[quote=BibleReader]I think that there was a real Shroud, and the fake Shroud was created around the time of Leonardo and substituted-in for it, so that people would come in and ooh and ahh at the fake, while the thieves possessing the really Shroud kept it locked-up some place.
Interesting theory, with no supporting evidence. During Leonardo’s time, the shroud was VERY carefully guarded, and sealed in a reliquary that had four different locks with the keys in the hands of four different people. It was that very over-zealous security that caused the shroud to be nearly destroyed for all time when the Cathedral at Turin was burned in 1532, and the key-holders couldn’t be summoned in time.
How do you create a fake that matches the burn marks from the 1532 fire?
[quote=BibleReader]I’ve seen a camera obscura image of the Schuykill River waterfront in Philadelphia known as “boathouse row.” It took hours to expose, because it, too, was an egg white image. The detail was remarkable.
The structures are fairly clear. Did you notice the little people in the image? No? Maybe that’s because anything that moved during those hours wasn’t recorded clearly.
Same result comes when trying to photograph a human body for the shroud image: If it was alive, it would not be able to be still long enough. If it was dead and hanging outside in bright sunlight, decomposition would cause shifting of the limbs before even one side of the image could be completed, much less both sides (which are perfectly aligned). And alive or dead, the hair would still be shifted by the wind. Finally, if the image was of a statue, the detail would be seriously lacking.
[quote=BibleReader]How many images did a Renaissance DaVinci, financed by a rich sponsor, make before generating the final image? I.e., how many experiments did he run to overcome details such as you suggest? Thousands? The camera obscuras in Italy and England are made of bricks and mortar. They have lasted for centuries. I.e., they are permanent structures, built for thousands of experiments.
Where are those thousands of other images? In the icon-crazy world of the 16th century, surely at least one of them would have survived. Yet there is no other image, nor is there even a written account of Leonardo attempting this experiment.
[quote=BibleReader]I was never convinced by those visual bone structure analyses.
In my opinion, the facial bone business is the same kind of dream. So is that business about stamped Roman symbols on the Shroud – I forget what it was, it’s been years since I pulled out my Shroud stuff.
The stamped Roman symbols are the patterns on the coins placed on the eyes. They are the coins of Pontius Pilate. I saw another diagram where someone was showing what appeared to be lettering written on the sides of the head which proclaimed the image to be of Jesus. If true, that lettering is now too faint to be read reliably.
The bone structure detail is best observed on the face and hands. The reason the hands look abnormally long is that the underlying bones can be seen.
[quote=BibleReader]No matter what, nobody ever explains the ring crossing the bridge of the nose, to a satisfactory extent. It’s as clear as day, yet many Shroudies, in their enthusiasm, just don’t see it.
That’s because it’s not a camera focus ring.
I see that circle line - on only one side. It reverses direction to continue downward along the nose, then changes direction again to follow the irregular curve of the nostril.
Funny place to put a focus ring, anyway, near the very top of the image. Wouldn’t it make more sense to have the ring positioned near the breastbone? That assumes, of course, that camera obscuras (lens-less cameras) even used focusing mechanisms. In my experience, they don’t.