It’s getting on for 9 months since I first floated the idea that the TS
was fabricated as a simulated sweat imprint, a whole-body front-and-back
version of the then celebrated Veil of Veronica.
He writes by way of a new comment:
The TS is NOT to be seen as a painting, given its negative character. It’s to be seen as an IMPRINT, almost certainly a CONTACT IMPRINT. In a non-authenticity model that does not necessarily mean it was produced as a contact imprint, e.g. off some kind of applied bas-relief template (though it may well have been, given its 3D properties. It’s just conceivable that it was painted freehand in a manner as to make the image SEEM like an imprint. But there again, the artisans would not have considered themselves restricted to classical artists’ pigments, if as seems probable the aim was to produce an image that would not be instantly regarded (and just as quickly dismissed) as merely a flight-of-fancy painting on linen.
So whichever way you look at it, there’s no justification whatsoever for making any assumption, either a priori or from Charles’s post hoc review of what he terms “interlocking” evidence, that the image was painted.
In any case, it’s grossly unscientific to assume (without independent evidence) the present image is what’s left when the paint has ENTIRELY flaked off. Why the survival of 3D properties if that had been the case? Why the STURP evidence based on diimide-bleaching, reflectance spectroscopy etc that the body image comprises dehydrated linen carbohydrates? Why should a coating of gesso and paint have produced chemical changes that in the laboratory require elevated temperature or dehydrating acids such as H2SO4. Why all the focus on blood, which may well have been partly or totally paint when the real challenge, not to be ducked, is the subtle BODY IMAGE aka IMPRINT that caused consternation when first displayed at Lirey?
This entire paint thing is an attempt to bury well over a century of image analysis, starting with Secondo Pia’s amazing photographic ‘negatives’ that restored the TS ‘positive’. Classical paintings do not do that, not even faded or flaked-off ones, correction least of all leaving scarcely-visible (when viewed up close) low-contrast remains.
It’s getting on for 9 months since I first floated the idea that the TS was fabricated as a simulated sweat imprint, a whole-body front-and-back version of the then celebrated Veil of Veronica. I don’t recall hearing any significant objections to that proposal, not from Charles Freeman nor anyone else for that matter. I hesitate to say this, but what’s the point of posting one’s ideas to a specialist web forum if one gets absolutely no detailed feedback, either positive or negative?