Postscript (correction: ‘prescript‘) added July 2019:
You have arrived at a 2014 posting. That was the year in which this investigator finally abandoned the notion of the body image being made by direct scorch off a heated metal template (despite many attractions, like negative image, 3D response etc. But hear later: orchestral DA DA! Yup, still there with the revised technology! DA DA! ).
In its place came two stage image production.
Stage 1: sprinkle white wheaten flour or suchlike vertically onto human subject from head to foot, front and rear (ideally with initial smear of oil to act as weak adhesive). Shake off excess flour, then cover the lightly coated subject with wet linen. Press down VERTICALLY and firmly (thus avoiding sides of subject). Then (and here’s the key step):
Stage 2: suspend the linen horizontally over glowing charcoal embers and roast gently until the desired degree of coloration, thus ‘developing’ the flour imprint, so as to simulate a sweat-generated body image that has become yellowed with centuries of ageing.
The novel two-stage “flour-imprinting’ technology was unveiled initially on my generalist “sciencebuzz” site. (Warning: one has to search assiduously to find it, and it still uses a metal template, albeit unheated, as distinct from human anatomy):
So it’s still thermal development of sorts, but with a key difference. One can take imprints off human anatomy (dead or alive!).
A final wash of the roasted flour imprint with soap and water yields a straw-coloured nebulous image, i.e. with fuzzy, poorly defined edges. It’s still a negative (tone-reversed) image that responds to 3D-rendering software, notably the splendid freely-downloadable ImageJ. (Ring any bells? Better still, orchestral accompaniment – see , correction HEAR earlier – DA DA!))
This 2014 “prescript” replaces the one used for my earlier 2012/2013 postings, deploying abandoned ‘direct scorch’ technology.
Thank you for your patience and forbearance. Here’s where the original posting started:
Original posting starts here:
Here’s the reverse side (1) of the Lirey Pilgrim’s badge, the front side (2) showing a man (not obviously Christ-like) in Turin Shroud configuration).
Now look at this picture of the Templars being prepared for slow-roasting:
Now look at this picture of St. Lawrence of Rome next to the gridiron, the one on which he was slow-roasted. Note the diamond trellis (and compare with the Lirey badge above – first picture).
Then look at the man on the Lirey badge: note the coiled rope (or chain) like objects which Ian Wilson describes as blood belt – an NT-friendly narrative (but true?).
Then look at the roasting of the naked hands-over-groin area St.Lawrence of his gridiron (AD 258, reign of Emperor Valerian):
Then look at the Shroud of Turin:
Am I the only one to see connections here?
Like – the man on the TS was a barbecued Knight Templar, that his manner of execution was inspired by that of St.Lawrence, that maybe a life-sized crucifix of Christ was used to make a thermal imprint as proxy for the dead Templar, that it was then a simple matter to suggest that the man shown on the TS was not a Templar, was not St.Lawrence but the real Jesus of Nazareth in his real burial shroud?