Problem for the forgery theory That the Shroud image is non-directional is yet another problem (see previous three: #14, #15 & #16) for the forgery theory. C., 1984, "Relics: The Shroud of Turin, the True Cross, the Blood of Januarius. In particular, the lack of brush strokes or any directional pattern rules out any production by the hand of an artist. ..: History, Mysticism, and the Catholic Church," Our Sunday Visitor: Huntington IN, p.53; Habermas G. This is part #17, "The man on the Shroud: Non-directional," of my series, "The evidence is overwhelming that the Turin Shroud is authentic! D., 2000a, "The Shroud Fabric and the Body Image: Chemical and Physical Characteristics," in Adler, A. & Crispino, D., ed., 2002, "The Orphaned Manuscript: A Gathering of Publications on the Shroud of Turin," Effatà Editrice: Cantalupa, Italy, pp.113-127, 116-117; Adler, 2000c, "Chemical and Physical Aspects of the Sindonic Images," in Adler & Crispino, 2002, pp.11-27, 17-18. Meacham, W., 1983, "The Authentication of the Turin Shroud: An Issue in Archaeological Epistemology," Current Anthropology, Vol. 3, June, pp.283-311, 288; Meacham, W., 2005, "The Rape of the Turin Shroud: How Christianity's Most Precious Relic was Wrongly Condemned and Violated," Lulu Press: Morrisville NC, pp.12-13. Stevenson & Habermas, 1981, p.106; Cruz, 1984, p.53; Antonacci, 2000, p.38.
Even with Pointillism, the "technique of painting in which small, distinct dots of color are applied in patterns to form an image", each dot betrays a slight directional movement.
The lack of directionality of the Shroud image is further evidence that the Shroud is not a painting.
Not only forgery by painting is ruled out (see above); also is Joe Nickell's powder rubbed on a cloth over a bas relief method, because (amongst its many problems) the application of powder is directional. Permission is granted to quote from any part of this post (but not the whole post), provided it includes a reference citing my name, its subject heading, its date, and a hyperlink back to this post.
And as we saw in 07Aug16, directionality of sunlight is a fatal problem of Prof.
When the resultant grey scale information was fed into a computer and then progressively removed at each level of shade intensity, the pixels disappeared randomly, showing there is no evidence of a directional pattern, and therefore no evidence for brush marks as would be expected for a painting. Giovanni Tamburelli (1923-90) in 1981 confirmed this.
In fact the only directional feature found on the Shroud image was in the weave of the cloth. : The Resurrection Debate," Harper & Row: San Francisco CA, p.119; Antonacci, M., 2000, "Resurrection of the Shroud: New Scientific, Medical, and Archeological Evidence," M. S., 1934, "The Holy Shroud of Turin," Burns Oates & Washbourne: London, p.14 [return]5.
T., 2005, "The Crucifixion of Jesus: A Forensic Inquiry," M.
: A Critical Examination of the Theory," Shroud.com; Wilson & Schwortz, 2000, p.124; Zugibe, F.
But before we explore the research and the relics, let us recall a New Testament passage concerning faith in Christ and the need for physical evidence.
I mean the familiar story of “doubting Thomas” (John –29).
The apostle Thomas was absent when the resurrected Christ appeared to some of the apostles.