7. Why are there bands of different colored linen throughout the Shroud, and what do they prove about image formation mechanisms?
- How fast does cellulose (linen) decompose (produce a color) compared with the impurities found on the Shroud of Turin?
- How is it possible to get image only on the topmost surface of the cloth of the Turin Shroud?
- Can some simple, natural process explain a doubly-superficial image?
- How fast does a human body begin to decompose, and what are the products?
- How do you know that the flax fibers were not involved in image formation?
- Are there any other ways than radiocarbon to date the Shroud of Turin?
- What could be observed about image properties by looking at the damage from the fire of 1532?
- What options for future scientific study of the Shroud's history and image were lost as a result of the "restoration" of 2002?
- What are the optical and physical properties of flax fibers (linen)?
- What Shroud image properties have been observed objectively by scientific methods?
- Can the presence of a "bioplastic polymer" coating anywhere on the Turin Shroud be confirmed? Could it affect the radiocarbon age determination?
- Could a "bioplastic polymer" affect the radiocarbon age of the Shroud of Turin?
- How do you know that the image on the Shroud of Turin was not painted?
- How do you know that there is real blood on the Shroud?
- How do you know that the image was not produced by radiation?
- How do you know that the image was not a scorch? How do you know that most of the Shroud had not been heated enough to start decomposition?
- How do you know that the radiocarbon sample was not valid for dating the Shroud of Turin?
- How do you know that the fire of AD 1532 did not start a long-term autocatalytic decomposition of the Turin Shroud?
Answer to # 7:
Bands of slightly
different color can be seen in Shroud photographs. They are most visible in
ultraviolet-fluorescence photographs (see Hands UV). Both warp and weft
yarns show this property. Some areas show darker warp yarns and some show
darker weft yarns. In some places bands of darker color cross. In other
places bands of lighter color cross. The effect is somewhat like a plaid.
All of the bleaching processes used through history remove lignin and most associated flax impurities (e.g., flax wax and hemicelluloses). The more quantitative the bleaching process the whiter the product. The bands of different color on the Shroud are the end result of different amounts of impurities left from the bleaching process.
Anna Maria Donadoni, a curator at the Museum of Egyptology in Turin, pointed out locations where batches of yarn ended in the weave and new yarn had been inserted in order to continue weaving. The yarn ends were laid side by side, and the weave was compressed with the comb. The ends are often visible, and the overlaps correspond to zones of different color in the weave. The different batches of yarn show different colors.
Where darker bands of yarn intersect image areas, the image is darker. Where lighter bands intersect an image area, the image appears lighter. This proves that the image color is not a result of reactions in the cellulose of the linen. Some impurities on the surface of the different batches of yarn produced the image color. This observation is extremely important when tests are being made on image-formation hypotheses. If image color is not simply a result of color formation in the cellulose of the linen fibers, image formation must be a much more complex process than we originally thought.
© 2004 Daniel R. Porter, Bronxville, New York
