Caiaphas Ossuary Symbols Decoded

To date, no one has yet been able to decode the symbol, or the meaning of finding two used (apparently) crucifixion nails with the pair of Caiaphas ossuaries, the lesser-ornate Caiaphas ossuary being the subject of this paper. Nor has anyone been able to decipher the detailed image in the center of the "Yehoseiph Bar Qayapha" Caiaphas ossuary. Various scholars have made a stab at explaining this detail or that detail; and amateurs have done just as well. But no one has developed an explanation of all of the details corroborating a unified theme; until now.

These symbols are obvious to anyone who understands Caiaphas' religious views. I have decoded the symbol and it relates directly to the nails and proves that the traditional view of the rise of Christianity in the 1^st century is mistaken at the most fundamental level and will require a tectonic change in the scholarly view of the emergence of Christianity from among 1^st century Jews.

First of all, let's distinguish between the two ossuaries. All major scholars agree, correctly, that the more ornate ossuary, engraved יהוסף בר קיפא (Y^Əho•seiph′ Bar Qa•yâph•â′), Hellenized to Καιαφας (Kaiaphas; Anglicized to Caiaphas) belonged to "the" Caiaphas who was Ko•hein′ Gâ•dol′ from 18-36 C.E. and delivered Rib′i Y^әho•shu′a over to the Roman governor, Pontius Pilate.

However, the mysterious symbols appear on the lesser-ornate of the two Caiaphas ossuaries, a lesser and later Caiaphas, perhaps a grown son or nephew whose bones were interred therein. We will find that the Caiaphas in this ossuary.

Symbolism of the Lesser-Ornate Caiaphas Ossuary

First, one must never forget for even a moment in the discussion that, like all of this Caiaphas family, is a Hellenist Tz^әdoq•i′ Ko•hein′; a member of the family of the top Jew ruling over the Jews under the Roman governor: the Ko•hein′ Gâ•dol′.

We will discuss this symbol from the bottom up. There is general agreement among scholars, I think, that the base of this symbol represents the Beit ha-Miq•dâsh′. It will be seen that this base represents the Beit ha-Miq•dâsh′ not as one of the succession (first, second or future Y^әkhëz•qeil′) but, rather, encompassing the succession, all three, as one Beit ha-Miq•dâsh′.

There are 4 step-like blocks in the base symbolizing the four major parts of the Beit ha-Miq•dâsh′. The top block represents the Sanctuary, the second block represents the inner court, the third block represents the outer court and the bottom block represents the area within the Soreig.

From atop the Beit ha-Miq•dâsh′ we find the depiction of something like incense smoke–or a Spirit–ascending and leaving it. Because this lesser ossuary likely interred a near descendant of "the" Caiaphas (who, along with several immediate family members, was in the more ornate ossuary), this latter Caiaphas likely died after the destruction of the Beit ha-Miq•dâsh′ ha-Shein•i′ in 70 C.E. Thus, one could make the argument that this depicts the smoke of the destroyed Beit ha-Miq•dâsh′ ha-Shein•i′. However, the base does not depict a destroyed Beit ha-Miq•dâsh′ ha-Shein•i′.

A priori, this is unmistakably the departure of the Sh^әkhin•âh′ witnessed by Y^әkhëz•qeil′ (chapters 10-11).

The smoke-incense-Sh^әkhin•âh′ is seen to comprise five elements as it ascends. 5 is an interesting number in Hellenist numerology (see Jay Kappraff, Connections, The Geometric Bridge between Art and Science). To understand 5, however, we must first understand the numbers 1 through 3. Briefly, 1 represented the Creator, 2 represented masculine, and 3 represented feminine. 5 was understood to be the sum of 2+3 = man.

Keep in mind that Caiaphas was a Hellenist Ko•hein′ Tz^әdoq•i′. We find this theme in the two sets of 5 pillars holding up the lavers in the courtyard of the Beit ha-Miq•dâsh′–for cleansing the Kohan•im′! This is paralled by two sets of 5 M^әnor•ot′ on each side of the Sanctuary—–for illuminating the Kohan•im′—within the Beit ha-Miq•dâsh′. Two sets of 5 equating to two identical men (numerology: 2+3) associated with cleansing and illumination. These two identical men (the incense smoke / Sh^әkhin•âh′) associated with cleansing and illumination (of Hellenist Kohan•im′ Tz^әdoq•im′) extend from the Beit ha-Miq•dâsh′ upward across most of the face of the ossuary to a top assemblage containing other symbols.

The top assemblage consists principally of a M^әnor•âh′ mostly metamorphosed into a laver—for cleansing the Kohan•im′ Tz^әdoq•im′— producing 7 circular or oval objects that have displaced the M^әnor•âh′ (implying the destruction of the Beit ha-Miq•dâsh′ ha-Shein•i′) and representing a newly-hatched replacement in the lifetime of this latter Caiaphas—in the latter decades preceding the destruction of the Beit ha-Miq•dâsh′ (70 C.E.) at the earliest.

Before 70 C.E., the Kohan•im′ Tz^әdoq•im′ assumed themselves, and the Beit ha-Miq•dâsh′ ha-Shein•i′, which was their headquarters, to be the extension of the Beit ha-Miq•dâsh′ hâ-Ri•shon′. They emphatically did not regard the Beit ha-Miq•dâsh′ hâ-Ri•shon′ as the last Beit ha-Miq•dâsh′, eliminating the Beit ha-Miq•dâsh′ ha-Shein•i′—the headquarters of this ruling Ko•hein′Tz^әdoq•im′ Caiaphas family. Thus, the Caiaphas whose bones were interred in this ossuary seems to have lived to see his Beit ha-Miq•dâsh′ ha-Shein•i′ destroyed, after which he developed his post-70 C.E. Hellenist Ko•hein′ Tz^әdoq•i′ theology expressed in these engraved symbols.

It is within the (cleansing) laver that we find the tops of these 7 oval or circular objects. These cannot depict a M^әnor•âh′. They knew well how to depict a M^әnor•âh′ and did so regularly.

These are 7 eggs–of a Hellenist Ko•hein′ Tz^әdoq•i′ and displacing the M^әnor•ot′, 7 newly-hatched entities that expressed the theology of Caiaphas and his Hellenist Tz^әdoq•im′ Kohan•im′ family in the post-70 C.E. era.

Extending from the lip of the laver in each direction (representing all four directions in 2-dimensional depictions) are two spirals, like waves emanating from the 7 eggs. Spirals were used to represent an unfurling motion. Thus, the two spirals represent something rolling, or unfurling, away in all directions to the ends of the frame. But then we would expect to find whatever was rolling away depicted near the end of the frame … and, indeed, we find two discs or wheels at a distance from each spiral, near the top of the ossuary, one near its left edge and the other near its right edge (above the large rosettes), representing the ends of the earth!

These two wheels are peculiar. At first glance, they don't seem particularly peculiar. In fact, each seems to be merely an uninteresting little button decoration; until one notices that the details of the hub of these wheels are not merely missing a chipped-out piece. The hubs are odd and identical, yet at different rolling angles; and that can be no accident. It means something. In Caiaphas' day, wheels were spoked. A priori, these are not wheels. Note that each hub is notched to accept a grooved handle—to turn the disc without slipping. These are two scrolls going out into the ends of the earth!

This is the most likely point to get off track. Since the first Christian "New Testament" didn't come into existence until 3 centuries later, this cannot depict the "Old" and "New" "Testaments."

Though a Hellenist whose Beit ha-Miq•dâsh′ has been destroyed, Caiaphas was still a Ko•hein′ Tz^әdoq•i′ and, accordingly, these two scrolls represent Tor•âh′ and the Tz^әdoq•im′ codification of their interpretation of the Oral Law—their Χειρογραφον τοις Δογμασιν.

Notice that this implies two things: [1] they used scrolls; they had not yet switched to codices, and [2] the use of wooden scrollers seems nearly identical to today's scrollers.

Finally, at the very top, there are 6 arrows pointing to the heavens. 6 denoted the totality of creation (6 days = the universe). This was Caiaphas' Hellenist Tz^әdoq•i′ map of the history of the world—and the end of world. They expected the 7 eggs to hatch and go out into all of the world and then the world (or at least the 7 eggs) would be caught up in a rapture! Notice, if you haven't already, that this is sounding distinctly Christian.

The קפא Key

Notice how the entire map of this history of the world is shaped like a great key. It is the Hellenist Ko•hein′ Tz^әdoq•im′ key to heaven!

Now notice the similarity of the top of the קפא Key to the key depicted in "the House of Caiaphas" (St. Saviour)" in the Armenian Church on Har Tzi•yon′. This similarity suggests that the קפא Key is the original source paradigm for the Christian Key, variations of which also appear in papal imagery.

Having recognized that the encrypted imagery in the center of Caiaphas' ossuary represents a key, we can now find a secondary clue in the two spirals, complementing the unfurling of the Hellenist Ko•hein′ Tz^әdoq•im′ belief system to the farthest reaches of the world: the turning of the key. This key imagery reveals that the 1^st century C.E. Hellenist Ko•han•imꞋ Tz^әdoq•im′ viewed themselves as the exclusive holders of this קפא Key to heaven — declaring the Hellenist Ko•han•imꞋ Tz^әdoq•im′ to be the gatekeepers controlling entrance to heaven — the only Way to heaven being through Hellenist Ko•han•imꞋ Tz^әdoq•im′ doctrines.

It is then a small step after the disenfranchisement of the Hellenist Ko•han•imꞋ Tz^әdoq•im′ by the destruction of the Beit ha-Mi•qᵊdâshꞋ ha-Shein•iꞋ in 70 C.E., to incorporate the most obvious Hellenist-Jewish substitute: a Hellenized version of the Mâ•shiꞋakh — "Christ" in Hellenist Greek — in place of the disenfranchised Hellenist Ko•han•imꞋ Tz^әdoq•im′ — thereby evolving the doctrine that "the" Holder (Who, Hellenist gentiles assumed, must be Hellenist-mythically Divine) of "the Key" — the Way, the Truth and the Life; the only Way to heaven and to "the Father". The paradigms for Christian doctrines had been spawned.

Even non-scholars, if they have any familiarity with 1^st century C.E. Roman Hellenism, Paul and the original 7 Christian churches, shouldn't have much trouble at this point figuring out what the 7 eggs are. Thus, the bridge from "the Apostasy" of 1^st century C.E. Hellenist Jews to post-70 C.E. Pauline Hellenism resolves into sharp focus. It is, of course, post-70 C.E. Pauline Hellenism that evolved into gentile Roman Hellenist Christianity and the Roman Catholic Church. (For the millions of Christians who don't know, all Protest-ant Christianity is a Protest breakaway spawn of the original Roman Catholic Church.)

The pair of crucifixion nails found with the Caiaphas ossuaries is, then, corroborative rather than enigmatic.

The Mërkâv•âh′ Carrying the Key

The two large rosetta are 6 wheels, each leaf forming half of a wheel, (each partially) within each of the 2 large wheels. The two large wheels (rosettas) combine with the key, serving as the carriage, to form the Mërkâv•âh′. Notice, by contrast, how many wheels and rosettas are in the Mërkâv•âh′ of the more ornate ossuary, implying much greater power.

The Paradigm:
The Former Caiaphas Attempted To Bribe Rib′i Y^әho•shu′a

See The Netzarim Reconstruction of Hebrew Matityahu (NHM) 4.1-11 w/notes.

The Seduction:
The Latter Caiaphas Hatched the Seven Eggs—
The Shadow Power Behind Paul

The only widely-known seven Hellenist congregations being hatched–eggs–in this period are the 7 Christian churches listed in the Christian book of Revelation.

It would appear that the latter Caiaphas made an offer to Shaul imitating the bribe that his father or grandfather offered to Rib′i Y^әho•shu′a—and Paul took the offer and the rest is Hellenist Tz^әdoq•im′ Roman Christian history!

Contrast Against:
The כֵּיפָא Key

See The Netzarim Reconstruction of Hebrew Matityahu (NHM) 16.13-20 w/notes.

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