So one mixes up some alum and some thickening agent – a gum or starch etc

imageColin 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.

clip_image001And – to be expected:

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.