The shroud of turin

[Otangelo]

Wasn't this debunked like 40 years ago?

No. 

Age of the shroud of turin

http://reasonandscience.catsboard.com/t1688-shroud-of-turin#7139

An instructive inter-laboratory comparison: The 1988 radiocarbon dating of the Shroud of Turin
Accepted 24 September 2019
The Shroud is unique because on one surface it contains clearly visible front and back images of a man, apparently crucified. Quite apart from any religious significance, the Shroud became, and remains, the focus of scientific inquiry because it is not known how the images on it were formed.

Most recently Casabianca et al. (2019), based on information obtained after a legal filing with the British Museum, showed that some of the original Shroud date measurements reported by the three laboratories to the British Museum were modified from their original ‘raw’ laboratory values and transformed into their published form using an unstated methodology.

Our review and analysis of the Shroud radiocarbon data reveal a significant shortcoming in the original report by Damon et al. (1989). The shortcoming begins with the lack of adherence to the protocol that W-W define for combining the inter-laboratory data sets.

Rogers (2005) proposed a method for cross checking the dates of ancient textiles by measuring the loss of vanillin from residual lignin at the growth nodes of linen fibers. The tests he performed on the Shroud threads suggested to him a much greater age than the results Damon et al.

Fanti et al. (2013) developed a series of relationships between characteristics of fiber over time and a method of estimating the age of the fabric. He subsequently applied these techniques to a series of fibers extracted from the Shroud and derived an estimated calendar age of 90 AD +/− 200 yrs (Fanti et al., 2015).

https://www.sciencedirect.com/science/ar...1865#b0025

Studies on the radiocarbon sample from the shroud of turin 
The major problem in estimating the age of the shroud is the fact that the rate law is exponential; i.e., the maximum diurnal temperature is much more important than is the lowest storage temperature. However, some reasonable storage temperatures can be considered to give a range of predicted ages. If the shroud had been stored at a constant 25 ◦C, it would have taken about 1319 years to lose a conservative 95% of its vanillin. At 23 ◦C, it would have taken about 1845 years. At 20 ◦C, it would take about 3095 years. If the shroud had been produced between a.d. 1260 and 1390, as indicated by the radiocarbon analyses, lignin should be easy to detect. A linen produced in a.d. 1260 would have retained about 37% of its vanillin in 1978. The Raes threads, the Holland cloth, and all other medieval linens gave the test for vanillin wherever lignin could be observed on growth nodes. The disappearance of all traces of vanillin from the lignin in the shroud indicates a much older age than the radiocarbon laboratories reported
http://www.shroud.it/ROGERS-3.PDF

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The Shroud of Turin is a painting and dates from the late 14th century.

Boru

How did the Turin Shroud get its image?






1. It's a painting 1
If this were true, it should be possible to identify the pigments used by chemical analysis, just as conservators can do for the paintings of Old Masters. But the Sturp team found no evidence of any pigments or dyes on the cloth in sufficient amounts to explain the image. Nor are there any signs of it being rendered in brush strokes. In fact the image on the linen is barely visible to the naked eye, and wasn't identified at all until 1898, when it became apparent in the negative image of a photograph taken by Secondo Pia, an amateur Italian photographer. The faint coloration of the flax fibres isn't caused by any darker substance being laid on top or infused into them - it's the very material of the fibres themselves that has darkened. And in contrast to most dyeing or painting methods, the colouring cannot be dissolved, bleached or altered by most standard chemical agents. The Sturp group asserted that the image is the real form of a "scourged, crucified man… not the product of an artist". There are genuine bloodstains on the cloth, and we even know the blood group (AB, if you're interested). There are traces of human DNA too, although it is badly degraded.
That didn't prevent the American independent chemical and microscopy consultant, Walter McCrone, who collaborated with the Sturp team, from asserting that the red stains attributed to blood were in fact very tiny particles of the red pigment iron oxide, or red ochre. Like just about every other aspect of the shroud, McCrone's evidence is disputed; few now credit it. Another idea is that the image is a kind of rubbing made from a bas-relief statue, or perhaps imprinted by singeing the fabric while it lay on top of such a bas-relief - but the physical and chemical features of the image don't support this.