. . . the idea of a man-made forgery became completely obsolete . . .
One person who read Paul Maloney’s St. Louis paper was Yannick Clément (pictured with his guitar in photo supplied by him). What he wrote in an email to me is the reason I moved discussion of Paul’s paper up in the queue. But it also meant I had to delay sharing Yannick’s email until I read the paper. You should read Paul’s paper first. Then read Yannick’s additions, for that is what he offers us here:
In the very long paper written by Paul Maloney entitled « Joseph M. Gambescia, M.D. and the Position of the Feet on the Shroud of Turin. The History of an Investigation. », which he presented at the recent St Louis conference, there is a very interesting list of what he called « Shroud’s anomalies » that represent, as he say, real problems for the painting hypothesis. This list can be found in pages 80 and 81 of his paper.
First, I want to say that I agree with Mr. Maloney that everyone of these « anomalies » are truly problematic for the painting hypothesis (except the second and fifth ones, for which I have serious doubts). But I think this list can be extended and I also think that such an extended list of « anomalies » must be seen as being good enough to discard not only the painting hypothesis for image formation but every hypothesis involving a forgery that would have been done with anything else than a real beaten, scourged and crucified corpse!
I’ll let you judge for yourself… Here’s the « anomalies » I would add to the list of « Shroud’s anomalies » described by Mr. Maloney in his paper:
1- The presence of serum stains surrounding most of the bloodstains and the kind of transfer that is responsible for these blood and serum stains (i.e. a transfer done from exudates of moistened blood clots instead of liquid blood) is enough to discard any idea of a forger who would have artificially created bloodstains on the cloth as a reminder of the bloody stigmata of Christ. Here’s what Alan Adler said about this issue in his book The Orphaned Manuscript: "We have shown by immunological tests that the blood is definitely primate blood, and that it must have been taken from the exudate of a clot at a certain point in the clotting process. An artist would therefore have needed the exudate from the wounds of a severely tortured man, or baboon, and he would need to take the substance within a 20-minute period after the clotting had begun, and paint it on the cloth with the serum edges and all the other forensic precision that we see there. I believe most reasonable people would conclude that it is simply impossible that an artist could have produced the blood imprints on the Shroud of Turin. Rather, it is logical to conclude, from the nature and characteristics of the bloodstains on the Shroud, that the cloth once enfolded the body of a severely beaten and crucified human being."
2- The fact that there are some missing parts in the body image (in the frontal as well as in dorsal image) is totally inconsistent with the idea of a forger that would have artificially crafted these body images in order to create a false relic of Jesus’ burial shroud with body images that would eventually been showed publicly to the faithful. Here’s some of these missing body parts: A) The thumb of the left hand is missing in the frontal image. B) Good portions of the feet are missing in both images (frontal and dorsal). C) The back of the knees are missing in the dorsal image.
3- Except for maybe one or two exceptions, Byzantine and Medieval artists have always depicted scenes of the Passion of Christ with some kind of cloth covering the groin, pelvic and buttocks areas, while on the Shroud, the image is showing a man completely nude.
4- The body image on the Shroud strongly support the hypothesis that the Shroud man had to carry only the patibulum of the cross instead of the entire cross, which is contrary to the vast majority of the artistic depiction of the bearing of the cross by Byzantine or Medieval artists.
5- The minute traces of aragonite dirt that have been found by the STURP team in a few « relevant » places like the heel or the nose for example are truly inconsistent with the idea of a forger using some kind of artistic or artificial technique to craft a false relic of Christ, because such traces of dirt (just like the serum stains surrounding most of the bloodstains by the way) would not have been visible for most faithful who would have look at the Shroud. On the contrary, these minute traces of aragonite dirt are consistent with the idea that the Shroud man would have walked barefoot on the way to his crucifixion.
6- Outside the image of the feet on the dorsal image, there is a clear mirror (or doubled) bloodstain that really seems to have been produced when the cloth was folded in that region. The idea that a forger would have wanted to artificially created such a mirror (or doubled) bloodstain in that particular region goes beyond any rationality, while such a strange feature truly have an « authenticity » signature.
7- The Shroud is a non-homogeneous cloth made of two distinct parts that came from the same original long piece of linen cloth. Such a cutting and later stitching is inconsistent with the idea of a forger who would have wanted to create a perfect relic of Jesus’ burial cloth that would have eventually been showed publicly to the faithful. On the contrary, this very odd feature truly have an « authenticity » signature.
That’s the 7 additional « Shroud’s anomalies » I wanted to add to Mr. Maloney’s list and I think that they are very relevant. In my mind, some of them, like the first one for example, are even more relevant than the ones he pointed out and especially the second and fifth anomalies he described, which are far from being proven. I think that once you take into account all the « anomalies » I described + those described by Mr. Maloney (even if we decide to left aside the second and fifth ones), the idea of a man-made forgery became completely obsolete and you don’t have too much choice to conclude that the blood and serum stains as well as the body image that we see on the Shroud MUST have been left there by some form of (probably natural) interaction between a real bloody and traumatized body and the cloth…
Of course, as I underlined in my paper entitled « Concerning the question of the authenticity of the Shroud of Turin – Please don’t forget the evidence of the bloodstains, such a conclusion doesn’t completely discard the idea of a « natural » forgery done with the use of a real crucified body or the idea of the Shroud being the burial cloth of an anonymous crucified man other than Jesus, but it certainly lead to completely discard any scenario involving a forgery done with the use of some artistic or artificial technique… And this is true not only for the blood and serum stains, but also for the body image.
And when you understand that this is a real burial cloth that enveloped for only a short period of time a real crucified body showing all the bloody wounds of Jesus (as reported in the Gospels) and that such a gruesome burial cloth had been taken out of a tomb in order to be well-preserved (which is something that would have been considered a legal impurity for a Jew in the time of Jesus, not because of the bloodstains on the cloth, but because this cloth had been in contact with a dead body and which can explain, at least partially, why there are no traces of such an important Christian relic in ancient sources), it became obvious that the answer must be positive with a very high level of confidence (which I estimated quite ironically in the same way than the dating results of the C14 labs in 88, i.e. positive with 95% confidence). Effectively, after having analyzed the two possible scenarios that do not involve the body of Jesus of Nazareth (i.e. the scenarios #1 and 2 in my paper about the bloodstains evidence), I came to understand that those two were highly improbable and, honestly, I consider both of them to be very far-fetched (which explain the high level of confidence I just expressed in favor of the authenticity of the Shroud as being the real burial cloth of Jesus).
Yannick Clément, Louiseville, Québec, Canada