text: Pray Codex An image in the medieval manuscript of the Pray Codex (c. 1192–1195) has generated a debate among some believers since 1978. Although the Pray Codex predates the Shroud of Turin, some of the assumed features of the drawing, including the four L-shaped holes on the coffin lid, have pointed some people towards a possible attempted representation of the linen cloth. However the image on the Pray Codex has crosses on what may be one side of the supposed shroud, an interlocking step pyramid pattern on the other, and no image of Jesus. Critics point out that it may not be a shroud at all, but rather a rectangular tombstone, as seen on other sacred images. A crumpled cloth can be seen discarded on the coffin, and the text of the codex fails to mention any miraculous image on the codex shroud.
  Radiation processes
  Some proponents for the authenticity of the Shroud of Turin have argued that the image on the shroud was created by some form of radiation emission at the "moment of resurrection". However, STURP member Alan Adler has stated that this theory is not generally accepted as scientific, given that it runs counter to the laws of physics, while agreeing that the darkening of the fabric could be produced by exposure to light (and predicting that despite the fact that the Shroud is normally stored in darkness and rarely displayed, it will eventually become darker in the future). Raymond Rogers also criticized the theory, saying: "It is clear that a corona discharge (plasma) in air will cause easily observable changes in a linen sample. No such effects can be observed in image fibers from the Shroud of Turin. Corona discharges and/or plasmas made no contribution to image formation." Even if ultraviolet radiation were proven to have formed the image, it cannot be proven that it wasn't natural, that of the sun, applied to the prepared cloth unevenly to create the image.