The picture of the Arnolfini Portrait by Jan van Eyck is in Wikipedia’s image library.
It is in the public domain. The smaller picture shows details that are visible in a small
convex mirror on the wall.
Colin Berry had repeatedly pointed out that the image on the shroud is a negative image. He was suggesting that it implied a contact imprint.
Well, maybe. Or maybe a a chemical reaction from a diffusion of gases like Ray Rogers proposed or a photograph like Nicholas Allen theorized or maybe, if your worldview allows it, some radiation that was a byproduct of a miraculous event. But we don’t need to go into all that. The point was and is, as Colin pointed out to you, the image on the shroud is a negative and “. . . one has to explain the NEGATIVE image.” (caps are Colin’s)
That is when you responded to Colin saying:
Colin – what is the problem in creating as negative image? The artisT of the Shroud as well as the Besancon shroud, was commissioned to imagine an image that a dead body might have left. The conventional iconography of tHe side wound is on the right side of the body, so he produced it on tHe left. Not difficult.
For a more sophisticated negative image look at the mirror on the famous Arnolfini portrait by Van Eyck in the National Galley, London ( 1434). There are other cases of mirror images but this is the best.
Do you not know the difference between a negative image and a mirror image?
In your article, you mention the negative image three times. In the very first paragraph you write:
. . . Here we have negative images of Christ’s body as if they had been transferred from the body to the cloth. . . .
Okay, that’s fine. About a quarter of the way down you write:
. . . Note, too, the blood dripping from the lance that, in the negative image of the Shroud, appears to be reproduced outside the body image on its left side. . . .
Left side! Is this a clue? And then in an extraordinary paragraph at about three quarters of the way on, you tell us.
What can we say about the painting on the Shroud? The images are crude and limited in tone. They show none of the expertise of the great painters of the 14th century, who, even on linen, were capable of mixing a variety of pigments into rich colours. . . . Again, the hair of the body would have fallen back if the figure had been lying down but the blood is as if it is trickling down the hair of a standing figure. In short, it appears to be a painting made by an artist whose only concession to his subject is to imagine that this is a negative impression of the body (as shown by the wound on the chest being on the left of the image in contrast to the conventional right, as seen in the Holkham crucifixion scene) that had been transferred to the cloth. (red emphasis mine in all instances)
Do you not know about Secondo Pia’s famous photograph in 1898? Do you not know what it means?
Charles, you write:
I am working within the mainstream, not Shroudies mainstream, but academic mainstream in setting out my hypotheses. No one who has read my articles thinks I am saying anything more than placing the Shroud within an acceptable medieval context.
There is something more going on in the picture on the right than a mere mirror image. It’s a negative of the picture on the left. And since the picture on the left is, itself, a negative and since two negatives make a positive, the negative on the right is a positive.
Charles, check out this negative thing with academic mainstream. Without an example, you do not have any medieval context.
Without an example you do not have any medieval context.