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The Shroud of Turin
UPSIDE-DOWN REVERSAL
One of the most mysterious artifacts of our world is the inscrutable Shroud of Turin. Measuring 14 feet 3 inches long and 3 feet 7 inches wide, the Shroud carries a reddish-colored, life-sized imprint of a man who appears to have been nailed to a cross. The top half of the Shroud-the back of the man-is the upside-down reversal of the image on the lower half-the front of the man. When viewed as a photographic negative, these images display the figure and the details and patterns on the cloth in amazing detail.
After the Charney's gave up possession of it, the Shroud eventually went on exhibit in a cathedral built especially for it in Turin, where it has been ever since. In recent years the Shroud has been scientifically tested with state-of-the-art technology to determine how it was created. The "how" of the Shroud has always been of more interest than the "why" of the Shroud. Carbon dating tests indicated that the Shroud was created between 1260 and 1390 AD, no older than the Middle Ages and about the time it came on display.
Perfect in every detail, the Shroud seems to have once wrapped the body of a crucified Palestinian man who was about 35 or 40 years old. The marks on the forehead appear to have been made by a crown of thorns. Nail holes in the feet and wrists are pronounced. Blood stains are seen surrounding the nail wounds in the man's feet and the puncture marks on his head. Blood flowed from the wound in his side and collected under the small of the back. It flowed from his wrist over his forearms to the elbows, exactly as it would have with the arms in the crucified position. He has shoulder abrasions and his face is swollen as the result of facial blows. A Roman flagrum was used on the man, slicing his skin to ribbons and leaving scourge marks. White light pours through the skin from the inside to the outside.
Found on the shroud were specks of pollen from France, northern Italy and the Dead Sea area. Also found were microscopic specks of bone from a Jerusalem cemetery. The material of the Shroud is linen that was commonly used in ancient Palestine for graveclothes. The linen has traces of cotton of a Middle East variety. The weave is herringbone twill, a pattern known to the ancients, and the thread appears to be hand spun, an ancient technique. The threads appear to have been bleached before weaving, also an ancient technique.
The man on the Shroud was given a partial Coptic shroud burial, partial in that the cloth was not wound around his body, as was the usual practice, but was laid over and under him. The shroud burial is an ancient tradition, probably originating with the Osiris sect in Egypt where the linen cloth used for mummification was said by Egyptians to be the proper garment of Osiris.
"Thoth, the Divine Wisdom, clothes the spirit of the Justified a million times in a garment of true linen, of that substance, that is to say, which by its purity and its brilliancy reminds us of the mantles, woven out of rays of light, wherewith the sun enwraps the earth afresh each day as she rotates before him; just as the soul of man is invested with new radiance each time that he turns to the presence of his Creator." (G.R.S. Mead, Thrice-Greatest Hermes)
"Then took they (Joseph of Arimathea and Nicodemus) the body of Jesus, and wound it in linen clothes with the spices, as the manner of the Jews is to bury." (italics the author) Because the cloth was not wound around the man's body, it would seem it was not used for burial."
On the Shroud of Turin, white light is flowing out of the man in all directions. A small beam of light can be seen at the top of his head. A bright light originates from the hole in his left wrist, a hole thought to be a nail wound. Most of the scientists who examined the Shroud concluded that all of the light seen on the Shroud is the inexplicable result of "resurrection radiance" caused by a "burst of radiant heat." More knowledge regarding the Shroud can be gained by comparing it to the Kabala Tree of Life, an artist's portrayal, from the 1st century CE or earlier, of Emanationism, the religious philosophy which states that the world is born or emanated from a Divine source. This dramatically opposes our modern scientific thought, which states that the world was exploded into existence as a random act of mis-creation. It would seem the Shroud and the Tree of Life are similar in both form and function, one teaching that the human is born and the other teaching that the Universe is born.
  At the top of the Shroud are the man's feet, Sphere 1 (S1) on the Tree of Life. At knee level are S2 and S3, molten silver burns made in a 1532 fire and patched in 1534. The man's legs form Vertical 1 (V1). S4 is the hip area of his back, not well marked but hidden. S5 and S6, the burn and patch areas, are near his shoulders. His back and the back of his neck are V4.
The two images of his head, joined by a spherical water stain made when the 1532 fire was doused, are S7. From his shoulders to his elbows are S8 and S9, burn and patch areas. His abdomen and lower torso are V7.
His arms, Diagonal 21 (D21) and D22, descend and cross at his abdomen. His crossed hands are S10. Beside his knees are S11 and S12, burn and patch areas with a water stain between. The vertical lines connecting the burn and patch holes (S2 through S12) are V2, V3, V5, V6, V8 and V9. His legs are V10 and his crossed feet are S13. Horizontal 1 (H1), H2, H3 and H4 are incomplete horizontal lines.
The pattern on the Shroud was over 200 years in the making, with the burn damage occurring in the specific Tree of Life design. The Shroud was created in two separate stages: Central Pillar first (the two images of the man's body), then both outer pillars and outer spheres (burn damage in 1532). The Shroud, bearing the beautiful pattern of a terrible fire, is a cloth repository of abstract concepts presented pictorially. The beauty of life is a lovely pattern created by a fiery Universe. The pattern is what holds us in place in time and keeps us stationary, so that we can enjoy life, have good friends and enjoy peace and calm in the midst of a Universe filled with floating objects and confusion, which we know as the wonders of life, the mysteries of death and the promise of the world to come.
Placed beside the Shroud is a copy of a page from a Coptic Magic Papyrus. The Copts, of the Coptic shroud burial tradition, are the descendants of the ancient Egyptians. Coptic magic is the descendant of ancient Egyptian magic and Moses magic. On the Coptic Magic Papyrus is "Jesus the Fisherman," seen levitating a "sharp-snout" fish. The ancient Egyptian priests of Isis and Osiris declared the "sharp-snout" taboo to eat. They said that the hook was impure that caught the sharp-snout.
Three symbols found on the papyrus are also seen on the Shroud. The damage on the Shroud occurred in such a way as to be identical to coptic magic symbols. One of the symbols is the letter C with a pig's tail, which is under the levitator's right arm. Another is the slant Y, which is several above his head. The last is circle-bar-circle, (sphere-path-sphere), which appears several times. Each occurs once at the top of the Shroud along the plane of hidden Sphere 4. The circles are probably bum marks, and the slant X and the bar of the circle-bar may be fold marks. Below the Coptic magic papyrus is angelic writing, which is similar to the symbolson the papyrus.
In conclusion, the Shroud of Turin displays the alchemization of an exceptional human being into planetary immortal spirit. The Shroud was magically created in memory of the wrongful deaths by burning of those exceptional human beings, the Poor Knights of Christ and the Temple of Solomon, the Knights Templar - the last of the Grail Knights - who designed and financed the building of Chartres Cathedral. The Shroud commemorates the immortality of the souls of the men who burned, while long ago it provided immediate financial relief to the impoverished Charney family, whose family supporter, Knight Templar Geoffrey de Charny, was so wrongly burned. 64 Knights Templar were burned and hundreds were imprisoned for life. Within a year of the burnings, the three men responsible, King Philip IV, Pope Clement V and Minister Nogaret, were dead.
"He that seems unjust, let him be unjust still: and he which is filthy, let him be filthy still: and he that is righteous, let him be righteous still: and he that is holy, let him be holy still. And, behold, I come quickly; and my reward is with me, to give every man according as his work shall be. I am alpha and omega, the beginning and the end, the first and the last. Blessed are they that do his commandments that they may have right to the tree of life, and may enter in through the gates into the city." (Rev. 22:11-14)
Copyright Notice - Disk of the World - Text and images copyrighted March 21, 1993-2023, Claire Grace Watson, B.A., M.S.T., U.S. Copyright and under the Digital Millennium Copyright Act of 1998, All rights reserved.
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The mysterious Shroud of Turin is now housed in the Cathedral of Turin in Northern Italy, where it is closely held and rarely exhibited. It first appeared publicly in France in 1357 AD and belonged to the impoverished Charney family, who never said how they came by it and who charged fee-paying pilgrims to view it. The owner was Geoffrey de Charney, overlord of the French town of Lirey. Charney was the namesake and heir of the Knight Templar Charny, who was the close associate of Jacques de Molay, the last Grand Master of the Templars. When the Knights Templar were burned at the stake as heretics in 1313 (or 1314), Geoffrey de Charny was burned and his property and money were confiscated. Historical records indicate that this early Knight Templar was not in possession of the Shroud during his lifetime.
Those believing the Shroud to be the burial cloth of Jesus will find evidence against it in John 19:40:
Circle-bar-circle is a motif of this angelic writing. The sample of angelic writing included here comes from the Book of (the Archangel) Raziel, Netherlands, 17th C. The Archangel Raziel is Angel of the Secret Regions and of the Supreme Mysteries and an Archangel of the Holy Sephiroth (Vessel or Sphere) in Kabalism. According to Kabalism, each sphere on the Tree of Life is a Holy Sephiroth (vessel). On the Shroud, Raziel is the S2 Aeon, one of the "Primal Creatures who turn their sphere." (The Thunder, Perfect Mind, the Gnostic papyri) Spheres 8 and 9 on the Shroud of Turin are the angelic choirs of Principalities and Archangels. Leading these choirs are the Primal Creatures Haniel and Raphael, two of the Archangels of the Holy Sephiroth who turn their spheres with sound.
Beside these faces of the angelic choir is a design found carved on a menhir (long stone) of a primitive grave near Carnac in Brittany. Both the faces of the choir and the design of the menhir may be the faces of archetypal, living occult entities, as old as time. Is this the Form we take into the material world. Do they represent the supreme archetypal image of the Human face-forms? The Shroud of Turin-Tree of Life appears to be an abstract concept presented pictorially, a representation wherein each sphere-path-sphere is a dimensional level that vibrates in resonance with each other dimensional level and sounds the fundamental harmonic constant of the Universe. In other words, angels singing in tthe celestial choir. They are Symphonia - the harmony of the spheres.
On top of the head of the man on the Shroud is a burst of white light. This burst of light occurs in exactly the same spot as the Crown Chakra on top of the head of a human being, the same chakra that shamans say is the entrance-exit point of power or, in other words, the way in and the way out the Light takes as it enters and exits the physical human body. Below is a drawing of the head on the Shroud, showing the burst of light, and beside it is a drawing of the head of a Hindu man experiencing an opening of the Crown chakra at the top of the head.
In a final footnote to this material, Geoffrey de Charny, the Preceptor of Normandy in Paris, died on March 18, 1314 with such calm and courage that the witnesses spoke of it for years. From The Revelations of St. John the Divine come these words of consolation and comfort for the great loss of the Knights Templar.