, it's an artist's representation... ." [Schafersman, S., "Science, the Public, and the Shroud," Skeptical Inquirer, B, 1982:41, italics added]" (Stevenson, 1990, pp.196-197).

"There followed in February 1989 a formal paper in the highly respected, international scientific journal Nature, carrying as its signatories the names of twenty-one of those most closely involved in the carbon dating. After carefully setting out all the procedures that had been followed to obtain the dating result, the paper commented: `These results therefore provide conclusive evidence that the linen of the shroud of Turin is medieval.' [Damon, P.E., et al., "Radiocarbon Dating of the Shroud of Turin," Nature, Vol. 337, 16 February, 1989, pp.611-615, p.614]" (Wilson, 1991, "Holy Faces, Secret Places: The Quest for Jesus' True Likeness," Doubleday: London, pp.9-10).

"Whether, therefore, there has or has not been some error in respect of the shroud carbon dating, what is undeniable is that the process of carbon dating, despite all the ultra-scientific precision with which it is associated, can and does err in its results. It should be regarded as tool, not arbiter, and should never be mistaken for the latter. As has been very cogently remarked by the former Biblical archaeologist Dr Eugenia Nitowski: `In any form of enquiry or scientific discipline, it is the weight of evidence which must be considered conclusive: In archaeology, if there are ten lines of evidence, carbon dating being one of them, and it conflicts with the other nine, there is little hesitation to throw out the carbon date as inaccurate ...' [Nitowski, E., Private communication]" (Wilson, 1991, pp.178-179).

"Inevitably there were a number of individuals, among them the present author who, having conducted their own prior researches on the shroud, felt that the word `conclusive' for such a date seemed overstrong, particularly given that carbon dating on its own could certainly not yet offer any explanation for how someone of the Middle Ages had produced an image of the shroud's extraordinary subtlety and complexity. Nonetheless, such was the seemingly overwhelming acceptance with which the results were received that most objections of this kind, if voiced at all, were tossed aside by the media. To the glee of the British press, Oxford's Professor Hall derisively labelled such protestors `Flat-Earthers'." (Wilson, 1991, p.10).

"In this context, although there are many individuals who are quite happy to accept that the shroud was faked in the fourteenth century, and regard it as of supreme unimportance in their everyday lives, there are others, including myself, for whom the question `Was this what you really looked like?' simply refuses to go away. Not only is the shroud as difficult to attribute to a fourteenth-century artist as the Sistine Chapel ceiling is attributable to Van Gogh, there is not even any comfort in not being able to dismiss it in such a way. For if that face, however subjectively, seems as though it has transcended two thousand years, it is as if neither time, nor the grave, have any meaning. It bespeaks the very same questions as those that wracked the pilgrims to the Veronica: `Were those the lips that spoke the Sermon on the Mount and the Parable of the Rich Fool?'; `Is this the Face that is to be my judge on the Last Day?'" (Wilson, 1991, p.189).

""Scientifically the coup de grâce came on 16 February 1989 with the scientific journal Nature's publication of the radiocarbon-dating laboratories' formal technical report. Authored by no less than twenty-one of the scientists who had played some part in obtaining the final result, this claimed `conclusive evidence that the linen of the shroud of Turin is mediaeval'. [Damon, P.E., et al., "Radiocarbon dating of the shroud of Turin," Nature, Vol. 337, 16 February 1989, pp.611-615] As the Oxford laboratory's Professor Edward Hall repeatedly stressed in accompanying interviews and talks, no one of any scientific worth could any longer believe in the possibility of the Shroud being genuine. If they did, they might just as well join the Flat Earthers. Thus it seemed that anyone who had previously upheld any serious case for the Shroud's credibility, among whom I numbered myself, had been dealt a fatal stab to the heart. And sadly, the quality of argument on the part of those who refused to accept that they were `dead' quickly degenerated into the unworthy. For some Shroud supporters in continental Europe, for instance, the chief defence offered was that it was the radiocarbon dating, not the Shroud, that must be the fraud." (Wilson, I. , 1998, "The Blood and the Shroud: New Evidence that the World's Most Sacred Relic is Real," Simon & Schuster: New York NY, pp.8-9).

Tuesday, April 1, 2008

Shroud name index `J'

Here is my Shroud of Turin name index, `J', for key persons

[Above: STURP scientists (center to right) Dr Eric Jumper, Dr John Jackson and the late Professor Giovanni Riggi, examine the Shroud in Turin, Italy, in 1978: Shroud of Turin Education Project]

associated with the Shroud whose surnames begin with `J. See also main name index A-Z for more details.


John P. Jackson. (c.1946-) Physicist. Founder and Director of the Turin Shroud Center of Colorado. Believes that the Shroud is authentic, the burial shroud of Jesus. Was leader of the Shroud of Turin Research Project (STURP) team that in 1978 examined the Shroud in Turin. Former scientist at the Air Force Weapons Laboratory in Albuquerque, New Mexico and Professor of physics at the U.S. Air Force Academy and the University of Colorado at Colorado Springs. Pioneered physics studies of the Shroud, including its 3D image, coins over the eyes, and bones of the skull and hands are xray images. Jackson found from the Shroud's fold marks that it had once been doubled in four, exposing the face area, consistent with Ian Wilson's theory that the Edessa Cloth was the Shroud. He tested all proposed image formation theories and concluded that the image formed on the Shroud by a radiation scorch. He further theorised that the image was formed as the body within the Shroud dematerialised and the cloth then collapsed vertically under gravity. Jackson proposed that a significant increase in carbon 14 may have taken place in the Shroud during the 1532 fire it was in. This proposal was the subject of a 2008 BBC documentary, "Shroud Of Turin - Material Evidence." Papers: Jackson has published over 20 papers on the Shroud. Video interview. About: Turin Shroud Center of Colorado.

PS: The `tagline' quotes below (original emphasis italics, my emphasis bold), are about each person (currently only about Dr. John Jackson), in alphabetic order of surname (in bold), and then date order (earliest uppermost). As I add more names to this page, I may have to delete some of these quotes about each person.

Posted 1 April 2008: Updated 23 August 2025


John P. Jackson:
"Heated Bas-Relief/Scorch Theory Another possible image-forming mechanism similar to that proposed by Nickell involves pressing a stretched cloth over a heated bas-relief. Such an idea was first proposed in 1961 and tested, with limited success, by placing a white handkerchief on top of a heated small medallion that bore a carving of a horse. [Ashe, G., "What Sort of Picture?" Sindon, 1966, pp.15-19] This theory is more intriguing than most because the Shroud image does appear to have many of the physical and chemical properties of a light scorch. [Schwalbe, L.A. & Rogers, R.N., "Physics and Chemistry of the Shroud of Turin," Analytica Chimica Acta, 135, 1982.] STURP scientists Jackson, Jumper, and Ercoline tried to duplicate the image on the Shroud by testing the scorch hypothesis more fully. To accomplish this, they heated a full-size bas-relief model of a face and stretched over it a linen cloth of a thickness similar to the Shroud. [Jumper, E.J., et al., "A Comprehensive Examination of the Various Stains and Images on the Shroud of Turin," in Lambert, J.B., ed., "Archaeological Chemistry, III," American Chemical Society: Washington DC, 1984, pp.447-476 & Jackson, J.P., et al., "Three Dimensional Characteristics of the Shroud Image," IEEE 1982 Proceedings of the International Conference on Cybernetics and Society, October 1982, pp.559-575] The ... resulting image lacks the high resolution and sharp focus found on the Shroud. While the bas-relief method seemingly yields a respectable three-dimensional image, problems are evident in the accompanying VP-8 relief of this image. Hollow spots below the eyes, next to the bridge of the nose, below the lips, in the beard, and on the forehead are all noticeable ... . Further, a slight plateau is visible on the high spots of the VP-8 relief, similar to those produced in VP-8 analysis of results from experiments with direct-contact methods." (Antonacci, M., "The Resurrection of the Shroud: New Scientific, Medical, and Archeological Evidence," M. Evans & Co: New York NY, 2000, pp.77-78. Emphasis original)

"Even though the heated bas-relief produced better three-dimensional information than other methods, Jackson and colleagues concluded that this process could not encode many of the necessary Shroud image characteristics. For example, regardless of the temperature of the bas-relief, thermal discoloration appeared on the back side of the test cloth within several seconds after being placed on the hot bas-relief. Thus, the superficiality characteristic is violated because the image could not be encoded only on the topmost fibrils of the linen. The researchers tried to circumvent this problem by wetting the cloth, thereby extending the scorch time. When this technique was tried, new problems appeared. The image's contrast was reduced, causing more severe distortions in the three-dimensional analysis and resembling images obtained from direct-contact techniques ... In addition, because the cloth was essentially flat when the image was encoded, tests of this image-forming method failed to generate an image that contains the subtle lateral distortions that are consistent with the cloth-drape effects found on the Shroud." (Antonacci, 2000, pp.78-79).

"Hot Statue Method Just as the heated bas-relief method cannot account for all the Shroud image characteristics, neither can the hot statue technique, which involves laying cloth over a full-size three-dimensional hot statue. A hot statue would produce an isotropic radiation source, which means the heat radiates the same in all directions. This type of uniform radiation could not produce the subtle cloth-drape distortions found on the Shroud because the distance information encoded onto the cloth would not be transferred along vertical, straight-line paths; [Jackson, J.P., "A Problem of Resolution Posed By The Existence of a Three Dimensional Image on the Shroud," in Stevenson, K.E., ed., "Proceedings of the 1977 United States Conference of Research on The Shroud of Turin," Holy Shroud Guild: Bronx NY, 1977, pp.223-233] instead, the heat would travel in all directions and produce a blurred image. Thus the three-dimensional shading and high resolution of the Shroud image could not be encoded simultaneously if this image-forming method were used. [Jackson, personal communication, February 1, 1988] Furthermore, the hot statue technique would scorch the image into multiple layers of the linen's threads, which means the image could not be superficial and confined to only the topmost fibrils of the cloth. [Jumper, E.J., "Considerations of Molecular Diffusion and Radiation as an Image Formation Process on the Shroud," in Stevenson, Ibid., pp.182-188] The many characteristics of the blood and serum marks also could not be reproduced with a draped hot statue. In particular, the blood marks would undergo thermal degradation as a result of their contact with a hot surface (as discussed above). Another objection to the hot statue method lies in the inevitable creation of `hot spots' or well-defined regions of enhanced image density at points where the statue touched the cloth. Such spots would necessarily result from thermal conduction, [Schwalbe, L.A. & Rogers, R.N., "Physics and Chemistry of the Shroud of Turin," Analytica Chimica Acta, Vol. 135, 1982, pp.3-49, p.28] yet no such regions are present on the Shroud body image. As discussed in chapter 3, the entire image contains the same density of coloration." (Antonacci, 2000, pp.78-79).

"All of the evidence points to a very unique occurrence that caused the images on the Shroud, something that could never have been created by the technology of the medieval ages (or even by the technology of today). Only through simulation have today's scientists been able to come close to the Shroud's three-dimensionality, vertical directionality, and finely resolved and highly focused image; their simulation achieved by a mechanism in which light was attenuated in a liquid, then traveled in a vertical, straight-line direction from the plaster reference face while it was being focused in a camera. [Jackson, J.P. & Jumper, E.J. & Ercoline, W R., 1984, "Correlation of Image Intensity on the Turin Shroud with the 3-D Structure of a Human Body Shape," Applied Optics, Vol. 23, No. 14, July, pp.2244-2270]." (Antonacci, M., 2000, "The Resurrection of the Shroud: New Scientific, Medical, and Archeological Evidence," M. Evans & Co: New York NY, p.213).

"Dr. Giles Carter, Professor Emeritus, Eastern Michigan University, has conducted years of experiments with X rays. He has noted that cloth samples placed in an X ray beam and exposed to low-energy, long-wave X rays for different periods of time will produce superficial, straw-yellow discoloration like that found on the Shroud body images. [Carter, G.E., "Formation of the Image on the Shroud of Turin by X Rays: A New Hypothesis," in Lambert, J.B., ed., "Archaeological Chemistry, III," American Chemical Society: Washington DC, 1984, pp.425-446] He also noted that these same types of X rays are easily absorbed in air. Because of this absorption or attenuating quality Carter stated that X rays given off by the body would also convey three-dimensional information onto the cloth. [Carter, Ibid. p.435]. Dr. Carter first suggested in 1984 that the finger bones are visible on the photographic negative images of the man in the Shroud. In addition, he noted that the bones extending into the hand, over the wrist, could also be visible, helping to explain why the man's fingers appeared so long. Since then, other scientists and physicians have confirmed the identification of these finger and hand bones. [Accetta, A.D., "Experiments with Radiation as an Image Formation Mechanism," Shroud of Turin International Research Conference, Richmond VA, June 18-20, 1999] Carter stated that these `images may be due at least in part to x-rays emanating from the bones in the body.' [Carter, Ibid. p431] Scientists and physicians have identified other possible internal skeletal features on the man in the Shroud. Dr. Jackson has noted that part of the skull at the forehead may be visible on the man. Surgeon Alan Whanger, utilizing his modified Polarized Image Overlay Technique with the Shroud's negative and positive images, has also identified features from the skull, as have Dr. Carter and Dr. August Accetta. [Whanger, M. & A., "The Shroud of Turin," Providence House Publishers, Franklin TN, 1998, pp.116-117; Carter, Ibid. p.433; Accetta, Ibid]" (Antonacci, 2000, p.213).

"Dr. Accetta, a physician, has also conducted experiments concerning radiation-imaging of skeletal and other bodily features. Dr. Jackson and Dr. Accetta have further identified faint images of the curved and inverted thumb under the man's left palm. [Accetta, A.D., "Experiments with Radiation as an Image Formation Mechanism," Shroud of Turin International Research Conference, Richmond VA, June 18-20, 1999; Jackson, J.P., "An Unconventional Hypothesis to Explain All Image Characteristics Found on the Shroud Image," in Berard, A., ed., "History, Science, Theology and the Shroud," Richard Nieman: St. Louis MO, 1991, pp.325-344, pp. 333-335] Carter, Whanger, and Accetta have stated that images of the man's teeth could be partially visible, especially on the right side of the man's mouth. [Carter, G.E., "Formation of the Image on the Shroud of Turin by X Rays: A New Hypothesis," in Lambert, J.B., ed., "Archaeological Chemistry, III," American Chemical Society: Washington DC, 1984, pp.433-434; Whanger, M. & A., "The Shroud of Turin," Providence House Publishers, Franklin TN, 1998, pp.117-118; Dr. A. Accetta, Personal communication, August 9, 1999]. Dr. Carter also first stated that, `Part of the backbone may be visible on the dorsal image ...' of the man in the Shroud. [Carter, Ibid., p.433] This identification has also been confirmed by Dr. Whanger. [Whanger, Ibid., p.118] Recently I enlisted the services of Dr. Joseph Gerard and Dr. Cheri Ellis, who, in their profession as chiropractic physicians, make and view more X-ray images of the spinal column than almost any other profession. After studying quality photographic negatives of the dorsal area, they were able to specifically identify numerous vertebrae in the neck and backbone (and even a few pedicles of the vertebrae with disc spaces prevalent). All these skeletal features lie near the surfaces of the frontal or dorsal sides of the man in the Shroud. All are encoded correctly, and none were visible for hundreds of years-until the development of modern technology. The existence of just some of these features shows not only that the radiation came from the body, but that it resembled or had qualities analogous to X rays." (Antonacci, 2000, pp.213-214).

"While Lynn and Lorre were conducting image analysis experiments, Jackson, his Air Force Academy colleague Eric J. Jumper, and Sandia image analyst William Mottern were exploring the Shroud in 3-D. Early on, a French biologist named Paul Vignon had noted that the intensity of the image appeared to vary inversely with what one would assume to be the distance between the body and the cloth, the nose, for example, being more intense than the hair. Jackson decided to test that hypothesis mathematically with the aid of highly sensitive image recording equipment. To begin with, they created a full-scale model of the Shroud by tracing the image from a photographic projection onto a piece of cloth. Then, using an Air Force volunteer who matched the height and general build of the Man of the Shroud as a model, they draped their shroud over him and, from a set of photographs, measured the cloth-body distance from the ridge line of the cloth model. (The ridge line indicates the body's highest points of contact with the Shroud.) Scanning the image with a microdensitometer to record variations in intensity, they proceeded to measure image intensity along the ridge line and correlate that with cloth-body distance. `It is apparent that a definite correlation exists,' Jackson says, explaining that this means that the image on the Shroud contains three-dimensional information about the body it covered. Evidence to support the 3-D hypothesis came when Mottern, using Interpretation System's VP-8 Image Analyzer, which converts shades of light and dark to vertical relief, produced a three-dimensional recreation of the Shroud image. The researchers pointed out the significance of this finding in their 1977 paper for the Albuquerque conference. ` ... [O]rdinary photographic images cannot usually be converted to true three-dimensional reliefs,' they said. `The photographic process does not cause the objects filmed to become exposed in inverse relationship to distance from, the camera; hence, three-dimensional information is not usually recorded onto film. Only when the degree of illumination received from an object depends, in some way, upon its distance (for example, in a stellar photograph), would three-dimensional analysis and reconstruction be possible (by the VP-8 Image Analyzer).' To illustrate their point, they produced a three-dimensional relief of a photograph of Pope Pius XI; the nose appears distorted and looks pushed into the face, the arms seem to be pushed into the chest, and the `entire relief appeared flat and unnatural.' By contrast, in a three-dimensional relief of the face of the Shroud, features appear correctly defined." (Culliton, B.J. , 1978, "The Mystery of the Shroud of Turin Challenges 20th-Century Science," Science, Vol. 201, 21 July, pp.235-239, pp.237-238).

"Jackson and his colleagues believe that the three-dimensional quality image on the Shroud suggests strongly that the image-forming process did not depend on direct contact with the body and that, whatever it was, it acted uniformly on both sides of the body. This too, mitigates against any hypothesis that the image was painted, as, Jackson believes, does another feature of the image that was first revealed by his experiments. There appear to be button-like objects placed over the eyes of the Man of the Shroud which, on preliminary analysis, seem to be coins. (Ancient burial customs include the placing of coins or potsherds over the eyes of the deceased.) To Jackson's mind, the coins cover the eyes, if that's what they turn out to be, could contribute to evidence of the authenticity of the Shroud, especially if it is possible, with new photographs of the eye region, to identify markings on the objects." (Culliton, 1978, p.238).

"Jackson and his colleagues conclude: `if the identification of these images as solid objects over the eyes is correct, then another significant aspect of the image forming process comes to light: whatever process formed the image had to have acted the same way not only over the body and hair, but also over presumably organically inert fragments sited atop the eyes. This conclusion, we believe, is of significance, for it places great restrictions on the possible image formation process. In short, three-dimensionality implies that the image forming process acted uniformly through space over the body, front and back, and even seemed to act independently of the type of surface, organic and inorganic, from which the image was generated.' [Jackson, J.P., et. al., "The Three Dimensional Image On Jesus' Burial Cloth," in Stevenson, K.E., ed., "Proceedings of the 1977 United States Conference of Research on The Shroud of Turin," Holy Shroud Guild: Bronx NY, 1977, p.91]'" (Culliton, 1978, p.238).

"Speculation How, then, might the image have been formed? There is no uniform view among the scientific team; indeed, many are unwilling to even speculate. But Jackson, Jumper, and Rogers say the best guess is that the image was caused by a scorch which would account for several properties of the Shroud. For example, scorch marks fluoresce; so does the shroud. They would not be affected by heat as in the fire of 1532. They make sense with respect to the sepia color of the image. However, as Jackson notes, one problem with the scorch hypothesis is the clarity of the image of the Man Shroud-the incredible detail. Various attempts have been made to produce the image by scorching cloth with a variety of instruments from a mercury lamp to a laser beam (Rogers recently spent days searching the Los Alamos-Albuquerque area for yards of pure linen for some experiments) but so far no one has managed to create a clear image, though they can reproduce the general color of the image on the Shroud. In any event, the real drawback of the scorch hypothesis lies in postulating the source of the heat which would have had to have acted uniformly on both sides of the body to account for the fact that the front and back images seem to be equally intense. Jumper wrote that radiation occurring in a `very short molecular -burst' ` of `around 3 sec' could be the mechanism of image formation. Rogers talks of `flash photolysis,' a short, intense burst of light. But neither has any plausible notion of what the source of the radiant energy might have been." (Culliton, 1978, pp.238-239).

"Living fungi and bacteria have been discovered growing inside the fibers of the Shroud, representing potential carbon contaminants for the carbon-14 studies [Gove, H., et al., 1997, "A problematic source of organic contaminants of linen," in Nuclear Instruments and Methods in Physics Research-Section B, Vol. 123, No. 1, March 1997, pp.504-507]. To what extent the carbon-14 content of the cloth was altered by the intense heat of a 1532 fire, which caused the burn marks and the water stains on the Shroud, is not known. Research has shown that significant increase in carbon 14 may take place under the unusual circumstances that might have been present during the fire [Jackson, J.P. & Propp, K., 1998, "On the evidence that the radiocarbon date of the Shroud was significantly affected by the 1532 fire," in Actes du Symposium Scientifique International du CIELT, Nouvelle Imprimerie Laballery: Clamecy, France, pp.61-82 ]." (Danin, A., Whanger, A.D., Baruch, U. & Whanger, M., 1999, "Flora of the Shroud of Turin," Missouri Botanical Garden Press: St. Louis MO, p.6).

"STURP research initiated in 1978 confirmed the presence of blood on the Shroud but found no pigments, stains, or dyes, confirming that it is not a painting. These Shroud images occur only on the top surface fibrils on the crowns of the linen fibers. These images suggest cellular oxidations yielding conjugated carbonyl groups as chromophores [Jackson, J.P., et al., 1984, "Correlation of image intensity on the Shroud of Turin with the 3-D structure of a human body shape," Applied Optics, 23(14), pp.2244-2270]. The physics of the images is well known: it is extremely superficial with their density being directly proportional to the distance from the body to the cloth (Schwalbe & Rogers, 1982). Three-dimensional information is thus encoded into the images. Because there are images on the Shroud in places where the cloth was not in actual contact with the imaged object (not further than about 4 cm from the body), it has been increasingly hypothesized that some type of ionizing radiation would be necessary to produce such images. However, no single mechanism for the ionization could be postulated (Jackson et al., 1984). Recently, two physicists independently speculated that corona or electrostatic discharge might have produced the images. Mills (1979) discussed iconography. Scheuermann (1983, 1984) recorded his speculations and numerous experiments producing coronal discharge images from various kinds of objects." (Danin, 1999, p.8).

"Heller and Adler (1981) would recognize several kinds of color on the Shroud, explaining their chemistry. Colored areas appearing as bloodstains actually do contain components of human blood (Bollone et al., 1983a, 1983b). These bloody stains are not superficial, soaking the linen to its entire thickness. Yellow-colored fibrils comprising the Shroud images are evident only as the top surface fibrils on the linen fiber crowns. Non-imaging linen fibrils appear off-white in color. Color and contrast in a given area on the Shroud are produced from the actual number and patterning of yellow and white fibrils [Jackson, J.P., 1991, "An unconventional hypothesis to explain all image characteristics found on the Shroud image," in Berard, A., ed., 1991, "History, Science, Theology, and the Shroud," Amarillo TX, pp.325-344). Miller's color micrographs (at 64x and 32x levels of magnification respectively) of these different linen fibrils composing the Shroud are presented by Weaver (1980: 742) and also by Lavoie (1998: 53-57) and Iannone (1998). Differences also exist between image and non-image fibrils in their fluorescence on the linen (Adler, pers. comm.). Image or yellowish fibrils are not fluorescent, appearing black in fluorescence photos, whereas nonimage off-white linen fibrils do fluoresce and appear green (Miller & Pellicori, 1981). Modern or new cellulose fibers appear light blue under fluorescence, with linen often being blue-white in appearance due to starch used in linen processing. Fruit pectins illuminate green-yellowish in color under fluorescence." (Danin, 1999, p.9).

"While the Syrian account refers to Thaddeus as one of the seventy-two disciples of the Lord (cf. Luke 10:1), he soon came to be associated with Jude Thaddeus, the apostle who was a cousin of Jesus (cf. Matt. 13:55; Mark 6:3). One of the earliest Byzantine icons to depict Thaddeus holding the Image of Edessa, as the cloth was referred to there, was painted in 550 A.D. and is located at St. Catherine Monastery on Mount Sinai. In the Western tradition, St. Jude is often represented holding an image of the face of Jesus over his heart. It has been suggested by the British historian Ian Wilson that the Image of Edessa was actually the Shroud folded in such a way that only the face was visible. Early replicas of the Image were portrayed as an elongated trellis frame with a circle in the middle that depicted the face. A sixth-century text called The Acts of Thaddeus refers to such an image as a tetradiplon, a Greek word which literally means `doubled in four' or, put another way, folded in eight layers. [Wilson, I., "The Shroud of Turin," Image Books: New York, 1979; p.120] Interestingly, this Greek word is not used for any other object. Dr. John Jackson, an Air Force physicist who was part of the 1978 Shroud of Turin Research Project, `found that doubling the cloth in four did indeed expose the face area. Furthermore, Jackson found an eight-fold pattern of folds... .' [Stevenson, K.E. & Habermas, G.R., "Verdict on the Shroud," Servant Books: Ann Arbor MI, 1981, p.24]" (Guerrera, V., 2000, "The Shroud of Turin: A Case for Authenticity," TAN: Rockford IL, p.2).

"THE year 1978 marked the 400th anniversary of the Shroud's transfer from Chambery to Turin. To celebrate this occasion, the newly-appointed Archbishop of Turin, Anastasio Ballestrero, through the diplomatic efforts of Fr. Peter Rinaldi, a Salesian priest stationed in New York, had the Shroud exposed for public veneration from August 27-October 8. Following this exposition, over forty scientists from Italy and America were given five days to carry out non-destructive tests on the Shroud. The thirty-plus members of the American group known as the `Shroud of Turin Research Project,' or STURP, were headed by Dr. John Jackson and Dr. Eric Jumper, two United States Air Force captains and physicists. The team brought with them seventy-two crates of equipment. The group was composed of specialists from different disciplines: Donald Lynn headed a group from the Jet Propulsion Laboratory of Pasadena, including Jean Lorre, and Donald Devan from the Oceanographic Services, Inc., of Santa Barbara. Bill Mottern, from the Sandia Laboratories, led the team of specialists who carried out a series of radiography exams of the Shroud with the following group from Los Alamos National Scientific Laboratories: Robert Dinegar, Donald and Joan Janney, Larry Schwalbe, Diane Soran, Ron London, Roger Morris, and Ray Rogers who took various sticky tape samples of dust particles from the surface of the Shroud. Joseph Accetta from Lockheed Corporation coordinated the group that inspected the Shroud with infrared rays. Roger and Marion Gilbert from the Oriel Corporation of Connecticut examined the light spectrum emitted by fluorescence beneath ultraviolet lighting." (Guerrera, 2000, pp.60-61).

"Epilogue So where does all this huge amount of science leave us? The Shroud of Turin is now the most intensively studied artifact in the history of the world. Somewhere between 100,000 and 150,000 scientific man-hours have been spent on it, with the best analytical tools available. The physical and chemical data fit hand in glove. It is certainly true that if a similar number of data had been found in the funerary linen attributed to Alexander the Great, Genghis Khan, or Socrates, there would be no doubt in anyone's mind that it was, indeed, the shroud of that historical person. But because of the unique position that Jesus holds, such evidence is not enough. I have discussed with most of the team, during the interviews preceding my writing of this book, how they felt about the Shroud. Three of them, John Jackson, Robert Bucklin, and Barrie Schwortz, believe that it is probably the authentic, burial shroud of Jesus of Nazareth. The rest of us have to say that we do not know. There is no such thing as a scientific test for Jesus, and there probably never will be." (Heller, J.H., 1983, "Report on the Shroud of Turin," Houghton Mifflin Co: Boston MA, p.219).

"Around 1976 the idea of conducting scientific tests on the Shroud caught the attention of Dr. John P. Jackson, a thirty-year-old physicist and Air Force officer who worked at the Weapons Laboratory in Albuquerque, New Mexico. Along with his colleague at the Weapons Lab, Dr. Eric Jumper, an engineer and thermodynamicist who was of the same age, he constructed a full-sized, carefully marked replica of the Shroud so that they could perform experiments in hopes of learning how the curious image was formed. Studying existing photographs of the Shroud, he theorized that if the cloth actually covered a human body, the linen would have had direct contact with certain parts of the body, such as the forehead, nose, and chin, while other areas, like the eye sockets and ears, would have not been touched by the cloth. In collaboration with Bill Mottern, an industrial radiographer at the Sandia Scientific Laboratories of Albuquerque, Jackson and Jumper made use of two devices, the microdensitometer and the VP-8 analyzer, which had recently been used to construct a three-dimensional model of the surface of the planet Mars from photographs transmitted by a satellite. The researchers believed that if the density of the image were measured, and if the image was, in fact, produced by covering a real body, the parts of the body in close contact with the Shroud should appear more dense and those further away should appear more faint. ...They analyzed the photographs of the Shroud and fed the resulting numbers into the VP-8 image analyzer, which converted the numbers to vertical relief. In other words, the parts of the body that were close to the cloth should have shown darker than the ones that were farther from the fabric, and so, if the Shroud had actually covered a real body, the machine would be able to map its contours. This would not have been the case if the image were painted on. When Jackson, Jumper, and Mottern ran their tests, they found that the process resulted in a perfect three-dimensional model. It could even be turned sideways so that the face could be seen in profile. [Scavone, D., "The Shroud of Turin: Opposing Viewpoints," Greenhaven Press: Farmington Hills MI, 1989, p.39] When subjected to the microdensitometer and the VP-8 image analyzer, the images created by Nickell did not show the perfect three-dimensionality that the Shroud did, [Scavone, Ibid. p. 40] and produced the same sort of distorted reliefs that paintings, drawings, and ordinary photographs generate when subjected to the same process. [Borkan, M., "Ecce Homo?: Science and the Authenticity of the Turin Shroud," Vertices, Duke University, Winter 1995, p.22.]" (Ruffin, C.B., 1999, "The Shroud of Turin: The Most Up-To-Date Analysis of All the Facts Regarding the Church's Controversial Relic," Our Sunday Visitor: Huntington IN, pp.78-79).

"Density shading and color properties The density shading properties of the image have been a subject of scientific interest for over 80 years. During this time, the apparent negative image characteristics, revealed in the 1898 Pia photographs, have received the most attention. However, as early as 1902, Vignon imagined the cloth draped over the human figure and noted that the image densities appeared to vary inversely with the anticipated cloth-body separations. To our knowledge, this observation was not examined in any great detail until much later. Beginning in 1974, Jackson and coworkers took a more analytic approach to the problem. In their experiments, a human volunteer was draped with a full-scale model of the Shroud, and cloth-body distances were measured along the profile from side-view photographs. The results were then compared with microdensitometer readings along a corresponding line from the 1931 Enrie photographs of the Shroud. Jackson et al. found that a relatively simple functional form could adequately relate the two sets of data and then used this function to map film densities from the entire two-dimensional photograph into a three-dimensional surface with a modified VP-8 image analyzer system. The result of the exercise was that the three-dimensional relief generated in this simple way strongly resembled that of a human figure with surprisingly little distortion. They further illustrated with the same video technique that comparable results were not ordinarily obtained from paintings, drawings, or normal photographs. In almost all cases, obvious and gross distortions were apparent although satisfactory relief surfaces were ultimately generated from photographs of phosphorescent objects taken through light-attenuating media. The results of this study led Jackson et al. to conclude that there is `three-dimensional information' encoded in the image." (Schwalbe, L.A. & Rogers, R.N. , 1982, "Physics and Chemistry of the Shroud of Turin: Summary of the 1978 Investigation," Reprinted from Analytica Chimica Acta, Vol. 135, No. 1, pp.3-49, Elsevier Scientific Publishing Co: Amsterdam, 1982, pp.6-7).

"Following Ashe [Ashe, G., Sindon, 1966, pp.15-19] and in direct response to the article by Culliton [Culliton, B.J., Science, 201, 1978, pp.235-239], there has been increased speculation about the so-called `hot-statue' hypotheses [Drakoff, R., Science, 201, 1978, p.774; Graham, B., Science, 201, 1978, p.774]. Generally these arguments are based on the known 14th-century existence of full-sized statues in either stone or metal. They postulate that one of these statues was heated and then pressed or tented with the cloth. Hot-statue hypotheses have the image scorched by radiant energy and the contour information recorded on the cloth as different scorch densities in different locations depending upon the respective distances from the cloth to the heated statue surface. Jackson has done both theoretical and experimental work to address three-dimensional hot-statue hypotheses [Jackson, J P., in Stevenson, K., ed., "Proceedings of the 1977 United States Conference of Research on the Shroud of Turin," 1977, p.223] . He found that a simple isotropic radiation source could not yield the observed Shroud-image shading and resolution ... although it could be obtained if emission (or cloth absorption) anisotropies were assumed or if significant attenuation were present in the intervening medium. However, in these cases the resulting directionality of the radiation normal to the surface of the hot statue would introduce an unacceptable distortion of the image on the cloth. Moreover, at cloth-contact points one would expect to see `hot spots' or well-defined regions of enhanced image density that result from thermal conduction. No evidence for `hot spots' in the Shroud image has been found." (Schwalbe & Rogers, 1982, pp.27-28).

"If our conjecture is true that these images are of coins, then we may have a truly unique method of dating the image. Computer enhancement of high quality closeup photographs of the eye region followed by a statistical correlation with known coinage of a given era and locality may be able to: (1) identify the objects as coins and (2) date and locate the probable time and place the image and not just the cloth was formed. Indeed, we have some computer enhancements which, though lacking sufficient resolution for positive identification, indicate a possible structure on the surface of the objects. In addition, Ian Wilson has suggested several Judean Bronze Lepton coins which are about the correct size as the buttonlike images. In particular, a Lepton of Pontius Pilate coined in A.D. 30-31 seems to agree especially well. On the other hand, a silver Denarius of Tiberius, coined in A.D. 14-37 was entirely too large. According to Wilson, a Lepton would probably be a likely candidate for Joseph of Arimathaea, an orthodox Jew, to use since it was acceptable as a Temple offering. It should be noted in passing that the fact that objects are found on the eyes indicates that the head of Jesus must have been in a nearly horizontal position, for otherwise they would have fallen off the eyelids. It is interesting to note further that these objects might have been mistaken for open eyes at one time; for example, Ian Wilson points out that the image on the Mandylion cloth (possibly the Shroud) was thought to be a face with the eyes open. If the identification of these images as solid objects over the eyes is correct, then another significant aspect of the image forming process comes to light: whatever process formed the image had to have acted the same way not only over the body and hair, but also over presumably organically inert fragments situated atop the eyes. This conclusion, we believe, is of significance, for it places great restrictions on the possible image formation processes. In short, three dimensionality implies that the image forming process, acted uniformly through space over the body, front and back, and even seemed to act independently of the type of surface, organic and inorganic, from which the image was generated. In addition, this identification of the `objects' seems to strengthen the authenticity of the Shroud. For what artist or forger in the Fourteenth Century would have thought to place objects on the eyes of Jesus?" (Jackson, J.P., Jumper, E.J. Mottern, B. & Stevenson, K.E., ed. , 1977, "The Three Dimensional Image On Jesus' Burial Cloth," in Stevenson, K.E., ed., 1977, "Proceedings of the 1977 United States Conference of Research on The Shroud of Turin," Holy Shroud Guild: Bronx NY, 1977, pp.90-91).

"Physical inspection of the Shroud indicates that Wilson's `doubled-in-four' theory is likely. John Jackson, an Air Force physicist who was one of the organizers of the Shroud of Turin Research Project, reconstructed the pattern of the folds. Using Shroud photographs and a life-size mock-up of the cloth, he found that doubling the cloth in four did indeed expose the face area. Furthermore, Jackson found an eight-fold pattern of folds, visible in a new series of photographs of the Shroud, , which is exactly consistent with Wilson's doubling in four. Jackson pointed out that these folds are rather inconspicuous , when the Shroud is viewed. They may have escaped notice before because the human eye has trouble sorting out the faint, blurry body-image from other more prominent features of the cloth. Some of these other images are quite prominent and disconcerting, such as the fire damage and water marks. For many, viewing the image on the Shroud is similar to deciphering Rorschach diagrams or those business cards which cleverly disguise the face of Jesus in patterns of black and white. Among the images the eye rejects are the signs of the doubled-in-four folds. However, this configuration appears in photographs." (Stevenson, K.E. & Habermas, G.R., 1981, "Verdict on the Shroud: Evidence for the Death and Resurrection of Jesus Christ," Servant Books: Ann Arbor MI, p.24).

"Enter the scorch theory. This hypothesis was first advanced in 1966 by Geoffrey Ashe, a British author who produced an image resembling that of the Shroud by exposing a piece of linen to radiant heat. [Ashe, G., "What Sort of Picture?" Sindon, 1966, pp. 15-19 ] To the naked eye, the experimental scorch of a piece of linen seemed to resemble the color of the image on the Shroud. The Shroud image is sepia-colored; sepia is the color of linen when it undergoes the first stages of burning. John Jackson, the Air Force physicist, realized that a ready-made test of the scorch hypothesis lay close at hand. The Shroud had been burned and scorched in the fire in 1532. If the color of the image areas of the Shroud resembled the color of the scorched areas, that would be an indication that the image might be a scorch. This, in fact, is what Jackson found when he analyzed a color photograph of the Shroud with a microdensitometer, an instrument that measures the densities of an image on a photographic film or plate. The instrument could detect no differences between the color of the Shroud image and the color of scorched areas. This suggested that the image on the Shroud could well be some kind of a scorch. Jackson pointed out that he used a photograph, not the Shroud itself, and that the photograph had not been taken for scientific purposes. Thus his findings had to be tentative until more exact scientific studies could be conducted. [Jackson, J.P., "Color Analysis of the Turin Shroud: A Preliminary Study," in Stevenson, K.E., ed., "Proceedings of the 1977 United States Conference on the Shroud of Turin," Holy Shroud Guild: Bronx NY, 1977, pp. 190-195] Nevertheless, the scorch hypothesis became the most likely theory of how the image on the Shroud was formed. At the scientific conference in 1977, Ray Rogers summed up the arguments for a scorch. He noted Jackson's finding that the color of the image area resembled the color of the heat damaged area. He pointed out that the image seemed to exist only on one side of the cloth. He cited another factor: the image density seemed to be related to the distance between the body and the cloth-the famous three-dimensional quality of the image. All this, Rogers said, suggests `rapid heating as the cause of the image.' He said that if future testing did not identify any pigment on the cloth, and if no one found an organic stain that could have stained the cloth naturally, then the scorch theory was the only hypothesis left." (Stevenson & Habermas, 1981, pp.70-71).

"Eric Jumper, another Air Force physicist, thought that if the Shroud had been scorched, it would have to have been a very short burst of high energy radiation. He and John Jackson ran some experiments in which they scorched pieces of linen with lasers. Within a short time, an image appeared on the reverse side of the cloth almost as dark as the one on the front. Jumper thought that this ruled out any plausible forgery using a scorch. A forger could have heated a bronze statue or a flat plate and thrown a piece of linen over it, but the image this process produced would also be present on the back of the cloth. By contrast, their experiments showed that the radiation process would have to be very quick and very intense in order to scorch only the topmost layer of the linen fibers. [Jumper, E., "Considerations of Molecular Diffusion and Radiation as an Image Formation Process on the Shroud," in Stevenson, K.E., ed., "Proceedings of the 1977 United States Conference on the Shroud of Turin," Holy Shroud Guild: Bronx NY, 1977, p.187]" (Stevenson & Habermas, 1981, pp.71-72).

"John Jackson pointed out another problem with various theories of image formation. Employing sophisticated mathematical analysis, he showed that no reasonable physical mechanism could produce an image which was both three-dimensional and highly detailed. To achieve clarity, three-dimensionality had to be sacrificed. To produce an image that contained three dimensional data, the image would not have been as detailed as the Shroud image is. Jackson thought his findings made it unlikely that the Shroud image was formed by some natural process involving diffusion of chemicals. He also said that a simple scorch caused by exposing the cloth to thermal radiation could not have produced a clear three-dimensional image either. However, Jackson said a scorch was still a possible explanation for the image because it could have been caused in some way other than by thermal radiation. [Jackson, J., "Problem of Resolution Posed by the Existence of a Three-Dimensional Image on the Shroud," in Stevenson, K.E., ed., "Proceedings of the 1977 United States Conference on the Shroud of Turin," Holy Shroud Guild: Bronx NY, 1977, pp. 223-33]" (Stevenson & Habermas, 1981, p.72).

"Unfortunately, Mueller, Nickell, and others who have jumped onto the McCrone bandwagon seem blissfully unaware that for purely technical reasons the painting theory, regardless of the methodology, is a dead issue. Amazingly enough they continue to flog away at the now rotting carcass of this long dead horse. Nickell, for example, touts a dusting/rubbing method which obviously would leave a heavy distribution of chemicals between the fibers of the cloth and on its reverse side. Body paintings and rubbings invariably contain pigment layers and distortion in three-dimensional projection, all of which are absent on the Shroud. In addition, STURP member John Jackson, using the Nickell technique, found severe difficulties in its lack of distance information. Although not strictly an action-at-a-distance hypothesis, another bas-relief based mechanism has been proposed by Nickell and involves contouring cloth to the bas-relief and `dusting' the deformed cloth surface so as to produce an image.... We conformed, as Nickell indicates, wet linen to the bas-relief so as to make all image features (eyes, lips, etc.) impressed into the cloth. We then `dabbed' the cloth with fine tempera powder ... the shaded image seemed to contain more curvature than distance information of the face, in addition, we noted large quantities of powder falling through the cloth weave structure and accumulating on the reverse side. Accordingly we conclude that this mechanism is unacceptable.' Keep in mind that this method was investigated despite the fact that it failed to match the known chemical characteristics of the Shroud. Nor was the technique known in medieval times: `Clearly, to be testable and viable, the hypothesis must derive from or at least not conflict with the known elements of 14th-century art. This it manifestly fails to do.... there is no rubbing from the entire medieval period that is even remotely comparable to the Shroud, nor is there any negative painting. Nickell's wet-mold-dry-daub technique was not known in medieval times according to art historian Husband and even that technique fails to reproduce the contour precision and three-dimensional effect, the lack of saturation points, and the resolution of the Shroud image. [Meacham, W., "The Authentication of the Turin Shroud: An Issue in Archaeological Epistemology," Current Anthropology, Vol. 24, No. 3, June 1983, pp. 283-311, p.308]" (Stevenson, K.E. & Habermas, G.R., 1990, "The Shroud and the Controversy," Thomas Nelson: Nashville TN, pp.30-31. Emphasis original).

"But as Dr. Jackson demonstrated, the Shroud image is three-dimensionally `consistent with a body shape covered with a naturally draping cloth and which can be derived from a single, global mapping function relating image shading with distance between these two surfaces.' [Jackson, J.P. & Ercoline, W.R., "The Three-Dimensional Characteristics of the Shroud Image," IEEE 1982 Proceedings of the International Conference on Cybernetics and Society, October 1982, p.573] In short, though none of the Shroud opponents would willingly concede this point, the three-dimensional effect is the Waterloo for all artistic theories. That same effect has been scientifically demonstrated and subjected to the best peer review. And it still stands. Also, this same characteristic proves to be the acid test for all the image formation theories Dr. Jackson tried regardless of how well they met or failed to meet the other known Shroud image characteristics. A catalog of ruled-out theories includes the following: direct contact, diffusion, lab-induced radiation from a body shape, engraving, powdered bas-reliefs, electrostatic imaging, phosphorescent statues, hot statues or hot bas-reliefs." (Stevenson & Habermas, 1990, pp.32-33).

"The last theory, hot bas-relief, has been advanced as the solution to the Shroud question by a relative newcomer to sindonology, Father Robert A. Wild, S.J. In his Biblical Archaeology Review article, Father Wild incorrectly asserted that statue-scorching is rejected only because of the problem of burn through and that such a technique would be three-dimensional like the Shroud: `Those who reject the "scorching" theory argue that a statue, when heated enough to scorch a piece of cloth will burn holes in the fabric where raised portions like the nose touch it. If the scorching theory is correct, we would have to reply that modern experimenters-and there have not been many-have simply not yet mastered a technique that was available to some medieval craftsman.' [Wild, R.A., "The Shroud of Turin: Probably the Work of a 14th-Century Artist or Forger," Biblical Archaeology Review, Vol. 10, No. 2, March/April 1984, p.46] Not only do these remarks show little understanding of the issues involved an confirming any Shroud hypothesis, but they do a great disservice to the many sindonologists who have attempted various scorching mechanisms since 1978. ... Nevertheless, statue-scorching is one scorch theory that cannot be accepted. It fails in regard to three-dimensionality, fluorescence, and a host of other difficulties. One researcher summarized the problems this way: `Jackson has done both theoretical and experimental work to address three-dimensional hot-statue hypotheses. He found that a simple isotropic radiation source could not yield the observed Shroud-image shading and resolution ... (even allowing attenuation) the resulting directionality of the radiation would introduce an unacceptable distortion of the image... ." [Schwalbe, L.A. & Rogers, R.N., "Physics and Chemistry of the Shroud of Turin: A Summary of the 1978 Investigation," Elsevier Scientific Publishing Co: Amsterdam, 1982, p.28] The conclusion, at least in so far as known forms of scorching are concerned, brings the entire "scorch" theory into question." (Stevenson & Habermas, 1990, pp.33-34. Emphasis original).

"Even before STURP's first journey to Turin in 1977 to propose testing the cloth to a panel of appointed authorities and sindonologists, plans were included for dating the cloth. Dr. Jackson went so far as to contact Dr. Libby who is credited with the development of modern carbon dating. Dr. Walter McCrone, who joined STURP in Turin, proposed a dating procedure at a cost of approximately $50 thousand. ... After STURP arrived in Turin in October 1978, I [Stevenson] was practically accosted by Dr. Harry Gove of the University of Rochester who interrupted my press conference to question what made me an `expert' on carbon-14 dating. I had at no point claimed such expertise. The issues surrounding C-14, as well as the media's constant claim that the church was refusing the test because it had something to hide, had necessitated a statement of STURP's official stance on C-14. As team spokesman, I had been quoted delineating the caveats for such testing. Gove didn't agree with the caveats at all. When the dust settled, he became one of the representatives of several labs to propose a formal dating plan for the Shroud. As we shall see later in this chapter, however, perhaps even Gove would agree the STURP caveats were well-advised after all." (Stevenson & Habermas, 1990, pp.46-47).

"The Shroud image suggests quite strongly the presence of many skeletal details e.g. carpal and metacarpal bones, some 22 teeth, eye sockets, left femur, left and possibly right thumbs flexed under the palms of the hands, as well as soft tissue and soft tissue injuries; all presumably originating from some form of radiation emitted from the body enshrouded. [Whanger, A. & Whanger, M., "Polarized Image Overlay," Applied Optics, Vol. 24, No. 6, 1985, pp.766-772] No scientific human model has been satisfactorily utilized to offer elucidation of the origin of this quality an image. Many have postulated image formation theories ... Later researchers such as Giles Carter and Thaddeus Trenn have studied radiation biology in a theoretical framework and have achieved promising results in terms of image superficiality and clarity. [Carter, G.R., "Formation of Images on the Shroud by X-rays: A New Hypothesis," in "Archaeological Chemistry," ACS Advances in Chemistry No. 205, 1984, pp.425-446] The human radiation model seems to offer the greatest application to the Shroud image thus far." (Accetta, A.D., Lyons, K. & Jackson, J.P., "Nuclear Medicine and its Relevance to the Shroud Of Turin," in Walsh, B.J., ed., "Proceedings of the 1999 Shroud of Turin International Research Conference, Richmond, Virginia," Magisterium Press: Glen Allen VA, 2000, p.3).

"The human radiation model we used generated a number of characteristics which parallel the image on the Turin Shroud. It must be noted that these researchers in no way are claiming that they reproduced any of the exact characteristics of the Shroud image. Rather, those characteristics which are similar can potentially help to explain better those seen on the Shroud as well as point to the probable general origin of its image. ... First, we demonstrated that a human model can be used to generate images resulting from emitted radiation, that resemble the image on the Shroud. ... Second, we demonstrated that this radiation when captured by a vertical collimator can yield the verticality parallel seen on the Turin image. Third, we demonstrated that the nature of the emitted radiation is such that it produces an image void of a sharp outline such as that on the Turin Shroud. ..." (Accetta, Lyons & Jackson, in Walsh, 2000, p.4).

"Early in 1976, while still at Albuquerque, Jackson, following another line of enquiry, was advised to consult Bill Mottern, image-enhancement specialist at the Sandia Laboratories. The meeting, which took place on February 19, was one Jackson will never forget. Mottern had not even heard of the Shroud before, but as Jackson talked about it, he asked whether a specific laboratory machine might be of help. This was an Interpretation Systems VP-8 Image Analyzer, a device which plots shades of image brightness as adjustable levels of vertical relief. Jackson handed over an ordinary three-by-five-inch transparency of the Shroud, obtained from the Holy Shroud Guild, and Mottern set this up in the machine and casually flipped the switches. The next moment he and Jackson gaped astonishedly at the result. On the television screen to which the image analyzer was linked was the Shroud figure, seen for the first time ever from the side, in perfect three-dimensional relief. Using a facility built into the machine, Mottern rotated the image to view the other side. The effect was the same. Details such as the hypothetical `pigtail' ... now showed up clearly with a depth that confirmed the feature as thick, tightly compressed hair gathered at the back of the neck in the fashion of the early Jews. A separate photograph of the face also showed up with the same high-relief effect. For Jackson it was an unforgettable experience, emotionally as much of a surprise as Pia's 1898 discovery of the Shroud negative, and scientifically one of enormous satisfaction, being instant verification of all the careful work with the officer model. To one who is not a scientist the significance may not seem obvious until one understands the unusualness of such a perfect result. An ordinary photograph, being two-dimensional, simply does not contain sufficient information relating to distance and proportions to be immediately translatable into a meaningful three-dimensional image, however good the equipment used. Jumper and Jackson verified this for themselves using positive and negative photographs of Pope Plus XI. These showed up with immediate distortions, the nose flattened, the mouth contorted, the eves far too deeply set. As he subsequently observed: `Only when the degree of illumination received from an object depends in some way upon its distance (as for example in a stellar photograph) would three-dimensional analysis and reconstruction be possible. Otherwise no less than two photographs separated by a known distance are required to build a true relief image. [Jackson, J.P., Jumper, E.J. & Stevenson, K.E., eds., "The Three Dimension Image on Jesus' Burial Cloth," Albuquerque conference, March 23, 1977]" (Wilson, I., 1978, "The Turin Shroud," Book Club Associates: London, pp.198-199).

"The evening of the meeting with Mottern, Jackson could scarcely contain his excitement. He phoned Jumper, described the discovery, and then spoke of an additional observation from the three-dimensional pictures. There was something strange about the eyes, he said. Each had a curious unnatural bulge to it viewed in three-dimensional form-as if something had been laid on it. ... Jackson ... began searching his library, hunting out references to ancient Jewish burial practices. In an article in the 1898 Jewish Quarterly Review he found the information he was looking for. It was a custom, the article said, among Jews and certain other nationalities to lay coins or pieces of potsherd over the eyes when laying out a corpse for burial, the intention being to keep the deceased from seeing the way by which he was carried to his last home. A small coin laid over each eye, Jackson realized, would match the configuration of the `bulges' exactly. ... Jackson and Jumper were particularly eager that computer enhancement might reveal more information on the apparent coins over the eyes, such as an identifiable image or inscription. In this hope they remained disappointed. It was possible to make out shadows, slightly irregular in shape, in the area of the `bulges' that could be the outline of small coins. It was even possible to say that in size and uneven roundness they were consistent with the lepton, the `widow's mite' of the New Testament. That was all. Any further information on the coins intrinsic in the Shroud was certainly not available via the three-by-five-inch negatives that the scientists had to work with." (Wilson, 1978, pp.199-201)

"Nevertheless the impression is inescapable that, rather than a substance, some kind of force seems to have been responsible for the image. This is suggested by the information in the 1973 commission's report that the image affected only the topmost surface of the fibers, and whatever created it had neither seeped nor penetrated the fibers and was insoluble and resistant to acids. Whatever formed the image was powerful enough to project it onto the linen from a distance of up to four centimeters (according to Jumper and Jackson), yet gentle enough not to cause distortion in areas where there would have been direct contact. This factor is particularly obvious on the dorsal image, where the cloth would have received the full weight of the body." (Wilson, 1978, pp.209-210).

"The concept of a force is implicit from the manner in which the image seems to have been created with a marked upward/downward directionality, without any diffusion, and leaving no imprint of the sides of the body or the top of the head. Also the image-forming process seems to have shown no discrimination between registering the body surface, the hair, the blood, and even inanimate objects-i.e., the two coins discovered by Jackson and Jumper. All would seem to have been imprinted on the cloth with the same even intensity, and with only the most minor color variation in the case of the blood." (Wilson, 1978, p.210).

"It is a different situation in respect of the fold marks. Even if the folding arrangement minimized stress, nonetheless one would expect pronounced crease lines after what would have been more than one thousand years in the same position, although the extent to which, with moistening, old linen creases can be smoothed out is quite surprising. In fact, the Shroud's surface, when seen in an appropriate raking light, is literally crisscrossed with creases and fold marks of all kinds, inspiring Dr. John Jackson, in collaboration with photographer Vernon Miller, to make a special study of these as part of the STURP testing program in Turin in 1978. Regrettably, because of the limited time available, it was not possible for Miller to make a truly definitive set of raking-light photographs, but those he took with mere hand-held apparatus nonetheless showed up an intricate tracery of ancient and modern creasing from which John Jackson has been able to make some important deductions. In a published paper, `Foldmarks as a Historical Record of the Turin Shroud,' Jackson claims the pinpointing of at least four of the old Image of Edessa fold marks, with another two reasonably certain and the remainder there by implication. Particularly noteworthy is one fold mark studied by Jackson, that at location C (see photo), which can be traced clearly in the X-ray and ultraviolet photographs, those taken in raking light, and even in the conventional photographs from as early as 1898. Since it occurs precisely one-eighth length from the Shroud's natural halfway fold line, in itself it strongly suggests that the Shroud was genuinely once `doubled in four.' Undeniably, more definitive photographic documentation is required, but certainly there can no longer be claimed to be any absence of fold marks consistent with the Image of Edessa/ Shroud identification hypothesis." (Wilson, I., 1986, "The Evidence of the Shroud," Guild Publishing: London, , p.120).

"Attempts to simulate some aspects of such a process have been made by Drs. Jackson and Jumper and colleagues in a comprehensive review of the comparative plausibility of every conceivable variety of image-forming process. But although images were produced, as in so many other experiments, these fell far short of the photographic realism of the Shroud. As Jackson and Jumper felt obliged to conclude: `We have examined a variety of image formation processes in a generic sense and found that ... no single hypothesis seems to simultaneously explain them all ...' [Jackson, J.P., Jumper, E.J. & Ercoline, W.R., "Correlation of image intensity on the Turin Shroud with the 3-D structure of a human body shape," Applied Optics, Vol. 23, No. 14, 15 July 1984, pp.2244-2269, 2269]" (Wilson, 1986, p.126).

"Nonetheless a quite new and in its own way remarkably revelatory achievement has been made in the course of other studies by Jackson, this time working with Bill Ercoline. As has long been recognized, during whatever image forming process occurred the Shroud must have been draped, as opposed to being flat, over the body it wrapped. This should have caused lateral distortions in the image large enough to exceed natural variations in human anatomy. Ercoline and Jackson determined these, then plotted the actual distortions that would occur with the natural drape of a cloth over a body laid out in the manner indicated on the Shroud. They found good correlation. [Jackson, J.P. & Ercoline, W.R., "The Three-Dimensional Characteristics of the Shroud Image," IEEE 1982 Proceedings of the International Conference on Cybernetics and Society, October 1982, p.573] The effect of this research is to demand that if the Shroud is the work of an artist, he took account of the effects of cloth drape among his many other intricate calculations. Super artist, or supernormal event, consistently these have proved the only two alternatives in the midst of all the many facets of Shroud research." (Wilson, 1986, p.126).

"Nor does the evidence stop here. For if the Edessa cloth was indeed one and the same as our Shroud, then we ought to find some evidence on the latter, in the form of old crease-marks, that it was 'doubled in four' for some lengthy period. In fact, when the American STURP team did their exhaustive examination and photography of the Shroud in 1978, one of the lesser-known parts of their programme was raking light photography specifically to show up such creases. The photographs revealed the cloth's surface to be criss-crossed with literally hundreds of old marks of this kind, but a truly significant set of ridge and valley fold marks showed up almost exactly where the `doubled in four' reconstruction dictated that it should ... [Jackson, J.P., "Fold marks as a Historical Record of the Turin Shroud," Shroud Spectrum, Issue 11, 1984, pp.6-29]. Furthermore, from the slightly uneven way that these creases fall and the fact that there is an evenly spaced bunch of four at one particular location, STURP's Dr John Jackson has even very convincingly reconstructed how the doubling in four followed a particular order that included part of the Shroud being folded around a square-shaped block of wood that would have run its full width. As Jackson further deduced, if the Shroud were kept in a casket slightly wider than its full width and there were a mechanical device for pulling it upwards from the fold line level with the front shoulders, then the Shroud body would appear to raise itself jack-in-the-box style from its casket in exactly the manner Robert de Clari reported of what he saw at the church of St Mary at Blachernae ... ." (Wilson, I., 1998, "The Blood and the Shroud: New Evidence that the World's Most Sacred Relic is Real," Simon & Schuster: New York NY, p.156).

"PRIOR TO RELEASING OUR FINDINGS ON the Pantocrator icon and the Justinian II solidus, we had read about the work of Father Filas on the identification of coins over the eyes of the Man of the Shroud. The possibility of the presence of coins over the eyes was first raised when three scientists, John P Jackson, Eric J. Jumper, and R. W (Bill) Mottern, the instigators of the 1978 Shroud of Turin Research Project, put a photograph of the Shroud face in a VP-8 Image Analyzer (a specialized computer device which converts the density of an image into height) and saw, to their astonishment, an accurate three-dimensional representation rather than the irregular and distorted image resulting from all ordinary photographs and paintings. Two button-like objects, one over each eye, were visible; it was suggested they might be coins which had been used to keep the eyes of the dead closed, a practice common to many peoples for many centuries [Jackson, J.P., Jumper, E.J. Mottern, B. & Stevenson, K.E., ed., "The Three Dimensional Image On Jesus' Burial Cloth," in Stevenson, K.E., ed., "Proceedings of the 1977 United States Conference of Research on The Shroud of Turin," Holy Shroud Guild: Bronx NY, 1977, pp.90-91]. British historian Ian Wilson mentioned several coins from the time of Pontius Pilate which would correspond to the size of the `buttons,' about fifteen millimeters or five-eighths of an inch in diameter. In 1979, more out of curiosity than anything else, Filas re-photographed an enlargement of a photograph which had been made from a second-generation 1931 Enrie print of the face. To his surprise, he noticed something he had not seen before-a sort of design directly over the right eye. He took this photograph to Michael Marx, a numismatist (coin expert) who had earlier volunteered his professional expertise. Marx became excited as he scanned the photograph with a magnifier, for he could identify four curving capital letters, UCAI. There also was something that looked like a shepherd's crook. Filas next obtained a copy of Madden's History of Jewish Coinage, and of Money in the Old and New Testament and a catalog of all Pontius Pilate coins in the British Museum. He found only one coin which had as its main motif a `shepherd's crook,' actually an astrologer's staff or lituus: this was a lepton (small coin) or `widow's mite' of Pontius Pilate, and it was the correct size. Then, also in 1979, numismatist Bill Yarbrough obtained several Pontius Pilate lepta and gave one to each of several Shroud researchers, including Filas, as a souvenir. Filas became convinced that there are indeed images of coins over the eyes. He identified the one over the right eye definitely as a lituus lepton of Pontius Pilate; and on very minimal evidence (three very short curving lines that seemed to spread away from each other from a common source) suggested that the one over the left eye was likely also a Pontius Pilate lepton but of a different design, that of a sheaf of barley, which is found on a Pontius Pilate lepton known as the Joulia (Julia) lepton, which was struck only during a six-month period in A.D. 29 in honor of Julia the mother of Tiberius Caesar. " (Whanger, M. & Whanger, A.D., 1998, "The Shroud of Turin: An Adventure of Discovery," Providence House Publishers: Franklin TN, pp.23-24).

"Artifacts Artifacts visible in the Shroud image areas are the next consideration. These include `coins' over the eyes, a possible phylactery upon the forehead (which logically should have a corresponding `prayer box' on the arm), and other `clothes:' such as a modesty cloth or `bands' at the head, hands, and feet. In 1978 Eric Jumper, John Jackson, and I coauthored an article which appeared in The Numismatist and postulated the theory that 3-D objects visible on the eyes might in fact be coins. Working with Ian Wilson, we suggested the lepton of Pontius Pilate because the size, shape, and markings seemed uncannily accurate. [Jumper, E., Stevenson, K.E., Jr. & Jackson, J.P., "Images of Coins on a Burial Cloth?" The Numismatist, American Numismatic Association, July 1978, pp.1349-1357, 1356]" (Stevenson, K.E. , 1999, "Image of the Risen Christ: Remarkable New Evidence About the Shroud," Frontier Research Publications: Toronto ON, p.130).