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Unveiling Deception: An Approach of the Shroud of Turin's Anatomical Anomalies and
Artistic Liberties.
Author: Elio Quiroga Rodríguez
Universidad del Atlántico Medio
Las Palmas de Gran Canaria, Canary Islands, Spain
elio.quiroga@pdi.atlanticomedio.es
Abstract
The authenticity of the Shroud of Turin, also known as the "Síndone" or "Holy Shroud," faces
significant doubt based on scientific evidence. Carbon-14 testing conducted decades ago placed its
origin in the Middle Ages, raising questions about its connection to Jesus Christ. This article
highlights an anatomical anomaly: the hand placement covering the genitals appears inconsistent
with human proportions, suggesting a possible artistic intervention.
Kewyords: Relics; crucifixion; falsification; sacra sindone; catholic traditions; anatomy;
anatomopathology.
Discussion
The Holy Shroud, also known as the Shroud of Turin, is a Christian relic presumed to have covered
the body of Jesus of Nazareth after his crucifixion. However, scientific evidence indicates that it is a
medieval forgery (Wilson, 2022). In 1988, a team of scientists from three independent laboratories
dated the Holy Shroud using the Carbon-14 technique. The results were conclusive: the fabric was
woven between the years 1260 and 1390, during the Middle Ages (Freeman, 2015; Casabianca,
2021).
In addition to the Carbon-14 test, there are other arguments supporting the thesis that the Holy
Shroud is a hoax. One of them, proposed by the author in the form of an anatomical analysis, is the
disproportion of the limbs of the figure represented on the cloth.
According to the principles of human proportion, the distance between the outstretched fingers of
an adult's arms should roughly equal their height. However, in the depiction on the Holy Shroud, the
arms of the figure appear longer than expected relative to its height. To confirm this, a
straightforward experiment can be conducted: measure the height of the figure in a photograph of
the Holy Shroud and add the length of the arms. If the resulting measurement exceeds the height of
an average human adult, it raises reasonable doubt regarding whether the image accurately
represents an adult with typical proportions.
The Shroud of Turin presents a curious detail: the body's "modest" pose. Here, the hands are crossed
over the genitals. This posture is considered unnatural. While one hand (the right) appears to grasp
the left wrist to maintain the position and cover the private area (the author refers to "left" and
"right" relative to the body, not the image itself), the hands would naturally fall to the sides due to
gravity (Brown, 1984; Mare, 1999). It is not common for a corpse to keep its hands over the groin
due to the lack of muscular tension and postural control after death. When a person dies, the
muscles relax, and there is no longer nervous activity to maintain a specific limb position.
Therefore, it is more likely for the arms to fall to the sides due to gravity once the muscles relax. In
some cases, especially in ceremonial or specific ritual burials, the arms of a corpse may be
deliberately placed in a specific position, such as crossed over the groin, as a symbolic or cultural
act. In such cases, this could be achieved using external supports or fixations, such as robes, to keep
the arms in the desired position. In the case of the Sindone, there is no trace of robes.
If the shroud were a painting, this detail could serve several purposes. First, it emphasizes the
sacredness and reverence associated with Jesus and other holy figures. Nudity, in this context, might
be seen as disrespectful or detract from the artwork's spiritual message. Second, the modest pose
aligns with the Christian emphasis on humility and selflessness. This deliberate artistic choice
highlights the shroud's symbolic nature, directing the viewer's attention to the crucified Christ's
spiritual significance rather than his physical form.
The unusual length of the left hand and arm on the cloth is particularly noteworthy. If we trace a
simplified image onto the cloth's body (Figure 1 A, B, and C), and alter the proportions (Figure 1 D
and E), transferring them onto a human skeleton model of average proportions (Figure 1 F and G),
we obtain an abnormally long left arm, an impossible deformity: 7 to 10 centimeters longer than the
right arm. It could be argued that trauma, such as crucifixion, could cause this deformation, but
studies like Bordes et al., 2020, conducted with direct forensic techniques, refute this claim.
Crucifixion, even if it led to shoulder dislocation and elbow and wrist dislocation, would not cause
an arm to stretch in these proportions. Neither would a fracture. This anatomical distortion has been
mentioned by other authors (Will, 2013), but it has not been studied as proposed in this article, with
a simple, but eloquent anatomical scheme. Moreover, practically all studies consulted by the author
completely overlook this important detail, focusing on other evidence, such as dating (Schneider,
2012). An additional note is warranted regarding the deformed left hand, which is 10% longer than
a typical human hand. Some historians, such as Schafersman (1982), have raised logical concerns
about that.
Fig. 1. Analysis of the deformation observed in the left hand and arm of the figure on the Shroud of
Turin, and the outcome of transferring it onto an average adult male anatomical skeleton. The
result reveals a deformed left arm, approximately 7 to 10 centimeters longer than a normal arm.
The green lines indicate the proportions of the deformation in the left arm of the figure.
In the time proposed by Carbon-14 analysis, the representation of nudity in medieval art shows an
increasing modesty (while nudity was common in Greco-Roman art, early Christian artists adopted
a different approach for their religious imagery). Throughout history, the figure of Jesus had never
been depicted in total nudity in iconography, and that taboo has persisted in religious iconography
to the present day.
Thus, the modesty of a medieval artist, in times when human nudity was not just frowned upon but
considered taboo, can serve as the touchstone in proving that the Shroud of Turin is nothing more
than a forgery, albeit one crafted with undeniable skill by an anonymous artist.
The author encourages other researchers to conduct analogous analyses on other similar relics,
known as vera icon.
Conclusions
The Holy Shroud, a revered relic believed to have been in contact with the body of Jesus of
Nazareth, has faced rigorous scientific examination that raises questions about its historical
authenticity. In 1988, three independent laboratories used radiocarbon dating to conclusively
determine the fabric's origin to the period 1260-1390 AD. This directly contradicts its supposed
connection to the first-century crucifixion. This text explores anatomical inconsistencies within the
Shroud's depiction. By applying principles of human proportion, the analysis reveals the figure's
modest posture as characteristic of medieval Catholic iconography, suggesting the influence of an
anonymous artist. The exaggerated arm length and implausible body position further support the
theory of a deliberate forgery.
References
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transparent-background-png-clipart-mkmkg
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