The Shroud of Turin: Secrets of DNA from Humans, Plants, and Animals Uncovered

The Shroud of Turin is engraved with an image resembling Jesus Christ.

Public Domain/Art Collection 2/Alamy

Recent DNA analysis has unveiled a significant number of contaminants—animal, plant, and human—on the Shroud of Turin, which complicates the narrative surrounding this enigmatic relic, believed to be the cloth in which Jesus Christ was wrapped following his crucifixion over 2,000 years ago.

Stretching 4.4 meters long and 1.1 meters wide, the Shroud of Turin is considered one of the most renowned and debated Christian artifacts globally. Its first documented appearance was in France during 1354, after which it resided for nearly 5,000 years in the Basilica of St. John the Baptist in Turin, Italy.

In 1988, researchers conducted radiocarbon dating along with accelerator mass spectrometry techniques, concluding that the Shroud was created between 1260 and 1390. This finding brought into question the identity of the figure depicted on the cloth as Jesus, although many Christian scholars continue to dispute this late medieval dating.

In a 2015 study by Gianni Barcaccia and colleagues from the University of Padova in Italy, material from the artifacts sampled in 1978 was reexamined. The researchers first proposed the possibility that the cloth may have origins in India.

Currently, Mr. Barcaccia—who opted not to be interviewed for this publication—has spearheaded a new analysis of the material from 1978, revealing that the Shroud contains a remarkable spectrum of medieval and modern DNA.

The genetic materials identified include DNA from domestic animals like cats, dogs, chickens, cows, goats, sheep, pigs, and horses, alongside wild species such as deer and rabbits.

Additionally, traces of various fish species such as mullet, Atlantic cod, and stingrays were discovered, as well as marine crustaceans, flies, aphids, and arachnids like dust and skin mites.

Common plant DNA located within the Shroud includes species like carrots, wheat, peppers, tomatoes, and potatoes, suggesting these were possibly introduced to Europe following exploratory voyages to Asia and the Americas.

However, pinpointing the timeline of these contaminating events regarding animals and plants remains elusive.

The research team also isolated human DNA from various individuals who came in contact with the Shroud, notably including those from the 1978 sampling. “The presence of multiple individuals’ DNA complicates the task of identifying the Shroud’s original DNA,” the team noted.

Nearly 40% of the human DNA identified on the Shroud appears to be of Indian origin, possibly resulting from historic interactions or from Romans importing linen from regions near the Indus Valley, report Barcaccia and colleagues.

“The DNA findings on the Shroud of Turin indicate extensive exposure in the Mediterranean area, potentially suggesting that the fabric may have been produced in India,” the researchers articulated.

Anders Goeterström from Stockholm University stated that preliminary studies place the Shroud’s date in the 13th century, a timeframe that is widely accepted in the scientific community. “Despite discussions surrounding the 1988 radiocarbon dating, most researchers find it sufficiently credible,” he explained.

Goeterström remains skeptical about the cloth’s potential Indian origins. He asserts, “There is still no compelling evidence to dismiss that the Shroud is French and dates from the 13th or 14th century,” he concluded.

“This significant relic has its own unique history, which might prove to be more intriguing than its legendary roots lacking scientific backing.”

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Source: www.newscientist.com

Revealing the Shroud of Turin: Discovering DNA from Humans, Plants, and Animals

Shroud of Turin

The Shroud of Turin is inscribed with an image of a man believed to resemble Jesus Christ.

Public Domain/Art Collection 2/Alamy

Recent DNA analysis has revealed a wide array of animal, plant, and human contaminants on the Shroud of Turin, complicating the narrative surrounding this enigmatic relic that is claimed to be the burial cloth of Jesus Christ from over 2,000 years ago.

Spanning 4.4 meters in length and 1.1 meters in width, the Shroud stands as one of the most infamous and controversial Christian artifacts globally. It was first documented in France in 1354, and has since resided at the Basilica of St. John the Baptist in Turin, Italy, for nearly 5 centuries.

In 1988, scientists utilized radiocarbon dating and accelerator mass spectrometry to conclude that the Shroud was created between 1260 and 1390, thereby raising questions about its association with Jesus. Nonetheless, this late medieval dating remains a point of contention among some Christian scholars.

In 2015, Gianni Barcaccia and a team at the University of Padova in Italy analyzed samples taken from the Shroud in 1978 and proposed that the cloth might have originated from India.

Currently, Mr. Barcaccia, who opted not to be interviewed, leads a renewed study re-examining the 1978 samples. His team has uncovered diverse DNA from both medieval and modern sources preserved within the Shroud.

The genetic material includes DNA from domesticated animals like cats, dogs, chickens, cows, goats, sheep, pigs, and horses, as well as wild species such as deer and rabbits.

The researchers also identified several fish species, including mullet and Atlantic cod, along with marine crustaceans and insects like flies and skin mites.

Common plant DNA found in the Shroud consists of carrots, various wheat types, peppers, tomatoes, and potatoes—likely introduced to Europe post-exploration of Asia and the Americas.

However, pinpointing the timeline of these contamination events remains elusive.

Human DNA samples were traced back to many individuals who handled the Shroud, including the 1978 sampling team. The researchers noted, “The Shroud’s contact with multiple individuals complicates the possibility of identifying its original DNA.”

Almost 40% of the human DNA is of Indian origin, which may stem from historical trade routes or Romans importing linen from areas near the Indus Valley, Barcaccia and his team noted.

“The DNA evidence on the Shroud of Turin indicates that it may have been significantly exposed in the Mediterranean region, and the fabric may indeed have been produced in India,” they concluded.

Anders Goeterström from Stockholm University noted that while early studies date the Shroud to the 13th century, this timeframe is widely accepted in the scientific community. “Although there’s ongoing debate regarding the 1988 radiocarbon date, most researchers consider it robust,” he stated.

Goeterström remains skeptical about the cloth’s Indian origins, asserting, “There’s currently no evidence to suggest that the Shroud is anything other than a French artifact from the 13th or 14th century.”

“As a significant relic, the Shroud has its own history, which may be more fascinating than the unsupported legendary narratives,” he concluded.

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Source: www.newscientist.com

Shroud Review: David Cronenberg’s New Sci-Fi Film is Both Heart-Wrenching and Enigmatic

Shroud’s Karsh (Vincent Cassel, left) and Molly (Guy Pearce)

Gravetech Productions Inc./SBS Productions

Shroud
David Cronenberg
Released in the UK and US

Myrna (Jennifer Dale) perhaps experienced a more favorable blind date. Her appetizer of edible flowers appear somber. The two tables are surrounded by an oddly shaped shroud of Vitrine covering the setting. After a brief conversation with her date, Karsh (Vincent Cassel), who owns the restaurant, it becomes evident that the environment is intricately linked to the cemetery in architectural, economic, and intellectual aspects.

This cemetery isn’t just a place; it includes gravestones equipped with screens. The deceased are enveloped in a technologically advanced, camera-laden shroud, allowing visitors to witness their loved ones from afar as they undergo life-changing events.

Over his five-decade career, David Cronenberg has perfected the craft of delivering narratives at an unconventional pace. On paper, as well as within the context of “Plesis,” his films might read as satire. Their whimsical nature is apparent, considering the characters’ last names—Karsh is “Relikh,” and Myrna is “Shovlin.” By treating this scenario earnestly, one can discern the potential for conversations with AI-created avatars of the deceased, engaging in various money-driven ventures alongside lists of “grief technology” startups.

Yet, Cronenberg seldom writes pure satire; he crafts narratives that resonate deeply with what we could genuinely experience.

Although Karsh’s date with Myrna is uneventful, he finds solace (and more) with Terry, a digital personification resembling his late wife, Becca. Diane Kruger portrays both the role and voice of the unreliable digital assistant, Honey, created by Terry’s ex-husband, Molly (played by the cunning Guy Pearce).

After many projects, it is evident that sorrow fuels the entirety of David Cronenberg’s artistic journey.

By night, Becca battles bone cancer, navigating her illness without arms. Are these nocturnal encounters mere reflections or figments of his imagination? Amidst everything, Karsh’s affections remain unwavering for his wife, raising the question: will he become more human? Or will they truly care for him?

Kirsh grapples with conflicting emotions—guilt, rage, and longing—as Becca might be deceiving him with her past professor and first love. Yet, these layers serve as mere facades, obscuring more significant, political conspiracies involving China, Russia, or Budapest. Meanwhile, Terry, who enjoys the unfolding drama, finds herself in the position of encouraging Kirsch’s obsessive behaviors.

Carolyn Zeyfman, Cronenberg’s spouse, passed away in 2017. Shroud emerges as a product of profound emotional sharing, delving into every stage of grief through an exceptional portrayal by Kassel—armed with unresolved, fantastical plot elements twisted by delusional technological visions. Is there a chance that China could exploit our physical forms for surveillance? Or did Morley code this metamorphosis?

Meanwhile, Shroud firmly establishes that sorrow remains the pivotal force driving Cronenberg’s cinematic catalog. It resembles a constructed film where characters articulate complex revelations to one another while maneuvering through intricate conspiracy theories, perpetually shrouded. Nothing significant evolves because, ultimately, we confront… death. It unfolds at a calm, steady pace, relentlessly.

This ranks among the catastrophic productions great directors occasionally create when they have nothing left to prove, and the only narrative to convey.

I would also recommend Simon’s works…

Asphyx
Peter Newbrook

The two Edwardian Tinkers (Robert Stephens and Robert Powell) attempt to invent a method for the Grim Reaper to freeze mid-strokes.

Ring
Nakata Fumi

No one consulted us about our desire to live. This thriller explores mortality through cursed videotapes that ensnare viewers within a week.

Simon Sings is a novelist and science writer. Follow him on X @simonings

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Source: www.newscientist.com