Sixteenth- and seventeenth-century devotional texts dedicated to the Shroud of Turin treat the cloth’s traces of blood as evidence of divine artistry, calling the image a painting by God. This lecture will consider how belief in the materiality of blood combined with artistic tropes that credit art-making with the formation of living bodies conspired in creating an explanation—both artistic and theological—for the appearance of Christ's corpse on the Shroud. The blood-stained cloth with its image of Christ's body came to be regarded as a residual pictorial record of the Resurrected body, further enhancing the Shroud's prestige as an object of religious devotion.