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Weiss and Netzer, Promise and Redemption, 22. 60. Sirach 45:14. 61. Laderman has recently argued that the central sacrifice at Dura relates to Yom Kippur. See “A New Look at the Second Register,” 8–10. However, her proposal that the panel at Dura represents the entry of Aaron into the Holy of Holies on Yom Kippur is problematic for a number of reasons, including the fact that Aaron changed from his “garments of gold” into all white when he entered the Holy of Holies once a year. The panel also bears no resemblance to the extensive description of the day in Leviticus 16.

Biff, Holden, and Roy taught a generation of readers that the path to a fulfilled adult life is difficult, but to succeed, one had to speak honestly to one’s needs and desires. To find peace, they had to find their own voices and chart their own paths even when their immigrant parents, the American dream, and its popular heroes no longer offered simple answers. 1017/S0364009410000322 T EMPLE , C OMMUNITY, AND S ACRED N ARRATIVE IN THE D URA -E UROPOS S YNAGOGUE by Kära L. Schenk* for Henry Maguire The painted decoration in the Dura-Europos synagogue (Syria, 244–245 CE) is the most extensive surviving example of Jewish pictorial narrative in the ancient world.

Thus, a specific connection with the consecration of Aaron’s sons is not supported by any of the details in the image itself. Rather, the mosaic appears to present the ongoing celebration of the ‘avodah (service) within the Tabernacle. ” According to the text describing the consecration, the bull was to be sacrificed first; but at Dura another animal is offered on the altar while the bull waits its turn below. Although Kraeling identified the animal on the altar as a “ram,” the most common offering presented there was the lamb for the tamid.

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