Alan Adler was a Professor of Chemistry at Connecticut State University until his death at age 69.
He was a member of the STURP team of scientists who traveled to Turin, Italy in 1978 to study The Shroud of Turin.
He scoffed at those who stated that there was no blood on The Shroud and the doubters who were quoted in the press as saying that the cloth is a medieval forgery by an unknown artist/forger.
This gentlemen was a blood expert and wrote that if this image was created by an artist, that the brush used would have to have been half the width of a human hair.
Preposterous.
Most of the general public had heard of the carbon dating done on The Shroud in 1988. The results projected the date of the burial cloth to be between 1260 and 1390 A.D.. With that pronouncement, the idea that The Shroud is the burial cloth of Christ was tucked deeply away in people’s mental attic.
Fast forward twenty-five years and nearly all serious scientists think the carbon 14 test was erroneous.
Maybe people would like to read the thoughts of experts who have closely studied this one of a kind relic.
The image is three dimensional. What medieval artist could have conceived of this or done it? Why would he have done it when no one for centuries would have appreciated it? No way.
Of the billions of people who have died, no one has left blood and body images on a cloth…images that are encoded with such astounding accuracy of the tortures that preceded the image formation.
Fifteen different tests have concluded that there is real human blood on the cloth.
No noted scientist believes this is a painting.
The STURP team knew within ten minutes that there was no paint involved in the image formation.
There are thousands of shrouds from history but only one has an image on it.
The image is definitely one of a crucified man wearing a cap of thorns with 130 scourge wounds all over His body.
Experts believe there was two scourgers and one was taller than the other.
No other crucifixion victim was ever known to also wear a cap of thorns.
A probability has been assigned to each characteristic common to The Man of The Shroud and Jesus. For one Man to have these common characteristics in death is 1 in 200 billion.
There will be future tests that show that the 1988 test was invalid.
Count on it.
***. The medieval forger proponents and carbon 14 testers want us to believe that this ingenious artist traveled to Palestine to acquire a herringbone weave cloth to use because he knew future scientists would know that this weave was not to be found in or before the 14 th. century in France…where the shroud had resided for centuries.
What foresight!
You might ask yourself why this artist has never been named…why he chose to live in obscurity after producing an unimaginable work of art that science cannot fathom to this day.
What’s more is they want us to believe that, while in Palestine, he scooped up dirt and then planted this dirt on the heels, nose, forehead, and knees of his painting.
Crazy smart was this fella.
He realized that centuries after his painting that experts with electron microscopes would find this Palestine specific dirt and conclude that the Crucified Man did indeed walk the Via Dolorosa to Golgotha….that His reported falls were genuine…and that the dirt on his body was unavoidable due to the straps binding both arms to the crossbeam preventing any cushioning of these falls.
They want us to believe that this artist was more gifted than Leonardo da Vinci…making him, by comparison, seem like an uneducated flunkie.
Where this forger fabrication falls apart is that countless experts say there is no paint found on the shroud.
Read again the sentence near the beginning of this morsel that begins with…’This gentleman…’
Preposterous indeed.
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