- ...
- Somewhere back in time, I posted the following elaboration:
We know that the Shroud existed in 1357 – however, it contains numerous details (many of them recently and scientifically discovered) that a 1357 forger would not see, know of, be able to depict, or have reason to depict. (Many of these details would seem to PROVE that there is real BLOOD on the Shroud,)
1. A team of Italian scientists and clergy studied the Shroud in 1973. Part of their scientific findings was that what appeared to be blood on the Shroud was not blood.
2. That finding, however, was later challenged — and, that challenge was never answered.
3. Since that time, only one “involved” (having actually studied the Shroud itself, or sticky tapes taken from the Shroud) scientist (Walter McCrone), has agreed with the Italian finding.
4. That scientist’s discussions regarding the validity of that finding place his own credibility into doubt.
5. Since that time, that scientist has accrued several more strikes against his methods and objectivity.
6. The two involved scientists who have most studied the blood issue, have unequivocally concluded that what appears to be blood on the Shroud is in fact blood.
7. Numerous other involved scientists since that time have agreed.
8. The involved scientists claiming real blood based their conclusions upon several objective chemistry-based, and physics-based tests, whereas the one involved scientist claiming otherwise based his conclusion on microscopy – requiring a much more subjective analysis.
9. The two main forensic pathologists (Frederick Zugibe and Robert Bucklin) that have studied the Shroud claim that the stains are real blood.
10. In recent years, The Skeptical Enquirer has paid two scientists to examine those tests and conclusions. For most of those tests, they were able to show how a chemical that could reasonably have been in the ‘blood stains’ could have produced false positive results for blood.
11. Though, for two of the tests, they had no explanation.
12. Numerous articles claiming blood have been peer-reviewed; only one of the articles claiming otherwise has been thusly reviewed.
More specifically:
13. Arterial blood can be distinguished from venous blood and according to STURP, these distinctions are evident on the Shroud, and exist in the right places.
14. The different examples of blood flow have appropriate shapes.
15. The scourge marks, photographed, enlarged and studied under a microscope, show the slightly depressed centers, raised edges and serum characteristic of the “syneresis” occurring when blood clots form and then retract. This cannot be seen with the naked eye.
16. There are over 100 scourge marks on the body, and apparently all of them show the synersis.
17. These scourge marks also show the unmistakable shape of the roman flagrum used in the first century.
18. There are indications of still bleeding wounds and whole blood on the shroud.
19. The ‘blood’ stains were on the cloth prior to the image.
20. There is a second image on the back of the cloth with no stain in-between, whereas the blood stains go through the cloth.
21. The characteristics of the fire and water damage support a blood interpretation, rather than a paint interpretation.
22. The very red (versus brown) ancient blood stains make sense.
23. Whereas the image is extremely superficial, the alleged blood stains penetrate through the cloth.
24. There are no brush strokes or directionality in the alleged blood stains.
25. The Sudarium of Oviedo is a perfect match (except involving whole blood rather than blood exudate) with the face portion of the Shroud
26. The iron oxide (appropriate for real blood) found on the Shroud is much too pure to be pigment from paint.
- We had begun addressing some of those elaborations before becoming moderated, but my memory being what it is, I won't try to refer back to those discussions. Instead, I'll sort of start from scratch with #19. "The ‘blood’ stains were on the cloth prior to the image."
- I claim that because,
A. There is no image below any of the blood stains.
B. There were like 150 different wounds depicted on the depicted body. In order for there to be no image under the depicted wounds, the artist would have had to leave 150 well-shaped "holes" in the image, and most of the holes would have included spaces not visible to the naked eye.
- Let me know which of my alleged facts in my reasons above need citations. The more of my alleged facts you can "stipulate" (already accept), the faster we can move along.
Some general comments first.
Repeating a post with such a quantity of interlocking claims Seems to go against any sort of logic.
Jabba, you MUST know the reaction to this post will be precisely the same as when you posted it for the first time:
Where are the sources for the information that backs up your claims?
How is it possible you could have anticipated any other response?
What relevance does this have, anyway?
The TS is dated to the mid-fourteenth century.
- Let me know which of my alleged facts in my reasons above need citations.
All of them, Jabba.
Of course.
The more of my alleged facts you can "stipulate" (already accept), the faster we can move along.
Jabba, you already know a discussion of these claims doesn't work that way.
Instead, the faster you present your sources 'the faster we can move along.'
Now to #19
First of all, you must establish the red stains are blood.
#19. "The ‘blood’ stains were on the cloth prior to the image."
- I claim that because,
A. There is no image below any of the blood stains.
B. There were like 150 different wounds depicted on the depicted body. In order for there to be no image under the depicted wounds, the artist would have had to leave 150 well-shaped "holes" in the image, and most of the holes would have included spaces not visible to the naked eye.
"The ‘blood’ stains were on the cloth prior to the image."
We've gone over this at the other forum. I pointed you in the direction of lithographic techniques so you could see for yourself why this is a false premise.
However, I confused the technique.
I should have said woodcutting (xilography) technique.
I'm very sorry for my stupid mistake.
http://en.wikipedia.org/wiki/Woodcut
The work of Marc Escher is particularly of interest here.
Please keep in mind I am NOT claiming the TS was made using woodcutting, though I don't rule it out, either.
A. There is no image below any of the blood stains.
Please source this claim.
Again, you must establish it's blood.
And think through the implications of this claim, Jabba.
Because if that's true there is NO image under any of the 'blood' neither front nor back, it's is more or less 'evidence' the TS is a medieval artefact.
B. There were like 150 different wounds depicted on the depicted body. In order for there to be no image under the depicted wounds, the artist would have had to leave 150 well-shaped "holes" in the image, and most of the holes would have included spaces not visible to the naked eye.
Please source this claim of the 150 different wounds, Jabba.
And again I refer you to woddcutting technique. It's really no mystery at all.
And in any case, Jabba, I'm well aware you're simply trying to side-step the dating issue.
Even if it's blood (and it may well be) the cloth is dated to the mid-fourteenth century.
It's very simple.
The Vatican accepts that dating, after all.