STURP Shroud of Turin Research Project initiates research on the Shroud of Turin, 1978.
In his book, Petitfils cites work from
Dr. John P. Jackson and his STURP study. Petitfils and Jackson both agree that the carbon-14 testing conducted in 1988 was tainted by potential contamination of the Shroud’s fabric or restoration efforts throughout the years. “It is not the carbon-14 method that is
A team of 35 top scientists from major research institutions around the world arrived in Turin with seven tons of equipment and worked around the clock. Tey found no sign of artificial pigments.
at fault, but the linen which is extremely polluted. Traces of fungus and calcium carbonate were found,” Petitfils added. His view is supported by retired Los
Alamos National Laboratory chemist Raymond N. Rogers, a former associate of Jackson in STURP, who wrote in 2003 that a deep analysis of chemical decay on the cloth precluded a medieval dating and could possibly push it back 3,000 years. Rogers analyzed the vanillin, a chemi-
cal compound left in the flax fibers of the Shroud. Since vanillin decays at a fixed rate, the fibers should still have held more than a third of the compound if it was a medieval relic. Rogers said there was no vanillin content in the fibers. In what could prove to be the most im-
portant work on the Shroud since STURP over 40 years ago, crystallography scientist Liberato De Caro of the Italian National Research Council has developed a new X- ray dating technique. Last year he told Vatican correspon-
dent Edward Pentin of the National Catholic Register that his method of “wide-angle X-ray scattering” examined the natural aging of cellulose on the Shroud and found a shocking result — it dates to the first century A.D. “Our findings were published in the in-
ternational journal Heritage after about a month of preparation and revision, during which our work was evaluated, and peer reviewed by three other independent ex- perts and the journal’s editor.”
48 NEWSMAX | APRIL 2023
AN IMAGE LIKE NO OTHER The STURP report had no full explana- tion as to how the image on the Shroud came to be. But the experts were certain of one thing: It was neither a painted nor burned image. STURP concluded: “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. Ultra- violet and infrared evaluation confirm these studies.” The image was unlike any other that
had ever been produced by humans. “Computer image enhancement and
analysis by a device known as a VP-8 image analyzer show that the image has unique, three-dimensional information encoded in it,” the report stated. This encoding led scientists, years af-
ter STURP, and armed with even more sophisticated telemetry, to discover even more about the Shroud. In 2011 Italy’s National Agency for
New Technologies, Energy, and Sustain- able Economic Development (ENEA) assigned a team of researchers to under- stand how the image on the Shroud was made. It found that the Shroud is not a fake,
and the body image was formed by elec- tromagnetic energy. “Our research proves that it is very
difficult (almost impossible) replicating today all the main physical and chemical characteristics of the body image embed- ded into the Shroud of Turin,” Dr. Paolo Di Lazzaro, lead author on the report and senior researcher at the ENEA Research Centre of Frascati, told
Sci-News.com. “It appears unlikely a forger may have done this image with technologies avail-
©BARRIE SCHWORTZ
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