The Church of SS. Sudario, whose construction began in 1734, was initially conceived as an oratory of the "Pazzerelli hospital" and later, in 1764, open to the public with the construction of the door to the street. The reason for this opening is due to the social action of the Confraternity that wanted to make its chaplains available for religious assistance to the military and their families, residing in military districts, built a few steps from the Church.

The design of the church was entrusted to the brother engineer Ignazio Mazzone. It is a single nave with a rectangular plan, slightly rounded in the corners, which opens on the bottom to form the presbytery. On the sides of the presbytery there are two small choirs and two decorated grandstands, closed by artistically carved wooden bars, where the confreres and the sisters sat. On the opposite side is the main door which opens onto the street

For the interior decoration of the church, a competition was initiated coordinated by the painter of the Savoy royal court Claudio Beaumont. The ornamental architectural decoration of the trompe l'oeil was assigned to the venetian quadraturist Pietro Alzeri, while the pictorial design was attributed to the piedmontese fresco painter Michele Antonio Milocco.

The vault of the church is painted up to the height of the lunettes with architectural motifs designed perfectly in perspective by the Alzeri. The center of the vault is covered by the large open-air Milocco composition that represents the Transfiguration.

The opening to the street required the construction of the facade based on a project attributed to Giovanni Battista Borra, which was inspired by the seventeenth-century one of the Saint-Chapelle of Chambery. Between 1766 and 1770, the bell tower designed by the engineer was raised. Perucca and the church were enriched with a new main altar, as well as two lateral altars dedicated to the sorrowful Madonna and to San Giuseppe.

Pope’s seat, made for Pope Benedetto XVI, on the occasion of the 2010 Shroud Exhibition.

The center of the vault is covered by the large open-air composition of Milocco that represents the Transfiguration: above, the shining Christ in Glory, which strangely, but coherently with the Shroud devotion, presents the stigmata; below under an opaque cloud the apostles observing in amazement the great prodigy.

It should be noted that in this fresco there are anomalies with respect to the Gospel narrative, which leave a little amazed. For example, the figure of Christ already shows the signs of passion. And yet, the apostles are not only the three mentioned by the Gospel (Peter, John and James).

Everyone's here; we see a group at his feet while the others are represented in the lunettes on the long sides of the Church. It almost seems like a synthesis between transfiguration and ascension. Surely this is a requirement expressed by the Brotherhood commissioner.

The flat back facade is transformed into a small temple painted with the trompel’oeil technique, where tortuous columns in mottled red marble support the baroque frame in black marble. On the sides the statues of Faith and Justice are painted in imitation of white marble.

In the center the large altarpiece, a masterpiece of Milocco painter.

Under the altarpiece you can see a life-size photographic copy of the Shroud, as it appears today after the conservative intervention in 2002. The gilded frame in which it is enclosed is the same that hosted the Shroud in the exhibitions of 1931 and 1933.

The current organ was built by the Collino brothers in 1859, when the new choir was built simultaneously.

The original organ was in Baroque style built by the Concone brothers in 1759 together with the choir that during the Napoleonic occupation were stolen and transferred to the church of SS. Simone and Giuda.

At the end of the last century, a few years before the double ostensionof the Shroud in 1998 and 2000, important restorations of the frescoes and the altarpiece were carried out, which for the occasion was removed from its place. A fresco was thus discovered on the rear wall: it is a devotional painting of the Shroud. The author and the reason for which it was made are not known.

On May 25, 1598, that is twenty years after the transfer of the Shroud from Chambéry to Turin, the "Confraternity of SS. Shroud and Blessed Virgin of Grace” was established canonically, by the will of duke Emanuele Filiberto.

In the first half of the eighteenth century, duke Vittorio Amedeo II, understanding the great potential of volunteering, established that the brotherhoods formalized their commitment in the philanthropic-social field. The confraternities were in the front line: each chose an activity linked to its own history or ancient tradition.

The Confraternity of the Holy Shroud choses the complex commitment to the mentally ill, a serious social problem, since at the time there were no facilities for their care and rehabilitation. In 1728 Vittorio Amedeo II approved the project for the construction of a hospital and donated a plot of land on which the first mentally ill structure of the Savoy states was built. Known as "Ospedale dei Pazzerelli", occupies the entire block. Subsequently in 1734 a chapel was built inside the hospital structure, that is, an oratory which is the basic structure of the current church in which we are now.

When Napoleon's French army occupied Italy in 1811, the Brotherhood, like various thrones and institutions, was suppressed. The archives with the testimonies of the cult were set on fire, the furnishings of the church were alienated and transformed into a bivouac for the troops and beasts, a dormitory for illegal immigrants and a den of dubious goods.

After Napoleon's fall, the oratory was reopened and, towards the end of the nineteenth century, the furnishings were restored and completed with the coordination of the architect Angelo Reycend.

The aims of the Confraternity were to spread the cult and devotion to the Shroud and its teaching on the sense of suffering. The strong social commitment of the Confraternity developed in multiple initiatives in addition to that of the mentally ill. Among these, attention to single women stood out, also providing for the establishment of dowry to allow an honest marriage, as well as the addressing of young people in the shop.

Today the Confraternity continues in its commitment to make the Shroud known. In recent years the Confraternity, taking into account the social field, has created "Casa Bordino, " a research and intervention center on mental illness, which, drawing on the ancient experience of the hospital, intends to give support to people with mental illness and either to their families.

The dissemination of knowledge on the Shroud takes place by the Museum and at the work of the International Center of Studies on the Shroud (CISS), an organization gathering international experts and responsible of the coordination of studies concerning the Shroud. The CISS offers scientific advice to the archbishop of the city who is the Papal Custodian of the Shroud.

Altarpiece realized by Michele Antonio Milocco, depicting the Virgin, the blessed Amedeo IX of Savoy, the Shroud and the eternal Father in glory

The altarpiece above the altar is the work of the Piedmontese painter Michele Antonio Milocco in its full maturity. Milocco hired by the Savoy realizes works of strong decorative and psychological impact. In this shovel, the master unfolds all his skills.

It is a decidedly dynamic composition. In the upper register, the painter creates an unusual and demanding Trinity. Near to the classic iconography of the Father and the Holy Spirit, the person of the Son is obtained through the representation of the Shroud.

Below in the background, the pious women who are surprised observe the empty sepulcher from which the Christ resurrected has left leaving his Shroud. In the foreground the Virgin of Sorrows with the side, kneeling with crown and scepter at the feet in an act of humble veneration, blessed Amedeo IX of Savoy. In this way all those present perform an act of faith in the resurrection. It should be stressed that for the ruling house the painting becomes an emblem of holiness (Shroud and Blessed) that does her honor.

The intrados of the vault, up to the height of the lunettes, is all painted with architectural motifs designed by Alzeri with the trompe-l'oeil technique that amplifies its size.

The figures instead are work of Michele Antonio Milocco. Milocco created a double shell. The first with jagged outlines rests on the perimeter walls. The second in the center is perceived as a large gash that depicts the Transfiguration of Christ on Mount Tabor dressing shining clothes and standing beside Moses and Elijah.

Large windows that allowed the hospitalized patients of the Pazzerelli Hospital to participate tothe functions. The reception facility for people with mental illness problems was created by the Brotherhood.

Plaque commemorating the 1997 private exhibition in preparation for the 1998 public one.

Photographic reproduction of the effigy of the Our Lady of Guadalupe donated to the Archbishop of Turin by the counterpart of Mexico City. It has been kept in the Church since 2010 and on December 12th the Confreres celebrate the religious feast dedicated to her.

The main altar replaces the one from 1770 which had been built with precious marble and was decorated with bronze eagles; the altar was transported in the Napoleonic era to the church of SS. Simone and Giuda together with the organ and the respective box and choir that was rich in very fine carvings and paintings.

With the opening to the public in addition to the main altar and the two side altars, the church was enriched with the installation of two pulpits that allowed the preaching of the catechism in the popular form of the contradictory. On the one hand, the preacher who illustrated the true doctrine (right pulpit) and on the other what he objected and criticized, and who, of course, regularly came out defeated.