View allAll Photos Tagged passing
RealitySoSubtle 6x6 with Fuji Acros approx. 13 seconds
[That is NOT my cigarette butt]
Downtown Charlotte, NC
One woman walks along the platform while another stands beyond her with a small fan resting against her chest. The passing figure fills the foreground, yet the space beside her shoulder keeps the waiting face clear. The train, platform doors and curved ceiling remain unchanged, but the moving body quietly arranges how the scene comes together. One person passes through. Afterwards, the whole picture settles differently. What has already passed through your day, yet quietly shaped everything that followed?
singapore • street • documentary • nikon • zf • voigtlander • color-skopar 28mm f2.8
© Kevin Pazmino 2013
All Right Reserved
Makeup by Kristy Walker, check out her paintings in Instagram. They are amazing!
Day In The Life of a Day of the Dead Women
Shot with my favorite lens Canon 85mm F1.2L @f1.4
Please do not download, copy, edit, reproduce or publish any of my images. They are my own intellectual property and are not for use without my express written permission
A wet morning in Waterford, but the colours made up for it.
Also a good candidate for a B&W version because of the contrast, but I did like the colours better.
Nikon 16-85mm VR lens.
www.flickriver.com/photos/47044499@N03/
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You will be temporarily blocked on the first occasion and permanently thereafter if repeated.
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The old Morton homestead has lived a lot of lives, and it might well be on its last. Constructed by Joseph Morton, a local deacon and surgeon, it's one of the oldest structures in this part of Annapolis County. First came a log house, then this was raised in 1784, same year as the birth of his son Edmund. Clay for the bricks was collected, formed, and fired by Mr. Morton himself, then he hired a local mason named McNeil to lay them. The entire wooden interior and roof burned out in 1819, but was rebuilt. Various additions have come and gone, but the solid structural core has remained mostly unchanged for two-and-a-half centuries. Is there a renovation pending? Could be. It was bought by someone for relatively little in October, and it's either coming down or back to life — there are only two options. I've been watching all my life out the window on the highway passing, wondering. Are there any from this particular line of Mortons still lingering in this corner of the world? The closest I could find was Joseph's great-great-granddaughter Alberta Morton, buried in Canning in 1956, aged 78. Like most old homes, this one seems long since orphaned from its roots.
December 18, 2025
Wilmot, Nova Scotia
Year 19, Day 6612 of my daily journal.
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A Union Pacific double-stack container train zips around a long manifest freight at the Kishwaukee River dip at sunset at DeKalb, IL, on 3-30-11.
Stormy day down at the beach. The clouds raced by and churned up the water a little. I did some black and white medium format as well, but blew a few frames struggling with my plunger trigger.
This shot was one of my favourites. I wanted to get closer, but I don't dare walk down the rocks when they are this slick. Too many slips and spills these days.
POD for SAT 21JUL07: Check out the Atlanta Urban Photography Exhibit
OK….so, I’ve brushed my teeth, washed my hairs (and all my other parts), actually put on make-up and earrings, too!!......donned my sexy see-thru black top with an awesome hot pink bra….hopped in my Cruiser by noon-30….stopped in Conyers for a new bag (big enough for camera and lenses) and shoes (to go with the new bag)……try to hunt down a more detailed map of ATL so I might truly figure out where I’m going (no success)……getting reeeeeal excited about seein’ my new buds and some great art…….and I get a call from the boy….20 freakin’ miles from my destination (and 107 miles already traveled)……..the feckin’ show is cancelled for today!!!!!!
But, all is not a total loss….I meet up with the boy, consume catfish tacos at Six Feet Under and off we go to take some shots of what’s left of a torn down building near Memorial……..I’ve climbed the wall and am ready to take my shot and this strange dude quick-steps towards us telling us we can’t take pictures on this property. WTF?!? We then proceed to the other side of the street, get set up again…I’ve got an awesome capture from a cool angle and…….the camera DIES!!!! What the hell is going on? It finally hits me that this sucky non-Canon battery has lost it's charge. Meanwhile, Mike suggests a visit to Krog tunnel. OK…I’m game. I have another battery with a little bit of charge left in it, so we hit the road again. What a wonderful place (although Mike did suggest I not touch anything). I actually got off four shots……and then the other battery died. Thought it had more than that. I took this as a sign that I should not be in ATL today.
We kiss and hug and do all the mom/child stuff and I’m off on my quest for home. Stop in at the Thomson WalMart for a copy of THE BOOK of the day, arrive safely back at the homestead, download the CF card and post a couple pictures on my favorite site. Have a question for the boy, reach into my purse for the cell phone and NADA no phone. Well, doesn’t this just top off my day!!!!
So, if anyone in Atlanta finds a lovely blue RAZR with a picture of a cute tabby cat with white paws….IT’S MINE!!!
Now I can’t decide if I should read THE BOOK or watch The Queen. Maybe I’ll just pack it in for the night.
Tomorrow HAS to be a better day!!
Stagecoach Northampton Scania/ Enviro 400 15445 (MX 08 GHJ) is seen passing the now redundant Greyfriars Bus Station, which is in the early stages of demolition.
221118 (along with out of sight 221116) form 9M52, Virgin West Coast’s 0851 Edinburgh - Euston of 12 July 2017. Reflecting the Voyager in its bodyside is 350407, forming 1S40, TransPennine’s 0900 Manchester Airport – Glasgow. The units are passing on Grayrigg Bank near the site of the former Beckside Cottage.
A loaded T-Bird runs wrong main to pass a stopped monster 9400-ft Q116 at Keenan. RTC had to hold 116 at Keenan for nearly two hours because it was too big to fit between Keenan and Carson and another long (8400-ft) train had just started north out of Adolph. I would expect some decent money in CN's 2013 Cap-X budget to improve flow on the former Missabe Division.
A northbound CN train (right) waits for a southbound to pass south of Tolono, Illinois, on the Champaign Subdivision. The northbound is stopped.
5043 Earl of Mount Edgecumbe coasts past Kings Sutton with the return leg of 'The Moonraker' in the last light of the day. The train had a scheduled stop at Banbury, not far north of here.
Just a simple shot of an old book - quick and easy for today!
Flickr Lounge - Weekly Theme (Week 17) Paper and Stationery .....
Apologies for being behind with my comments on all your great photos - just arrived back from sunny Florida, yesterday and now trying to catch up on my home "projects!"
Thanks, in advance, to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... thanks to you all.
This is a photograph from the 4th annual running of the Donadea 50K Ultramarathon which was held in Donadea Forest, Staplestown, Co. Kildare, Ireland at 10:00 on February 15th 2014. The race was also an International Association of Ultrarunners Bronze Label Event and the Athletics Association of Ireland (AAI) National 50KM Championships. Over 160 participants took part in the event.
Don't forget to scroll down to see more information about the race and these photographs!
Timing, results, and event management was provided by RedTagTiming - results available at www.redtagtiming.com/
There is a full set of photographs available on our Flickr set at www.flickr.com/photos/peterm7/sets/72157640976638143/
The event took place on a 5KM loop of Donadea Forest Park (read more below). The recent stormy and very wet conditions in Ireland made way for perfect running weather for the race. There was a slight breeze here and there on the route but for the most part the route was very sheltered. With so much running traffic on the course certain parts of the course became more muddy as time went on. However, this bother the participants who were expecting conditions to be much more difficult.
Congratulations to Anthony Lee of Donadea Running Club and Donadea Running Club for putting countless hours of voluntary effort into the staging of this event. The event has all the hallmarks of a professional event. There was a superb atmosphere around the loop as locals and other runners supported the runners.
Donadea Forest Park is situated in rural north Kildare and is approximately 640 acres in size. The amenities at the forest include good walking trails, a diversity of natural habitats, a walled stream, a large natural lake, and the ruins of Donadea castle. The Park is a designated National Heritage Area. The basic designation for wildlife is the Natural Heritage Area (NHA). This is an area considered important for the habitats present or which holds species of plants and animals whose habitat needs protection. It is a special event to allow the 50KM to be held in this environment.
Some useful links to other web-resources related to this race
Race Sponsors
www.grassrootsfitness.ie/wordpress/
www.facebook.com/oneillssportswear
Photographs from previous years
picasaweb.google.com/113689917114749812630/Donadea50km?au...
James Shelley www.flickr.com/photos/jhshelley/sets/72157632784408428/
Greg Byrne: www.facebook.com/media/set/?set=oa.423631201048548&ty... (Facebook logon required)
Our pictures from the 1st Donadea 50KM 2011 (www.flickr.com/photos/peterm7/sets/72157626144568382/with...)
Paul Daly's photographs from the 2nd Donadea 50KM 2012 (www.flickr.com/photos/58190594@N02/sets/72157629390998687...)
Our pictures from the 3rd Donadea 50KM 2013 (www.flickr.com/photos/peterm7/sets/72157632772080791/)
You are likely to find some great photographs of Donadea Ultra 2014 here on Flickr [http://www.flickr.com/photos/jhshelley/sets/] courtesy of James Shelley (Le Cheile AC)
Statistics, general information, results, etc
Deutsche Ultramarathon Vereingung e.V. statistik.d-u-v.org/
2013 results www.redtagtiming.com/results/Donadea50km_2013.pdf
2012 results www.redtagtiming.com/results/Donadea50km_2012.pdf
Boards.ie Thread www.boards.ie/vbulletin/showthread.php?t=2056180196&p...
International Association of Ultrarunners Bronze Label Event www.iau-ultramarathon.org/
Donadea 50km facebook page (www.facebook.com/groups/102353996509605/?fref=ts) You might need to have a Facebook account to see this.
Boards.ie Athletics Thread Discussion on this race: www.boards.ie/vbulletin/showthread.php?t=2056180196&p...
The Garmin Route Trace of the Donadea 50KM Main Loop connect.garmin.com/activity/118322861
Donadea Forest Park information on the Coilte Website: www.coillte.ie/index.php?id=242
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
Royal Arch Mason veils made by MAC and SAC ready for the candidates. No lint rollers! Only use cello tape to remove lint..
The two middle veils were soon switched.
www.jttgrandchapter.org/resources/Lectures/The Veils.pdf
Part I
Comp Michael Post
As all companions have, we have gone through a particular ceremony in which we must pass to truly become a Royal Arch Mason. That ceremony is “Passing the Veils”. Why is this ceremony important and what does it represent?
The ceremony of “Passing the Veils” or the use of the Veils in Royal Arch ceremonies is as old as the Degree itself although it origins seem to be lost in the oral traditions of ancient times. The Veils in early ceremonies were three in number, later a fourth was added in some countries (Most all, if not all, American Chapters today work in this “four-Veiled” ceremony). There are some scholars however believe that this elaborate ceremony did not always belong to the Royal Arch but rather it was part of, or wholly the ceremony of Excellent Master or High Excellent Master’s degree (Ireland; Scotland, and Bristol, England). This Excellent Master degree can also be seen in the Allied Masonic Degrees in America.
So what does this intricate ceremony signify?
It could be said that masonically, passing of the Veils signifies the enlightenment that comes with Masonic progression. While some academics say it symbolizes the problems or suffering encountered by the Jews on their returning journey from exile. Others believe that it involves the Veils of the Tabernacle of Moses and related to those of the Temple of Solomon. And still others consider it as a reference to Jesus, tying it to among other things the Veil of the last Temple upon His death.
What is the lesson that should ultimately be discovered in this ceremony? As said before I believe it to be lost in the oral traditions of the past. What do you believe? What do you think is the truth behind the symbolism?
The problem with this topic is where to start. There are many avenues in which I can take this discussion, but where to start? Should I start with the colors of the Veil? Or perhaps why our Veil system of America is different of that of Scotland or the United Kingdom? Should I talk about the Tribes of Israel and there banner colors vs. the colors that are on the High Priest Ephod? Or should I discuss the Veils or coverings of the tabernacle vs. the Veil that separates the Holy Place from the Most Holy Place or the Holy of holies. But what about the journey we have made?
So let us begin with that journey, which we all have taken.
After we have all braved that rough and rugged road we come unto a tabernacle and we are met with resistance to enter, the first Veil. We explain to the Grand Master of the First Veil that we have come from captivity and our intent to help rebuild the temple and that we are the true descendents of the Giblimites that built the first temple. After that we are then challenged for entry, we recollect the lesson of the burning bush from which Moses spoke with the great I AM, with that we enter. We are given a sign and password. The sign is explained by a scripture reading from the book of Exodus 7: 10–12. The password is that of the three sons of Noah.
“These three names can allude to Noah’s Ark or the Ark of Safety. We could say that God was the architect, Noah was the builder and his sons, Shem, Ham and Japheth they were the craftsmen.”
We now come to a second Veil and are met with resistance. We then give the sign and password that we were divested with from the Grand Master of the First Veil. We are allowed to enter and although we are in fact Most Excellent Masters promoting the noble and glorious work of rebuilding the temple we are told that we cannot go further without the words and signs of the Grand Master of the Second Veil. We are given a sign and password. The sign is explained by a scripture reading from the book of Exodus 4: 6–7. The password is that of three builders of the Ark of the Covenant.
The Ark of the Covenant, or of Moses, is also known as the Ark of the Testimony. Along with Moses, Bezaleel (tribe of Judah) and Aholiab (tribe of Dan) were filled with spirit of God, wisdom, understanding, and in knowledge, and in all manner of workmanship and thus worked diligently until the tabernacle, Ark and all things belonging to it were made exactly as God had instructed.
Next we come to the Third Veil and again are met with resistance. We give the sign and password that we were divested with from the Grand Master of the Second Veil. Proving once again that we must be in fact Most Excellent Masters we promoting the noble and glorious work of rebuilding the temple we are permitted to enter but we can go no further without the words, signs and signet of the Grand Master of the Third Veil. The sign is thus explained by a scripture reading from the book of Exodus 4:9. The password is that of the three principles to build the Second Temple and replace or substitute the arch of the Covenant in the Holy of Holies. We are then given the Signet of Truth.
Alas, we come to the Grand Master of the Fourth Veil or Royal Arch Captain. We give the sign and password that we were divested with from the Grand Master of the Third Veil, we then present the Signet of Truth. We are then told to wait until the Grand Council is informed of or request to enter. The Grand Council recognizes or request and permits us to enter.
This completes our initial journey through the Veils.
PART 2
So now that we went through the journey of “Passing the Veils” where should we go? I guess a suitable place to go is; what is the right number of veils one should go through? Previously I stated, “The Veils in early ceremonies were three in number, later a fourth was added in some countries (and most all, if not all, American ( whether they are Prince Hall or otherwise) Chapters today work in this “four-Veiled” ceremony)”.
Comp. F. A. M. Taylor, Assistant Librarian for the Grand Royal Arch Chapter of England; wrote in 1932, “The veils were doubtless a part of early ceremony of the Arch Degree and the working of the same discontinued, I believe, at the Union in 1817.” He goes on to state, that it appears that the, “passing of the veils” was extensively in the early part of the 19th century. No account of what the ceremony was, or any records are to be found in minutes of the early English Chapters.
What should the proper system of veils that one should pass? What do the veils really represent? I think this is the basis of what we should look into. Depending on what you say the Veils represent you can state your argument.
Ernest Cooke, Provincial Grand Superintendent of Bristol (England), informs us that until 1929 only three veils were used in the Chapters of that Province. In 1932 after much research and careful consideration, the use of the fourth veil (White) was authorized. He based much of his argument on the fact that one, they were in use in the early Chapters. (There is no proof of this). And two, the description of the Tabernacle in Exodus is so definite.
A point of interest comes from the Comp. F. A. M. Taylor, Asst. Librarian of the English Grand Chapter in 1932. He states that it was the practice to have three “Masters of the Veils”, who were officers of the Chapter (Which officers, is not stated.). Being armed with a sword and bearing a banner of appropriate colour, were stationed at the Blue, Purple and Scarlet veils (The White veil is guarded by the RA. Captain (as it is in our Ritual)).
i. I will start off with the “traditional” three- Veiled system then unto the four -Veiled system. So the basic question is “Why three veils”? Before we go any further let’s break down what a veil is. If you go to Wikipedia or other website you can find various meanings of veil, from veils for women to headgear and so on, veils have several meanings. The word "veil" in the Hebrew speaks of a screen, something that conceals and separates. With that said lets break down these systems.
In the book, “Secret Societies of all Ages and Countries” by C.W. Heckethorn (1897) he mentions only three veils. “The Textbook of Freemasonry” (1870) which is irregular and an unauthorized publication, supposedly giving all the ceremonies of the Craft and the Royal Arch, the author states that the ceremony is sometimes dispensed with. Here reference is made to only three veils. A quote from “The Perfect Ceremonies of the Royal Arch Degree,” Lewis (1907) states, “The ceremony is said to follow the restoration to light. The ceremony is carried out with only three veils”.
ii (Italicized words done by me) I believe the original intent was to imitate the tabernacle of Moses. In that Tabernacle, properly there were three veils or curtains. It is said these veils were used to hide the glory of God's face or presence from the people or to separate a sinful man from a Holy God.
The first veil was the eastern gate which opened into the courtyard. Those who came to present offerings to God (this is where the Brazen Alter was) could pass through this veil or gate (Ex. 40:33). This “Passover Veil” separates the courtyard of Moses' tabernacle from the world.
The next veil allowed only the priests to enter the Holy Place (Ex. 40:28). This was the first veil into the tabernacle. The Holy place is the place of testimony, of spiritual bread, and the offering up of the prayers and praises. This “Pentecost Veil” separates the courtyard from the Holy Place.
The last veil was only for the High Priest, who once a year could enter into the Holy of Holies (Ex. 40:21). This was the place that the Ark of the Covenant rested. This Holy place was where the High Priest would give up offering and provoke the ineffable name of Deity. In the Tabernacle there was a table, but no chair for Aaron or any of the priests to sit on, for their work was never finished. Although there was no chair; there was one seat, the Mercy-seat reserved for The Almighty Himself who sat there between the cherubim. The “Tabernacles Veil” separates the Holy Place from the Most Holy Place where God "sat" on the mercy seat.
“I will commune with thee from above the Mercy Seat, from between the two cherubim’s which are upon the ark of the testimony, of all things which I will give thee in commandment unto the children of Israel."
Exodus 25:17-22
Another correlation to these three veils above is the three annual feasts of Israel (which some believe, four have been achieved or celebrated).
“Three times in a year shall all thy males appear before the LORD thy God in the place which he shall choose; in the feast of unleavened bread, and in the feast of weeks, and in the feast of tabernacles: and they shall not appear before the LORD empty.”
Deuteronomy 16:16
However, I will not go into more detail about them during this paper... lol (Research is a beautiful thing. I implore you to do some more, let me know how it goes!)
So here we have several questions. If the veils were representing those of the tabernacle, Why do we have four veils? Is there or should there be a three or four Veils?
If you look at the veils of the tabernacle there are three. But what of the “true” veil of the Tabernacle. There are four colors to it; does this represent the meaning of the veils as we see it today? So why do we have four veils? Why are there three Masters of the Veils and not four? Why is the “fourth veil” guarded by the Royal Arch Captain and not another Master of the veil?
The meaning of the four horns on an altar.
hoshanarabbah.org/blog/tag/horns-of-the-altar/
Exodus 29:12, Horns of the altar. The four horns of the altar of sacrifice was the place where the blood of atonement was sprinkled (also Lev 4:4, 17, 18, 25, 30, 34; 8:15; 9:9; 16:18).
But there’s more. Horn is the Hebrew word qeren meaning “horn, hill or ray.” This word is used to describe the rays of light rays emanating from the face of Moses after his encounter with YHVH (Exod 34:29) and the horns of an animal (Ps 69:31). In ancient cultures, the horn was a metaphor for physical strength or spiritual power (Deut 33:17; 2 Sam 22:3; Ps 18:2). Elsewhere, YHVH is referred to as man’s “horn of salvation” meaning he is the strength of our salvation. The Hebrew word for salvation is yesha meaning “deliverance, rescue, safety, welfare, victory, prosperity.” The root of yesha is the verb yasha meaning “to save, to deliver, to give victory.” Not only is YHVH called our “horn of salvation” in the Tanakh, but this designation is applied to Yeshua as well in the Testimony of Yeshua (Luke 1:69). Interestingly, Yeshua is a derivative of the Hebrew name Yehoshua (or Joshua), which also derives from yasha.
It should be evident from this quick study that the horns of the altar are a picture of Yeshua, who is the horn or strength of our salvation and who shed his blood for our sins on the altar of the cross.
This being the case, why then are there four horns on the altar? This is likely symbolic of the four attributes of Yeshua, even as the four colors of cloth used throughout the tabernacle prophetically symbolize the same thing. Crimson speaks to Yeshua’s humanity, purple to his kingship, blue to his divinity, and white to his sinlessness or righteousness.
Additionally, the Jewish sages view the four horns as symbolizing the four corners of the earth, for, in Hebraic thought, the earth is nothing more than a large altar dedicated to Elohim. (See The ArtScroll Tehilim/Psalms commentary on this verse and notes at Ps 118:27.) The horns on the four corners of the altar could also prophetically point to the fact that Yeshua came to save all humans (who would trust in him) from the four corners of the earth.