A recent study published in the journal Archaeometry added a compelling dimension to the longstanding debate over the authenticity of the Shroud of Turin, suggesting the renowned relic might be a medieval creation rather than the genuine burial cloth of Jesus Christ. The investigation, led by Brazilian digital designer Cícero Moraes, used 3D simulation technology to explore the origins of the shroud.
Moraes, known for reconstructing historical faces, digitally draped virtual fabric over two models: a reconstruction of a human body and a bas-relief sculpture. He then compared the simulation results to photographs of the Shroud from 1931. The study’s findings suggested that the image on the Shroud is consistent with that produced by the bas-relief sculpture, challenging the traditional view of the cloth as a mere impression of a human body.
When the fabric was digitally draped over the human form, the results were different, showing a distorted image with swollen features—a phenomenon Moraes referred to as the Agamemnon Mask effect, which occurs when a three-dimensional object is represented on a two-dimensional surface. The bas-relief model produced an image closely matching the shroud's depiction, supporting the argument that the artifact was created using flat artistic methods popular in the medieval period.
The Shroud of Turin, a linen cloth with an image of a man considered by many to be Jesus’s burial cloth, has long captivated believers and skeptics alike. Radiocarbon dating performed in 1989 suggested that the cloth dates back to between 1260 and 1390 CE, reinforcing the theory that it is a medieval artifact. The new study supported those findings, positing that the shroud might be an impressive work of Christian art.
Despite these findings, not all experts are impressed by Moraes's research. “We have known for four centuries that the image on the Shroud is flat, like a rectangular projection, and could not have been created by contact with a three-dimensional body. Moraes created beautiful images with the help of technology, but he did not reveal anything we didn't already know," said Andrea Nicolotti, a professor of Christian history at the University of Turin and a critic of the shroud's authenticity.
Some experts acknowledge that while Moraes's approach may not be revolutionary, it reinforces prior scientific views on the artificial origin of the shroud. Moraes believes his method is simple and repeatable, demonstrating the power of digital technology in solving historical mysteries. While he acknowledges a remote possibility that the Shroud could be an imprint of a three-dimensional body, he leans more towards it being created by artists skilled in painting or low-relief sculpture.
The preparation of this article relied on a news-analysis system.