Link = https://www.youtube.com/watch?v=BTqM4SVBSWE
He writes in YouTube:
This part 1 series of 3 videos goes into how Jesus was buried 1st. Blood stains 1st. We cannot talk about the image formation until we 1st address the blood stains and other aspects of the image that are result of body to cloth contact.
Shroud image is the result of both body to cloth contact and another aspect of the Shroud image is a non contact image.
I want to make it clear I am not proposing that the Shroud image is a contact image only.
We will get into the discussion of what aspect of the Shroud is a non contact image in Part 2 of this series.
In the 2nd video will show how the myrrh resin applied to the cloth will convert the linen into a holographic film plate.
We will demonstrate live on film a laser beam bounced off the figure and then diffracted and the interference pattern recorded on the linen.
Part of the Shroud Image is in fact a hologram.
We will prove that beyond any reasonable doubt.
This is not just a theory I am proposing but you are going to see a up close and personal genuine demonstrated reality in front of your own eyes. "seeing is believing" and you are going to see.
Maybe for the 1st time in your entire life.
One of our goals in this video is to silence the voice of the skeptic once and for all. When we are done there will not be a single witness left to testify against Jesus of Nazareth.
The Man in the Shroud/Jesus is going to get the fair trail he did not get back in 1st Century. This time he is going to be set free along with the viewer. Permanent freedom from the spirit of fear. Spirit of joy will replace it. No one should have to live with a sick spirit of fear. We are setting out to free people of it, so they can have a chance of having a genuine, successful and happy life.
Shroud of Turin is a witnessing tool only so that one may "come to believe in a power greater then themselves that can restore the normal function of the mind and body.
One of the greatest sensations in the world that people spend millions of dollars to experience is freedom. It is positively exhilarating and spirit uplifting. You can have that sensation for free.
The truth revealed in this series of videos, will set you permanently free and it will not cost you one penny to do so, in accordance with the will of the Spirit of God. Spirit of God is not a paper and coin chaser and does not need to know your credit card number or access to your bank account.
He simply does not care how much money you have. It is something else the Spirit of God seeks from you. We suggest sending him a "knee mail" message to figure out what that is exactly.
Great stuff! One suggestion for the video. After you unwrap Jesus (Ken) can you have Mary Magdalene (Barbie) enter the scene? ;) Would have been good to have wrapped one of the classic GI JOE figures — more facial hair than our man Ken!
Can’t wait to see the results of this experiment.
Hello Davie, The mini male mannequin/doll was the only thing I could find that looked right.
If I had more finance I would use a genuine corpse with the 14′.3″ of fabric. The problem is they don’t make pure linen cloth with herringbone weave that is wide enough. Another problem would be costs. The myrrh resin alone would cost over $1,000. High grade myrrh is expensive.
After my house is sold I will have more finance and I will do it again with a real body and someone to assist me with the wrapping that knows how this is done exactly.
I posted some recent photos of the blood. One thing I noted is that the sample with myrrh and aloes covering the blood leaves a clear coating over the fabric, it feels not unlike as if there is a thin layer of super glue is over the fabric. On the sample with the myrrh resin only it surprisingly does not have this effect Not much change to the feel of the fabric. The combo of myrrh and aloes leaves a very thin clear layer residue over the fabric. Blood has not changed that much over the last 70 hours. Some fading.
Sorry David I made a mistake when I sent these photos. This is only the #1 Sample
#1 Sample is blood on the fabric uncovered and left to the open air
#2 Sample is blood that was covered only in myrrh resin
#3 Sample is blood that was covered in myrrh and aloes.
The photo you are looking at is blood uncovered after 70 hours. I did not alter the photo in any way or use auto correct on it. Photos taken with HTC one X Camera, 8 MP.
Experiments are good. Bombast is not.
“Part of the Shroud Image is in fact a hologram.” Nope.
“We will prove that beyond any reasonable doubt.” Nope.
“Silence the voice of the skeptic once and for all.” Nope.
But the results of the experiments will be fun.
I hope I did this correctly. Blood samples after 70 hours
Hello Hugh: The most interesting thing I noted is the very thin clear coating that myrrh and aloes leaves behind on the fabric. This would no doubt help preserve the fabric and the blood stains. Myrrh resin is not unlike tree sap. This clear thin coating however is surprisingly not present on the fabric with myrrh resin only? (at least not to the same degree as the #3) The #3 sample fabric is hardened and smooth where the myrrh and aloes were applied, but not present with myrrh resin only. Very little change to the feel of the fabric other than darkening to some degree. I believe the thin layer of starch fractions and pectin that Ray Rodgers identified on the Shroud is the remnant of the myrrh and aloes put over the body of Jesus almost 2000 years ago. My theory at this time only. Cellulose acetate is used to coat holographic film plates. Myrrh and aloes together have a very similar chemical make up. What the catalyst would be to create a chemical reaction to make cellulose acetate is the thing I am not sure of. Possibly sulfuric acid in the sweat of Jesus,.
However there are many different acids in myrrh resin any of which could be a catalyst that could convert myrrh and aloes into cellulose acetate. I a jumping way ahead of myself, blood stains 1st. We now know blood will stay red on pure linen fabric after 72 hours.
Covered in myrrh and aloes would it stay red up to 2000 years? Open for discussion.
“Silence the voice of the skeptic once and for all.’
It’s amazing what having a home laboratory will do for you. (Cf. C. Berry.)
Hello Charles since you were a inspiration for making this video you get to see The Man in The Shroud Unwrapped First One thing to consider is if you proposed a contact image/painting combination theory it would reach a larger audience. Think of it this way. To start, the artist uses a genuine human being wrapped in myrrh and aloes. Now he knows where to draw lines exactly. Now he can add to the image using whatever medium he wants and the anatomy will be 100% correct. Does not have to imagine the rights and lefts reversed and attempt to do that without making error. It is already done. It would be the equivalent of using tracing paper to do a work. Anyone can do that.
I hope I did this right. This is just a few photos. I will flatten out the cloth later so it can be seen that way. I did not want to return the initial 3D effect.
I am sure you are familiar with the 6th Century writing. “Peter ran with John to the tomb and saw the recent imprints of the dead and risen man lying on the linens”
I believe one of these photos in here captures what John saw that made him believe Jesus had risen and the body had not been removed from the tomb by the Roman soldiers as Mary Magdalene had initially thought.
Yes, Dave- I do know the section from the Easter Preface of the Mozarbic rites ( Spain) but this only tells us that later grave clothes .e.g. those used in these rites, probably had images on them, though in this case there is a risen Christ as well as a dead one, so clearly not the Shroud.
(NB. In inventories we often find cloths said to be painted with images of the risen Christ -presumably used during Easter ceremonies,)
We will see what happens when you unwrap- but I can’t see how the imprint will be anything like the Man on the Shroud One of the arguments for an original painted surface has always been that there is no sign of the imprint of an actual wrapping over a body- and that the head and hair of Christ and the bloodstains are those of the conventional depiction of Christ, in this case standing. Of course if you use a model made of hard material this is what you will get, but in a real body the hair would have fallen back.
But don’t let me divert you from your experiments . . .
Hello Charles, just wanted to let you know the photos I sent are with the 3D figures unwrapped/ removed. I just have not flattened the cloth out yet. I did not want to ruin my linen statues. One of the main purposes of doing this was to find out if a 3D figure could be replicated with linen covered in myrrh and aloes. To make a “3D linen statue”
I did not know if a watered down version of myrrh resin would be enough to make a 3D linen mold. Last time I did this I used 70 to 80% myrrh and less aloes.
It is always said, “the color on Shroud fibers is the result of an accelerated aging process of the linen”
How would myrrh and aloes coming in contact with linen accelerate the aging process of the linen?
Answer: It would not.
Like I said I am not proposing a contact image of myrrh and aloes being responsible for the image. I am more interested in the clear thin coating it leaves behind on the fabric which would contain
1. Glucose (A reducing sugar)
2. Galactose (A reducing sugar)
3. Xylose ( A reducing sugar)
6. Gluceronic Acid
Something that does cause accelerated aging is UV Light. We all know what happens when we get to much sun, the result is an accelerated aging of the skin.
I believe the thin coating of myrrh and aloes on the Shroud came in contact with UV Light.
Ray Rogers believes the image is within the micro thin coating and not on the fabric. Any thoughts on that?
My final question is how would paint applied to the fabric cause accelerated aging of the linen fibers?
We all know what happens when a defendant goes into court and his or her alternative theory explanation does not match the forensic evidence.
It does not end well for the defendant.
I am not going to try and change your mind on the paint theory. i fully understand how locked in you are into thinking that. Anyways,
Blood on pure linen will stay red for several days, perhaps several months, and even 100’s of years if a protective covering of myrrh and aloes is applied to it.
Hi Charles, if myrrh and aloes made contact with the the hair of the Man in The Shroud, it would stiffen and harden as a result. As soon as myrrh is exposed to the open air it begins to harden, 1st becomes almost like syrup, gets thicker and sticky, that would prevent hair from acting in a way it normally would. Late night Shroud of Turin thoughts…
Well, at least we have established that the hair is not as you would expect from a body lying down. It is a point that is not usually recognised- yet it is, of course, of enormous relevance. I know what I think – others will have their own explanations.
I’ll follow the next installments with interest. I had a major problem following the audio, not sure if that was the accent, the speaker’s articulation, sound quality, or my hearing problems.
Technical issue: I’ve always considered it incomprehensible how a tightly wrapped body could result in an orthogonal contact image with little lateral distortion and no image of the sides. For a contact orthogonal image, I think it more likely that the Shroud cloth had to be more likely loosely draped over the body, with the intention to complete the burial rite after the sabbath.
Authors should read over paper on geometrical experiments draping a cloth over a human model by Mario Latendresse:
“The Turin Shroud Was Not Flattened Before the Images Formed and no Major Image Distortions Necessarily Occur from a Real Body”, Mario Latendresse, Ph.D. email@example.com
Slides at: http://www.sindonology.org/papers/latendresse2005aSlides.pdf
It will be interesting to see what images the next video installments will show, and whether there is any obvious lateral distortion.
Hi Daveb, Sorry about the audio problems on the video. I will attempt to speak more clearly next time around. It was not my best narration job. I will flatten out the cloth later. I did not want to ruin the 3D effect yet.
Good Early Evening Daveb, It is 6:09PM your time, but here it is 2:09AM. thanks for the links you posted. Very interesting. You are probably right in that the Shroud was more loosely wrapped. This was a bit of tight wrap. I’ll do it again a 2nd time, more loosely wrapped.
I unwrapped the figures after 3 days. They became linen myrrh and aloe statues.
The links you posted made for fascinating reading. I have never seen them before. I’ve heard of “the cloth was flat at the time of the image” but was never convinced or sure of that. That has always been a unknown to me.
Just thinking out loud here tonight and writing it down as it comes, On a LCD Screen (Liquid Crystal Display) prolonged display of non-moving images can create a permanent ghost-like image of these objects. To me, The Shroud Image is like that.
Human DNA is made up of liquid crystal, a gel like substance. DNA emits a weak laser like light in the UV Range, a few billion photons per second.
What would happen if that process was amplified?
Perhaps The Shroud image is made up of the liquid crystal DNA of the Man in Shroud.
A permanent ghost-like image on linen instead of a LCD Screen.
Where Mario has his loosely draped cloth over the head of his model, it extends loosely past the forehead. This was debated here quite some time ago. After measuring on Shroudscope, both Hugh and I believed that the Shroud cloth had to be drawn quite firmly over the top of the head to match the likely distance between the ventral and dorsal images. We measured about 35 cm from the bridge of our noses to the occipital bump on the back of our heads. From where we could guess the bump on the back of the head of the TSM, this seemed to require the cloth to be drawn firmly over the head. Problem is that there is no top of head image on the TS, so there had to be a cloth or cap on the top of the head masking it. Mario disagreed with our analysis and had another explanation. But you might like to keep it in mind during your experiments. There is a relic known as the Holy Cap which was supposedly worn by Christ and brought to Cahors cathedral in the Pyrenees from the Holy Land about 1113.
I will have to spend time viewing the video(s) when I have some time. The real test will be when it is done and the image is tested. It has to have all the qualities of the Shroud in order to really be said to explain the image.
Hi Dcn Andy: Bar a miracle from the Spirit of God I will not be able to produce a image that matches the chemistry and physics of the Shroud. No way. I will only be able to explain a part of it. Not all of it. At best be able to match a few of it’s qualities, not all. There is only one particular aspect of the Shroud image I am aiming to reproduce. So far I have already seen what I was hoping to see. The micro thin clear layer of sugars left behind on the fabric by the myrrh and aloes. People can disagree with Ray Rogers and rip into him all they want, but the fact remains his work was published in a scientifically peer reviewed journal.
He says there is micro thin layer of starch fractions and pectin on the Shroud. I think he is right. . If he did not have very convincing evidence of that he would never have written a scientific paper stating so. He would make a very credible witness in a court of law.
An imprint of myrrh and aloes is not going to cause accelerated aging of the fabric.
It is something completely different I am proposing. The photos are interesting. If one was to paint these they could be sold on Ebay Linen Statues. The problem is the cost of myrrh resin. It’s expensive. Blood stays red on the pure linen. Real interesting.
Thanks for your comment and your work, Dave.
Hi Dcn Andy
1. Do you want to see what happens after a 3 D figure is covered in myrrh and aloes in a pure linen fabric (made from flax) herringbone weave?
2.Do you want to see what happens to the color of fresh blood one week after it is applied to a pure linen fabric herringbone weave?
3. Click on to this link and you will see.
I hope you enjoy it.
Reminder for Dave (Hines): In the Gospels aloe refers not to aloe vera but to aquilaria agallocha also called eaglewood or aloeswood. It is a fragrant substance (a protective resin) from a tree that grows in India and other parts of south Asia and is infected by a fungal parasite. The protective resin is used as an incense/perfume either by burning the wood or by distilling an oil from it. The fragrance was applied to burial clothes either by having the wrapped corpse be subjected to fumigation or by applying the distilled oil to the burial clothing. The fragrance can last through several washings of the clothing.
Addendum: On November 23, 2012 at 10:53 pm, I wrote:
“This implies the body was subjected to a specific purifying/drying out ancient Judean ritual in the shape of fumigation/burning aromatic woods/spices (see 2 Chronicles 16:14 – 21:19 Targum) and at least one incense pan to hold burning charcoal was used. Most likely the body image only affected a superficial thin layer of impurities made of starch, lignin, pectin, saponin, hemicellulose deposits and/or flax wax.
Had the women got aloewood oil or mhyrr oil on Yeshua’s burial, they could have anointed his body. Since the anointing procedure could not be performed on that day (it was not allowed to grind on Shabbath), it means they only had mhyrr and aloewood resins not distilled oils and the buriers had to recur to fumigation to mask and/or prevent odor problems since it was customary (during a three or seven-day period) for the relatives and friends to visit the grave.
The (mhyrric?) aloetic fumigation temporarily made up for the anointing procedure that could not be performed on Yesha’s burial day.
Hi Max. I saw the painting with the fingers in the shape of the reverse 3. Where do you come up with this stuff? Great find. Anyways I have something I would like you to think about and consider before responding back. Take your time. Could be days, weeks or months. I really want you to think about it/pray about it before responding. There is no urgency.
When I say it, I think you will disagree, but I would like for you to at least consider this possibility and do your best to gain the deepest possible empathy with Nicodemus and picture yourself in his position knowing the events that occurred on the day Jesus/Yeshua was scourged and crucified. BOTH?!
Think about the scenario as if YOU are Nicodemus and what you would do, You are rich and in a high enough position.to where you were likely present when Jesus was scourged.
I would also like you to look into how wounds were treated in this time, often done with sugars. Myrrh and aloes contain multiple sugars.
Here is my theory
The Myrrh and Aloes mentioned in the Gospel of John were not purchased for a burial but to treat scourge wounds on a LIVING Jesus not a dead one.
For whatever this is worth, The Spirit of God confirmed with me I am right on this. That is of course here say evidence and holds ZERO weight.
Think about this.
Nicodemus may have been present at the scourging or at the very least knew that the scourging took place and was extremely brutal.
His thinking at that time must have been,
“THAT WILL BE HIS PUNISHMENT. IT’S OVER”
So he purchases the myrrh and aloes to treat the scourge wounds, to prevent them from getting infected. full well knowing multiple applications would be necessary over a period of weeks to prevent infection, and purchases the excessive amount. Full body applications would be necessary over many weeks if proper healing was to occur.
Myrrh resin was used in war to cover battle wounds. It is a antiseptic. Man In The Shroud had a lot of “battle wounds”
Myrrh and aloes are more of the kind of thing you would use on a living person, not a dead one.
To crucify a person after nearly brutally scourging a person to death is extremely abnormal. .
This is very out of order.
Nicodemus did not anticipate Jesus being crucified after, to be punished TWICE.
Scourged and Crucified!?
The myrrh and aloes ends up being used in the burial,
But was not originally intended that way.
Something to think/pray about it.
The starch fractions and pectin on The Shroud. I believe that is the remnant of the myrrh and aloes applied to Jesus and cloth . A liquid form, not a ground up in a powder. Mostly water weight.
I also believe the image resides in that thin layer. As Ray Rodgers believed.
“But it does not matter what I believe, only what I can prove” Working on it.
Hello Max. I will have to purchase some aloes wood. I will attempt different burial wrapping methods in the near future, using a shotgun approach. 7 to 12 different ways. One of them has got to be right.
Note. Max how the pure linen fabric “SHINES” in the video.
and becomes a “A Large Shining Wrap” Hebrew sovev mawr = “large shining wrap
The spelling of this noun, φαιλόνην implies these adjectives
2. Upper (As in upper position such as a high priest)
3. LIght bringing and light giving (something that shines)
I included some of your high light quotes in this regard.
1.“Reminder: The Greek word phelonen/phailonen, “large shining wrap” (2Th 4: 13) is to read in the light of the TS body image as the latter when seen under a certain angle and light, looks like translucid straw yellow impression. This is consistent with the use of flashing gold mosaic tiles to feature the Christ’s pallium in the Pudenziana apse mosaic.”
2. Reminder: the pallium is the Roman evolved form of the Greek himation, a word used in conjunction with the Image of Edessa
3.Actually BOTH Greek and Hebrew (the latter as his mother tongue) could have been natural to Shaul/Paulus. Paulus had Mark as his amenuensis so he could have used him. 4.In Hebrew sovev mawr = “large shining wrap”
5.In the Second letter of Timothy there are many words and phrases that do NOT exist in natural Greek. The non natural Greek word phailonen “naturally” translates Hebrew sovev mawr.
6.Reminder: the old French word Graal plays on/can be derived from the Hebrew phrase Gar El, “G.od dwells/shines (in it)”
7.Now the Greek Word φαιλόνην (phailonen) is derived from the ancient Greek word phao, “to shine”, “give light” (e.g. a heavenly light such as surrounds angels when they appear on earth) or “make manifest”.Thus philologically speaking, the word phailonen most accurately denotes “a very large wrap that shines
The Wrap In This Video “Shines” Just another coincidence.
1.Image of Edessa was known as “the image not made my human hands”
2.Shroud of Turin is known as “image that cannot be made with human hands”
3. Coincidence? I don’t think so.
Closing note: Max you really should have a book written documenting everything you know about the Shroud. If not, all your research and knowledge could be forever lost when you leave this world. I think it is important you have a book written. I would suggest the same to Daveb Of Wellington, a very good writer.
Thank you Dave Hines for quoting me and all the best for your future investigations of the TS image.
Reminder for Dave Hines and Daveb: the Sindon bloodied dorsal and ventral imprint imply at least TWO different body-to-inner cloth configurations, not just one: first the body tightly wrapped up in shroudS then the body less tightly wrapped up in shroudS (not just one shroud).
The initial and final configurations account for the 3D/volumetric recording of the bloodied body image.
Reminder for Max! With the greatest respect to your detailed knowledge of ancient burial practices, the Sindon imprint implies no such thing. Whether or not what was supposed to have been done, was done in fact, is entirely a matter of conjecture, John 19:40 notwithstanding. We only have the Shroud and its image, we don’t know how the image was formed, and it can only speak for itself as best we can interpret it. Concerning the disposition of the imaged cloth at the time of burial, the model proposed by Mario Latendresse which he discusses in detail is the one that to date best fits the geometry of the image, with minor modification only. Anything else remains as pure conjecture, until proven otherwise! The near-adjacent text John 19:42 deliberately makes the point that it was the Jewish Day of Preparation, giving the hint that whatever was done was likely done somewhat hurriedly.
In the hypothesis the TS man is Yeshua’s, the latter was buried according to the JUDEAN burial custom, which implies to abide by a series of specific procedures. In the Second
Temple period any corpse should be purified, dried out,
dressed up/wrapped up in clean shrouds/burial cloths and speedily buried to abide by the halakha. Those were the core procedures. If some may fall in your most curious ‘take-and-leave’ interpretative line, here are a few additional reminders and questions for you:
Reminder one: The actual maximum time-frame (between Yeshua’s death on the cross and the apparition of the 3rd star heralding Shabbath) for Rabbi Yeshua’s burial was 4h04. If we now take off 30-45mn to Pilate’s and back + 30-45mn to take down Yeshua’s body from the cross and carry it to the garden tomb near-by, we are left with a minimum time-frame of about 2h30. It totally rules out the pseudo “0h30” left for Yeshua’s burial time-frame burial as the very notions of ‘evening’, ‘sunset’ ‘twilight dusk’ and ‘night’ as time markers, do not philologically cover the same realities for a Judean as they do for a 20th-21st reader relatively or totally unfamiliar with the Judean ethnic milieu of the Second Temple period. His burial was NOT dispatched in less than half an hour as it is currently yet wrongly claimed. Yossef Ha-Ramathayim (both a member of the Sanhedrin/Judean Supreme Court and a secret disciple of Rabbi Yeshua), DID NOT wait until shqiya/sunset (18:08/18:38 p.m.) that is a minimum of 3 hours AFTER his master’s violent death on the Golgotha (at 15:04/15:34 p.m.) BEFORE he actually went to Pilate’s and ask him for Yeshua’s body and then bought a linen shroud to bury him at the risk of not abiding by the halakha and dishonouring his master’s memory! Just bear in mind too Yeshua was buried in the memorial tomb of Yosseph, a rich man, and not just thrown into a pit as a criminal. The rich man and secret disciple used the sindon/hemation he HAD bought for his own burial and used his newly hewn own garden-tomb near-by to bury his master executed as a criminal and thus both did abide by Sanhedrin 6: 46b and spare some precious time to proceed to the burial and honour his master’s memory. Speedy burials’ is the norm as far as Jewish/Judean funerary customs, practice and rites are concerned NOT the other.
Reminder two: The 3 different conjugated koine Greek verbs used by the 4 evangelists meaning bind/fasten – compress/wrap up – wind/encircle and the koine Greek word for ‘shorter shrouds/pieces of linen’ (othonia) do imply Yeshua’s body was tightly wrapped up in shrouds not just draped over or loosely bound for the women to wash, anoint and tightly wrap up his naked body in shrouds at the first morning hour of the first day of the Hebrew week, that is just after the Shabbat, on the third day of Yeshua’s death. Most likely the stiff rigid body tightly wrapped up in shrouds (along with flower heads, ferocious thorns –used as stitches to hold the shrouds together– and even objects and tokens?) was encircled widthwise in a much larger “all-enveloping shroud” or sovev in Hebrew, sudara in Aramaic (the Korneilmünster Shroud = the Johannine “soudarion”?).
Reminder three: Most likely, the neat haematic cartography resulted from a sticking-gradual-unsticking transfer mechanism implying first the clean long inner burial sheet soaked in an aqueous alkali solution (made of living or rainwater + ashes and/or limestone dust) and tautly drawn lenthgwise back and front from head to toes, was compressed widthwise with shorter dry clean shrouds (othonia) as ALL PARTS of the body should be wrapped up (see Naḥmanides, Torat ha-Adam; Inyan ha-hoẓa’ah) and then, most likely, the tightly wrapped up bloody corpse was subjected to fumigation (see see 2 Chronicles 16:14 – 21:19 Targum) and the long inner burial sheet somehow got taut again back and front through shrinking up.To his likley five-six buriers and (secret) disciples Yeshua was no am ha-arets (“average citizen) but a prophet (and even the Messiah) whose freshly dried innocent blood had been shed, and should be kept with his body and purify. In the case here under study, Second Temple period speedy tahara in terms of wrapping in shrouds, purifying & drying out was an act of ultimate kindness to honor the deceased who died a violent death. It shall not be mistaken with careful physical cleansing Jewish/Judean ritual of a NON-bloody body.The (myrrhic?) aloetic fumigation rite temporarily made up too for the anointing procedure that could not have been performed on burial since grinding spices was not allowed on shabbat to prepare spicy oils. Actually the women came back to Yeshua’s tomb after shabbath JUST TO ANOINT/apply the spicy oil perfumes to his wrapping shrouds (NOT TO WASH, ANOINT AND tightly WRAP up his naked body in shrouds as it is currently misthought).
In the koine Greek Gospels, do you really read Yeshua’s shroud was just draped over or loosely bound? And, besides anointing, do you really read the women were to wash and tightly wrap up Yeshua’s body in shrouds/linens clothes on Sunday morning? Why the wrapping in shrouds/linen clothes SHOULD be read as ONLY metaphoric in the Gospels while the anointing procedure the women were about to perform on Sunday Morning SHOULD be read as referring not only to FACTUAL anointing to be but also to FACTUAL washing and wrapping to be (had Yeshua’s body be still in the tomb)? This implicit interpretative line makes no sense a tall.
Reminder four: As a victim of a violent death, Yeshua’s body should be buried with his shed innocent blood and his post-mortem blood could not be DIRECTLY cleansed. The use of alkaline solution along with (myrrhic-)aloetic fumigation) could account for potassium giving only a weak signal in Shroud bloodstains while hydroxyproline (a marker for collagen) giving strong signal. Now these two signals precisely tend to prove the body could have been purified in accordance with an ancient (Judean) burial custom/practice. The true archaeological fact is there is more than one way by which blood could have become depleted of key ingredients if one considers the bloody body purifying & drying ritual scenario, which Adler clearly did not (crucifixion being an implicit assumption in all his discussion at the expense of specific burial practices, rites and customs).
It is light-years’ far from proven yet the burial cloth was just draped about or loosely bound the TS man’s body and the image recording implies JUST ONE body-to-cloth configuration.
YOUR interpretation is plain conjecture not mine.
Mine is substantiated as far as forensic archaeological textile imprint and bloodstain pattern analyses, Judean/ancient Jewish burial practices and Biblical and Gospel accounts are concerned.
Now you’re totally in denial the TS bloodied body front and back image recording calls for at least TWO DIFFERENT cloth-to-body CONFIGURATIONS (one resulting from tightly moulding/compressing the relief of the corresponding area with the linen cloth –in-soaked most likely with a watery solution– and another resulting from the gradual shrinking of the cloth while getting somewhat taut again front and back and unsticking –through a drying procedure and a resulting pressure release front and back), how then could you account for only one body-to-cloth configuration or in other words how could you account for:
1/- the correlation of image intensity on the Turin Shroud with the 3-D structure of a human body?
2/- the discrepancy between the apparent location of some bloodstains on the cloth versus the body image and their real location on the corpse, e.g. the oozing APPEARING to be in the hair image when actually it was first recorded at cheek level?
3/- the fact that, to the sole exception of the bony areas of the eye-sockets and nasal septum, all the rest of the face shows irregular features and displacements.
– most likely the TS man’s face was compressed by a sindon, sweat veil and skull cap (not to mention the possible use of a smal “jaw-box” made of three wooden pieces to keep the mouth closed, see my reconstruction).Now a forensic examination of the nose area reveals that in this operation the cartilaginous or fleshy rounded part of the nose would have been squashed. Actually the Sindon face tells us this area is not only squashed but also turned to the left with the TS man’s face right profile appearing as if embedded in his facial image.
3/- the very fact the small of the back is recorded (despite lordosis) while the image at buttock level (upper thigh area) is not, which is not consistent at all with Mario’s explanation
4/- the left thigh image being LARGER than expected compared to the right thigh one?
5/- neither the backside image nor the calve images (of the anatomical left leg bent a little more than the right leg) appearing flattened but round AS IF these areas were ‘elevated’ AWAY FROM underlying shroud? Do you really advocate levitation? Reminder: The very fact the buriers took great care not to disturb the blood is totally consistent with an ancient Judean/Jewish burial custom in terms of corpse-covered-in-blood tahara (purification ritual). It has nothing to do with a supernatural event. Re the backside gap, the latter JUST CANNOT be explained “by either the distance of the cloth from the body, […] or possibly by packing with flora or spices.” There is a visual body image discontinuity most likely due to a “S ease fold”.
6/- the presence of some scourge marks at popliteal fossae (back of the knees) level while there is no back-of-the (partially flexed)-knee images?
Reminder: Miller and Pellicori UV photos do show that there are scourge marks and yet no (or next to no) body image (this in conjunction with an air gap). The eye-brain coordination system has somehow “to fill the anatomical/air gap” (see Fanti’s most circumlocutive prose misleadingly describing the scourge marks “in correspondence to lower luminance levels of the body image”, A69 in Evidences for Testing Hypotheses about the Body … )
In the light of the general economy of the TS man HD bloody body image, such paradoxical visual evidence is consistent with:
a/a blood comes first-body image second scenario
b/creation of an air gap as the (watery solution in-soaked) long inner burial sheet (TS) first stuck to the body (hence the mirror image of blood transfer by direct contact) and then somehow got taut (too rapidly for the popliteal fossae to be correctly
recorded and 3D encoded).
7/- the unusually long arms and seemingly long fingers on the right hand image imply both dislocation ( and uneven sindon stretching at arm level? During the image formation process, the tightly pulled and compressed in-soaked long inner burial sheet didn’t quite return to its natural size and shape as it got sort of taut again lengthwise through shrinking (through drying out). The uneven recording of the two arms imprint on the inner side of the burial cloth is due to the fact the deceased’s arms had been forced in rigor mortis from adduction to abduction thus creating sort of a stiff rigid arm counter-pressure to shrouds’ wrapping-up pressure. Through drying out and slight cloth-to-body pressure release as the Shroud got somewhat taut again through shrinking, the arms mechanically tended to slightly raised again above body. It resulted in a specific image distortion not to be extended to the whole body imprint.
Yes indeed, in the light of the TS bloodied dorsal and ventral body imprints and the three other Gospel accounts, John 19: 40 can read: “Then they took the body of Yeshua, and wound and compressed and fastened it in linen shrouds with the spices, as the manner of the Judeans is to bury”.
On another thread, I wrote:
(on June 8, 2015 at 11:33 am)
Most likely, the sindon/himation was in-soaked with an alkaline solution prior to be used as inner burial winding sheet. It was not loosely laid, but, most likely, first drawn quite taut from the feet up the back of the stiff rigid body (as stiff and rigid as a wooden board) and over the head and down the front to the feet and then compressed widthwise in smaller shrouds prior to fumigation in extra height (i.e. placed in extra heights either on two piles of granulized myrrh bags or two stones).
Reminder for Daveb: you wrote “the Shroud cloth had to be drawn quite firmly over the top of the head to match the likely distance between the ventral and dorsal images”, which is in sharp contrast with your other claim the shroud cloth was loosely draped over/loosely bound the TS man’s body.
Additional reminders, on January 30, 2015 at 7:44 am I wrote:
“The TS man’s face show many an image deficit implying air gaps and/or presence of screening objects. 3D images can give you a fairly good idea of the way prominent crease marks at headtop and chin level did fit the TS man’s head and imply the latter was bound and compressed as the (then watery solution in-soaked) shroud, literally do appear moulded around his head, front (and back). Partial extreme compression of the face could account for the very faint partial “second blood image of the head” found by Fanti at the back of the cloth.”
“Besides most likely the TS man’s dried blood-heavy perspiration-dust-pasted long hair side strands were as hard as cardboard and ‘frozen’ at head-tilted-forward position when the long Shroud was first tautly pulled up over the head lengthwise and then a smaller shroud (a face cloth or veil) was tightly wrapped up around widthwise along with a skull cap on top of it all to tightly close the long burial upper end.”
Typo: prior to being used
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