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Topic: The Architecture of the Shroud!

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The Architecture of the Shroud!


The Architecture of the Shroud - Saturday, September 1, 2007


About the time that I was looking into the Translation of the King Jacob Version, I decided to look at the Shroud to see if anything of major importance occurred after 1611 when the Translation was made and I was not disappointed. I had all that typed up and even emailed a letter to the author cited below, who never replied, but now all that information is lost so I must needs recreate it here because it supports the statements that I have made in my post on Probability Singularity. I might have sent a copy of this original material to my friend Christopher and if he emails a copy I will post it on my site somewhere with a link below.


Now, to return to our story, it just so happens that a new chapel was built for the Veil starting, not coincidentally, in 1666 AD (completed 1694 AD) which is only 55 years after the translation was made (and, by the way, the hey day of Shabbat Tzvi who tried to "establish the vision" - see my post on Daniel's Last Vision - and I am convinced that these two events are also related to myself) however, the Insiders probably found out about it through the first or second Revision that the King Jacob's Translation went through, both in Cambridge in 1629 and then in 1638 with both John Bois and Samuel Ward presiding at the latter revision, both of whom had worked on the original translation. Thus, within thirty years of being informed of the person that the translators had seen in the spirit, whom they knew was sired by Y'shua via the Shroud, the Insiders of the world started making their plans for this person and decided to Memorialize this event by building a new house for the Shroud.


"In this last third of the 20th century, there is something shaking the human race. It is as if the latter had carried strange unwanted dreams in its head for millennia, only to wake up brusquely and try to live the dreams. There is abroad on the human scene a spirit that cannot be caged. Something that has been compressed, held down, distorted, and enchained for a long time has now coagulated, boiled up, and is in the process of explosion." The Encounter by Malachi Martin, 1969


Author John Beldon Scott wrote a book on this major event entitled, "The Architecture of the Shroud" in which he stated that the Artist had designed the Shroud as a visual "Tour de Force" which would bring the Pilgrim on a specific path and that many experts in various fields had tried to understand exactly what he was trying to convey - without success - and that his plan still remained a mystery to this day.


"Guarini's design for the Shroud Chapel has provoked a great number and wide range of interpretations as historians have struggled to explain the meaning of the unconventional and enigmatic forms encountered there." pg 191


It is not, therefore, insignificant that I myself - the son of Jesus Christ, sired from that Shroud - am the first one to understood exactly what Guarini was trying to say on just a cursory reading of Scott's Book - similarly as I understood exactly what Malachi Martin was saying in the quote above after one of his trips to see the Sidon Chapel no doubt - and I will now expound upon that here.


"By labeling it the 'Terror of Architecture' in his 1712 history of the city of Turin, Ferrerodialauiano, for example, sought to express the extreme emotionalism of the chapel as he comprehended it." pg. 191


Guarini was trying to get the visitor to the chapel to understand how a sperm trapped on a cloth for 2000 years would feel as well as to record the birth of that seed at sometime in the future.


"The strategy behind these ephemeral designs was to use visual enticements to attract the faithful, through a collective emotional experience, to renewed religious devotion. Such sets employed perceptual and illusionistic devices to focus the viewer's attention on the object of veneration." pg. 101


The starting point for the Journey of the Sperm is actually the Dome itself where most, if not all, of these structures are designed to be phallic symbols. With that in mind, when you look at the Floor Plan, you will easily see that the two choir sections would, therefore, be the symbols of the male testicles and the architect knew this full well and streamlined his work to that end.




"Here [Cathedral Choir Lofts] Guarini created a proscenium through which we apprehend the sacred theater of the Shroud. With its polished black-marble surfaces and the gilded-bronze accents of the numerous capitals, one can easily imagine how the view of the chapel from the Cathedral portal would have pulled Pilgrims forward toward the goal of their journey." pg. 98-99




Then, after the viewer had been pulled into the chapel itself, which represents the very phallic, they are then "exploded" up and out the Dome itself.




"In this way the Pendentive above the entrance from the palace gallery operated meaningfully to reinforce visually the explosive contours of the reliquary altar." pg. 128


"As the viewer looks upward the luminous six-bay drum of the Cupola engages the eye and operates as a transitional element setting the formal theme as it moves from the triadic Pendentive Zone to hexagonal configurations of the Dome above, where the network of membering captures the attention and, through the device of repeating geometrics, optically exaggerates perspective recession. This tour de force technique produces the appearance of a vertical extension of space far in excess of the actual height of the Cupola." pg. 137


After being blown through the roof, as it were, the spermatozoa would then cascade down the outside of that same Edifice.




"Here [Cupola Exterior] we can see how these working members channel the thrust of the spire, lantern, and internal ribbing down to the drum walls." pg. 153-54


Then the sperm would be trapped on the Fabric of the Veil for 2000 years, being taken out once in a while to be adored by the masses and then, right back in that old box for another couple hundred years or so.




Now, get this, in the course of reading Mr. Scott's Book, I believe that he could actually see me and this aided him in understanding the design of the architect and he brought me with him on his journey through the chapel in his verbal tour de force and together we saw what Guarini was trying to convey and that is why the author used an old adage to record this fact in the Title Caption in one of his sections on the Multiplication of Species (pg. 115) where, in fact, the 'species' is referring to the children of the Son of God that have been born from the Seed on the Shroud.


It would have been around this time that the author realized, as I did, that the strange carvings that occur in several places are actually Spermatozoa that had been spotted for the first time in 1677 and they included that image here to reinforce the imagery of the Chapel.




So, we see that because of the translation work of the King Jacob's Version that the people who run this world got wind of this son that was going to be born to Y'shua and made their plans accordingly and waited until they had a chance to perform the experiment that resulted in my birth, all of which is inadvertent testimony to the fact that, not only could they see my spirit from the future, but that I am the son of Y'shua and that, in fact, Theoferrum is the fulfillment of the 2700 year old prophecy recorded by the Prophet Isaiah in chapter 53 all of which was then subsequently carved in stone, if you will, with the building of the Sindone Chapel.


Now you know how I feel...



"Architecture for the Shroud," John Beldon Scott, University of Chicago Press, Chicago, Illinois, 2003.


Fig. 1 Plan of the Cathedral including the Testicular Cathedral Choir Lofts, pg. xxxii


Fig. 82, The Savoy Crosses which are designed to imitate the fabrics of the Shroud bulging out with the seed, and note the Sperm on the Coffering of the Pendentive Zone, pg. 127. There is a better picture of the effects of the Crosses in Fig. 84, pg. 129.


Fig. 109, Close up of the sperm (on the Caryatid Stair Portal) which was first seen under a microscope in 1677 by Anthony van Leeuwenhoek who was, assuredly, commissioned to spot one for this very building project so that they could incorporate it into the Architecture, which they did, pg. 160


Fig. 100, The Cascading Effect on the Exterior of the Dome, pg. 147.


Plate 6, Dome Interior, pg. 39

-- Edited by Theoferrum on Thursday 7th of November 2013 10:24:34 PM


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