This commentary critiques the digital reconstruction of the Shroud of Turin, highlighting methodological flaws and implications for understanding the image formation process.
The partial digital reconstruction of the Shroud of Turin by Moraes does not substantiate the low‐relief hypothesis, medieval or otherwise. The study relies on ambiguous aims, methodological flaws, and fallacious reasoning. By omitting essential features of the artifact, it fails to advance understanding of the image formation process.
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Casabianca et al. (2026) studied this question.
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