Shroud of Turin Proved to be Fake by New Study Employing 3D Imprints

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Shroud of Turin Proved to be Fake by New Study Employing 3D Imprints

In late August of this year, researchers had stoked the flames of *****, claiming that a piece of cloth found 2,000-years-ago, was indeed, the Shroud of Turin. Now this hotly contested claim has been refuted by a new analysis that used virtual simulation software. The researcher in question has shown that the Shroud was likely created by pressing a cloth over a flat or shallowly contoured surface, such as a bas-relief or carved figure, rather than a full human form, effectively removing ****** of Nazareth from the equation.

****** not *******: Science to the Rescue!

Cicero Moraes’s recent forensic research has been published by

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, adding another layer to the long-standing debate over the Turin Shroud. Moraes, a specialist in forensic facial reconstruction, argues that if the shroud had indeed been wrapped around a human body, the resulting image would appear heavily distorted due to the natural contours of a three-dimensional form.

Stains printed from a human body would appear ‘swollen and distorted’ (top), rather than an image that ‘resembles a photocopy’ (bottom). (

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“When you wrap a

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object with a fabric, and that object leaves a pattern like blood stains, these stains generate a more robust and more deformed structure in relation to the source. So, roughly speaking, what we see as a result of printing stains from a human body would be a more swollen and distorted version of it, not an image that looks like a photocopy. A bas-relief, however, wouldn’t cause the image to deform, resulting in a figure that resembles a photocopy of the body,” explained Moraes to

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.

Using the aforementioned software, he demonstrated that a cloth fitted over a body and later ***** flat, would display stretched and warped features, details that differ markedly from the shroud’s current image.

This finding highlights a concept known as the “mask of Agamemnon effect,” where a cloth wrapping produces elongated and distorted features due to the curved surface of a face or body. According to Moraes, anyone can observe this effect by wrapping a pigmented paper towel over their face.

“Any careful ****** can test this at home. For example, by painting your face with some pigmented liquid, using a large napkin or paper towel or even fabric, and wrapping it around your face. Then take the fabric out, spread it on a flat surface, and see the resulting image. This deformation is known as the ‘mask of Agamemnon’ effect, as it resembles that ancient artifact,” he explained.

The resulting imprint, when flattened, would be disproportionate, with unusual splaying of facial elements. In contrast, the Shroud’s image is comparatively balanced and does not show this expected distortion. This is in contrast with prior

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claims, which allege that this was the actual fabric used to wrap *******’s corpse, after his crucifixion.

Cicero Moraes, the author of the new study, developed a virtual simulation where fabric was draped over a body to replicate the renowned Shroud of Turin.  (

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Shrouded in Mystery: Murky Origins

The shroud has long puzzled researchers, especially as its provenance ******** uncertain. Initially recorded in 1354 in France, it faced skepticism early on, with the Bishop of Troyes declaring it a forgery just a few decades after its debut. Radiocarbon dating in the 1980s further indicated a medieval origin, reports The Daily Mail.

However, recent analyses from Italian researchers have brought back the possibility of an older date, with materials in the fabric aligning with those from the ancient fortress of

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, potentially dating it to around the time of ******’s life.

Despite this dating complexity, Moraes’s recent simulation suggests that, whether or not the fabric itself is ancient, the image could not have formed around a three-dimensional body. This hints at its creation as a medieval artistic interpretation intended to inspire or evoke reverence among ********** followers rather than as an authentic burial cloth.

Illustration of the face of ****** on the shroud. (Marco Bonomo/

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Stock)

“People generally fall into two camps in the debates. On one side are those who think it is an authentic shroud of ****** *******, on the other, those who think it is a forgery. But I am inclined towards another approach: that it is in fact a work of ********** art, which managed to convey its intended message very successfully. It seems to me more like a non-verbal iconographic work that has very successfully served the purpose of the religious message contained within,” concluded Moraes.

Top image: The imprint of the Shroud of Turin made on fabric by a shallow bas-relief. Source: Moraes, Cicero/ssrn   

By Sahir Pandey

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