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.
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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