Carbon 14 dating and the shroud of turin
The delicious irony is that it is our sceptical, scientific society that has empowered all the new evidence.
The Shroud’s relationship with modern technology began in 1898 when Secondo Pia took the first photographs of the Shroud.
In addition, traces of the spices used for Jewish burial have been discovered. The bloodstains on the Shroud are real human blood, not paint.
Instead it is seared on to the cloth with a technology that has yet to be explained.In 1987 the Shroud was subjected to carbon-14 dating technology which dated it to the 13th century.Predictably, the result has been criticised for a range of reasons.The image was seared on the linen after the bloodstains.The fact that the bloodstains retain their reddish colour is evidence that the blood came from a person under extreme duress.Not only can scientists and historians not reproduce the image using medieval technologies, they can’t reproduce it with modern technology.Italian scientist Paolo Di Lazzaro tried for five years to replicate the image and concluded that it was produced by ultraviolet light, but the ultraviolet light necessary to reproduce the image “exceeds the maximum power released by all ultraviolet light sources available today.” The time for such a burst “would be shorter than one forty-billionth of a second, and the intensity of the ultra violet light would have to be around several billion watts.” 2) The 3D capabilities of the image. The wounds of the crucified man are all consistent not only with Roman crucifixion, but the details of Jesus’ particular crucifixion – the scourging, the crown of thorns, no broken bones, and the wound in the side.It is, they believe, the burial cloth of Jesus Christ.It has been venerated as such for centuries, and since the 17th century, when it came to Turin, has been the cathedral’s best-known treasures.Fanti’s method dated fibres from the Shroud to 300 BC–400 AD.Of course, there are critics who argue that Fanti’s methods are unreliable.