No Paints, Dyes, or Pigmentation
Scientific analysis of the Shroud of Turin—particularly by the STURP team in 1978—revealed that the image was not created using paints, dyes, or pigments. Microchemical tests, X-ray fluorescence, and ultraviolet/infrared spectroscopy all failed to detect any artistic substances on the fibrils. Instead, the image appears to result from oxidation and dehydration of the linen’s cellulose structure, forming a superficial discoloration without penetrating the fibers. This finding challenges the notion of the Shroud being a painted forgery and deepens the mystery of its origin.
You can explore the full chemical review in Thibault Heimburger’s detailed study or visit Shroud of Turin Information for broader context.
Return to Quick Reference Guide
🧪 STURP Findings (No Pigment Evidence):
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STURP’s Official Summary (1981) — Declares no pigments, paints, dyes, or stains found on fibrils
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Wikipedia: Shroud of Turin Research Project — Overview of STURP’s methodology and team
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Digital Sindonological Lexicon – STURP Analysis — Details of spectroscopic and microscopic tests
🧪 Counterclaim by Walter McCrone (Pigment Theory):
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McCrone Research Institute – Shroud Analysis — Argues the image is composed of red ochre and vermilion pigments
🧪 Thermochemical Analysis by Raymond N. Rogers (2004):
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Thermochimica Acta Paper (PDF) — Challenges the validity of the radiocarbon sample and supports non-pigment image formation
🧪 Spectroscopic Studies by Adler & Heller (1980):
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“Blood on the Shroud of Turin” – Applied Optics PDF — Spectroscopic tests show no binders or pigments in image areas
🧪 Chemistry of Image Formation – Schwalbe & Rogers (1982):
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Physics and Chemistry of the Shroud – Analytica Chimica Acta PDF — Suggests oxidation-dehydration of cellulose, not applied pigment
References