Latest news with #CiceroMoraes
Telegraph
06-07-2025
- Science
- Telegraph
‘Elegant' face of Egyptian priestess revealed for first time
The 'elegant' face of an ancient Egyptian priestess whose singing was said to be able to calm the gods can be seen for the first time in 2,800 years. Meresamun had a role of high religious prestige in the inner sanctum of the temple at Karnak before she died in mysterious circumstances. Buried in a luxurious coffin, her mummy was bought in 1920 by American archaeologist James Henry Breasted, and never opened. Now, her living face can be seen for the first time since the iron age, after CT scans were used to peer inside her wrappings. Cicero Moraes, the lead author of the study published in journal OrtogOnLineMag, used scan data from the mummy's skull to recreate Meresamun's features. 'She looks elegant,' he said. 'The reconstruction presents a harmonious and serene face, with features that suggest dignity and gentleness. 'While any aesthetic interpretation involves a degree of speculation, the goal was to maintain a respectful image aligned with the deceased's social role.' The mummy's elite status in life is reflected by her coffin. An inscription on the front gives her name as Meresamun and says she was a 'singer in the interior of the temple of Amun'. Amun was one of the principal gods of the Egyptian pantheon, and the priestess' esteemed place in his temple is reflected by her name, which translates as 'Amun Loves Her'. The coffin itself is richly decorated with many colours and symbols. Mr Moraes said: 'The quality and decoration of the coffin, as well as her religious role in an important temple, suggest that Meresamun belonged to the Theban elite. 'Access to such an elaborate burial is consistent with high social status and significant resources.' Oxford's Ashmolean Museum described her role in an online post. It states: 'She was an elite musician priestess, her job was to sing and make music for the god, Amun. Music was a vital tool in Egyptian religion to pacify the gods.' To recreate Meresamun's face, Mr Moraes combined different techniques. First, soft tissue thickness markers were applied to a virtual recreation of Meresamun's skull, guided by data from living donors, creating an impression of the shape of her face. Then a technique called anatomical deformation was used, in which a virtual model of a donor's face and skull is warped until it matches the subject's dimensions. The resulting faces were then combined to give an objective reconstruction in greyscale, to which subjective elements like skin tone, and eye and hair colour were added. Mr Moraes said: 'This base face was digitally sculpted to match her estimated age. It was refined with the addition of a wig, pigmentation, and textures, always respecting the original anatomical structure.' Meresamun's remains suggest she died about age 30, though her cause of death is unknown. 'She enjoyed good nutrition throughout life,' Mr Moraes said. 'There are no evident signs of disease or an identifiable cause of death.' She may also have been brainier than most, having slightly above-average cranial capacity, though within normal parameters. She was, however, shorter than her peers, at 1.47m (4ft 10in). Mr Moraes, a Brazilian graphics expert prolific in the field of forensic facial reconstructions, has previously worked with police to recreate and identify the faces of crime victims. Based on his experiences, he's confident that his recreation of Meresamun offers a good likeness. He said: 'The anatomical data was rigorously followed, and the final result is a plausible estimate of Meresamun's appearance. I say this with confidence, having worked on real cases with police, including a published academic study where facial approximation contributed to the identification of a crime victim. 'Even so, continuous methodological improvement is essential, and I actively pursue and encourage that effort.'
Daily Mail
03-07-2025
- Entertainment
- Daily Mail
Meet ancient Egypt's answer to Taylor Swift! Scientists reconstruct the face of an Egyptian priestess whose singing soothed the gods 2,800 years ago
The 'elegant' face of an ancient Egyptian priestess whose singing was said to be able to calm the gods can be seen for the first time in 2,800 years. Meresamun had a role of 'high religious prestige' in the inner sanctum of the temple at Karnak before she died in mysterious circumstances. Buried in a luxurious coffin, her mummy was purchased in 1920 by American archaeologist James Henry Breasted, and never opened. Now her living face can be seen for the first time since the iron age, after CT scans were used to peer inside her wrappings. Cicero Moraes, lead author of the new study, used scan data from the mummy's skull to recreate Meresamun's likeness. 'She looks elegant,' he said. 'The reconstruction presents a harmonious and serene face, with features that suggest dignity and gentleness. 'While any aesthetic interpretation involves a degree of speculation, the goal was to maintain a respectful image aligned with the deceased's social role.' Meresamun (pictured in her coffin) had a role of 'high religious prestige' in the inner sanctum of the temple at Karnak before she died in mysterious circumstances The mummy's elite status in life is revealed by her coffin. An inscription on the front gives her name as Meresamun and says she was a 'singer in the interior of the temple of Amun'. Amun was one of the principle gods of the Egyptian pantheon, and the priestess' esteemed place in his temple is reflected by her name, which translates as 'Amun Loves Her'. The coffin itself is richly decorated with many colours and symbols. Mr Moraes said: 'The quality and decoration of the coffin, as well as her religious role in an important temple, suggest that Meresamun belonged to the Theban elite. 'Access to such an elaborate burial is consistent with high social status and significant resources.' Oxford's Ashmolean Museum described her role in an online post. It states: 'She was an elite musician priestess, her job was to sing and make music for the god Amun. Her living face can be seen for the first time since the iron age, after CT scans were used to peer inside her wrappings How did scientists recreate her face? To recreate her face, Mr Moraes combined different techniques. First, soft tissue thickness markers were applied to a virtual recreation of Meresamun's skull, guided by data from living donors, revealing the likely shape of her face. Then a technique called anatomical deformation was used, in which a virtual model of a donor's face and skull is warped until it matches the subject's dimensions. The resulting faces were then combined to give a objective reconstruction in greyscale, to which subjective elements like skin tone, and eye and hair colour were added. 'Music was a vital tool in Egyptian religion to pacify the gods.' To recreate her face, Mr Moraes combined different techniques. First, soft tissue thickness markers were applied to a virtual recreation of Meresamun's skull, guided by data from living donors, revealing the likely shape of her face. Then a technique called anatomical deformation was used, in which a virtual model of a donor's face and skull is warped until it matches the subject's dimensions. The resulting faces were then combined to give a objective reconstruction in greyscale, to which subjective elements like skin tone, and eye and hair colour were added. Mr Moraes said: 'This base face was digitally sculpted to match her estimated age. It was refined with the addition of a wig, pigmentation, and textures, always respecting the original anatomical structure.' Meresamun's remains suggest she died around age 30, though her cause of death is shrouded in mystery. 'She enjoyed good nutrition throughout life. There are no evident signs of disease or an identifiable cause of death,' Mr Moraes said. She may also have been brainier than most, having slightly above-average cranial capacity, though within normal parameters. She was however shorter than her peers, at 1.47m (4ft 10in). Mr Moraes, a Brazilian graphics expert prolific in the field of forensic facial reconstructions, has previously worked with police to recreate and identify the faces of crime victims. Based on his experiences, he's confident that his recreation of Meresamun offers a good likeness. He said: 'The anatomical data was rigorously followed, and the final result is a plausible estimate of Meresamun's appearance. 'I say this with confidence, having worked on real cases with police, including a published academic study where facial approximation contributed to the identification of a crime victim. 'Even so, continuous methodological improvement is essential, and I actively pursue and encourage that effort.' Mr Moraes published his study in the journal OrtogOnLineMag.
New York Post
29-05-2025
- Entertainment
- New York Post
What did Beethoven really look like? Scientists think they finally know — and he was a bit of a grouch
Turns out Beethoven didn't just sound intense — he looked it, too. Nearly 200 years after Ludwig van Beethoven's death, scientists say they've finally pieced together what the famously moody maestro actually looked like — and let's just say he wouldn't exactly be mistaken for a people person, originally reported by the Daily Mail. 'I found the face somewhat intimidating,' admitted Cicero Moraes, a Brazilian graphics expert who used 19th-century skull photos, facial modeling, and AI to reconstruct the furrowed countenance of classical music's original bad boy. Advertisement The first-of-its-kind digital render shows the German composer just as he's often been depicted in oil paintings: scowling and brooding. 'He was indeed irritable, untidy, clumsy, rude, and misanthropic,' British conductor Mark Wigglesworth said in a blog post — though he added, 'Beethoven could be witty, caring, mischievous, generous, and kind.' So what turned the artist formerly known as Ludwig into such a legendary grouch? Experts say it may have been as much biology as biography. Advertisement 3 The groundbreaking digital mugshot shows the German maestro just like the paintings did — scowling, brooding, and looking like he just heard a wrong note. Credit: Cicero Moraes/Pen News In 2023, a groundbreaking DNA study published in Current Biology cracked open the medical mystery of Beethoven's tumultuous life — and painful death at age 56. Researchers sequenced his genome using five strands of his preserved hair and determined he likely died from liver failure caused by chronic alcohol consumption, combined with hepatitis B and a genetic predisposition for liver disease. Reportedly, the beloved composer began suffering bouts of jaundice in 1821, a symptom of liver disease, and had progressive hearing loss that left him completely deaf by his mid-40s. Advertisement 3 Was Beethoven born to brood? Scientists say his scowl may've been written in both his past — and his DNA. Getty Images 'Most people who do genetic testing for fun, including myself, will find that there is nothing wrong with them,' lead researcher Tristan Begg said. 'But in this study we had fascinating results in every branch we looked at, from disease risk to the family tree.' Indeed, Beethoven's tangled roots may have been more than musical — the study also suggested a child may have been born from an affair in his family line. Advertisement 3 In 2023, a blockbuster DNA study blew the lid off Beethoven's lifelong medical drama — and his booze-fueled death at 56. Bildagentur-online/Universal Images Group via Getty Images As if that weren't enough, bones believed to be fragments of Beethoven's skull — long stashed in a tin marked 'Beethoven' by the descendant of a Viennese doctor — were recently donated to the Medical University of Vienna by California businessman Paul Kaufmann. 'It is extremely emotional to me to return the fragments where they belong, back to where Beethoven is buried,' Kaufmann told CNN in 2023. Moraes reconstructed Beethoven's famously intense visage — aided by old skull images and tissue-thickness data — and reinforced by a death mask made while the composer still had a pulse. 'I academically explored his genius, revealing what made him an icon of Western music,' Moraes said of his 2025 study. 'I analyzed his revolutionary creativity, resilience in composing despite deafness, intense focus, problem-solving ability, and tireless productivity, despite a challenging personality.'
Telegraph
28-05-2025
- Entertainment
- Telegraph
Pictured: the true face of Beethoven
The true face of Ludwig van Beethoven has been revealed – almost 200 years after his death. Scientists created the first-ever 3D reconstruction of the treasured composer's head by analysing his skull, which may have confirmed long-running depictions of him as an unsmiling man with an unkempt appearance. According to the new model, he had an icy stare, with dark green eyes and a wavy, grey, thinning hair. It suggests Beethoven, who died aged 56 in Vienna after a prolonged illness in 1827, had a surly expression with deep frown lines – both repeatedly depicted in portraits of the musician. 'I found the face somewhat intimidating,' said Cicero Moraes, a Brazilian 3D designer and the lead author of the study. Mr Moraes used historical photographs of Beethoven's skull – provided by the Beethoven House in Bonn, Germany – after it was exhumed in 1863. Along with the images, he used measurement data collected in 1888. Mr Moraes told The Telegraph: 'This is the first facial approximation made from his skull. I used the same approach we use in police cases to identify victims. 'It is also the first to do a meta-analysis addressing his height of 162-166cm (5ft 3-4in)).' He added: 'The facial approximation was guided solely by the skull. First I created 2D outlines – frontal and lateral – from the skull photographs. Then I modelled the skull in 3D using a virtual donor's tomography, adjusted to match the photos' proportions. 'I then added soft tissue thickness markers based on data from living Europeans, projected the nose, and traced the facial profile. I interpolated all these projections to form the basic face.' Beyond the face, Mr Moraes added subjective features such as clothes and hair, using a famous portrait of Beethoven, painted by Joseph Karl Stieler in 1820, as his guide. The finer details of the 3D model were enhanced using AI. 'This study offers a unique perspective on Beethoven's complexity, highlighting his resilience, creativity, and a legacy that continues to inspire generations,' wrote Mr Moraes. In March, the 3D designer and his team also revealed a facial reconstruction of Wolfgang Amadeus Mozart 230 years after his death, helping to unravel the mystery of what the Austrian composer looked like. Dozens of portraits of Mozart had each depicted him differently, but the new model shows him with a rounded face, thick blond hair and a receding hairline.
Daily Mail
28-05-2025
- Entertainment
- Daily Mail
Beethoven's true face is revealed for the first time in 200 YEARS - and it's every bit as 'intimidating' as his reputation suggests
The true face of Beethoven has been revealed almost 200 years after his death – and it's every bit as 'intimidating' as his reputation suggests. Despite his status as one of history's great composers, Beethoven is also remembered for his surly disposition and unkempt appearance. 'He was indeed irritable, untidy, clumsy, rude, and misanthropic,' wrote British composer Mark Wigglesworth in a blog post. It's a reputation often reflected in his portraits, which invariably depict him as an unsmiling man with an icy gaze. Now a scientific reconstruction of his face has revealed what he actually looked like – and it seems he really did look that grumpy. Cicero Moraes, lead author of the new study, has completed the first ever reconstruction of the composer's appearance based on his skull. 'I found the face somewhat intimidating,' he admitted. To complete the work, Mr Moraes used historical photographs of the musician's skull provided by the Beethoven House in Bonn, Germany. Along with the images, which were taken by Johann Batta Rottmayer in 1863, he used measurement data collected in 1888. He said: 'The facial approximation was guided solely by the skull. 'First I created 2D outlines – frontal and lateral – from the skull photographs. 'Then I modelled the skull in 3D using a virtual donor's tomography, adjusted to match the photos' proportions. 'I then added soft tissue thickness markers based on data from living Europeans, projected the nose, and traced the facial profile. 'I interpolated all these projections to form the basic face.' With the objective face complete, Mr Moraes added subjective features like clothes and hair, using as his guide a famous portrait of Beethoven painted in 1820 by Joseph Karl Stieler. Finally, some of the finer details were enhanced with an AI tool. The skull itself is not in perfect condition, due to incisions made after Beethoven's death in 1827, and the reconstruction is based on only two perspectives – frontal and lateral. But Mr Moraes said it was also 'highly compatible' with a cast made of the composer's stony visage during his lifetime. In his blog post, Mr Wigglesworth argued that, despite his reputation, Beethoven could be 'witty, caring, mischievous, generous, and kind'. It was, he suggested, the loss of his hearing that made him the 'impatient, intolerant, irascible man that, against his better nature, he became infamous for'. Those who knew him might have agreed. One contemporary stated: 'As he grew older and deafness overtook him, the negative aspects of Beethoven's personality came to the fore.' Mr Moraes, who probes the mystery of Beethoven's genius in his new study, believes the composer's musicality and 'challenging personality' go hand in hand. He said: 'I academically explored his genius, revealing what made him an icon of Western music. 'I analysed his revolutionary creativity, resilience in composing despite deafness, intense focus, problem-solving ability, and tireless productivity, despite a challenging personality. 'Reading about his life in detail was moving, as I noticed behavioural similarities in myself. 'I was fortunate to have psychological support that helped me manage my own irritability. 'Beethoven, however, faced a chaotic world with his own resources, finding refuge in his work, which seemed to bring him existential fulfilment.' Mr Moraes published his study in the journal OrtogOnLineMag.
