Colin Berry has returned to his ScienceBuzz blog to report Modelling two distinct types of BAKED-IN crease in the still-enigmatic Shroud of Turin, ones that provide important clues to the image-imprinting mechanism.
This is the third in my series of postings on a feature (or rather, features) of the Shroud image which may tell us a lot about the way the image was created. The first was on this site, over two years ago:
He then asks,
why does the turin shroud appear to have scorched-in crease marks? tell-tale signature for medieval forging?
I am more than ever convinced that the answer to the question in that title was a resounding YES! The creases or, rather, some of them, contain imprinted MEMORY of what was happening to the Shroud at the instant it received its ‘body image’ (Blood arguably came later as a part of an extensive re-invention exercise – see my other site).
The images that Colin provides are interesting. It is something to think about; that is for sure. It seems to be consistent with a scorching scenario, I’ll grant that. But why not with any number of other image forming hypotheses, assuming pre-imaging creases? And how certain are we that the creases are the same color at a chromophore level? Is this sort of eyeballing by Colin really scientific enough? I’m not a scientist so I can’t answer that question. It is good thinking but is it good concluding?
Echoing a previous posting from just over two years ago, to which he links, he thus reminds us of this thinking:
Conclusion: I regard those two crease marks as evidence for the image having been formed by applying force, consistent with my thermo-printing model, especially with a backing bed of sand. The scorched-in creases would seem to me to be inconsistent with any model that has fabric loosely draped over a 3D subject – living, dead or inanimate. Now please refer again to the title of this post. Are those creases not a signature for the Shroud having been produced as a forgery, using a replica, e.g. bronze statue, of the crucified Christ?
BUT the evidence is still very convincing that the images were not formed by scorching. Yes, I know Colin thinks otherwise but he has not made a convincing case. This is as close as he gets in a comment of his own to After 2 years, and over 200 postings, I think I’ve finally cracked it – the enigma of the Shroud of Turin.
Folk have asked why I don’t simply get hold of a uv lamp and make a start in filling in the huge gaps in our knowledge of scorching and fluorescence (similar to Hugh Farey’s studies reported previously on this site, with a greater focus on what’s happening at the molecular level).
[ . . . ]
But it would be more “kitchen lab” stuff, wouldn’t it, and easy target for the debunkers on Troll Central? There’s also an element of biohazard – my eyes have suffered enough in the past from previous exposure to lab-generated uv (a brief glance at burning magnesium as a chemistry teacher was enough to induce instant headache and nausea).
Here’s a hint as to what I would do if I had proper lab facilities. I would produce scorches at different temperatures and aerobic/anaerobic conditions. Reaction products (low MWt) would be leached with various combinations of solvents (chloroform/methanol/water), the extracts concentrated and run on TLC. Individual bands, fluorescent ones especially, would be eluted and then injected in a mass spectrometer for identification. The stability of any fluorescent properties would be studied, with exposure to air and other oxidants for different times, different temperatures.
Glossing over what is inconvenient and drawing conclusions nonetheless is to my way of thinking a form of pseudoscience. A lot of ifs and maybes might atone for these glaring problems.
And could those creases have been there in the cloth when the image was formed by some supernaturally produced radiation, not that I think that is what happened? Or a Maillard reaction, not that I think that happened either?
As I see it, these creases are more like a statement of fact, well stated. We need to understand them better. Surely they are creases. Baked-in? That is a stretch.