unscheduled decision to select 9 the above contributions for revision
and publication in the SHS Web of Conferences
A special open access collection of nine selected and revised papers from the 2014 Workshop on Advances in the Turin Shroud Investigation (ATSI 2014) in Bari, Italy, September 4–5, 2014
Why nine? Read the following from the preface to the collection:
… Of the 30 contributions submitted to peer review, only 19 was accepted for presentation and discussion during the workshop. The Official Program for this two-day forum is reported in http://dee.poliba.it/ATSI2014/index.htm. Later, the Major Chairpersons made the unscheduled decision to select 9 of the above contributions in order for them to be re-examined with a view to a possible publication on SHS Web of Conferences. The reference Authors of each of the 9 selected papers were asked to revise their papers taking into account comments and questions raised both after presentations and during informal discussions through the workshop. Finally, the revised papers were submitted to a second round of peer-review and modified according to Reviewers’ remarks.
This restricted collection of papers essentially cover a number of topics distinctive of the Turin Shroud (TS) studies, notably in-situ and laboratory investigation on TS-like electrostatic imaging; micro-scale optical observation and macro-scale reproduction; TS coloration, conservation and pattern perception; commonalities and coincidences with the Oviedo Sudarium; archaeological survey on funerary textiles in ancient Israel with a comparison with the TS; historiographical contribution to the debated question of the burial cloths reported in the Gospel account for the benefit of related applications, e.g. Liturgy and Iconography
So one mixes up some alum and some thickening agent – a gum or starch etc
Colin is is toying with a new image formation scheme. He is blogging about it though it is difficult to know this. Instead of posting new entries in his blog, Colin adds more text to old ones, so much so that even Google is gasping for air.
In what follows, we are looking at some new text added to a posting for February 20, Might the Shroud of Turin properly be described as a ‘proximity imprint’ in sweat and blood, real or simulated, to distinguish it from Freeman’s faded painting? If you want to follow along you can find the latest text (as of this morning) roughly 4/5 of the way down what is now a very long webpage:
… Am presently researching, thoroughly I hope, a distinctively different angle on the manner in which the Shroud image may have been produced. It’s a difficult call to beat contact thermal imprinting, while still producing a negative non-directional image with 3D properties etc etc. But the new model that’s been forming in my mind, with some prompting from the writings of Luigi Garlaschelli and Joseph Accetta, might be more suited to the medieval mind (and technology) than the heated inanimate templates (horse brasses, brass crucifixes)on the cooker hob in this blogger’s 21st century kitchen.
A few paragraphs later:
Here’s a few broadbrush ideas to be getting along with.
Firstly, there had to be template.One does not paint a negative image freehand, at least not one so photograph-like as the TS (when submitted to 19th/20th century technology). The template may have been totally inanimate (14th century provenance), e.g. a metal or ceramic bas relief, or it may been a real person (allowing for a 1st century provenance, if one is willing to junk the radiocarbon dating – count me out).
So one mixes up some alum and some thickening agent – a gum or starch etc – applies it to one’s subject of template, then presses down linen to get an imprint. What then? Knowing what we now know about the properties of alum, one could suggest an immediate roasting at a temperature that leads to chemical sehydration of the linen carbohydrates in areas in immediate contact with the alum paste. Knoock off the surplus paste when doen and one has (maybe) a faint yellow negative image.
Briefly, the Lirey Pilgrim’s Badge provided a possible rationale for imprinting the image of a bearded man who was NOT Jesus, but a Knight Templar, indeed the most prominent, Jacques de Molay. Why? Because de Molay, Grand Master of the outlawed order was burned at the stake in Paris 1314. Alongisde him was a fellw Templar, Preceptor of Normandy, Geoffroi de Charney. That name is almost but not quite identical to that of the Lord of Lirey whose widow placed the Shroud on its first recorded public display in 1357, shortly after he husband’s death at the Battle of Poitiers. Her husband is said by celebrated genealogist Noel Currer-Briggs to have been the nephew of his quasi-namesake who died in 1314, some 43 or so years earlier. Might the TS image have been intended to represent a Knight Templar and the manner of death, especially as the "burning at the stake" had in fact been performed sadistically by slow-roasting? Was it a tribute (initially) that had remained in the family, a closely guarded secret initailly for obvious reasons when Templars were still being dispossed and worse by an alliance of convenience between the then heretic-seeking Papacy and cash-strapped French monarchy? Was it ‘reinvented’ to represent the victim of crucifixion rather than "scorching".
Was there supporting evidence that might corroborate that interpretation?
More to come:
I can hardly wait.
The television version is typical, well, television. The music is overly dramatic. There are trite dramatized scenes of Jesus being arrested and tried, nailed to the cross, his body being wrapped in a shroud, and so forth. These scenes are not, in fact, so much dramatic as illustrative: we get visual representations of what people are talking about. The better moments are those where we get the actual history of the Shroud: its sudden appearance in the middle of the 14th century, its even more stunning acquisition of huge importance to the faithful when, in 1898, an amateur photographer took a picture of the Shroud and a positive image of a man appeared. Was this the actual face of Jesus?
Decades of scientific investigation of the Shroud ensued, with the conclusion by art historian Nicholas Allen in 1988 that the Shroud is a fake but an interesting one that pushes the history of photography back five hundred years. A further series of radiocarbon tests on the Shroud in 1988 suggested that it dated to the 13th or 14th century, although even this has come into question, as scientists go deeper, looking at pollen samples and so forth.
The mystery was really never solved. It was complicated by the Sudarium. A sudarium is simply a piece of cloth (like a handkerchief) put over the face of a recently deceased person, and one of these corresponding to the Shroud itself was found to have ancient origins dating to about 700 CE by radiocarbon testing. But there are many complications, and—to fully understand them—one really needs the companion book. The television version glosses over the details, as it must; yet the details are riveting. By way of conclusion, Fr. Martin says, “When we look at the authenticity of the Shroud, my gut tells me that it’s real.”
Real or fake, to me, seem the wrong categories. Useful or not as aids to faith and spiritual reflection might be better categories.
Click HERE or on the image
Respectful Discussion Only
Just published in Chimica Oggi-Chemistry Today (Vol 33(1) January/February 2015): To suggest evidence for burial ointments in the Shroud of Turin by Giovanni Fazio, Antonio Anastasi and Giuseppe Mandaglio.
In this paper we suggest that observations of the different intensities of the dorsal and ventral images on the Shroud of Turin can be accounted for by the presence of burial ointments and/or perfumes. This is a new approach, valuable because of the strong disagreement between the results of various previous experiments to determine chemical substances on the Shroud. We will show that the image intensity of both images varies measurably and consistently between the dorsal and ventral images, in areas that nevertheless represent the same cloth-body distance, and suggest that this variation is due to the different amount of burial ointments covering the upper and lower surfaces of the body as it lay on the cloth.
Unless you have already done so for this publication, you will need to register to download and read the full article as a PDF. There seems to be no fee for doing so.
The connection of the Shroud with the town of Pinerolo dates back to 1478, when according to some sources, an exposition was held on the eve of Easter. The Shroud is the Gothic facade of the Duomo and in a private building in Via Sommeiller (photo). Above the frame a little angel shows Veronica, while the sides are depicted the instruments of the Passion. The Shroud supported by s. Joseph, s. Anthony of Padua, s. John the Baptist, s.John the Evangelist and s. Francis of Assisi.Centrally located the Virgin who looks towards the Holy Shroud.