Shroud of Turin - How was the image formed?

Shroud Report

Image Formation Theory

Much of the science involved in Shroud research is in the area of image formation theory. If Shroud were an obvious work of art, the subject would be irrelevant and even ludicrous. But it is precisely because the cause of the image still remains a mystery after years of diligent research that leads some to investigate other non-artistic causes of the image.

Let’s summarize what we know about the image:

There is no significant trace of paint, pigment, dye, ink or stain.
The image is purely superficial penetrating only the top two microfibrils.
No directionality to the image as with brush strokes.
No outline to the image as would be necessary for it to be a work of art.
No cementing of fibrils as would occur with the application of any liquid substance.
Uniform intensity on both front and back images... artistically impossible.
No variations in density...another artistic impossibility.
No particles between the threads.
Not the result of any kind of powder rubbing.
No capillary action.
No liquids used to create image except for the blood images.
No paint binder. Every art medium requires a solution to suspend the pigments.

Are there paint particles on the Shroud? Yes. But they do not constitute the image. They are randomly distributed over the cloth. Why? Because over the course of hundreds of years, painted copies of the shroud or the face of Christ have been touched to the cloth thereby giving it greater value. What’s a baseball card signed by Babe Ruth worth? Same idea. Without question, particles from these paintings dislodged and fell onto the Shroud. Does that mean the Shroud is a painting? Obviously not. Unfortunately, a few people still try to make headlines by rehashing old theories.

What about the blood? It’s blood. AB Positive and evidence for human DNA. The blood tests positive for the following components: Hemoglobin Heme Porphyrins Serum albumin Bile Bilirubin

The blood stains show the separation of blood and serum and also show where blood would have spurted from an artery or dribbled from a vein depending on the wound. The blood flows show the influence of gravity as if the body was alive and upright yet also shows post-mortem blood flows from when the body was lying down on the back. Evidence of rigor mortis is also visible. As gruesome as all this seems, it all represents medical knowledge totally unknown in the Middle Ages.

To declare cavalierly that the Shroud is the work of some medieval artist is to totally ignore nearly everything we know about the cloth. That is simply not a scientifically satisfactory answer. This is why many question the validity of the C-14 dating tests and is also why we continue to search for new clues as to how this incredible image may have been formed.

The image shows up because something caused the rapid dehydration and oxidation of the linen fibrils immediately surrounding a body. What caused it? Direct contact with a corpse only explains the blood images. Another process is at work to account for the image. Heat? Light? Radiation? A combination of the three? Dr. Gus Accetta’s experiments on emitted radiation may be an important clue.

The one remaining question is the age of the cloth. Unfortunately the botched carbon dating tests reveal nothing credible as determined by Chemist Ray Rogers.