Jaques De Molay and the Shroud of Turin
The deception of the Shroud of Turin

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The image on the Shroud of Turin is not Jesus

For years opponents of the Shroud's authenticity have been proclaiming that the image was a painting (McCrone) or a rubbing (Joe Nickell). The argument of this book presupposes that the image on the Shroud is not a painting and, in fact, is that of an actual human body: considerable admissions from the sindonoclast camp. It is a position that concedes that no ancient artistic technique is known by which the anatomically correct human figure on the Turin Shroud could have been manufactured. It accepts that the Shroud fits no medieval artistic genre or style. The Shroud's image is very faint, superficial (it is known that the image on the Turin Shroud resides only on the peaks of the fibers) and lacks artists' pigments and brush strokes. (See Isabel Piczek's article [on his website], "Is The Shroud of Turin a Painting?", demolishing the notion of the Shroud as a painting.)

Written by Lynn Picknett and Clive Prince, the title of this book asks "In Whose Image?" The authors provide an answer: Leonardo da Vinci was genius enough to have created it. On this point it is difficult to disagree, judging from the work of Leonardo and Vasari's high praise of his genius. Leonardo's notebooks have revealed an incredibly fertile scientific curiosity and creativity. All would agree in a casual way that IF anyone could have invented a rudimentary method of photography in the Renaissance, he is a plausible candidate. They go further: Only Leonardo could have done it. Other artists are known to have studied anatomy, experimented with sfumato technique, and, as alchemists, worked with vegetal and mineral chemicals. The authors' next conclusion is one that does not follow by the rules of logic or history: Because Leonardo could have done it, therefore he DID do it. He did it, moreover, not by any method of conventional art, but by means of photography, and the Shroud is proof of it.

Shroud "politics" aside, Leonardo as author of the Shroud is a wonderfully exciting, if sensationalist, idea. It draws strength from the science of radiocarbon (C14) dating, which in 1988 proclaimed, with 95% certainty, that the Shroud was produced in the late Middle Ages between 1260 and 1390. Sadly for the premise of his book, Leonardo was not born until 1452 (died 1519). The C14 labs, however, also reinforce the message of confidence in their dates by adding that they are 99.9% certain the Shroud was produced between 1000 and 1500, making it chronologically possible for Leonardo to have made it.

Another author says, "Enter Leonardo. Around this time there may have been great pressure on the owners of the shroud, the Duke's of Savoy, by the church and its followers to prove that what they were claiming to be the "cloth of Christ" was authentic, or at least to let them take a good look at what they had, and determine for themselves whether or not it was the real deal and not just some cheap mock-up to fool the masses. If it was the real McCoy as was claimed, then the church may have wanted to use it as a tool to attract more followers and to convert the wretched. It is at this point they may have decided they needed to come up with a cloth that would pass even the closest examination, at least in that way if it were found to be a forgery, they could save face and at the very least claim they had been duped also. To pull this off, they knew they would need the help of somebody who not only had creative qualities but also somebody with vast scientific knowledge as well. Some one who may not be one hundred percent on board with all the church was offering at the time. There is only one person who seems to fit the bill, that being Leonardo da Vinci."

It appears the timing could have fell into place and as my discovery in "The Last Supper" confirms, the desire and willingness of Leonardo to pull something over on the church was there, the only things missing are the connection between Leonardo and the owners of the shroud and the proof that the technical ability to create such a convincing fake was available at the time. As it turns out there does appear to be some evidence that a connection did exist and that Leonardo did have the technical know how. According some of Leonardo's own writings, found in one of his notebooks believed to have been written in the 1490's, he makes mention of trips he took where he had visited the Savoy's. Not only this, but according to historical documents one of his later employers Guiliano de Medici apparently married a member of the Savoy family. Also in his notebooks there are detailed drawings and notes on how to build what Leonardo referred to as a camera obscura. Some experts in the field of photo imaging believe that by using such a device Leonardo may have been able to "photograph" or "burn" the image onto the cloth we now know as the Shroud of Turin. This technique has actually been reproduced with remarkably similar results. Even the same "errors" that are apparent on the cloth (the head to small and the rear view being larger than the frontal view) were all easily reproduced, providing further proof that this was the method used.

This only leaves one question left to be answered, that being did Leonardo in some way leave his signature behind? Some sort of mark to state "Leonardo was here". Knowing now all I have come to know about Leonardo, I am convinced that this would have been something of great importance to him. Why create a great masterpiece never to receive the credit for the accomplishment? This fact leads me to believe there is something more here than meets the eye. Maybe something in the positioning of the arms or the proportions of the body. Something that is right in front of our noses if we only knew what it was we were looking for. Leonardo was a perfectionist to a fault. As I have proven with The Last Supper, if something looks out of place, Leonardo more likely than not, meant for it to be out of place. Why are there so many obvious "errors" in this image? Is Leonardo once again leading us in the direction he has cleverly mapped out for those willing to follow? Is he once again trying to tell the story that he had to "hush" when he was alive? Let's consider the possibilities. Could Leonardo have used the body proportions from his rendering of the Vitruvian Man as his way of saying "Leonardo was here".
see De Vinci Take note that this person is trying to debunk the theory in the book.

If this is the case, then who is the model for the face? I’ve read a theory that Leonardo used his own likeness for the face of Jesus on the shroud. To prove whether this was true or not I decided to use the same technique I used in comparing the bodies, I compared Leonardo’s only known self-portrait with the face on the shroud. This made a lot of sense, since it just so happens that the previous owners of the shroud (the Savoy’s) also owned this portrait. In fact both works happen to be stored at the same place in Turin. So I was quite surprised when the comparison came up with negative results. I felt for certain anybody making such a claim would have already made this same comparison, but what do I know? Anyhow, that would have been too easy in the first place and Leonardo was much too clever to be that conspicuous.

There was one face though, out of the hundreds I tried, that matched -up almost perfectly with every facial feature visible on the shroud, the face just so happened to belong to a contemporary of LDV's by the name of Michelangelo.

Things we know for certain:

1) The image on the cloth was not created from direct contact with a corpse (or other 3 dimensional objects such as a sculpture or carving) and the subsequent transfer of oils, sweat, bacteria, or fungus onto its surface.

Even though, many of theories have centered around this being a viable solution, and many extensive proposals have been written detailing exactly how these processes might have taken place, there has yet to be offered for proof, one convincing demonstration of this effect. This fact is due to one overwhelming and insurmountable problem, any contact transfer from a 3 dimensional object onto a 2 dimensional surface is going to demonstrate what is known as a "global effect". This effect cannot be overcome no matter how neat and careful a cloth is placed over the object and makes no difference as to the type of medium used to facilitate the transfer. This is such a major hurdle that we do not, as much, have to even take into consideration the other problems that wrapping a cloth this size, over a dead body, would create. Problems such as, an abundance of smearing and smudging of blood, bodily excretions, and burial preparation oils, perfumes and ointments and the inevitable wrinkling of the cloth, which would leave behind far more distortions to the final image then can be realistically overlooked. Simply put, this is not an option and anyone contending otherwise should most likely stay away from any type of real estate purchases they may be considering in the near future.

2) The image on the cloth was not created by an internal "burst" of energy, emanating from a 3 dimensional object, causing superficial burns of some sort onto the surface of the cloth.

Although the image certainly shows every indication of having been "burned" onto the cloth, the problem with this theory is as follows, there is no method by which this energy burst can be focused. There is no reason at all for this proposed supernatural energy force to radiate only straight up and straight down, and certainly there is nothing to stop it from going off in every direction all at once. Yes, objects closer to the cloth would no doubt, show up stronger, but objects further away would not just appear fainter, they would appear magnified as well. This is due to the fact that energy radiating out in every direction, is going to fan out. The greater the distance between the source and the capturing medium, the larger and more spread-out the resulting image will be. This would create an image that is extremely blurry and almost entirely unrecognizable. Then there is still the same problems as mentioned previously, concerning the cloth having to be laid out over and around a 3 dimensional object in an impossibly straight and un-bunched and unwrinkled fashion. Not something that could be done in a lab environment, much less a small dark tomb. If this were in fact a divine creation, which is the only explanation (if we are to believe it to be authentic), left by Christ as a sort of souvenir in commemoration of his death and resurrection, then I for one would expect, at the very least, a full color photograph. Not just some hard to see, easily destroyable, faint negative image on a piece of flimsy cloth. After all, we are talking about the force that created the heavens and the earth with all its minute details and unimaginable vastness. A 3-D hologram would have been a piece of cake in comparison, so why not something a little more definitive?

3) The image on the cloth was not created by gasses, fumes or vapors emanating from a decomposing corpse or in combination of that and the presence of various chemicals placed on the corpse during the burial preparation process.

This is by far the most unlikely of all the possible solutions to date. Not only would it be impossible for these gasses and vapors to be released in a precise, at all focused manner, they would have a tendency to pool in high spots and also create flow patterns. Then, once again, there’s still the problem related to a globe effect. This theory is utterly ridiculous and should have been dispensed of shortly after its first consideration. Read the rest...see the link above.

The image was made by a person who was NOT dead.

Jaques de Molay Other researchers say the image on the shroud is Jacques De Molay, Grand master and the Knight Templar that was burned at the stake by King Philip of France in 1325AD. The image on the shroud has been used for centuries as the subject of many paintings of Jesus when it is not he they look at, it is DeMolay. Studies of the Shroud of Turin! The features of de Molay's body were etched onto the cloth by the lactic acid from the free-flowing blood, reacting with the frankincense used as a whitening agent, which was rich in calcium carbonate. DeMolay was not dead when the shroud was laid over him. It was done to mock the death of Jesus, which included the placement of a crown of thorns on his head.

Carefull study the image. Can you see that it is the image of an 'older' man? Jacques was 70 years old when this happened. But Leonardo was this age too. Then look at the image below left, it was created from the actual shroud image enhancing the face to look like a younger man. The religious fanatics will do anything to prove their FALSE point about the shroud!

Nobody really knows what Jesus really looked like but we have a few images to spark your curiosity..
The many faces of Jesus

Although historically there is little if any record of exactly how de Molay was tortured, very shortly after his arrest France's Grand Inquisitor Guillaume Imbert put him through a blow-by-blow re-enactment of Jesus's crucifixion. First he was scourged. Then a crown of thorns was thrust on his head. Then nails were hammered into his wrists and feet, pinning him to 'a roughly assembled cross', or a large barn door on which he was hung in agony for several hours. Brought down alive, a knife was then thrust into his side 'not deep enough to cause life-threatening damage but sufficient to complete the deliberate re-enactment of the suffering of the 'son of God'.

Finally the Grand Inquisitor apparently thought of 'one more amusing twist' to this scenario.

[Guillaume Imbert] has de Molay placed on the very burial shroud that Molay used to mock the Messiah. As the torturers laid him face upwards on the cloth and the excess section is lifted over his head to cover the front of his body, Imbert cannot resist a final quotation from the story of the Passion: 'And when Joseph had taken the body, he wrapped it in a clean linen cloth.' Patting the shroud around the desperately damaged body, Imbert suggests that the barely conscious man might care to raise himself, if he feels as important as the true Christ.

Jesus This is how the Turin Shroud was created. This theory proports that its image is neither of Jesus, nor of Leonardo da Vinci, but of Jacques de Molay - the Templar Grand Master, who died alongside the Templar Geoffrey de Charney in 1325. De Molay' was revived from his crucifixion (necessary because historically he was publicly burnt at the stake with Geoffrey de Charney), and then the image-bearing cloth that he had so involuntarily created: ... travelled ... to the home of Geoffrey de Charney, where it was washed, folded up, and placed in a drawer. Exactly fifty years later, in 1357, this fourteen-foot-long piece of linen was taken out of store and put on public display in Livey. The long nose, the hair beyond shoulder-length with a centre parting, the full beard that forked at its base, and the fit-looking six-foot frame all perfectly match the known image of the last Grand Master of the Knights Templar. The Carbon dating found the correct date in the 13th century. ( 1325 was the date Jacques was burned at the stake )
If the image is Not DeMolay it is certainly someone who IS ALIVE.

The other side of the 'coin'. "The Pope ordered Geoffrey and his family to remain perpetually silent on the subject of how the cloth had been acquired and, on that specific condition, authorized the exhibitions of the Shroud which were held in Lirey during the 1350's. Geoffrey, ever the perfect knight and obedient servant of king and Church, would have dutifully complied with the Pope's directive and would have never publicly spoken of how he had come into possession of the relic, thereby keeping the information secure among himself, his wife, and their son, Geoffrey II".

It has been argued that, for at least one hundred and fifty years after the Resurrection, the cloth was in the possession of Carpocratian Gnostics before being brought to Edessa, during the reign of Abgar the Great (177-212 A.D.), and remained there, in the possession of Gnostics, for an additional lengthy period.

Was The Shroud In Languedoc During The Missing Years ? Shroud, by Jack Markwardt

This image is generated by computer using the actual shroud and its impressions. This is not a young man.
More info on DeMolay from Dryfoo.. JACQUES DE MOLAY -- AN UNKNOWN PAINTING AND ITS STORY "This thoughts is said to originate from the old secret Society of the Essene´s from whom they also is said to have arrived to the Swedish Order of Freemasons through The Knights Templar.

The Perdiction & Prophesy


The arrest of all Knights Templar and the confiscation of all their properties took place in France, Friday, 13th October 1307, all over France at the same time, by a circulated secret order from the King of France, which has influenced on peoples fear for Friday the 13th. Another reason for the fear of number 13 is the following last statement and prophesy, made by the Grand Master of the Order of the Knights Templar, Jacques de Molay, in the presence of his judges, when the flames of the stake reached him and it started burning in his clothes:
"Here you see innocent people die".
"I am calling you, King Philip IV of France ".
"I am calling you, Pope Clemens V".
"I am calling you, Prime Minister Guillaume de Nogaret".
"To appear within one year before the court of GOD to receive your fair penalty. - Damned, damned, be all your generations -damned until your 13th generation."
Thereafter he felt dead down in the glowing ashes of the stake with the arm and his forefinger pointing right up to the Heaven of the Almighty God.

The Knights were cleared of 'devil worship' by Pope Clement over 800 years ago!. Why didn't the Vatican reveal this?
That's Right! So nobody would believe the Knights real story or the Freemasons!

The document called the Chinon parchment, reveals for the first time the conspiricy of the church and King Philip to get at the Templar holdings. The parchment is dated Chinon, 1308 August 17th - 20th and the Vatican keeps an authentic copy with reference number Archivum Arcis Armarium D 218, the original having the number D 217. Dr. Barbara Frale found a copy of the parchment in the Vatican Secret Archives. Frale has published her discoveries in the Journal of Medieval History and wrote a book on the subject, Il papato e il processo ai templari, 2004. In October 2007, the Vatican announced that they would release the Chinon Parchment in published form, after 700 years.
see The actual parchment.

From the parchment; "The French monarchy reacted by triggering a true blackmail mechanism, which then urged Clement V to reach the ambiguous compromise ratified during the Council of Vienne in 1312: unable to oppose himself to the will of the King of France, Phillip the Fair, who imposed the elimination of the Templars, the pope removed the order from the reality of that period, without condemning or abolishing it, but isolating it in a sort of “hibernation”, thanks to a clever device of the canon law. After explicitly declaring that the trial did not prove the charge of heresy, Clement V suspended the Templar Order by means of a non definitive sentence, imposed by the necessity to avoid a serious danger to the Church that banned them, under penalty of excommunication, to use such name or their distinctive symbols."

This sign is used by Leonardo da Vinci in his big painting of the Holy Communion in the St. Marie dele Grazie in Milan, Italy. In this painting, as illustrated below, the Marshal of the Castle of the Knights Templar, is also doing the same sign to the Highest, Almighty Judge of Justice. The Holy Communion painting is based on a statement of Jesus: One of you shall betray me". - This painting, as illustrated, is based on a similar statement: "We are innocent". The people of Paris thought that this prediction also had power on them and their coming relatives and therefore this fear for the number 13 started spreading all over the world, also when the French emigrants took it with them to the new country, USA. - But the prediction was not directed to them and not valid for them. Just for the King of France, the Pope and the Pime Minister and their future families in thirteen generations.

The King felt down from his horse and died before the year was through. The Pope got an intestinal obstruction and died before the year was through and the Prime Minister hanged himself before the year was through. Their families are reported to have lived unhappy. This prediction or prophesyon the flames, just before the physical life burned out, was not a physical judgment, legislated by governmental or religious official judges, but a spiritual, heavenly prophesy that could only reach fulfilment if it was true and correct that the Order was innocent. This is the fantastic, incorruptible law of God, having its ground stone in 1 Cor 14:1, and it can be referred too when it comes to the innocence of the banned Knights Templar . If such a prediction or prophesy is not true and correct, which in the Grand Master's case means innocence it will incorruptibly turn back to the sender and be valid for the sender, not only in this lifetime but also in the next. The author of this paper can understand spiritually that the Grand Master owned the gift of prophesy as per 1 Cor 14:1. As his prediction or prophesy was fulfilled, proves the innocence.

Otherwise the prophesy should have hade no effect on the three persons and their families, involved. This is for the author the spiritual proof of the innocence of the Order that can be confirmed by God-conscious people. No other physical claim can be regarded as so important as this spiritually incorruptible law of God. Physical proves but denied, a guilt declaration under physical torture, now in our age regarded as a crime against human rights, power or bans by human officials, has no effect at all on the law of God. This is the knowledge that the Knight Templars left to us succeeding Christian generations and Freemason Brothers to try to understand. Their declared innocence, bid of defiance despite of death penalty can also be compared withMatt 16:19as to the guilt of the official judges, who paid the penalty partly in this lifetime, by loss of the physical life. This spiritual law from Jesus is also called the law of karma in other religions, and it is claimed by many researchers that the Knights Templar learned to understand this law during their stay in Jerusalem.

The gift of prophesy and its dangerous, incorruptible consequences if misused, might change the history of the Knights Templar positively in the future.

"The Grand Master of the Order proved the power of the thoughts by lifting the arm from the red-hot ashes giving the forefinger sign up to the Kingdom of the Almighty God. It proves to the author of this paper that the Order was loyal and faithful to the Church and with a spiritual consciousness, higher then the official leaders of the time regarding the innocent Master, to whose memory and protection the Order was founded and individual Monk-oath sworn, namely Jesus from Nazareth."

Another secret book

Johannes of Jerusalem; Fragment from the study of spherical oscillations and different forms of the energy (this fragment proven that Johnannes of Jerusalem with the atlantidischen Aubacca generator was familiar and with it exact data concerning the individual parts of this energy production plant and its functioning are.)

Translated from the Latin original text:

There are three kinds of forces, which move everything: the tellurische, the astrale and the cosmos through-breaking. These three generate that age-old energy, which the Atlantiden Aubacca called, in equal parts as pulsating wave. This was well-known the priests of Atlantis without each doubt. While many years have they, by using a cave as it were as source, this energy produces and the 23 cities supplied. After the invention of the Rades many Atlantiden succumbed to the travel fever and the Aubacca energy fallow from the cave out and destroyed them. Therefore Atlantis sank also in the ocean. The cave was as it were a furnace. In it there were six oblong more?Eier? of a diameter of **** one?? high golden? Truhe?****** durch (or: in) eine(r) metallic?Brandung? (?Aufwallung??) *** rhythmically in a Intervall***fuenf foot on the left of waves ***(German web site)

"It is claimed that this book, known of very few, (one confiscated copy, from the Order of Knights Templar property, is claimed to be stocked in the Vatican), become one of the reasons for the ban of the Knights Templar as Johannes of Jerusalem here, before Nostradamus, predicted in prophecy about the centre of the world, to be opposite to the opinion of the Church at the time".

What we derived from this is that the church changed it's opinion on this religion ( true followers of Christ ) sometime between the 3rd century AD and the legal existance of the knights and the execution of them. As noted by the prophecy of Nostradamus, there was a difference of opinion. What we also see is that the Essenes had much to do with the original belief of the Knights and true 'secret' life of Jesus. The 'difference of opinion' is what leads us to the writing of this page and the others we have presented. We suspect that the 'book' held in the Vatican Library contains a secret that will destroy the church at it's very roots.


In Judaic type mysticism, taking the form of a search for God and an experience of divinity, esotericism is fundamentally based upon the law of correspondence with the objective of finding symbolic relations between the divine and the earthly, the transcendent and the immanent, the visible and the invisible, man and the universe, through the use of analogies. The passage from one dimension to another takes the form of initiation ceremonies, simulations and magic type rituals in which a neophyte is given the secret of transmutation, agrees to be a member of the group of his fellows and gains access to a higher spiritual level.

Many are wondering, "What is a LOGOS"

PHILO JUDAEUS, also Philo of Alexandria (c. 20 BC-AD 50), Jewish-Hellenistic philosopher; although considered the greatest Jewish philosopher of his age, he appropriated so completely the doctrines of Greek philosophy that he must be considered also a Greek philosopher who combined the elements borrowed from various sources into an original unity. Philo was born in Alexandria, Egypt, to a wealthy, aristocratic Jewish family and received a thorough education in the Old Testament and in Greek literature and philosophy. He had an intimate knowledge of the works of Homer and of the Greek tragedians, but his chief studies were in Greek philosophy, especially the teachings of the Pythagoreans, Plato, and the Stoics.

To Philo the divinity of the Jewish law was the basis and test of all true philosophy. He maintained that the greater part of the Pentateuch, in both its historical and legal portions, could be explained allegorically, and that its deepest and truest significance is to be found through such interpretation. He conceived of God as a being without attributes, better than virtue and knowledge, better than the beautiful and the good, a being so exalted above the world that an intermediate class of beings is required to establish a point of contact between him and the world. These beings he found in the spiritual world of ideas-not merely ideas in the Platonic sense, but real, active powers, surrounding God as a number of attendant beings. All these intermediate powers are known as the Logos, the divine image in which persons are created and through which they participate in the deity. An individual's duties consist of veneration of God and love and righteousness toward others. Humans are immortal by reason of their heavenly nature, but just as degrees in this divine nature exist, degrees of immortality also exist. Mere living after death, common to all humanity, differs from the future existence of the perfect souls, for whom paradise is oneness with God.

Many of the numerous extant works of Philo are concerned with the exposition and allegorical interpretation of Genesis and with the exposition of the Law of Moses for Gentiles. His other writings include biographies of biblical characters and a series of works on the Ten Commandments. The selection below describes the pre-Christian ascetics of Egypt. lt is important because it shows that asceticism was common in the deserts of Egypt even before the Christian monks and thus by no means peculiarly Christian. Philo

Pagan and Christian Gnostics call the one consciousness in all of us 'The Logos'. The Gospel of John equates Jesus with the Logos that is 'the true light which illuminates everyone who comes into the world'. Hermes Trimegistus explains;
'That in you which sees and hears is the Logos of the Lord. It is the Consciousness of God the Father'.

"The Word"

"IN the beginning was the Word, and the Word was with God, and the Word was God." (John i. 1.) The doctrine of the divine creative word (from the Greek Logos) appears to have been coeval in its origin with that of the Trinity, if not inseparably connected with it, as it constitutes the second member of the Trinity of "Father, Word, and Holy Ghost" in most of the ancient systems of religion. Works on heathen mythology show that it was anciently a very prevalent custom to personify ideas, thoughts and words into angels and Gods. Words were first personated, and transformed into men, then into angels, and finally into Gods.

And here is foreshadowed the origin of John's personification of "the Word made flesh." It was simply the word of the supreme God as it escaped from his mouth, assuming the form and characteristics of a divine being like himself, and taking position as a secondary God and second member of the Trinity. This was the orient conception, and it appears to have been John's. He evidently had no thought of Christ experiencing human birth, at first, or being born of a woman, but believed, like some of the orientalists, that he came out of the mouth of the Father, and was thus "made flesh." (John i. 2.) Not a word of Christ being born is found in John's Gospel, not until after his existence, is the 'Word' spoken of.

John also represents the Word as having been the Creator. "All things were made by him." (John i. 3.) And Peter declares, "By the word of God the heavens were of old." (2 iii. 5.) Now, let it be observed here, as a notable circumstance, that the Chinese bible, much older than the Christian's New Testament, likewise declares, "God pronounced the primeval Word, and his own eternal and glorious abode sprang into existence. " Mr. Guizot, in a note on Gibbon's work, says, "According to the Zend-Avesta (the Persian bible, more than three thousand years old), it is by the Word, more ancient than the world, that Ormuzd created the universe."

In like manner the sacred writings of the ancient Tibetans speak of "the Word which produced the world" -- an exact counterpart to John's declaration, "All things were made by him." And the ancient Greek writer Amelias speaking of the God Mercury, says, "And this plainly was the Logos (the Word), by whom all things were made, he being himself eternal, as Heraclitus would say, ... He assumed to be with God, and to be God, and in him everything that was made, has its life and being, who, descending into body, and putting on flesh, took the appearance of a man, though still retaining the majesty of his nature. Here is "the Word made flesh" set forth in most explicit terms. The Psalmist exclaims, "By the Word of God were the heavens made, and all the host of them by the Breath of his mouth." (Ps. xxxiii. 6.) Here is disclosed not only the conception of the Word as Creator, but also the Word and the Breath as synonymous terms, both of which conceptions oriental history amply proves to be of heathen derivation.

It was anciently believed that the Word and Breath of God were the same, and possessed a vitalizing power, which, as they issued from his mouth, might be transformed into another being known as a secondary God. Both the Jews and the Christians seem to have inherited this belief, as evinced by the foregoing quotations from their bible. The most ancient tradition taught that the Word emanated from the mouth of the principal God, and "became flesh," that is, took form, as the ancient Brahmins expressed it, for the special purpose of serving as agent in the work of creation, that is, to become the creator of the external universe. St. John evidently borrowed this idea. Read his first chapter.

The pre-existence or previous existence of the Word, antecedent to the date of its metamorphosis into the human form, we find taught in several of the ancient systems of religion, as well as the more modern Christian system. Several texts in the Christian New Testament set forth the doctrine quite explicitly. Christ, as the Divine Word, declared, "Before Abraham was I am," and that he had an existence with the Father before the foundation of the world, etc., which is a distinct avowal of the doctrine of preexistence.

But oriental history proves the doctrine is much older than Christianity.
The Hindo very anciently taught that "the Word had existed with God from all eternity, and when spoken it became a glorious form, the aggregate embodiment of all the divine ideas, and performed the work of creation." And of Chrishna, it is affirmed that "while upon the earth he existed also in heaven." (See Baghavat Gita.)

In like manner it is declared of an Egyptian God, that "though he was born into the world, he existed with his father God before the world was made." And parallel to this is the statement of the Chinese bible, that "though the Holy Word (Chang-si) will be born upon the earth, yet he existed before anything was made." Even for Pythagoras it was claimed he existed in heaven before he was born upon the earth. Mr. Higgins, in summing up the matter, declares, "All the old religions believed the world was created by the Word, and that this Word existed before creation" (Ana., vol. ii. p. 77), which clearly indicates the source of St. John's creative Word.

In most cases the living Divine Word was known by different names and titles, prior to the era of its assuming the mortal form, from that by which it was known after its fleshly investment.

Among the ancient Persians, the name for the divine spiritual Word was Hanover. After its human birth, it was called Mithra the Mediator." The Hindoo oriental term for the primeval Word was Om, or Aum. After assuming its most important incarnate form, it was known as Chrishna. The Chinese Holy Interior Word was Omi-to, and its principal incarnation was Chang-ti or Ti-enti. The Japanese also proclaimed their belief in a Divine Word before the Christian era, which, in their language, was Amina. They taught, like John, that it came forth from the mouth of the Supreme God (Brahm) to perform the work of creation, after which, it was known as Sakia. And that popular Christian writer, Mr. Milman, informs us that the Jewish founders of Christianity believed in an original Divine Word, which they call Memra. When it descended to the earth, and "became flesh, and dwelt amongst us" (John i. 4.) according to the evangelist John, it was known as Jesus Christ. Mr. Milman states also, that "the appellation to the Word is found in the Indian (Hindoo), Persian, the Platonic, and the Alexandrian systems." (Hist. of Chr., Book I., Chap. 2.)

"The Word." "the Holy Word," "the Divine Word," etc., are terms now frequently applied to the Christian bible, without any suspicion of their heathen origin. The Zend-Avesta, the Persian bible, was always called "The Living Word of God," for that is the meaning of the term Zend-Avesta, and the oldest bible in the world is the Vedas, and it means both Word and Wisdom. Om, the Egyptian's Holy Word, they frequently applied both to their incarnate Gods and to their sacred writings.

The practice of calling bibles "The Word of God" originated from the belief that, when the incarnate 'Word' left the earth and returned to heaven, he infused a portion of his living spirits into the divine writings which contained his history and his doctrines, and which be himself had prompted his disciples to write as his "Last Revelation to man." They then must contain a portion of him, i.e., a portion of the Holy Word -- hence, both were called "The Holy Word."

And this heathen custom Christians borrowed.

The motive which prompted a belief in the creative Word may be styled a theological necessity. It was believed that the principal God, like the rulers of earth, was too aristocratic to labor with his own hands. Hence, another God was originated to perform the work of creation, and called "The Word."

Continued on Shroud page 2

The Stoning of James The Knights Templar
John the Baptist The Real Jesus
The Real Jesus 2 The Dead Sea Scrolls
Christ's mission Jesus, Mary Madgalene and the Truth
Site Map Page Moses
The Gnostic Teachings The False Church of Rome
The Lies Of Paul The Marriage of Jesus and Mary
The World's Sixteen Crucified Saviors Forbidden Knowledge Forward

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