Finally, An Explanation for the Exclamation Mark!
and Michael Tite has some thoughts about the image, as well
Yesterday, in a comment to Three Questions About The Reweaving Hypothesis, Charles Freeman mentioned that Michael Tite was still lecturing about the shroud. That prompted this response from Hugh Farey:
He is indeed. His most recent lecture was on Monday (yesterday), at the University of Durham Institute of Advanced Studies, in their ‘Evidence on Trial’ series, entitled ‘ Fakes, Forgeries and the Turin Shroud: the scientific evidence.’ It can be heard (audio only although it was clearly an illustrated lecture) at https://www.dur.ac.uk/resources/ias/audio/Tite.mp3.
It tells us little about the dating of the Shroud that we didn’t know before, but contains this little snippet which may be of interest:
I put that exclamation mark because the date had been leaked in the press certainly as medieval for some time, so it was really saying ‘there you are; you’ve known it all along.’ Various other interpretations were put on it – rather more sinister ones – so it wasn’t a very helpful thing for me to do, but that was the reason. That was my response.
Later Tite suggests that the image may have been associated with a real crucifixion, perhaps of a crusader. He is particularly taken with the wrist rather than hand bloodstains.
Do listen. The audio runs 45 minutes. (The introduction is barely audible but the lecture is fine.) Here is an abstract of the talk from Durham University’s website:
The primary underlying theme of the lecture will be the role of scientific examination in providing evidence for the authenticity of antiquities that supplements the evidence provided by their stylistic attributes. The methods of scientific examination will include the investigation of the raw materials and fabrication methods used in the production of stone, metal and glass antiquities together with thermoluminescence dating of ceramics and radiocarbon dating of organic materials. Examples of the application of these methods will include the Getty kouros, the British Museum crystal skull, Etruscan bronze figurines, Neolithic pottery from Anatolia, the Turin Shroud and the Vinland Map. The damage caused to our understanding of the past by the illegal excavation of antiquities together with the consequent ethics of collecting and authenticating antiquities will also be considered.