John D. Brey
Well-Known Member
In the Talmud, Yoma 39a,b we read:
This is the Talmud. Written by orthodox Jews with no input from Christianity. "Forty years prior to the destruction of the second temple" is 30 CE. The door of the temple is the curtain said to be torn around 30 CE when an eclipse and earthquake reeked some havoc. The Gospels claim that another historical catastrophe occurred simultaneous to the eclipse and earthquake. And the Gospels mention the self-same opening of the door, or veil, at the self-same time. . . So it's nice to see history faithfully recorded by Jews and Christians alike.
The strip of crimson wool, tied to scapegoat, turns white when the sins are forgiven. And once again the Gospels and Apostolic Writings parallel the Talmud. Reference Hebrews 10:1-10:
The Jewish writer of the book of Hebrews justifies the veracity of the Talmud, Yoma 39a-b. ------The crimson wool stopped turning white around 30 CE (precisely as the Talmud records) because once the final offering (די ) signified that "it is finished" (dalet-yod) the point of the yearly offerings faded away. The crimson, signifying man's sins, had permanently faded away (Isaiah 1:18) leaving the blood, represented by the crimson (representing man's sin) white as snow.
EXHIBITS 1, 2, AND 3:
https://ascientifictouroftheshroudofturin.blogspot.com/
Exhibit 1 is the Shroud of Turin as it would be seen by the naked eye. It is in fact similar to a photographic negative. Note that the areas around the eyes, which in a normal image would be dark, are instead light. This anomaly carries throughout the image manifesting it as a negative image.
Exhibit 2 is the Shroud of Turin marked up to show where the blood is on exhibit 1. Notice that in exhibit 1, and exhibit 2, the blood is dark, crimson, as it would be if one were looking at an actual image of what's being depicted in the image rather than the negative image in exhibit 1. . . . . That's problematic since every other element of the image inverts dark for light, and light for dark, as is the case with a negative image.
Exhibit 3 is the Shroud of Turin as it appears on a photographic negative before the image is developed to produce a positive image. And since the original image on the Shroud is already a negative, the photographic negative transforms it into a positive image.
Someone familiar with the scientific method, someone who knows the methodology of modern science, sees a glaring problem with exhibit three which points out the same glaring problem in exhibit 1. The blood on exhibit 3, since it's a positive image, should show the blood, which is crimson, as dark, and not light, since every other dark area is dark and every other light area is light. The blood on exhibit 3 should be dark, and not light.
This means the blood on exhibit 1, which is the negative image before its transformed by the photographic negative, should be white, as all other dark elements on the image are white (or light). But its clearly not. The crimson blood on the cloth of the final scapegoat in the sacrificial system, the "it is finished, complete," i.e., the final legitimate sacrifice, shows that the crimson on the wool, just as it had every Yom Kippur, turned white as snow in order to signify that the blood of this sacrifice was received by God as the final payment required to return man to his original endowment as co-partner with God.
If a scientist of any repute and care examined the three exhibits he could say clear as day that for the images to be correct the blood stains on exhibit 3 should be on exhibit 1, and the blood stains on exhibit 1, should be on exhibit 3. . . The blood stains are the only elements of the images that are inverted. All the other elements are negative on the negative, and positive on the positive. The blood is out of sync with the rest of the image.
If the Catholic Church had the scientific IQ to point out the anomaly above, the Shroud would be canonized not as a mere "relic" but as a genuine miracle of great import.
John
Furthermore, during his tenure as High Priest, the strip of crimson wool that was tied to the head of the goat that was sent to Azazel turned white, indicating that the sins of the people had been forgiven, as it is written: “Though your sins be as crimson, they shall be white as snow” (Isaiah 1:18). . . .
The Sages taught: During the tenure of Shimon HaTzaddik, the lot for God always arose in the High Priest’s right hand; after his death, it occurred only occasionally; but during the forty years prior to the destruction of the Second Temple, the lot for God did not arise in the High Priest’s right hand at all. So too, the strip of crimson wool that was tied to the head of the goat that was sent to Azazel did not turn white, and the westernmost lamp of the candelabrum did not burn continually.
And the doors of the Sanctuary opened by themselves as a sign that they would soon be opened by enemies, until Rabban Yoḥanan ben Zakkai scolded them. He said to the Sanctuary: Sanctuary, Sanctuary, why do you frighten yourself with these signs? I know about you that you will ultimately be destroyed, and Zechariah, son of Ido, has already prophesied concerning you: “Open your doors, O Lebanon, that the fire may devour your cedars” (Zechariah 11:1), Lebanon being an appellation for the Temple.
Rabbi Yitzḥak ben Tavlai said: Why is the Temple called Lebanon [Levanon]? Because it whitens [malbin] the Jewish people’s sins, alluded to by the root lavan, meaning white.
The Sages taught: During the tenure of Shimon HaTzaddik, the lot for God always arose in the High Priest’s right hand; after his death, it occurred only occasionally; but during the forty years prior to the destruction of the Second Temple, the lot for God did not arise in the High Priest’s right hand at all. So too, the strip of crimson wool that was tied to the head of the goat that was sent to Azazel did not turn white, and the westernmost lamp of the candelabrum did not burn continually.
And the doors of the Sanctuary opened by themselves as a sign that they would soon be opened by enemies, until Rabban Yoḥanan ben Zakkai scolded them. He said to the Sanctuary: Sanctuary, Sanctuary, why do you frighten yourself with these signs? I know about you that you will ultimately be destroyed, and Zechariah, son of Ido, has already prophesied concerning you: “Open your doors, O Lebanon, that the fire may devour your cedars” (Zechariah 11:1), Lebanon being an appellation for the Temple.
Rabbi Yitzḥak ben Tavlai said: Why is the Temple called Lebanon [Levanon]? Because it whitens [malbin] the Jewish people’s sins, alluded to by the root lavan, meaning white.
This is the Talmud. Written by orthodox Jews with no input from Christianity. "Forty years prior to the destruction of the second temple" is 30 CE. The door of the temple is the curtain said to be torn around 30 CE when an eclipse and earthquake reeked some havoc. The Gospels claim that another historical catastrophe occurred simultaneous to the eclipse and earthquake. And the Gospels mention the self-same opening of the door, or veil, at the self-same time. . . So it's nice to see history faithfully recorded by Jews and Christians alike.
The strip of crimson wool, tied to scapegoat, turns white when the sins are forgiven. And once again the Gospels and Apostolic Writings parallel the Talmud. Reference Hebrews 10:1-10:
For the law having a shadow of good things to come, and not the very image of the things, can never with those sacrifices which they offered year by year continually make the comers thereunto perfect. 2 For then would they not have ceased to be offered? because that the worshippers once purged should have had no more conscience of sins. 3 But in those sacrifices there is a remembrance again made of sins every year. 4 For it is not possible that the blood of bulls and of goats should take away sins. 5 Wherefore when he cometh into the world, he saith, Sacrifice and offering thou wouldest not, but a body hast thou prepared me: 6 In burnt offerings and sacrifices for sin thou hast had no pleasure. 7 Then said I, Lo, I come (in the volume of the book it is written of me,) to do thy will, O God. 8 Above when he said, Sacrifice and offering and burnt offerings and offering for sin thou wouldest not, neither hadst pleasure therein; which are offered by the law; 9 Then said he, Lo, I come to do thy will, O God. He taketh away the first, that he may establish the second. 10 By the which will we are sanctified through the offering of the body of Jesus Christ once for all.
The Holy Bible: King James Version. (2009). (Electronic Edition of the 1900 Authorized Version., Heb 10:1–10). Bellingham, WA: Logos Research Systems, Inc.
The Holy Bible: King James Version. (2009). (Electronic Edition of the 1900 Authorized Version., Heb 10:1–10). Bellingham, WA: Logos Research Systems, Inc.
The Jewish writer of the book of Hebrews justifies the veracity of the Talmud, Yoma 39a-b. ------The crimson wool stopped turning white around 30 CE (precisely as the Talmud records) because once the final offering (די ) signified that "it is finished" (dalet-yod) the point of the yearly offerings faded away. The crimson, signifying man's sins, had permanently faded away (Isaiah 1:18) leaving the blood, represented by the crimson (representing man's sin) white as snow.
EXHIBITS 1, 2, AND 3:
https://ascientifictouroftheshroudofturin.blogspot.com/
Exhibit 1 is the Shroud of Turin as it would be seen by the naked eye. It is in fact similar to a photographic negative. Note that the areas around the eyes, which in a normal image would be dark, are instead light. This anomaly carries throughout the image manifesting it as a negative image.
Exhibit 2 is the Shroud of Turin marked up to show where the blood is on exhibit 1. Notice that in exhibit 1, and exhibit 2, the blood is dark, crimson, as it would be if one were looking at an actual image of what's being depicted in the image rather than the negative image in exhibit 1. . . . . That's problematic since every other element of the image inverts dark for light, and light for dark, as is the case with a negative image.
Exhibit 3 is the Shroud of Turin as it appears on a photographic negative before the image is developed to produce a positive image. And since the original image on the Shroud is already a negative, the photographic negative transforms it into a positive image.
Someone familiar with the scientific method, someone who knows the methodology of modern science, sees a glaring problem with exhibit three which points out the same glaring problem in exhibit 1. The blood on exhibit 3, since it's a positive image, should show the blood, which is crimson, as dark, and not light, since every other dark area is dark and every other light area is light. The blood on exhibit 3 should be dark, and not light.
This means the blood on exhibit 1, which is the negative image before its transformed by the photographic negative, should be white, as all other dark elements on the image are white (or light). But its clearly not. The crimson blood on the cloth of the final scapegoat in the sacrificial system, the "it is finished, complete," i.e., the final legitimate sacrifice, shows that the crimson on the wool, just as it had every Yom Kippur, turned white as snow in order to signify that the blood of this sacrifice was received by God as the final payment required to return man to his original endowment as co-partner with God.
If a scientist of any repute and care examined the three exhibits he could say clear as day that for the images to be correct the blood stains on exhibit 3 should be on exhibit 1, and the blood stains on exhibit 1, should be on exhibit 3. . . The blood stains are the only elements of the images that are inverted. All the other elements are negative on the negative, and positive on the positive. The blood is out of sync with the rest of the image.
If the Catholic Church had the scientific IQ to point out the anomaly above, the Shroud would be canonized not as a mere "relic" but as a genuine miracle of great import.
John
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