Author: Dan

Just five days ago, on April 18, 2019,  Robert A. Rucker released a new paper at shroudresearch.net:  Image Formation on the Shroud of Turin

It concerns me when a scientist attempts to justify a scientific hypothesis with an appeal to consensus (argumentum ad populum) and that is exactly what Rucker does:

Most Shroud researchers believe that the evidence on the Shroud indicates that the image could not have been formed by an artist or forger, but that in some unknown way the body that was wrapped in the Shroud encoded an image of itself onto the cloth (Ref. 2 and 3). This is the starting point for this proposal.

The assumption about most researchers might be true.  It probably is. At least it is these days. At one time in history, there was a consensus belief in geocentrism. Things change, group-think evolves. This is exactly why argumentum ad populum is a fallacy. Might it be, if more well-informed skeptics of the Shroud researched the cloth, that a different consensus might arise?

Anyway, it is sufficient for me that I disagree. I don’t think the evidence indicates that the image could not have been formed by an artist or forger. That doesn’t mean that I think the image was formed by an artist or forger. It means I don’t think the evidence supports  an obviously unprovable assumption. Can anyone prove it?

Nor do I think the evidence supports the idea “that in some unknown way the body that was wrapped in the Shroud encoded an image of itself onto the cloth.”  Just the word unknown de-hypothesizes everything, doesn’t it?

There is this in the hypothesis:

The radiation not only had to be emitted from the surface of the body, but it had to be emitted from within the body because we can see bones on the Shroud, including teeth, bones in the hand, etc. The radiation had to be emitted within the body to carry to the linen cloth the information regarding the presence of these bones in the body.

We would be wise to regard the advice of Raymond Rogers who wrote:

Two of the most damaging things a “scientist” can do during the development of a “scientific” study is to include speculations on an equal basis with tested facts and
exclude observations he does not like. We have seen both problems in Shroud literature. “I think I see,” seems to be accepted by “true believers” on an equal basis with quantitative measurements.

[…]

Physiologically, the effect is explained in terms of “lateral neural inhibition”: the human eye enhances edge contrasts. The mind plays games with what we think we see. Some devoted observers see images of flowers, teeth, bones, etc. on the Shroud. A statement like “I think I see” is totally unacceptable in a scientific discussion.

The appearance of bones including teeth is the issue here.  The claim is unacceptably treated on a par with facts.  Can we be sure that we are seeing teeth and bones?

We can also look at this explanation from Colin Berry:

Personally I think the boniness is prima facie evidence for imprinting by a contact process [rather] than one by radiation. With a contact process, it is just those parts of each finger that are approximately in the plane of the linen (i.e parallel) that make best contact, especially if there is applied pressure, and that is the top surface. One has only to go a few mm below that topmost plane, and the curvature of the finger means progressively less contact and pressure. There is also the likelihood of a tenting effect across the fingers that means poor imaging between the fingers. Now look at the Shroud image and you will see precisely the kind of shadowing one would expect.

FYI:

Title:  Image Formation on the Shroud of Turin
Author:  Robert A. Rucker, MS (nuclear)
Published:  April 18, 2019 (Revision 0) at shroudresearch.net

Abstract

The Shroud of Turin contains good-resolution full-size images, without pigment, of the front and back of a naked crucified man. This paper proposes a multi-step process for formation of these images on the linen Shroud. By following the evidence on the Shroud where it leads, without a presupposition of naturalism, a hypothesis for image formation can be hypothesized that is consistent with all the evidence on the Shroud. The proposed hypothesis involves radiation emitted in the body that carries the information to the Shroud that is required to control the mechanism that discolors the fibers in the threads that make the image. This information is that which defines the appearance of a naked crucified man. We can see the image on the Shroud because this information has been encoded into the pattern of the discolored fibers that make the image. The proposal includes the radiation discoloring the fibers by a static discharge from the top portions of the fibers facing the body, resulting in electrical heating and possible production of ozone that discolors the fibers. This process naturally results in a negative image that contains 3D or topographical information, threads with a mottled appearance, and microscopic properties that are consistent with the Shroud.

An opinion piece,  What It Means to Worship a Man Crucified as a Criminal by Peter Wehner, a Senior Fellow at the Ethics and Public Policy Center in Washington D. C., appeared yesterday in the New York Times.  I recommend it:

During a Christmas break while I was a student at the University of Washington, I tuned in to a show that influenced the trajectory of my faith, quite by accident. It was a broadcast of an hourlong “Firing Line” interview in 1980 between William F. Buckley Jr. and Malcolm Muggeridge, the British journalist who late in life converted to Christianity.

In the course of the interview, Mr. Muggeridge used a parable. Imagine that the Apostle Paul, after his Damascus Road conversion, starts off on his journey, Mr. Muggeridge said, and consults with an eminent public relations man. “I’ve got this campaign and I want to promote this gospel,” Paul tells this individual, who responds, “Well, you’ve got to have some sort of symbol.” To which Paul would reply: “Well, I have got one. I’ve got this cross.”

“The public relations man would have laughed his head off,” Mr. Muggeridge said, with the P.R. man insisting: “You can’t popularize a thing like that. It’s absolutely mad.”

The reaction of Mr. Muggeridge’s imaginary P.R. person is understandable. The Episcopal priest Fleming Rutledge has written that until the accounts of Jesus’ death burst upon the Mediterranean world, “no one in the history of human imagination had conceived of such a thing as the worship of a crucified man.” And yet the crucifixion — an emblem of agony and one of the cruelest methods of execution ever practiced — became a historical pivot point and eventually the most compelling symbol of the most popular faith on earth.

This is a repeat posting from 2011. Today being Holy Thursday or Maundy Thursday, it seems like a good day to revisit the subject.  To my way of thinking, the subject gains gravitas mainly because it was proposed by John and Rebecca Jackson. 

Every now and then we hear that the Shroud of Turin might have been a tablecloth used at the Last Supper before it was Jesus’ primary burial cloth.

I’m not convinced. I’m not convinced that a tablecloth was used by most or any Jews at the time of Christ. And if so, does it even matter?

A paper, Was the Shroud of Turin also the Tablecloth of the Last Supper? by John and Rebecca Jackson appears on the web, in Italian. (I’m looking for an English version). In the meantime, if you are not proficient in Italian, you can use Google Toolbar or Microsoft Bing to read a reasonable translation in English. Here are the first four paragraphs as translated by Google:

In this paper we present the hypothesis that the relic of the ‘ Last Supper , that the cloth was used for the table, still exists. For reasons which we will discuss, we will show that this tablecloth, a requirement for the Jewish Passover is the time of Christ, in fact, the Shroud of Turin. We believe that the Shroud of Turin is at the same time, the burial cloth of Jesus and the cloth for the Lord’s Supper served. If so, it would represent an important archaeological evidence of the first Eucharist.

We present our study only as a hypothesis that we wish could provoke further scientific research. This study represents a further deepening of what has been presented at the Conference on the Face of Faces, Christ, held in 1998. ¹ We argued, then, is that the Shroud of Turin, exposed to Constantinople in the eleventh and twelfth centuries, was actually the burial cloth of Jesus is that the fire occurred in 1532 meant that the test did the carbon be more recent than it actually was. ² also indicate several studies showing that the Shroud and its image has different features, cultural and ethnological Jewish origin that proved it to be placed in the first century ³ .

If the Shroud of Turin is the actual, historical burial cloth of Jesus Christ, then it would have to be present at the historical foundation of the Church when it is extended out of its cradle of Judaism. After the events of the Gospel of the Passion, Death and Resurrection, began immediately powerful currents of traditions, theologies and liturgies based on the Resurrection. If the Shroud was the property of the original Judeo-Christian communities, it is then possible, and perhaps inevitable that it (the Shroud) was involved in the dynamics of development and growth of the early Church.

Noting that writing and art were used to obtain information on the history of the Shroud, we suggest that the Liturgy of the Church is also another potential vehicle of historical information that can be examined.

Rabbi Samson H. Levey, Emeritus Professor of Rabbinics and Jewish Religious Thought at Hebrew Union College, Los Angeles, provides some answers to the question. This appears on Barrie Schwortz’ shroud.com website.

I. To get a clear picture of Jewish life and practice during the first two centuries C.E. we must rely on the primary Tannaitic sources, namely the Mishnah, the Tosefta and the other Tannaitic passages dispersed throughout the Talmudim of Babylon (Bavli) and of the Land of Israel (Yerushalim).

During this period, a table was used for meals… We find no evidence that the Jewish people used different tables for the Sabbath and festivals, including Passover, than they ordinarily used; although they probably subjected it to a thorough cleaning, same as the rest of the house, to clear away the leaven immediately before Passover. (Mishnah, Pesahim, Ch.1 et passim)

What did the table look like? It had a square top (sometimes also a square bottom), usually made of wood, (Mishnah Kelim 16:1), pottery (Mishnah Kelim 2:3); overlaid with marble (ibid 22:1). It usually had three legs (ibid 22:2), and could accommodate three or four people. For larger groups, such as weddings, long boards were used (called dahavanot) (Tosefta Kelim, Baba Metzia, 5:3).

II. Table Cover: Food was ordinarily eaten off the bare table top (Bavli, Baba Batra 57b), and only the intellectual elite seem to have used a cloth to cover part of the small table for use as napkins to wipe their lips after eating (ibid). According to Maimonides, the Mishnah refers to a leather table covering (skortia), probably designed to protect the table from the elements (Mishnah Kelim 16:4). The only explicit reference to “a cover for tables” (Mishnah Makshirin 5:8) is explained as a sheet spread over the food (not the bare table) to protect it from flies and other insects. (M.Jastrow, Dictionary, vol.II, p.1396, col.1, bot. sub Kesiyah, Cf. P.Blackman, Mishnah VI, 682).

III. A sheet of any cloth, including a mixture of materials (shatnez) may be used as a shroud (Mishnah Kilayim 9:4). It is unlikely that one would be buried in an unclean sheet. The Tannaitic principle is expressed by Rabbi Meir (second century), that at the Resurrection the dead will arise wearing the same garments in which they were interred, and unclean raiment would be a disgrace (Bavli Sanhedrin 90b). Rabban Gamallel (first century) instituted the use of a plain linen shroud for everyone (Bavli Moed Katan 27b. Cf. Matthew 27:59).

Pray for the safety of the firefighters. Pray for the church. And pray for treasures of art and relics.