The Mummy at the Georges Labit Museum in Toulouse
Carbon dating on a mummy at the Georges Labit Museum in Toulouse, France showed that it was from about 1800 B.C.
The tests had laid waste to the opinion of some Egyptologists that it was only from around 700 B.C. That is a whopping difference of more than a thousand years. Thirty-eight hundred years old was the verdict. That should have been the end of it. But it wasn’t. Scientists had tested the mummy’s linen wrappings to arrive at the earlier date. In 2009, only months before Dawkins’ book was published, scientist tested some bone taken from the mummy’s spine and concluded that the mummy was from about 700 B.C. after all. So, which is it? It is hard to say until someone can explain why the carbon dating of the linen cloth was so different than it was for the bone material. The floors of carbon dating laboratories are littered with such anomalies. In many cases these anomalies are eventually explained. Some have not been.
See: The Mummy at the Georges Labit Museum in Toulouse in chapter The Flat Earth Society
Late Breaking Website News!
Science by Press Release (Again). Another Editorial Response by Barrie Schwortz
Once again we are being bombarded by media claims about the Shroud of Turin, although this time admittedly from a pro-authenticity position by researcher Barbara Frale. However, the same rules must be applied to these claims as those applied to the recent claims by anti-authenticity researcher Luigi Garlaschelli.
Frale claims she has "discovered" inscriptions on the Shroud that prove it is authentic. However, she is basing her conclusions on the work done by French researchers Marion and Courage (published in the late 1990’s) which made these same claims. Rather than submitting her work to a journal that could review and verify her research, she too, like Garlaschelli, is publishing her work in a commercial book (and only in Italian). In fact, the recent press coverage seems to be mainly designed to promote the sale of that book. Once again, we are seeing "science" reported by press releases rather than in the conventional scientific literature.
As for the Marion and Courage inscriptions themselves, these were carefully evaluated from a linguistic point of view in 1999 by Shroud scholar and language expert, Mark Guscin, who published his results in the British Society for the Turin Shroud (BSTS) Newsletter in November 1999. That article, titled, ‘The "Inscriptions" on the Shroud,’ was ultimately reprinted on this website and can still be found at this link: http://www.shroud.com/pdfs/guscin2.pdf.
In the end, Guscin concluded:
"So none of the inscriptions which some claim to be able to see make enough grammatical or historical sense. This in itself is enough to doubt their very existence on the cloth, but the clinching point was evident in the presentation of the work in the symposium at Nice (1997). The slides that Marion and Courage used showed the areas of the cloth where they could see the inscriptions, and then the various optical treatments they had subjected it to, and finally the inscriptions written in over where they were meant to be. They were only visible on these last slides. There was absolutely nothing visible on any of the other slides. If the inscriptions made any kind of sense then maybe a more sympathetic attitude would be called for, but as it is I think the whole affair is yet another example of things being seen on the Shroud in an attempt to come up with something new."
To make matters worse, Marion and Courage based all of their imaging work solely on the 1931 Giuseppe Enrie photographs, which have sadly been the basis for a vast array of claims of objects or writings being found on the Shroud. I say "sadly" because the high resolution orthochromatic film used by Enrie, coupled with the extreme raking light he used when making the photographs, created an infinite number of patterns and shapes everywhere on the Shroud. Since orthochromatic film basically only records black or white, any mid-tone grays of the Shroud image were inherently altered or changed to only black or only white, in essence discarding much data and CHANGING the rest.
The grain structure of orthochromatic film itself is distinctive: It is not homogenous and consists of clumps and clusters of grain of different sizes that appear as an infinite myriad of shapes when magnified. It is easy to find anything you are looking for if you magnify and further duplicate the image onto additional generations of orthochromatic film, thus creating even more of these shapes.
Although Enrie’s images are superb for general views of the Shroud (they look great), they contain only a small part of the data that is actually on the Shroud so they are much less reliable for imaging research purposes and have a tendency to lead to "I think I see…" statements. I would feel much more confident if these claims were based on the full color images of the Shroud which contain ALL the data available.
As I used to try and explain to Fr. Francis Filas, who first "discovered" the rather dubious coin inscriptions over the eyes and who had enlarged and duplicated the Enrie images (through at least five generations – and always onto orthochromatic film), there is a fine line between enhancement and manipulation. Fr. Filas first presented his findings to the STURP team in 1979 and frankly, not one of the STURP imaging scientists accepted his claims.
Since everyone now has the ability to manipulate images on their desktop, the number of these claims is increasing. Sadly, unless one knows exactly what they are doing, spurious claims will undoubtedly be the final result. I personally must reject any claims of secondary objects or inscriptions on the Shroud, particularly if they are based solely on the Enrie images.
As for Barbara Frale’s conclusions, I have not read anything more than the press releases we all have seen, so once again, very little information has been provided and certainly not enough for anyone to get overly excited by these latest claims.
As I mentioned in my last editorial, with the Shroud going on public display again next year, I am not at all surprised by this type of media coverage, no matter which side of the authenticity issue is touted. In the end, there is nothing here that resembles good, empirical science, at least not so far. As one who was a member of the team that performed the only in-depth scientific examination of the Shroud ever permitted, I am bound and obligated to stick to the facts, no matter which side of the authenticity issue they fall on. Sadly, the real facts are rarely found in commercial books or press releases or television documentaries. Remember, these media venues have no standards of scientific accuracy to adhere to and consequently, they rarely do.
Barrie M. Schwortz
21 November 2009
Benedict XVI Set to Visit Turin in May
Zenit is reporting: Benedict XVI Set to Visit Turin in May
On Occasion of Exposition of the Holy Shroud
TURIN, Italy, OCT. 28, 2009 (Zenit.org).- Benedict XVI will visit Turin next May on the occasion of the exposition of the Holy Shroud, revealed the archbishop of Turin
Cardinal Severino Poletto confirmed the Pope’s May 2 visit in a press statement Tuesday, the day after the Holy Father received him in audience.
"As the first ceremony of the visit, the Holy Father will be recollected in personal prayer before the Holy Shroud," Cardinal Poletto explained. Then "there will be a solemn Eucharistic concelebration for all pilgrims in St. John’s Square, which will be followed by the recitation of the Angelus prayer."
"In the afternoon, the Pope will meet with young people in the
Church of the Holy Face (Chiesa del Santo Volto) and, during the trajectory, he will stop briefly in the Cottolengo to meet and bless the residents of the Little House of Divine Providence," he added.
St. Joseph Benedict Cottolengo (1786 – 1842) founded the Little House of Divine Providence, a shelter for the poor, and is listed among the saints of charity in Benedict XVI’s encyclical "Deus Caritas Est."
During his visit to Turin, Cardinal Poletto continued, "the Pope will want above all to express a word of consolation to the many persons who are suffering, in keeping with the theme of the exposition of the shroud, ‘Passio Christi, Passio Hominis’ (Passion of Christ, Passion of Men)."
"Moreover, in the spirit of his latest encyclical, ‘Caritas in Veritate,’ he will encourage and give hope to all those who are worried about a job in this city, always regarded as the ‘city of work and industry,’ but which at present feels more than others the consequences of a vast and prolonged crisis beyond all expectations," he added.
For the cardinal, "the day the Holy Father will spend in Turin will be for all of us an occasion to meet with him, to pray for him and with him, and to listen to the particular message he will bring to the Church of Turin and to all the civil society of our territory."
For the city and Diocese of Turin, this visit will be "an extraordinary gift of his fatherly heart," and "we will receive him with great affection and enthusiasm," Cardinal Poletto added.
"That will be for him support and encouragement to continue for a long time offering the beautiful testimony of his faith and of the great wisdom with which he is guiding the Church, thus becoming also, for the whole world, a point of reference of primary importance for the defense of the fundamental values of humanity," the cardinal concluded.
A Pope’s wish
Benedict XVI expressed his desire to go to Turin in 2008 when he received in a special audience at the Vatican 7,000 pilgrims from Turin, and he repeated his wish last July when he had lunch with Cardinal Poletto and others at his summer residence of Les Combes.
"If the Lord gives me life and health, I too hope to come," the Pope told the Turin pilgrims. The exposition, he continued, "will provide an appropriate moment to contemplate that mysterious face which silently speaks to the hearts of men, inviting them to recognize therein the face of God."
The last time the shroud was exposed for the public was 10 years ago. The upcoming exposition is scheduled for April 10 to May 23, 2010.
The shroud will be on display for the first time since its 2002 restoration, in which the patches sewn onto the cloth in 1534 by Poor Clare nuns to repair the damage caused by the 1532 fire were removed.
Without the patches, the holes burned into the cloth are visible. The backing cloth, known as the Holland Cloth, was also removed and replaced with a new, lighter-colored cloth.
The 2010 exposition will also include a new tour to inform visitors of the history and significance of the shroud, complemented with unpublished high-resolution photos.
The shroud, measuring 4.39 meters in length and 1.15 meters in width (14.5 feet by 3.5 feet), is kept in a climate-controlled urn in the chapel of the Turin cathedral.
Richard Dawkins on the Shroud of Turin
Richard Dawkins discusses the Shroud in his latest book, The Greatest Show on Earth: The Evidence for Evolution, (September 22, 2009). Obviously, he is being selective with evidence. Here is what he says:
[Carbon dating] has revolutionized archaeological dating. The most celebrated example is the Shroud of Turin. Since this notorious piece of cloth seems mysteriously to have imprinted on it the image of a bearded crucified man, many people hoped it might hail from the time of Jesus. It turns up in the historical record in the mid-fourteenth century in France, and nobody knows where it was before that. It has been housed in Turin since 1578, under the custody of the Vatican since 1983. When mass spectrometry made it possible to date a tine sample of the shroud, rather than the substantial swathes that would have been needed before, the Vatican allowed a small strip to be cut off. The strip was divided in three parts and sent to three leading laboratories specializing in carbon dating, in Oxford, Arizona and Zurich. Working under conditions of scrupulous independence—not comparing notes—the three laboratories reported their verdicts on the date when the flax from which the cloth had been woven died. Oxford said ad 1200, Arizona 1304 and Zurich 1274. These dates are all—within normal margins of error—compatible with each other and with the date in the 1350s at which the shroud is first mentioned in history. The dating of the shroud remains controversial, but not for reasons that cast doubt on the carbon-dating technique itself. For example, the carbon in the shroud might have been contaminated by a fire, which is known to have occurred in 1532. I won’t pursue the matter further, because the shroud is of historical, not evolutionary, interest. It is a nice example, however, to illustrate the method, and the fact that, unlike dendrochronology, it is not accurate to the nearest year, only to the nearest century or so.
It is a well written book, and for people who enjoy the subject of evolution, as I do, it is a good read. But, as with theology, he is careless with material he doesn’t understand. Too bad.
Kenneth Hynek is right, of course
at least on this point. It’s an interesting point:
The logic you’re using here is the same logic as that of the recent “debunkers” of the Shroud of Turin, whose basic argument seems to be that because they were able to produce a forgery of the Shroud, the Shroud itself must be a forgery as well. I will grant that our senses can be fooled, a fact which different people exploit to different purposes. But equally, the fact that our senses can be fooled does not mean that every single instance of witnessing something profound and apparently supernatural is necessarily an illusion wrought by a human actor only.
KHdN – Kenneth Hynek (dot Net) » Blog Archive » In lieu of posting new content…
Another Novel? Another Jesus DNA Story?
We have what looks like the beginning of a new novel over at The Original Nappy-Headed Ho: Story Beginning
It’d been another long night. Yes, my passion was in this. Yes, I’d do it for free if I had other means of support. But after a string of nights seeing the dawn peaking through the lab window, I was getting hinky. I was irritated and short tempered.
Charlie, my partner in business and science, my friend for over 15 years, slid his chair back from his microscope and exhaled sharply. “I’ve isolated complete DNA strands from the Shroud of Turin.”
A pet project, Charlie had been intrigued by mysticism, religion and science over the centuries, and their effects on popular culture. Recently he’d gotten permission from the Vatican to sample a bit of the fabric of the Shroud of Turin. Not new material, but leftover material from the 80s when an attempt had been made to determine the age of the cloth. The results of the original test where that the shroud was no more than twelve to fifteen hundred years old, much too young to have been Jesus’s own burial cloth. The technology had been primitive to today’s digital microscopic standards, and Charlie insisted modern carbon dating put the date of the cloth at between 400 BC and 200 AD. Quite a difference.
"Say again?"
. . .
I’m not sure how long we stared at each other, but for two insecure scientists to look each other in the eye for anything more than a second was unusual.
"Charlie, are you telling me you think we have the DNA of Jesus?"
Read the whole post at The Original Nappy-Headed Ho: Story Beginning
2010 Exhibition Official Site
Well, this bills itself as the official website for the 2010 exhibit of the Shroud of Turin. The English version leave much to be desired. You would have thought they would have found someone who speaks English to do the translations. Did they use Google Translate? Most tabs in English simply say translation is coming soon or are in Italian. Online reservations are only in Italian. There is a big Multimedia section that takes forever to load and looks really cool, if you know Italian. Here are some:
Welcome Service tab:
The Shroud exhibition is an important pilgrimage opportunity but a chance to better know the Church of Torino, its territory, the province and Piedmont as well. The diocese of Torino, just like for all the former exhibitions (1998 and 2000) has arranged many services and initiatives to welcome groups from other Churches and christian communities as far as both the liturgy and the reciprocal acquaintance are concerned.
Moreover, the local turinese and piedmontese authorities have planned religious and cultural touristic initiatives linked to the exhibition.
For any information on tourist welcome, please check Turismo Torino.
The volunteers will be the first to welcome the visitors in the city and all along the exhibition route from the beginning to the end at the exit of the Cathedral. The volunteers for the Shroud and those of the City will also be present in other points along the route and in Torino.
Exposition day and hours tab:
During the exhibition the Mass will be celebrated in the Cathedral, in front of the Shroud, every morning at 7 and the Lodi prayer will be said at the end.
The Holy Sacrament will be exposed in the penitentiary at Palazzo Chiablese (at the end of the exhibition route map, penitentiary) all day long. The chapel will be reserved for silent prayer and eucharistical worship.
Some priests will be at disposal to hear confessions and administer the sacrament of Reconciliation in the penitentiary.
The route will be open from the end of the Mass up to 8 pm to attend the Shroud exhibition (reservations are required). It will be possibile to enter the Cathedral by the main door but then the Shroud will be only visible from a distance. The nave will be reserved to prayers and silent reflections.
In the evening, according to the calendar, the Cathedral may be open in case of particular ceremonies or religious cultural events.
Getting here tab:
Oops!
Churches and religious functions tab:
Attend the Shroud exhibition is an occasion to better know the Church of Torino visiting its temples and sanctuaries as well. During the exhibition many churches will welcome other pilgrimage moments, before and after the visit to the Shroud. Here you can find all information you may need about services and contacts.
Penitentiary tab:
The «penitentiary» is after the Shroud route, inside Palazzo Chiablese and immediately before Piazzetta Reale.
All day long, some priests will be at disposal to hear confessions and administer the sacrament of Reconciliation.
The chapel, where the Holy Sacrament is exposed everyday, is near the penitentiary and reserved for silent prayer and eucharistical worship.
So what if the Shroud of Turin is a fake: Misses some points
John Dodge over at smartplanet has written a level-headed article entitled So what if the Shroud of Turin is a fake. I have no problem with his skepticism. I do with perception of facts. I once shared his skepticism about the Shroud. No longer. But I do share the so what: I’ve inserted some comments in bold:
In 2004, a 10-year-old cheese sandwich with a likeness of the Virgin Mary reportedly sold for $28,000 on eBay. And on slow news days, local TV stations report Virgin Mary sightings on fogged windows and in cloud formations.
Many like me discount such fantasies as ridiculous, but what counts is the meaning of the cheese sandwich in the eyes of the beholder. Quite frankly, the site of a freshly grilled cheese sandwich makes me hungry.
That brings us to the Shroud of Turin, which was in the news again last week. I don’t pay a huge amount of attention to such things, but if someone asked me if the shroud was really Christ’s burial garb, I’d say “nonsense.”
Last week, Italian chemist and professor Luigi Garlaschelli also said “nonsense” after he recreated a shroud using the image of one of his students.
The Shroud next to Garlaschelli’s student (r.) credit: publicbroadcasting.net
“Luigi Garlaschelli created a copy of the shroud by wrapping a specially woven cloth over one of his students, painting it with pigment, baking it in an oven (which he called a “shroud machine”) for several hours, then washing it,” according to a CNN story (see pic). “Then for the sake of completeness I have added the bloodstains, the burns, the scorching because there was a fire in 1532,” Garlaschelli said.
He claims his tests prove that some of the unique characteristics of the shroud such as the absence of paint or pigment can be replicated by an artist or his case, a scientist. Shroud defenders have long argued the shroud cannot be recreated.
Two points: 1) Garlaschelli was not able to create an image that has the same chemistry, physical properties and unique so-called 3D (height-field) characteristics of the image. He admits this. It looks something like the Shroud but that is not the point. 2) Only some Shroud defenders have made the claim that the image cannot be recreated. Most are more tempered saying that, so far, no one has been able to reproduce the images. Dodge would have us believe that authenticity proponents are “God-of-the-gaps” sorts. Not so.
Garlaschelli, also a professor at the University of Pavia, is not the first to debunk the shroud. In 1988, three universities conducted carbon dating tests and concluded it was created between 1260 and 1380. That, of course, set off a firestorm. And some like RomanCathlicbog.com have rushed to discredit Garlaschelli’s findings, claiming he was funded by an “Italian association of atheists and agnostics.”
I agree that the funding issue is immaterial. In fact, the fact that he is a member of the funding organization is immaterial.
As for the carbon dating, the statement is true but misleading. In 2005, a peer-reviewed paper published in a scientific journal concluded that the tests were invalid. Now, you don’t have to accept that. But you should not ignore it. Mention it or mention it and explain why you disagree. You might want to note that the work was done by someone who was trying to defend the 1988 dating. You might want to mention that this work was later independently confirmed by a forensic material analyst at Georgia Tech as well as by a team of nine chemists at Los Alamos.
Actually, the official Vatican position on the shroud is quite rationale, focusing more on what the it means to believers rather than defending its authenticity.
“For the believer, what counts above all is that the shroud is a mirror of the Gospel. We cannot escape the idea that the image it presents has such a profound relationship with what the Gospels tell of Jesus’ passion and death, that every sensitive person feels inwardly touched and moved beholding it,” Pope John Paul II wrote of his 1998 visit to the Turin Cathedral where it is housed.
Agree!
John Paul II also said that proving or disproving its authenticity should be left to scientists. Who can argue with that?
Agree!
I have no problem with people believing what they want and I know faith has served powerfully in the lives of many. What the shroud represents is more important than whether it’s real on not. Unless someone invents a time machine so we can get a `film at 11′ eyewitness account, it will never be definitively proven one way or the other although the carbon tests seem pretty convincing.
I also think that heathen Garlaschelli who confesses to being a non-believer is onto something. As for the cheese sandwich, I have a hard time swallowing it, but someone willing to pay 28 grand didn’t.
Is the Shroud of Turin a Fake?
Russ Breault writes:
There have been numerous attempts to replicate the Shroud. Another one was announced recently by an Italian scientist presenting at a paranormal conference. It appears to be just the latest version of many such attempts and was funded by the Italian Association of Atheists and Agnostics.
As of this writing all the details of their image are not yet available. According to press reports, they took a volunteer, covered him in red ochre pigment along with a mild acid solution. The body was wrapped. After leaving an imprint from the ochre it was heated to simulate aging and then washed to remove the pigment. The result is an image that looks Shroud-like. The claim is that by using materials available during the Middle Ages, it proves the Shroud is a medieval fake. Is that the case?
One of the things proven by numerous tests is that pigment is not responsible for the image. We won’t know what they have really achieved until they make samples available to be analyzed under a microscope. The problem with all such attempts that use reverse engineering to re-create a Shroud-like image is that it is not a credible argument. We can make an artificial diamond that looks real, but it is still not an authentic diamond. Making something that looks like the Shroud does not prove it is a medieval fraud.
The qualifying criteria are very specific. The image must be so superficial that it penetrates only the top two microfibers, about the depth of a single bacterium. There can be no coloration beyond the crowns of the fibers and no image on the side of the fibers or under the fibers. For this we need a microscope to validate. The image must demonstrate to be an accurate negative image and also possess accurate distance information where parts of the body still reveal an image even though not in direct contact with the cloth of distances up to 4 cm. However this is only half the problem. There are two sets of images: body image and blood image.
Interestingly, there is no image under the blood meaning that the order of events is blood first followed by image. This is the correct sequence if authentic but nearly impossible for an artist. As such, according to the article, they added blood after the image was already created. That fact alone invalidates their claim.
Another interesting fact is that the blood on the Shroud is not painted blood. They didn’t just go out and kill a goat and paint the blood on the cloth. The blood chemistry is very specific. It is blood from actual wounds. We do not see whole blood, we see blood clot exudates, blood that oozed out of the wound. There are very few red blood cells because they appear to be on the body forming the clot. We see blood components such as bile, bilirubin, heme, serum but not whole blood. Some blood flowed before death but most after death. The side wound and the blood that puddled across the small of the back are post-mortem blood flows…blood that flowed after death and show a clear separation of blood and serum. Even the scourge marks on the back reveal a distinctive halo effect under UV light, where the blood contracted leaving a ring of clear blood serum. There is also evidence of gravity, that these wounds were inflicted while the body was upright. The blood also has a high bilirubin content which would have been released into the blood under conditions of severe stress. Bilirubin has a bright red color which also explains why much of the blood on the Shroud still has a reddish tint instead of turning black which generally occurs with old blood.
There is more evidence on the part of forensic specialists and coroners that indicate a body was in the Shroud and the body died from the wounds that stain the cloth. How the image got there is anyone’s guess but one thing is for sure, the blood was on the cloth before the image. This one fact alone negates this recent claim of successfully faking the Shroud image.
Russ Breault is a lecturer and researcher on the Shroud of Turin. He has participated in numerous international conferences and is President of the Shroud of Turin Education Project, inc. He conducts multi-media presentations at colleges, univeristies and churches across the country including Auburn, West Point and Duke. He has addressed the American Chemical Society and has appeared in numerous national documentaries.
‘Fabric of Life’ revived in 3D
According to Tricia Ro at Hollywood Reporter:
The latest character to go 3D? Jesus Christ.
Grizzly Adams Prods. is doing a 3D remaster of "The Fabric of Life," a docudrama that examines physical evidence of Jesus’ resurrection.
European theatrical release of the film is timed to coincide with the first public viewing in more than a decade of the Shroud of Turin, believed by millions of Christians to be the burial cloth of Jesus. The shroud’s bloodstained surface is emblazoned with a negative image of the undistorted front and back sides of a man who appears to have been severely beaten and crucified.
Using laser technology, a team of Dutch scientists was able to convert two-dimensional photographic negatives of the image on the shroud into an anatomically accurate hologram of the crucified man. The image will be able to be viewed in 3D in the new version of "Fabric," which is targeted for release in April.
