The Holy Shroud is not explained with digital simulations

Cicero Moraes’s hypothesis ignores crucial empirical data. To transform the image of the Holy Shroud (Sindone de Turin) into a graphic simulation is to ignore science.

In 2025, a Cicero Moraes according to which the image of Holy Shroud (More correctly called Sindone de Turin) would have been produced by a low relief, reconstructed through Open Teridimensional Software.

The work in the scientific journal Archaeometryhe had great media diffusion, but raises serious reserves as to his scientific validity.

The investigators of the Oviedo Shroud, PRESS, MIñarro and Penetawhich are currently elaborating a broader academic response on this issue, they add that:

Moraes himself It uses digital animation software (), which is not designed to physically accurately simulate the interaction between a human body and a real fabric. Does not define essential properties as density, elasticity or absorption of the linendoes not even consider forensic scenarios as prior presence of blood. This converts its simulation into an illustrative visual resource and not in a scientific proof.

A Baixo-relief hypothesis had already been explored and discarded in previous studies, for being revealed reproduce simultaneously nanometric superficiality of the image, the total absence of pigments and intact preservation of human blood spots, documented since 1978 by (Shroud of Turin Research Project) through microscopy and immunology.

Anatomical study demonstrated that the level of accuracy observed in the figure of the Holy Shroud, such as the slope of the head, cadaveric rigidity, flexed legs and the crosswordfar surpasses what was usual in medieval art. At this time there is no comparable sculptural work, neither in technique nor in iconography.

A Carbon-14 dating held in 1988 was widely questioned in pairs () articles (), since the sample was removed from a repaired zone with modern fibers. Recent methods like WAXS (Wide-Angle X-ray Scattering) dated the fabric around the first century DC

Moraes incurs a conceptual error when comparing the formation of the image of the Holy Shroud (whose nature is not of contact), with the spots of the Oviedo, which effectively result in direct contact. Equip both processes without distinctions, lead to wrong conclusions.

Although Late Gothic Art has revealed advances in naturalism, the figure represented in the Holy Shroud, for the frontality, full nudity, Anatomical symmetry and accuracy corresponds to the Renaissance or even academic canon. In the medieval context, a work with these characteristics would have been absolutely exceptional and unusual.

Also Emanuela Marinelliin the articles “Sindone format of un bassarilievo? Il Ritorno di una buffard” (La Nuova Bussola daily, 2025), that Cicero Moraes’s approach reduces the Holy Shroud to a geometric simulation, ignoring decades of multidisciplinary investigation.

Conclusion

The Holy Shroud remains an enigmatic and fascinating objectwhich challenges science in a multidisciplinary way. Any serious approach should be able to integrate these levels of analysis into a coherent methodological structure, subject to independent verification and experimental reproduction.

As Digital Simulationsalthough useful as an illustrative resource, do not have the ontological density or the empirical rigor needed to sustain consistent conclusions.

A Image formation It cannot be plausiblely explained if not considered, simultaneously and articulated, phenomena such as nanometric oxidation of cellulose and the presence of human blood proven by immunological methods. Any hypothesis that isolates only one of these aspects, remains incomplete and speculative at the scientific level.

Photograph in Negative of the Holy Shroud (Sindone de Turin), detail of the face

The central question does not reside in partially reproducing a contour with digital tools, but the ability to formulate a theoretical and comprehensive model, which explains, without contradictions, all empirical data.

It is in this dimension that scientific credibility. Not in the persuasive appearance of graphic reconstruction, but in methodological consistency, experimental reproduction capacity and opening to critical scrutiny of the scientific community.

From my perspective, the Holy Shroud challenges science to overcome reductionisms simplistic and adopting a true interdisciplinary paradigm. Only then will it be possible to distinguish between media constructions of ephemeral effect and genuinely explanatory scientific hypotheses.

Reduce the Holy Shroud to a Digital Exerciseit is clearly abdicating scientific rigor. Its study requires not only techniques, but above all method, interdisciplinarity and epistemological responsibility.