- Jul 21, 2018
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While historicists have been attempting to synchronize the Hebraic festivals with the Revelation for some time, they still fall short in their rendering of the horsemen of the seven seals, due to the lack thereof. They overlooked the unremitting advancement from the first partition in the sanctuary, representing the observance of the tamid or “daily” intercession and depicted in the scenes of Revelation 1 and the seven churches (the seven candlesticks), into the second, the holy of holies in the scene of Revelation 8, representing the “yearly” or yoma intercession, synchronizing the Hebraic festivals with Revelation 1 through Revelation 11. The historicists’ oversight exemplifies the persistent impeding of this progress towards the holy of holies by the historicists in these scenes, conflicting with the promise of but “a little season” to the souls of the fifth seal, until the yoma intercession, the day of atonement, when a final remnant will be martyred for Christ, depicted by the trumpets. Guinness, for instance, rendered of the first seal as the first-century church hardly agrees with “a little season!”
Furthermore, the historicists have overlooked that the souls of the fifth seal petition for retribution because of the torment by the horsemen of the previous seals, which are easily resolved as the horsemen and locust army of Joel 2:4 that traditional Hebraic scholars vindicate as the judgment illustrated by Rosh Hashana, heralded by the trumpet of Revelation 4:1. Contemporary historicists concede that Christ’s manifestation before the “Ancient of days” in Revelation 5 parallels his manifestation in Daniel 7:13, which represents the seventh-month festivals of Rosh Hashana and Yom Kippur. As exemplified by the seven churches, Christ’s voice symbolizes the trumpets that herald the new moons (days of darkness) pertaining to the seven months between the spring and autumnal festivals, such as Rosh Hashana. Again, the petitions by the souls of the fifth seal are answered in the sanctuary scene in Revelation 8, which leads to the end of their torment by the horsemen/locusts, as they are sealed in chapter 7. This end is conveyed in the fifth trumpet (Revelation 9:7), which supports the unremitting advancement from the first partition to the second, synchronizing the Hebraic feasts with Revelation 1 through 11.
The synchronization of the Hebraic festivals with Revelation 1 through 11, and the exposé that the first horseman was fulfilled by Protestant missionary imperialism at the time of the Laodicean church, Daniel’s “time of the end” and “cleansing of the sanctuary”, is the subject of the book, Thy Kingdom Come: Re-examining the Historicist's Interpretation of the Revelation. The book documents the exploitation of the true church by apostate Protestantism, Babylon, that fulfills the denunciation that Babylon is “drunken with the blood of the saints, and with the blood of the martyrs of Jesus,” and this is the source of the torment of the souls in the fifth seal. Protestant missionary imperialism, represented by the rider of the white horse, led to wars for the resources of the world at the first attempt at globalism (the red horseman), ending their churches’ intercession in commerce and the exploitation that ensued (the rider of the black horse), resulting in famines and death (the rider of the pale horse).
In Christ,
Jerry Huerta
Furthermore, the historicists have overlooked that the souls of the fifth seal petition for retribution because of the torment by the horsemen of the previous seals, which are easily resolved as the horsemen and locust army of Joel 2:4 that traditional Hebraic scholars vindicate as the judgment illustrated by Rosh Hashana, heralded by the trumpet of Revelation 4:1. Contemporary historicists concede that Christ’s manifestation before the “Ancient of days” in Revelation 5 parallels his manifestation in Daniel 7:13, which represents the seventh-month festivals of Rosh Hashana and Yom Kippur. As exemplified by the seven churches, Christ’s voice symbolizes the trumpets that herald the new moons (days of darkness) pertaining to the seven months between the spring and autumnal festivals, such as Rosh Hashana. Again, the petitions by the souls of the fifth seal are answered in the sanctuary scene in Revelation 8, which leads to the end of their torment by the horsemen/locusts, as they are sealed in chapter 7. This end is conveyed in the fifth trumpet (Revelation 9:7), which supports the unremitting advancement from the first partition to the second, synchronizing the Hebraic feasts with Revelation 1 through 11.
The synchronization of the Hebraic festivals with Revelation 1 through 11, and the exposé that the first horseman was fulfilled by Protestant missionary imperialism at the time of the Laodicean church, Daniel’s “time of the end” and “cleansing of the sanctuary”, is the subject of the book, Thy Kingdom Come: Re-examining the Historicist's Interpretation of the Revelation. The book documents the exploitation of the true church by apostate Protestantism, Babylon, that fulfills the denunciation that Babylon is “drunken with the blood of the saints, and with the blood of the martyrs of Jesus,” and this is the source of the torment of the souls in the fifth seal. Protestant missionary imperialism, represented by the rider of the white horse, led to wars for the resources of the world at the first attempt at globalism (the red horseman), ending their churches’ intercession in commerce and the exploitation that ensued (the rider of the black horse), resulting in famines and death (the rider of the pale horse).
In Christ,
Jerry Huerta
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