A Comparison Between the Face of the Veil of Manoppello and the Face of the Shroud of Turin

heritage

Article A Comparison between the Face of the Veil of Manoppello and the Face of the Shroud of Turin

Liberato De Caro 1,* , Emilio Matricciani 2 and Giulio Fanti 3

1 Istituto di Cristallograﬁa, Consiglio Nazionale delle Ricerche (IC-CNR), via Amendola 122/O, 70126 Bari, Italy 2 Dipartimento di Elettronica, Informazione e Bioingegneria, Politecnico di Milano, Piazza L. da Vinci, 32, 20133 Milan, Italy; [email protected] 3 Dipartimento di Ingegneria Industriale, Via Gradenigo 6/a, Università di Padova, 35131 Padova, Italy; [email protected] * Correspondence: [email protected]

Received: 31 December 2018; Accepted: 22 January 2019; Published: 24 January 2019

Abstract: Recently we have studied the unusual optical properties of the Veil of Manoppello, a canvas representing the face of Jesus Christ, and restored digitally the face, by eliminating the distortions of the anatomic details due the yielding of the very ﬁne structure of the fabric. The aim of the present paper is to compare the restored face of the Veil with that visible on the Turin Shroud. In particular, the paper focuses on assessing whether the two images can be superimposed, i.e., whether they are different images of the same face. Indeed, some scholars have suggested that the Veil of Manoppello and the Turin Shroud show different images of the same face. We demonstrate that the face of the Turin Shroud, after a logarithmic transformation of the intensity and the correction of the background noise, shows cheeks’ proﬁles, not visible before the digital processing, which overlap very well with those of the restored face of the Veil of Manoppello. These correlations between the two images of the face of Jesus raise the question of their historical relationship.

Keywords: Veil of Manoppello; Turin Shroud; Jesus Christ iconography

1. Introduction Recently we have studied and discussed the unusual optical properties of the Veil of Manoppello [1,2], on which the face of Jesus Christ (Holy Face) is impressed. Several authors [3–10] have suggested that the image of the face on the Veil of Manoppello is superimposable to the image of the face of the Man of the Turin Shroud, a linen cloth indelibly impressed by the complete front and back images of a human body [11]. According to the Catholic tradition, it is the burial cloth in which Jesus of Nazareth was wrapped after his death. The present paper focuses on assessing whether the two images can be superimposed, i.e., whether they are different images of the same face. Indeed, any correlation between the two images of the face of Jesus would raise the question of their historical relationships. The Veil of Manoppello is a rectangular canvas of 240 × 175 mm2. Its particular characteristic is being semitransparent. The face is visible on both sides (front–back) and, depending on the lighting and observation conditions, shows some differences in the anatomical details, as schematized in Figure1. An analysis of the Veil has allowed us to clarify some aspects of the possible physical mechanism underlying its unusual optical behavior. It is a linen ﬁber fabric consisting of very thin threads, with a thickness of about 0.1 mm, separated by distances even twice the thickness of the threads, so that about 42% of the Veil is empty space. The ﬁbers of the linen threads have been likely cemented by an organic substance of chemical composition similar to cellulose, presumably starch, therefore eliminating the air

Heritage 2019, 2, 339–355; doi:10.3390/heritage2010023 www.mdpi.com/journal/heritage Heritage 2018, 2, x FOR PEER REVIEW 2 of 17 therefore eliminating the air between them. Such a structure causes the optical behavior of the medium to be intermediate between that of a translucent medium (cemented linen threads) and that of a transparent one (empty space between the threads). Since the face is deformed due to distortions of the meshes of the Veil, caused by the yielding of the very fine structure of the fabric, first we have tackled the problem of digital image restoration to correct the face deformations which, in some regions of the image, are even about 1 cm [1]. Afterwards, we have performed a spectral analysis of the transmitted image [2]. As evidenced in the first study, its thin linen threads are translucent, presumably because it is starched, and light passes

Heritagethrough2019 them., 2 As a result, the yellowish color of the ancient linen and starch contribute substantially340 to the final hues of the face, especially when the Veil is lit from the backside with grazing light. Spectrophotometry measurements show how the fabric absorbs the various chromatic components. betweenThrough them. these Such quantit a structureative evaluations, causes the optical the colors behavior of of the the transmitted medium to beface intermediate image have between been thatcompensated of a translucent, by subtracting medium (cemented the contribution linen threads) due to and the thatyellowish of a transparent coloration one of the (empty thin space linen betweenthreads. the threads).

Figure 1. 1.Image Image of of the the face face visible visible on the on Veil the of Veil Manoppello of Manoppello according according to different to lighting different conditions: lighting green,conditions: image green, lit by aimage light source lit by located a light insource front located of the Veil; in front yellow, of with the Veil;the source yellow, located with inthe the source back. located in the back. Since the face is deformed due to distortions of the meshes of the Veil, caused by the yielding of the very fine structure of the fabric, first we have tackled the problem of digital image restoration to correct the face deformations which, in some regions of the image, are even about 1 cm [1]. Afterwards, we have performed a spectral analysis of the transmitted image [2]. As evidenced in the first study, its thin linen threads are translucent, presumably because it is starched, and light passes through them. As a result, the yellowish color of the ancient linen and starch contribute substantially to the final hues of the face, especially when the Veil is lit from the backside with grazing light. Spectrophotometry measurements show how the fabric absorbs the various chromatic Heritage 2019, 2 341 components. Through these quantitative evaluations, the colors of the transmitted face image have been compensated, by subtracting the contribution due to the yellowish coloration of the thin linen threads. Furthermore, the rotational spectrum of the image has been studied after digital restoration [2]. The linear fit of the power spectrum in bi-logarithmic scale with a power law f P provided a surprising value for the slope parameter P = −3.49 ± 0.03. This result was unexpected because it is typical of photographs of human faces, not of portraits of human faces painted by artists, which instead have statistical properties of fractal type, with slope’s values P = −2.0. The Turin Shroud has been in the center of a lively scientific debate since the end of the XIX century, when the negatives of its photographs, taken by S. Pia in 1898, clearly showed the impressed image of a man. After carbon-14 dating [12] of a linen piece taken from a corner of the Turin Shroud, the scientific controversy regarding its authenticity exploded. Indeed, the medieval date, derived from carbon-14 analysis, is not compatible with the hundreds of data that, conversely, show the Turin Shroud is compatible with the historical period in which Jesus of Nazareth lived in Palestine, 2000 years ago [13,14]. Moreover, the carbon-14 dating results remain controversial [15,16], especially because of the likely non-negligible carbon contamination of the textile. This contamination can be due to many factors, including environmental ones [17,18]. Furthermore, a regression analysis on data of the Shroud’s carbon dating has shown their statistical heterogeneity, together with an implausibility of spatial allocations of some measurements’ samples [16]. It should be also noted, however, that five different independent methods agree in assigning the age of the Shroud to the first century Anno Domini (AD). Indeed, the spectrometric methods, based on FT-IR/ATR (Fourier Transform Infrared spectroscopy/Attenuated Total Reflectance) and Raman spectroscopy, dates the Shroud to 300 Before Christ (BC) ± 400 years and 200 BC ± 500 years, respectively [19]. The mechanical multi-parametric method, based on the analysis of five parameters, including the breaking load and Young’s modulus and the loss factor, after an adequate calibration based on the results of two dozen samples of known age, assigns the Turin Shroud to the years 400 AD ± 400 years [20]. Another chemical method, based on estimates of the kinetic constants for the loss of vanillin from lignin, attributes the Shroud an age in the range 1300 to 3000 years [21]. Finally a numismatic method [20], based on the comparison between the Shroud and the effigies of Christ reproduced on Byzantine coins, shows that the Relic was well known in the Byzantine Empire since 692 AD. Several hypotheses have been proposed regarding the formation of the body image on the Turin Shroud, and several experiments have been performed for this purpose, but none of them has been successful in reproducing, both at macroscopic and microscopic levels, all the characteristics of the image. A critical compendium of the hypotheses and the experiments performed can be found in [22]. As already mentioned, some attempts to match the two images, namely the face visible on the Veil of Manoppello and the face of the body visible on the Turin Shroud, have already been attempted [3,10]. In particular, it was proposed that both images were formed in the same time, when the two fabrics were laying one upon another in the sepulcher where the body of Jesus Christ was deposed [3]. It is beyond the scope of the present work to discuss the origin of the two images. In fact, we want to assess the possible presence of correlations between the two images and realize whether they may be related to the face of the same man. If these correlations were found, it would imply a possible interdependence of the two images of the Holy Face, useful to reconstruct the historical route of the iconography of the most represented face in the world, that of Jesus Christ. In none of the previous attempts to superimpose the two images, however, the deformations of the Veil of Manoppello were corrected before the comparison. As we have corrected them in our first work [1], we think that the two faces, now, can be reliably compared with the aim of understanding whether the images are related, whether they belong to the same man, and obtaining, if possible, some additional information about their origin. Heritage 2019, 2 342

After this Introduction, in Section2 we show that the logarithmic transformation of the intensity ofHeritage the Turin 2018, 2 Shroud, x FOR PEER image, REVIEW measured both with visible light and Ultra-Violet (UV) radiation, highlights4 of 17 some interesting anatomical details, such us the cheeks’ proﬁles. In Section3, after [ 1,2], we further analyzeand match the the face two visible faces on and the, Veilfinally of, Manoppello. in Section 5 Inwe Section discus4s, wethe compareresults and and in match Section the 6 two we facesdraw and,some ﬁnally, conclusions. in Section 5 we discuss the results and in Section6 we draw some conclusions.

2. The F Faceace of the Turin ShroudShroud InIn a recent paper a digital restoring of the hands’ region of the Turin ShroudShroud imageimage visualizesvisualizes anatomic detailsdetails ofof the the ending ending part part of theof the right right hand’s hand’s thumb, thumb, never never seen beforeseen before [23]. This [23]. result This showsresult theshows importance the importance of the extraction of the extract of informationion of information of weak intensityof weak embedded intensity embedded in the image in impressedthe image onimpressed the Turin on Shroud. the Turin In this Shroud Section,. In justthis for Section this,purpose, just for we this apply purpose, the logarithmwe apply function the logarithm to the luminancefunction to intensitythe luminance of the imageintensity impressed of the image on the impressed Shroud. Usually, on the Shroud. the logarithmic Usually, transformation the logarithm ofic atra variablensformatio (inn other of a words,variable taking (in other the logarithmwords, tak ofing a positivethe logarithm variable) of a is positive used to variable) compress is data used that to rangecompress in large dataintervals, that range but in itlarge can intervals also be used, but to it enhancecan also weakbe used signals. to enhance weak signals. Figure 22aa showsshows thethe originaloriginal imageimage ofof thethe TurinTurin ShroudShroud face’sface’s region,region, extractedextracted fromfrom aa 20022002 photograph takentaken by by the the professional professional photographer photographer G. C.G. Durante.C. Durante. Figure Figure2b shows 2b show the absolutes the absolute value ofvalue the of logarithm the logarithm of Figure of Figure2a, after 2a the, after conversion the conversion in grey in levels. grey Aslevels well. As known, well known, the positive the positive image imageI(x, y) 퐼(normalized(푥, 푦) (normalized to unity) to unity) of Figure of 2Figurea shows 2a theshows dark-light the dark contrast-light contrast inverted, inverted as a function, as a function of the pixelof the coordinates pixel coordinates x and y.x and Indeed, y. Indeed, as shown as shown accidentally accidentally by S. Pia by inS. 1898,Pia in the 1898, complementary the complementary image 1image− I(x 1, y−) 퐼gives(푥, 푦) thegives right the luminanceright luminance levels levels for a humanfor a human face. face. Moreover, Moreover, it is wellit is well known known that that the complementarythe complementary image image contains contains tridimensional tridimensional (3D) information,(3D) information, in some in way some related way to related the distance to the ofdistance the anatomical of the anatomical parts from parts the burialfrom the cloth burial [22]. cloth Obviously, [22]. Obviously, this 3D information this 3D information is already presentis already in thepresent positive in the image, positive but image with inverted, but with contrast; inverted i.e. contrast light and; i.e. dark light inverted. and dark inverted.

Figure 2. (a) Original positive image of the Turin Shroud face’s region, extracted from a 2002 Figure 2. (a) Original positive image of the Turin Shroud face’s region, extracted from a 2002 photograph photograph taken by the professional photographer G. C. Durante; (b) absolute value of the taken by the professional photographer G. C. Durante; (b) absolute value of the logarithm of Figure2a, logarithm of Figure 2a, after the conversion in grey levels. after the conversion in grey levels.

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After having converted Figure2a in grey levels, Figure2b shows the absolute value of the logarithm of the intensity. Let us note how effectively the logarithmic transformation of the intensity, by enhancing weak signals, depicts the face with the right contrast and proportions. However, by using the logarithmic function obviously also noise is enhanced, therefore, the image shown in Figure2b requires some digital filtering to extract the desired information from artifacts and noise. For example, there are several vertical stripes, white and dark lines and bands that affect the image. To eliminate them we have used a digital restoring approach similar to that described in [23]. The same approach Heritagecan be 2018 used, 2, x on FOR what PEER is REVIEW visible on the Turin Shroud when the cloth is seen in reflection with5 of UV 17 radiation. Figure3 shows the UV image, taken by G. B. Judica Cordiglia [ 24], compared with the procedure:face seen with logarithmic visible light, transformation after processing of the the intensity, two images background with the stripes’ same procedure: correction logarithmicand partial denoising.transformation It is interesting of the intensity, to note background that this technique stripes’ correction visualizes and the partial cheeks’ denoising. profile much It is interesting better than to thenote original that this version. technique visualizes the cheeks’ profile much better than the original version.

Figure 3. In the upper panels: absolute value of the logarithm of the Turin Shroud face seen with Figure 3. In the upper panels: absolute value of the logarithm of the Turin Shroud face seen with ultra-violet (UV) (left) and visible light (right), after the conversion in grey levels. In the lower ultra-violet (UV) (left) and visible light (right), after the conversion in grey levels. In the lower panels: panels: same images after background stripes’ correction and partial denoising. The original UV same images after background stripes’ correction and partial denoising. The original UV acquisitions acquisitionsare by G. B. Judicaare by Cordiglia.G. B. Judica Cordiglia.

3. The Face of the Manoppello Veil

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Judica Cordiglia lit the cloth with two mercury vapour lamps to provide ultraviolet radiation suitable for photographic shooting. G. Enrie, in 1931 [25], used orthochromatic material that loses anatomic details to give high-contrast images, due to the few grey levels available. Conversely, panchromatic material used by Judica Cordiglia allowed him to record all the colors, and to transform them into grey images, with the result of obtaining ﬁnal images full with anatomic details. In particular, Figure3 clearly shows the importance of information about the Man’s face, such as the cheeks’ proﬁles, embedded in lower intensities, which can be better visualized only after correcting the background stripes. Heritage 2018, 2, x FOR PEER REVIEW 6 of 17 3. The Face of the Manoppello Veil In [2] we have already shown that the evaluation of the preferential absorption of the blue chromaticIn [2] component, we have already with respect shown to that the theothers, evaluation obtained of from the preferentialSpectrophotometr absorptiony measurements, of the blue giveschromatic the component,possibility to with restore respect the to colors the others, of the obtained face of from the SpectrophotometryManoppello Veil, measurements, when seen in transmissiongives the possibility in back to-lighting restore theconditions. colors of The the faceimage of, the restored Manoppello chromatically Veil, when, presents seen in shades transmission more similarin back-lighting to the skin conditions. color of the The human image, face. restored If we chromatically, extend the digital presents restoration shades more to a similarlarger part to the of skin the image,color of adding the human also face.the hairs, If we we extend obtain the the digital full restorationimage shown to ain larger Figure part 4. The of the image image, shown adding on alsothe rightthe hairs, panel we (Figure obtain 4b) the has full been image obtained shown by in Figureapplying4. The the imagerestoring shown procedures on the right described panel (Figurein [1,2] 4tob) a largerhas been image obtained of the by face applying visible the in transmissionrestoring procedures on the Veil, described showing in [ 1 beard,2] to aand larger hair image. A contrast of the enhancedface visible version in transmission of the complete on the face Veil,, visible showing on beardthe Veil, and has hair. been A contrastreportedenhanced in the left versionpanel (Figure of the 4a)complete. face, visible on the Veil, has been reported in the left panel (Figure4a).

Figure 4. (a) Contrast enhanced of the original face, and (b) digitally-restored face, visible in Figure 4. (a) Contrast enhanced of the original face, and (b) digitally-restored face, visible in transmission on the Veil of Manoppello with back-grazing illumination. transmission on the Veil of Manoppello with back-grazing illumination.

The enhancement of the contrast in Figure 4a is useful to better highlight several wounds, visible on the face as red patches. Indeed, the history of the Veil of Manoppello could be related to that of the Veil of Veronica, the relic of the face of Christ that the Christian tradition binds to his Passion and death. From the comparison between Figure 4a and Figure 4b, it is evident the effect of the distortion of the texture in the deformation of the face of Figure 4a, as discussed in detail in [1]. The original aspect ratio (width/height) of the face is 17.5/24.0= 0.73 (Figure 4a). After the correction of distortion the mean aspect ratio is 0.70 (Figure 4b). The slight reduction could be related both to local distortion and to a global tetragonal deformation of the Veil. Indeed, as already discussed in [1], the constraint for the Veil, to remain bound to the glass reliquary’s frame, could have developed some tensions, with horizontal and vertical components of the forces that are not necessarily equivalent, leading to a possible global tetragonal deformation of the fabric’s mesh.

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The enhancement of the contrast in Figure4a is useful to better highlight several wounds, visible on the face as red patches. Indeed, the history of the Veil of Manoppello could be related to that of the Veil of Veronica, the relic of the face of Christ that the Christian tradition binds to his Passion and death. From the comparison between Figure4a,b, it is evident the effect of the distortion of the texture in the deformation of the face of Figure4a, as discussed in detail in [ 1]. The original aspect ratio (width/height) of the face is 17.5/24.0 = 0.73 (Figure4a). After the correction of distortion the mean aspect ratio is 0.70 (Figure4b). The slight reduction could be related both to local distortion and to a global tetragonal deformation of the Veil. Indeed, as already discussed in [1], the constraint for the Veil, to remain bound to the glass reliquary’s frame, could have developed some tensions, with horizontal and vertical components of the forces that are not necessarily equivalent, leading to a possible global tetragonal deformation of the fabric’s mesh.

4. Comparison between the Faces of the Turin Shroud and the Manoppello Veil As mentioned, some scholars have tried to match the face visible on the Veil of Manoppello to the face of the Man visible on the Turin Shroud [3,10]. However, as already noted, these scholars did not eliminate the distortions due to the yielding of the Veil fabric before doing the comparison. Indeed, as shown in [1,2], it is possible to highlight a consistent yielding of the Veil fabric, up to about 1 cm in some areas. In Figure5a we show the face of the Turin Shroud visible with UV, after having applied the logarithmic transformation, corrected the stripes of the background [23], and de-noised the final result. In Figure5b the same digital restoring procedure is applied to the face of the Turin Shroud seen with visible light. In Figure5c we averaged Figure5a,b, after having co-registered each other by aligning the hematic traces and the extended tissue defects, for example the long fold on the beard present in both images. Figure5d shows the digitally −restored Manoppello face. Figure5e shows the original photograph of the region of the face of the Turin Shroud. Figure5f shows the original photograph of the Veil of Manoppello (back side), taken by the third author, with the contrast enhanced. In each image the blue rectangular box defines the region of the face. The dashed horizontal and vertical red lines are drawn, for reference, in correspondence of some main anatomical details. All the images are shown in the same spatial relative scale, in a ratio 1:1. From the above figures it is important to note that the Face of the Turin Shroud and the digitally restored face of the Veil have the same proportions. Because the red dashed lines intersect the main anatomic details, any ratio between distances in the two images is the same, within an uncertainty related to the spatial resolution of the Turin Shroud image, equal to 4.9 ± 0.5 mm [26]. For example, the ratio between the distance of the eyebrows’ center to the end of the nose, and the eyes’ distance is equal to 1.21 ± 0.05 for the Turin Shroud and 1.23 ± 0.05 for the face on the Veil. For the Turin Shroud the uncertainty, due to the spatial resolution, on distances of the order of 10 cm is about 5%. For the digitally restored face, visible on the Veil, the image is more detailed, but the Veil has a semi-transparent structure because its threads are separated by spaces up to twice their thickness. Thus, the resolution of the face visible on the Veil is related to its discrete structure, and can be set equal to the period of the threads. In [2] we showed that, from the distance of the secondary Fast Fourier Transform peaks from the main maximum, it is possible to obtain information about the spatial periodicity of the weft and warp of the fabric, equal to 0.339 ± 0.005 mm and 0.395 ± 0.005 mm, respectively. Thus, the best resolution of the image can be set equal to the minimum of the local periodicity of the vertical threads, equal to 0.339 ≈ 0.34 mm. Therefore, for the face, the uncertainty on distances of the order of 10 cm is about 3.4%, due to the discrete structure of the threads. Therefore, within a maximum uncertainty of about 5%, the face of the Turin Shroud and the digitally restored face visible on the Veil are characterized by the same proportions and distances between the anatomical details. This finding is particularly evident if we compare the cheeks’ profiles of Figure5c, where both the left and the right cheeks are well visible, with those of Figure5d. It should be stressed that in the original Turin Shroud Heritage 2019, 2 346 image, namely the image visible before the invention of photography, the face is much narrower. Thus, if we compare Figure5e with Figure5f, a great difference in the face width is particularly evident,

Heritagewell beyond 2018, 2, thex FOR maximum PEER REVIEW uncertainty of 5%. 8 of 17

Figure 5. (a) Turin Shroud face visible with UV. (b) Turin Shroud face seen with visible light. (c) Figure 5. (a) Turin Shroud face visible with UV. (b) Turin Shroud face seen with visible light. Averaging of Figure 5a and 5b. (d) Digitally restored Manoppello face. (e) Original photo of the (c) Averaging of Figure5a,b. ( d) Digitally restored Manoppello face. (e) Original photo of the Turin Turin Shroud linen cloth, in the region of the face. (f) Original photo of the Veil of Manoppello (back Shroud linen cloth, in the region of the face. (f) Original photo of the Veil of Manoppello (back side), side), with the contrast enhanced. with the contrast enhanced.

Conversely, as it is evident by comparing the blue boxes of Figure 5c and Figure 5d, the two faces,Conversely, displayed in as itthe is same evident relative by comparing scale, are the well blue proportioned boxes of Figure regardless5c,d, the the two slightly faces, displayed different perspectivein the same relativeof the two scale, images. are well Indeed, proportioned the Turin regardless Shroud face the seems slightly to differentbe slightly perspective rotated to ofthe the right, two whileimages. the Indeed, Manoppello the Turin face Shroud seems to face be seemsslightly to rotated be slightly to the rotated left. to the right, while the Manoppello face seemsFurthermore to be slightly, in Figure rotated 6 some to the relief left. and contour plots, realized with the software Wolfram MathematicaFurthermore,, allows in us Figure to visualize6 some reliefthe well and-known contour fact plots, that realizedthe image with of the the Shroud software contains Wolfram 3D features,Mathematica, for example allows uswith to visualize the nose the in well-known relief with respect fact that to the the image other of parts the Shroud of the facecontains. Before 3D calculatingfeatures, for the example 3D plot with relief the, nosethe image in relief has with been respect suitably to the binned other by parts a factor of the 10 face.× 10 Before and calculatingsmoothed withthe 3D a bilateral plot relief, filter the imageof the software has been suitablyWolfram binned Mathematica by a factor with10 spatial× 10 and width smoothed of 10 pixels with a, to bilateral leave theﬁlter principal of the software anatomic Wolfram details, because Mathematica the spatial with resolution spatial width of the of initial 10 pixels, image to is leave only about the principal 0.5 cm. Indeed,anatomic the details, original because image thewas spatial 5310 × resolution4744 pixels, of theto which initial corresponds image is only an about area 0.5of about cm. Indeed, 25.5 × 2 2the3.0 originalcm2. Thus, image any was pixel5310 corresponds× 4744 pixels, to a tosurface which of corresponds about 0.05 × an0. area05 mm of2 about. The binning 25.5 × 23.0 10 × cm10. 2 leadsThus, to any a binned pixel corresponds pixel 0.5 × 0 to.5a mm surface2. Thus, of aboutthe smoothing0.05 × 0.05 duemm to .the The bilateral binning filter10 × on10 10leads binned to a 2 pixels,binned i.e. pixel on 0.5an area× 0.5 ofmm 5 × .5 Thus,mm2, thecan smoothingbe directly related due to theto the bilateral image ﬁlterspatial on resolution. 10 binned pixels, i.e., on an area of 5 × 5 mm2, can be directly related to the image spatial resolution.

Heritage 2019, 2 347 Heritage 2018, 2, x FOR PEER REVIEW 9 of 17

Figure 6. (a) Relief plot of the Turin Shroud face shown in the previous figure (panel 5b). (b) Relief Figure 6. (a) Relief plot of the Turin Shroud face shown in the previous ﬁgure (panel 5b). (b) Relief plot of the Manoppello face visible in the previous figure (panel 5d). See main text for more details. plot of the Manoppello face visible in the previous ﬁgure (panel 5d). See main text for more details. (c) Contour plot of the Turin Shroud face shown in Figure 5b. (d) Contour plot of the Manoppello (c) Contour plot of the Turin Shroud face shown in Figure5b. ( d) Contour plot of the Manoppello face face visible in Figure 5d. visible in Figure5d.

Differently from the Turin Shroud, the relief plot of the face visible on the Manoppello Veil partiallyDifferently lacks tri from-dimensionality the Turin. Shroud, the relief plot of the face visible on the Manoppello Veil partiallyThe lacksgraininess tri-dimensionality. of the plot relief shown in Figure 6b could be related to the semi-transparency of the Veil,The leading graininess to local of the maxima plot relief of transmitted shown in Figure light 6amongb could the be threads. related to It theis interesting semi-transparency to note that of inthe the Veil, Turin leading Shroud to local face maxima it is slightly of transmitted visible the light profile among of the the right threads. cheek, It ishighlighted interesting by to a note dashed that whitein the curve Turin in Shroud Figure face 6a, itseparated is slightly by visible the profile the profile of the ofhairs, the also right highlighted cheek, highlighted with another by a dashed white curvecurve. inThe Figure right6a, cheek separated appears by theas it profile was swollen. of the hairs, It should also highlighted be noted that with also another in the dashed face of whiteManoppello curve., shown The right in Figure cheek 6b appears, it is visible as it was a swollen swollen. right It shouldcheek. be noted that also in the face of Manoppello,In Figure shown 7 we insuperposed Figure6b, itthe is visible digitally a swollen restored right face cheek. visible on the Veil (Figure 7a) to that visibleIn onFigure the7 Shroud, we superposed after the the logarithm digitallyic restored transformation face visible of on the the intensity Veil (Figure, the7 correcta) to thation visible of the backgroundon the Shroud, stripes after and the logarithmicde-noising the transformation final result (Figure of the intensity,7b). the correction of the background stripes and de-noising the final result (Figure7b).

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Figure 7. (a) Digitally-restored Manoppello face. (b) Turin Shroud face seen with visible light. (c) Figure 7. (a) Digitally-restored Manoppello face. (b) Turin Shroud face seen with visible light. Averaging of 50% of Figure 7a and 50% of Figure 7b. (d) Averaging of the anatomical face profiles of (c) Averaging of 50% of Figure7a and 50% of Figure7b. ( d) Averaging of the anatomical face proﬁles of Figure 7a with Figure 7b. Figure7a with Figure7b.

The result of the superposition of 50% of Figure 7a and 50% of Figure 7b is shown in Figure 7c, alignedThe with result the of Turin the superposition Shroud image of by 50% centering of Figure the7 aeyes’ and regions. 50% of Figure In Figure7b is 7d shown we have in Figure extracted7c, thealigned face withprofiles the from Turin Figure Shroud 7a, image by increasing by centering 100% the both eyes’ the regions. image contrast In Figure and7d wesharpness, have extracted and by reducingthe face profiles the grey from level Figures until7 a,leaving by increasing only the 100%most bothintense the image image variations. contrast and Then, sharpness, we have and added by itreducing to Figure the 7b, grey to further levels until investigate leaving and only assess the most the matching intense image of the variations. two faces. Then, we have added it to FigureTo be7b, more to further detailed investigate, in Figure and assess 8a we the show matching the logarithm of the two of faces. the intensity with removed backgroundTo be more stripes. detailed, In Figure in Figure 8b we8a wereport show the the average logarithm 〈푰〉 of of the the rows intensity of Figure with removed 8a in the background blue box of Figurestripes. 8a In (blue Figure profile)8b we together report the with average the averagehIi of 〈 the푰〉 of rows the rows of Figure of Figure8a in 8c the in blue the boxgreen of box Figure (green8a profile),(blue profile) where together Figure 8c with shows the the average intensityhIi of without the rows removed of Figure background8c in the green stripes box, together (green with profile), the averagewhere Figure 〈푰〉 of8 thec shows rows theof Figure intensity 8d withoutin the red removed box (red background profile). The stripes, vertical together blue lines with intersect the average the twohIi of minima the rows in ofthe Figure blue 8profiled in the corresponding red box (red profile). to the cheeks’ The vertical width blue for lines Figure intersect 8a. The the vertical two minima green linesin the intersect blue profile the two corresponding minima in the to the green cheeks’ profile width corresponding for Figure8 a.to Thethe cheeks’ vertical width green linesfor Figure intersect 8c. the twoLet minimaus note inthat the the green width profile of the corresponding cheeks is underestimated to the cheeks’ widthin Figure for Figure8c by about8c. 1.8 cm with respect to Figure 8a, well beyond the finite image resolution of about 0.5 cm, if we do not remove the vertical background stripes and do not calculate the logarithm of the intensity.

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Figure 8. (a) Logarithm of the intensity with removed background stripes. (b) Blue profile: average of Figure 8. (a) Logarithm of the intensity with removed background stripes. (b) Blue proﬁle: average of the rows of Figure 8a in the blue box; green profile: average of the rows of Figure 8c in the green box. the rows of Figure8a in the blue box; green proﬁle: average of the rows of Figure8c in the green box. (c) Intensity Intensity without without removed removed background background stripes. stripes. (d) Digitally-restored (d) Digitally-restored Manoppello Manoppello face. (e )face. Positive (e) imagePositive of image the Turin of the Shroud. Turin Shroud.

By comparison, in Figure 8d we show the digitally restored face of Manoppello compared with Let us note that the width of the cheeks is underestimated in Figure8c by about 1.8 cm with the positive image of the Turin Shroud (Figure 8e). The relative distance of the green and blue respect to Figure8a, well beyond the finite image resolution of about 0.5 cm, if we do not remove the vertical lines is the same of Figures 8a, 8b, 8c, obtained by the minima of the averaged profiles shown vertical background stripes and do not calculate the logarithm of the intensity. in Figure 8b. Let us note that the face cheeks’ width of Figure 8d agrees well with the face cheeks’ By comparison, in Figure8d we show the digitally restored face of Manoppello compared with width of Figure 8a, as it can be also evaluated by comparing the red average profile, measured in the positive image of the Turin Shroud (Figure8e). The relative distance of the green and blue vertical Figure 8d with the blue average profile measured in Figure 8a. Conversely, by using the positive lines is the same of Figure8a–c, obtained by the minima of the averaged profiles shown in Figure8b. Turin Shroud image (Figure 8e), the estimated cheeks’ width would be also smaller than what is Letobtainable us note thatin Figure the face 8c; cheeks’ i.e., by widththe negative of Figure image8d agrees. In other well withwords, the if face the cheeks’ face size width is calculated of Figure8 bya, asdirect it can inspection be also evaluatedof Figure by8e the comparing underestimation the red average of the cheeks’ profile, width measured would in Figurealso be8d more with than the blue14%, averageas it can profilebe evinced measured by the in vertical Figure 8bluea. Conversely, and green lines by using used the as positivea reference Turin for ShroudFigures image8a, 8c, (Figure8d, and8 e), 8e the. Therefore, estimated the cheeks’ digital width restoration would be of also the smaller two faces than seems what is to obtainable be a pre- inrequisite Figure8 beforec; i.e., comparing them, otherwise systematic errors in the determination of the cheeks’ widths would be unavoidable.

Heritage 2019, 2 350 by the negative image. In other words, if the face size is calculated by direct inspection of Figure8e the underestimation of the cheeks’ width would also be more than 14%, as it can be evinced by the vertical blue and green lines used as a reference for Figure8a,c–e. Therefore, the digital restoration of the two faces seems to be a pre-requisite before comparing them, otherwise systematic errors in the determination of the cheeks’ widths would be unavoidable. As a final combination of the face of the Turin Shroud and the face of the Manoppello Veil we can apply the Fourier synthesis. In this technique, instead of combining the two images in direct space, they are combined in the dual space. To perform this task, it is sufficient to calculate the Fast Fourier Transform (FFT) of the two images, each of which gives a bi-dimensional function of the amplitude and of the phase. In their combination in the dual space we could use the amplitude of an image and the phase of the other. However, the phase function contains much more information than the amplitude function. Therefore, using either the phase of the FFT of the Turin Shroud face or that of the FFT of the Manoppello face, will lead to a dominant role of one of the two images in the final Fourier synthesis. To avoid this dominance, we can use a linear combination of phase and amplitude of both images. Then, to obtain the final Fourier-synthesis image, it is sufficient to calculate the inverse FFT of the combined FFT of the two initial images and keep either the real part or, almost equivalently, the absolute value. The amplitudes have been taken by a linear combination of the FFT of Figure7a (Manoppello face) and Figure7b (Turin Shroud face), with weights equal to 2/3 and 1/3, respectively; while the phase values have been taken by a linear combination of the FFT of Figure7a,b, but with complementary weights with respect to amplitude, thus equal to 1/3 and 2/3. Thus, for the amplitudes the weights are (2/3, 1/3), for the phases they are (1/3, 2/3), where the first value refers to the Manoppello Face FFT and the second to the Turin Shroud face FFT. The particular value 2/3 has been chosen for the following reasons. As previously discussed, the spatial resolution of the face visible on the Veil is limited by the discontinue fabric, with minimum distance between the threads equal to about 0.34 mm. In the case of Turin Shroud image the fabric is more continue. Indeed, although the image resolution is about 5 mm the pixel size can be chosen much smaller. We have already verified that the Turin Shroud face image, analyzed in this work, has a pixel size of about 0.05 mm. However, it is characterized by a spatial resolution such that also a pixel binning of a factor of 10 does not worsen the visible anatomic details. The ratio of 0.34 mm for the Manoppello face and the 10-binned pixel size, equal to about 0.5 mm, for the Turin Shroud face, is 0.68, i.e., close to 2/3. Therefore, this choice of the weights includes in the composite image both the higher resolution amplitudes contained in the Manoppello face FFT, and preserves the anatomic details visible on the Veil up to their better spatial resolution, and the 3D information contained in the Turin Shroud FFT phases. Thus, after the linear combination of FFTs, we can calculate the inverse FFT to obtain the composite image. The final image obtained is shown in Figure9a. Notice that the weights (0.5, 0.5) for both amplitudes and phases in the Fourier synthesis would have given the same final image that is obtained directly by adding the two images without any Fourier synthesis. On the other hand, the weights (1.0, 0.0) for amplitudes and (0.0, 1.0) for phases, or vice versa, would have given the dominance of one image on the other. Returning to the final image, shown in Figure9a, Figure9b shows its contour plot. By comparing Figure9b with Figure6c,d it is evident that the new image contains 3D information and some anatomic details of both the Turin Shroud face and the Manoppello face, but combined in a different way with respect to Figure7c, the latter obtained by the most common direct average of the two faces, or, which is the same, by performing a Fourier synthesis with weights equal to (0.5, 0.5). If we compare the average intensity profiles hIi of the rows of Figure8a (Turin Shroud’s face, blue profile) and of Figure9a (combined image in the FFT dual space, red profile), in the regions corresponding to the blue and red rectangular boxes of Figure8a,d, respectively, we obtain the result shown in Figure 10. From the comparison between the two profiles of Figure 10b with the red one shown in Figure8b we can see how that corresponding to the face of Manoppello (red profile of Figure8b) has not an Heritage 2018, 2, x FOR PEER REVIEW 12 of 17

As a final combination of the face of the Turin Shroud and the face of the Manoppello Veil we can apply the Fourier synthesis. In this technique, instead of combining the two images in direct space, they are combined in the dual space. To perform this task, it is sufficient to calculate the Fast Fourier Transform (FFT) of the two images, each of which gives a bi-dimensional function of the amplitude and of the phase. In their combination in the dual space we could use the amplitude of an image and the phase of the other. However, the phase function contains much more information than the amplitude function. Therefore, using either the phase of the FFT of the Turin Shroud face or that of the FFT of the Manoppello face, will lead to a dominant role of one of the two images in the final Fourier synthesis. To avoid this dominance, we can use a linear combination of phase and amplitude of both images. Then, to obtain the final Fourier-synthesis image, it is sufficient to calculate the inverse FFT of the combined FFT of the two initial images and keep either the real part Heritage 2019,or,2 almost equivalently, the absolute value. The amplitudes have been taken by a linear combination 351 of the FFT of Figure 7a (Manoppello face) and Figure 7b (Turin Shroud face), with weights equal to 2/3 and 1/3, respectively; while the phase values have been taken by a linear combination of the FFT evident maximumof Figure 7a of and intensity Figure 7b, in but correspondence with complementary of theweights nose, with in respect the center to amplitude, of the thus plot. equal Conversely, the red proﬁleto 1/3 of and Figure 2/3. Thus, 10b, for corresponding the amplitudes the to theweights combined are (2/3, image,1/3), for the shows phases the they presence are (1/3, of2/3), an evident where the first value refers to the Manoppello Face FFT and the second to the Turin Shroud face FFT. maximumThe in correspondenceparticular value 2/3 of has the been nose. chosen Moreover, for the following by comparing reasons. As Figure previously 10 cdiscussed and Figure, the 10b it is interestingspatial to note resolution that the of cheeks’ the face visible proﬁles on arethe Veil more is limited evident by whenthe discontinue we combine fabric, thewith UV minimum and the visible light measurementsdistance between (Figure the threads 10c), areequal even to about more 0.34 delineatedmm. In the case after of Turin the Shroud Fourier image synthesis the fabric of is the Turin Shroud face,more seen continue. with visibleIndeed, light,although with the theimage digitally resolution restored is about Manoppello5 mm the pixel face.size can be chosen much smaller.

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synthesis. On the other hand, the weights (1.0, 0.0) for amplitudes and (0.0, 1.0) for phases, or vice versa, would have given the dominance of one image on the other. Returning to the final image, shown in Figure 9a, Figure 9b shows its contour plot. By comparing Figure 9b with Figures 6c and 6d it is evident that the new image contains 3D information and some anatomic details of both the Turin Shroud face and the Manoppello face, but combined in a different way with respect to Figure 7c, the latter obtained by the most common direct average of the two faces, or, which is the same, by performing a Fourier synthesis with weights equal to (0.5, 0.5). If we compare the average intensity profiles 〈푰〉 of the rows of Figure 8a (Turin Shroud’s face, Figure 9. (a) Fourier synthesis between Figure 8a and 8d. (b) Contour plot of Figure 9a. See main text blue profile) and of Figure 9a (combined image in the FFT dual space, red profile), in the regions Figure 9. (afor) Fourier more details. synthesis between Figure8a,d. ( b) Contour plot of Figure9a. See main text for more details.corresponding to the blue and red rectangular boxes of Figure 8a and Figure 8d, respectively, we obtainWe the have result already shown verified in Figure that 10. the Turin Shroud face image, analyzed in this work, has a pixel size of about 0.05 mm. However, it is characterized by a spatial resolution such that also a pixel binning of a factor of 10 does not worsen the visible anatomic details. The ratio of 0.34 mm for the Manoppello face and the 10-binned pixel size, equal to about 0.5 mm, for the Turin Shroud face, is 0.68, i.e., close to 2/3. Therefore, this choice of the weights includes in the composite image both the higher resolution amplitudes contained in the Manoppello face FFT, and preserves the anatomic details visible on the Veil up to their better spatial resolution, and the 3D information contained in the Turin Shroud FFT phases. Thus, after the linear combination of FFTs, we can calculate the inverse FFT to obtain the composite image. The final image obtained is shown in Figure 9a. Notice that the weights (0.5, 0.5) for both amplitudes and phases in the Fourier synthesis would have given the same final image that is obtained directly by adding the two images without any Fourier

Figure 10. (a) Logarithm of the intensity with removed background stripes. (b) Blue profile: average Figure 10.o(fa the) Logarithm rows of Figure of 10a the in intensity the blue box; with red removed profile: average background of the grey stripes. levels of ( bthe) Bluerows proﬁle:in the red average of the rows ofbox Figure of Figure 10a 10d, in theobtained blue by box; the red Fourier proﬁle: synthesis average. (c) Averag of thee greyof UV levelsand visib ofle the Turin rows Shroud in the red box of Figure 10images.d, obtained (d) Figure by 9a, the obtained Fourier by the synthesis. Fourier synthesis (c) Average. of UV and visible Turin Shroud images. (d) Figure9a, obtained by the Fourier synthesis. From the comparison between the two profiles of Figure 10b with the red one shown in Figure 8b we can see how that corresponding to the face of Manoppello (red profile of Figure 8b) has not an evident maximum of intensity in correspondence of the nose, in the center of the plot. Conversely, the red profile of Figure 10b, corresponding to the combined image, shows the presence of an evident maximum in correspondence of the nose. Moreover, by comparing Figure 10c and 10b it is interesting to note that the cheeks’ profiles are more evident when we combine the UV and the

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5. Discussion We have shown that, within a maximum uncertainty of 5%, the face of the Turin Shroud and the digitally restored face visible on the Manoppello Veil are characterized by the same proportions and distances between their anatomical details. With this regard, it should be stressed that in the original Turin Shroud image, namely the image visible before the invention of photography, the face is much narrower, well beyond the maximum uncertainty of 5%. Let us remark that the face visible on the Turin Shroud studied in this paper has been obtained by calculating the logarithm of the image intensity and by correcting the background. This digital procedure, never done before, has allowed seeing quite clearly the cheeks’ profiles, after the background stripes’ correction, as shown in Figure3 for both the UV and visible light images. Now, the cheeks’ profile of the Turin Shroud face and that of the digitally restored Manoppello face are very similar, as evidenced both by the blue rectangular box in Figure5 and by the image average profiles shown in Figure8. Thus, the digital restoration of the two faces is a fundamental prerequisite before their comparison because, otherwise, systematic errors in determining the cheeks’ widths would be unavoidable. Further correlations between the two faces are also noticeable, such as the swelling of the right cheek. However, there are some evident differences, for example the “epsilon” blood trace on the forehead, visible only on the face visible on the Turin Shroud. This difference may be due to the fact that the image of the Manoppello Veil, according to tradition, was allegedly impressed during the uphill to Calvary when a woman, known as Veronica, offered a veil to Jesus to wipe his face, while the Shroud image was impressed later in the sepulcher. Therefore, the typical reversed “3” wound on the forehead may have been formed in this time interval. The moustache between the nose and the mouth seems to be different in the two cases, also for the fluids leaked by the nasal cavities of the corpse wrapped in the Shroud that could have affected locally the image formation process. B. Paschalis Schlöemer has suggested that both the Turin Shroud and the Manoppello Veil images have been formed in the same time, with the two fabrics laying one on another [3]. This is not our opinion. In fact, by taking into account all the above mentioned differences, it seems more reasonable to conclude that the two images were not impressed at the same time. Indeed, as shown in Figure5, the Turin Shroud face seems to be slightly rotated to the right, while the Manoppello face seems to be slight rotated to the left. Moreover, the latter shows the mouth slightly open, while the Turin Shroud face shows the mouth completely closed. Differently from the Turin Shroud, the relief plot of the face visible on the Manoppello Veil (Figure6) shows some lacks of tri-dimensionality, in particular in correspondence of some anatomic parts characterized by smaller intensities due to their own color, such as the pupils, hairs, and beard. Also, the nose is flattened with respect to the cheeks. The contour plots of the Turin Shroud face drawn in Figure6c,d show that the maximum intensity of the nose is found at its end. Conversely, in the face there is a region around the nose characterized by higher values of the intensity. This finding could be related to the fact that the fabric of the Veil is semi-transparent and, very likely, in correspondence of the central region of the face, seen in transmission, more light has gone through the Veil, leading to a lack of correct tri-dimensionality in the region. However, the different tri-dimensional content of the two images could be also related to the fact that the Turin Shroud body image is not a painting, even if the chemical/physical process of image formation is not yet assessed [22]. Indeed, the Turin Shroud body image color depends only on a physical/chemical reaction of the outermost layer of the linen fibers compositing it. Traces of human blood are also imprinted on the Turin Shroud but they are not present in the other images, indicated by Catholic tradition as acheiropoietos, i.e., not made by human hand (Tilma of Guadalupe, Veil of Manoppello, some handkerchiefs of St. Pio from Pietralcina, and so on), with the exception of the Sudarium of Oviedo, which has no images [20]. While for the other acheiropoietos images we do not know if they have actually been in contact with parts of a human body, for the Turin Shroud we are sure that it was put on a corpse, in a way to touch the tip of the nose and leave a free distance between nose and cheeks. Therefore, the image of the tip of the nose is the most clearly represented on the Heritage 20182019, 2, x FOR PEER REVIEW 15 of353 17 free distance between nose and cheeks. Therefore, the image of the tip of the nose is the most clearly representedShroud, leading on the also Shroud, to tri-dimensional leading also information to tri-dimensional embedded. information Instead, evenembedded. if we assumed Instead, that even also if wethe assume image ond that the Manoppelloalso the image Veil on was the formedManoppello by contact, Veil was we formed should by consider contact, that we its should fabric consider is much thatsofter, its sofabric that, isif much it was softer used, so to that, wipe if the it was face used of Jesus to wipe Christ the duringface of Jesus his Calvary, Christ during it touched his Calvary, his eyes itand touched mouth his for eyes a moment and mouth and for must a moment have rubbed and must both have sides rubbed of the nose.both sides Therefore, of the differentlynose. Therefore, from differentlythe Turin Shroud from the image, Turin on Shroud the Veil image, one shouldon the Veil expect one clearer should and expect sharper clear imageser and sharp of theer eyes image ands ofmouth, the eyes and and a more mouth, diffuse and anda more large diffuse image and of the large nose. image Nevertheless, of the nose. tri-dimensional Nevertheless, informationtri-dimensional can informationbe transferred can from be transferred the Turin Shroud from the face Turin to that Shroud visible face on the to Manoppellothat visible on Veil, the through Manoppello the Fourier Veil, throughsynthesis the approach, Fourier synthesis as shown approach, in the Figures as shown9 and 10 in. the Figures 9 and 10. Finally, under the the hypothesis hypothesis that that both both the the Turin Turin Shroud Shroud and and the the Manoppello Manoppello Veil Veil are are related related to theto thesame same man, man, Jesus Jesus Christ, Christ, we can we further can further compare compare the two the images two images by considering by considering the red the stains red thstainsat should that should be related be related to his toPassion his Passion,, described described in the in Gospels. the Gospels. In comparing In comparing them, them, however, however, we mustwe must remember remember that thatour analyses our analyses indicates indicates that the that two the images two images correspond correspond to different to different times of times his Passion.of his Passion. The Shroud The Shroud image imageformed formed in the insepulcher the sepulcher when whenthe line then sheet linen wrapped sheet wrapped a bloody a bloody dead man,dead man,whose whose blood blood crusts crusts were weretransposing transposing on the on fabric the fabric during during a fibrinolysis a fibrinolysis process. process. The Theface face on theon the Manoppello Manoppello Veil Veil formed formed when when Veronica Veronica used used her her veil veil to to clean clean Jesus Jesus’’ face, face, just just before before the crucifixion.crucifixion. Nevertheless, Nevertheless, even even if if the the two two images images correspond correspond to different to different moments, moments, we can we find can many find manysimilar similar details, details, especially especially those those relative relative to the to bloodstains. the bloodstains. With With reference reference to Figure to Figure 11, we 11, can we find, can find,among among others, others, several several congruence congru pointsence points between between the two the images. two images.

Figure 11. SomeSome congruence congruence points points detected detected between between the the Shroud Shroud face face ( (leftleft)) and and the the Manoppello Manoppello Veil Veil (right). Legend: Legend: 1. 1. Blood Blood leakage leakage probably probably due due to to a a thorn thorn of of the crown; 2. Blood Blood leakage leakage probably due to a wound on the left eyebrow; 3. Blood leakage probably due to a thorn of the crown; 4. Blood leakageleakage probably probably due to a wound wound on on the the left left temple; temple; 5. 5. Blood Blood on on the the left left moustache moustache probably probably due due to to a a blow; 6. Swollen Swollen right right cheek cheek probably due to a club; 7. Bipartite Bipartite beard.

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6. Conclusions All the above results have shown that the face of the Turin Shroud and the digitally−restored face of the Manoppello Veil overlap very well. Thus, in our opinion, it is possible to conclude that the two images are related. In particular the right cheek’s profile of the two faces is very similar, although the one visible on the Turin Shroud is evidenced only by the logarithmic transformation of the intensity, and after the background correction of the vertical stripes. Without these steps, the cheeks’ profiles of Turin Shroud Man appear much more elongated, as confirmed by the analysis shown in Section4. Their correct width is, in fact, not directly visible on the positive image of the Turin Shroud, and can be established only after an articulated and complex digital analysis. This is one of the main results of our study. The correlations between the two images implies an interdependence. This finding could be useful to reconstruct the historical route of the iconography of Jesus Christ. We will address this topic in a forthcoming work. It still remains unsolved how the faces of both the Shroud and the Veil were impressed on the fabric. In the case of Manoppello Veil, we still do not know the nature of its original colors and technique used to realize the image. While the Shroud has been studied more in depth, the Veil of Manoppello has still much information to be discovered and discussed, including the striking fact that its proportions are so similar to those of the Turin Shroud face, such as the detailed digital analysis on the cheeks’ width has shown. To find possible and convincing answers to all the above open questions, further characterizations of the Veil of Manoppello are desirable and necessary. They could help also to clarify the history of the face most represented in the History of Art, that of Jesus Christ.

Author Contributions: All authors have contributed to write the paper and discuss the results. L.D.C. performed the image analyses. Funding: This research received no external funding. Acknowledgments: Paul Badde took the original photographs of the Manoppello face shown in Figure1; G. B. Judica Cordiglia took the UV original photo and G. C. Durante took the visible light photograph of the Turin Shroud Man’s face analyzed in the paper. Conﬂicts of Interest: The authors declare no conﬂict of interest.

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