HOME

johndbrey@gmail.com

© 2018 John D. Brey.

In the Talmud, Yoma 39a,b we read:

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.​

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.
 
Heb 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:

EXHIBIT 1.




EXHIBIT 2.



EXHIBIT 3.




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 3 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.

It is in fact, a fact, to point out that according to the Gospels, Jesus is the actual Jewish scapegoat represented by the ritual scapegoat. Jesus is offered, like the ritual scapegoat, for the sins of man. It's a fact that the Gospels make this parallel. That doesn't make it true. But to say the Gospels make the claim, is factual, since in fact the Gospels make that claim.

It is a fact that by the description of the Gospels, Jesus is the actual Jewish scapegoat represented in the rituals. It is a fact that in the rituals the scapegoat's death turns the cloth from crimson, sin-filled, to white as snow, redeemed. It is a fact that in the Gospels, this exact language is applied to Jesus-the-scapegoat, i.e., his blood will receive the sins of all mankind, cleanse all mankind from their sins, at the point of his death, such that if the symbolism holds true, and the relationship between Jesus and the Yom Kippur scapegoat is factual, as presented in the Tanakh and the Gospels, then any cloth tied to Jesus, at his death, as the scapegoat for man's sins, should, according to the factual symbolic relationship, turn white as snow.

That's all fact. Not true, necessarily, but factual within the traditions and the practices of Judaism and Christianity. Only a hardened opponent of facts, in the protection of ideology, would deny that taken as written, the Gospel account of Jesus as scapegoat is parallel to the Yom Kippur scapegoat. Which is not to say the Gospel account itself is factual, or true, but it is a fact that the writers of the Gospel presented Jesus as a type of the Yom Kippur scapegoat.

This being the case, we have something profound going on here.

For nearly two thousand years the factual relationship between the Gospel presentation of Jesus and the Tanakh's presentation of the Yom Kippur scapegoat has been known, and taught, by their respective traditions (without respect for the other tradition). For hundreds of years a religious relic claiming to be the cloth tied to the Gospel's scapegoat has been floating around Europe, has literally been examined by scientists, authors, popes, and cardinals, photographers, armchair scientists, and everything in between.

And yet the most obvious relationship possible, between the shroud, as the crimson cloth on the Gospel's scapegoat, and the crimson cloth tied to the Jewish scapegoat, on Yom Kippur, has been missed by one and all.

We can say this since the purpose of the cloth tied to the Yom Kippur scapegoat is to have the crimson turn white proving that the sins have been miraculously forgiven implying that the purpose of the Shroud of Turin would be for the crimson on that cloth tied to that scapegoat turning white in order to prove that the sins of all mankind were in fact, miraculously, forgiven.

These being the undeniable facts, what possible force, or power, could exist, such that no Christian, no Jew, no atheist, no scientist, no armchair scientist, to this very day, outside of yours truly, has noticed that the most obvious requirement for the Shroud of Turin to be what the Christian church claims it to be, the actual cloth tied to the actual scapegoat, means that the crimson on the cloth (man's sins) must turn from crimson to white as snow (redemption).

FACT 1.

The Talmud claims that on Yom Kippur, a scapegoat is loaded up with the sins of Israel so they can be disposed of through the death of the scapegoat. ------In order to determine if the sins have been received by God and thus disposed of so far as Israel is concerned, a crimson cloth is tied (literally and figuratively) to the scapegoat such that if the crimson turns white as snow, the sins are forgiven, and if it doesn't they ain't. These are all facts, not true or false mind you, science doesn't deal with truth, only recognizable facts. If needed I can post the Talmud and Jewish sages stating everything just said in order to prove that they have in "fact" been stated.

FACT 2.

The Gospels claim that Jesus of Nazareth is the final, true, actual, scapegoat for man's sins who will render all the ritual performance thereafter null and void (Hebrews 10:1-10). ------Once again, the statements found in the Gospels are neither true nor false in this examination since science doesn't deal in truth, only recognizable facts, and I present exhibit 1, Hebrews 10:1-10, as proof that the Gospels do in "fact" claim that Jesus is the final scapegoat rendering all further sacrifices null and void.

FACT 3.

According to the Talmud, the ritual of the Yom Kippur scapegoat, whereby the crimson on the cloth turned white as snow, stopped functioning, stopped turning white as snow, at precisely the time the Gospels claim their scapegoat turned the ritual into reality by dying once and for all in place of all the former rituals and representations. The Talmud claims that in CE 30, until the destruction of the temple, in CE 70, the crimson cloth on the ritual scapegoat never again turned white. . . This is factual, not necessarily true or false, but it's factual that the Talmud claims that at precisely the time the Gospels claim Jesus fulfilled, and thus ended, the ritual of Yom Kippur, the ritual of Yom Kippur never again, to this very day, functioned properly.

FACT 4.

In no early or Middle Age Christian text, even to include the Gospels and Apostolic Writings themselves, is the burial cloth of Jesus, literally, or figuratively tied to the cloth tied to the Yom Kippur scapegoat despite the fact that the relationship is undeniable if, as the Gospels claim, Jesus is the final scapegoat for man's sins, such that the Gospels are clearly referencing Jewish concepts related to Yom Kippur and the Yom Kippur scapegoat (who takes away the sins of the Israelite world).

FACT 5.

Hundreds of years ago a religious relic was designed, discovered, or forged, that claims to be the burial cloth of the Christian scapegoat whose death, more specifically whose blood, is said to cleanse the entire world of its sins. For hundreds of years this burial cloth roamed Europe, was examined, written about, talked about, experimented on, argued over, by Jews, Christians, atheists, and agnostics, and in all this arguing, examining, exegeting, even cheating, not one person mentioned the most obvious anomaly there could possibly be, and which, the anomaly, so justifies the Gospel's rendition of the finality of Jesus' death as the end of the sacrificial rituals of Israel that the odds of it being ignored, by all the foregoing, are, quite literally, scientifically, astronomical.

The primary determinant, in the ritual system, for whether the sins had been forgiven was that the blood of the cloth associated with the scapegoat, the crimson (in Isaiah's parlance), which represents the sins of Israel, must turn "white as snow.". . Ergo, if the Gospel account is true, if Jesus is the actual scapegoat, if the Gospel account turns out to have some facts supporting the claim that Jesus' sacrifice puts all other's to an end, then it stands to reason that because of the incredible parallels between the two accounts, the cloth, with crimson, representing sin, tied to Jesus's death, must, if all the parallels hold, turn "white as snow" at the death of Jesus of Nazareth.

FACT 6.

Its exalted position is due to the image imprinted on the cloth: the shadowy full-size outline of a Christ-like figure. Bloodstains in the fabric appear to be consistent with the injuries sustained during crucifixion. The markings have led to claims that the shroud was Christ’s burial cloth. However, from the earliest days of its existence the shroud has divided onlookers, and over the years it has been both denounced and venerated—even by those within the Catholic Church—in equal measure.

The debate widened towards the end of the 19th century thanks to the efforts of amateur photographer Secondo Pia. To celebrate the 400th anniversary of Torino Cathedral, an exhibition was organised in the city that was to include the shroud among its exhibits. Pia was permitted to photograph the relic, the first person ever given this privilege. On 28 May 1898, he set up a studio in the cathedral, experimenting with powerful electric light bulbs, so as to attain the strongest image.

On developing the first of his plates, Pia was astonished to see an image on the shroud that was not visible to the naked eye: a negative image of the face of Christ, that until then had remained undetected. The revelation of the hidden face immediately amplified the mystery surrounding the shroud, as no one was able to account for its existence. At first Pia was accused of manufacturing the image, and the shroud was swiftly returned to the vault in the royal chapel.

Pia’s photographs succeeded in renewing interest in the controversial relic, and paved the way for others to investigate its origins and authenticity. Further photographs were taken in the 1930s, which confirmed, much to the elderly Pia’s relief, that the spectral image of a face was present.

https://www.historychannel.com.au/th...-photographed/

The image on the shroud, which had been around for hundreds of years, wasn't one time hypothesized to be a negative image, rather than a positive image, until the end of the 19th century when a photographer happened to notice that the image on his photographic negative was in fact a positive image meaning that the shroud itself was a negative image.

This discovery renewed interest, argumentation, experimentation, theorizing, scientifically, Jewishly, and Christianly, even atheists and agnostic scientists got into the act, and yet in all this, even after it was discovered the shroud was a negative image, seemingly created by some strange, unknown, process, no one, not one person, noticed the most obvious relationship between the cloth, the purported image on the cloth, and the fact that he was said, in the Gospels, to be the final scapegoat for mankind's sins, such that his blood, the crimson on the cloth, was the ransom for mankind's sins, and the redeeming elixir that must, for the parallels to hold true, turn white at his death.

Even after the first photograph of the shroud revealed it to be a negative image, not even one scientifically oriented thinker, Jewish, Christian, or otherwise noticed that if the blood on the photographic negative is a positive image, like the rest of the image, then there's a huge anomaly since the blood on the photographic negative (which made the image on the shroud positive) was in fact, and it is factual, "white as snow."