The Table of Shewbread. 23-30. (Cf. xxxvii. 10—16.) 23. a table of shittim wood] This Table is one of the most prominent objects in the triumphal procession sculptured in relief on the Arch of Titus. The most important of the sculptures of the Arch were carefully copied under the direction of Reland in 1710. Since that time they have gone on to decay, so that the engravings of them in his work 'De Spoliis Templi,' &c., are now of great interest and value. Reland has interpreted the sculptures with his accustomed learning and sagacity.

The Shewbread Table with its incense cups and the two Silver Trumpets (Num. x. 2).

The Table which is here represented could not, of course, have been the one made for the Tabernacle. The original Ark of the Testimony was preserved until it disappeared when Jerusalem was captured by the Babylonians: it was never replaced by an Ark of more modern construction. See concluding note on ch. xl. But the Shewbread Table, the

breadth thereof, and a cubit and a half the height thereof.

24 And thou shalt overlay it with pure gold, and make thereto a crown of gold round about.

25 And thou shalt make unto it a border of an hand breadth round about, and thou shalt make a golden crown to the border thereof round about.

26 And thou shalt make for it four rings of gold, and put the rings in the four corners that are on the four feet thereof.

Golden Altar, and the Golden Candlestick, were renewed by Solomon for the Temple. Of the Candlestick, ten copies were then made. (1 K. vii. 48, 49; 2 Chro. iv. 19). From the omission of them amongst the spoils carried home from Babylon (Ezra i. 9-11) we may infer that the Table and the Golden Altar with a single Candlestick were re-made by Zerubbabel (see 1 Macc. i. 21, 22), and again by the Maccabees (1 Macc. iv. 49). There cannot therefore be a doubt that the Table and the Candlestick figured on the Arch are those of the Maccabean times: and it must have been these which are described, and must have been seen, by Josephus (Ant.' III. 6. § 6, 7; B. J.' vII. 5. §5). It is however most likely that the restorations were made as nearly as possible after the ancient models. In representing the Table it will be seen that the sculptor has exhibited its two ends, in defiance of perspective. The details and size of the figure, and the description of Josephus, appear to agree very nearly with the directions here given to Moses, and to illustrate them in several particulars. Josephus says that the Table was like the so-called Delphic tables, richly ornamented pieces of furniture in use amongst the Romans, which were sometimes, if not always, covered with gold or silver (Martial, XII. 67; Cicero, 'in Verr.' IV. 59; cf. Du Cange, Art. 'Delphica').

24. overlay it] See on v. 11.

a crown of gold] Rather, a moulding of gold. See on v. II. The moulding of the Table is still seen at the ends of the sculptured figure.

25. a border] Rather a framing, which reached from leg to leg so as to make the Table firm, as well as to adorn it with a second moulding of gold. Two fragments of such a framing are still seen in the sculpture attached to the legs half-way down.

26. in the four corners that are on the four feet thereof] The word here rendered feet is

27 Over against the border shall the rings be for places of the staves to bear the table.

28 And thou shalt make the staves of shittim wood, and overlay them with gold, that the table may be borne with

them.

29 And thou shalt make the dishes thereof, and spoons thereof, and covers

the common name for the feet of men or animals. Josephus says that the feet of the Table were like those that the Dorians used to put to their couches, which appear to have been famous for their splendour (Ælian, ' Var. Hist.' XII. 29; Athenæus, II. 47). Comparing this with the sculpture, it would seem that the legs terminated in something like the foot of an animal, such as in modern furniture is called a claw. The like device often occurs in the ancient Egyptian furniture (Wilkinson, I. pp. 59, 60, 62, &c.). The word here rendered corner is not the same as that so rendered in v. 12, and it may denote any extreme part. We might thus render the words, upon the four extremities that are at the four feet. Josephus speaks of the rings as having been in part attached to the claws themselves. But there is no trace of the rings in the sculpture.

27. Over against the border] Rather, Over against the framing; that is, the rings were to be placed not upon the framing itself, but at the extremities of the legs answering to each corner of it.

29. dishes] The Hebrew word is the same as is employed to denote the large silver vessels which were filled with fine flour and formed part of the offerings of the Princes of Israel in Num. vii. 13 sq., where it is rendered chargers. According to its probable etymology, it denoted a deep vessel, and therefore neither of the English words answers well to it: perhaps bowls would be nearer the mark. Knobel conjectures that these vessels, which belonged to the Shewbread Table, were used to bring the bread into the Sanctuary; but it is hard to imagine that vessels of sufficient size for such a purpose (Lev. xxiv. 5) were formed of gold. They may possibly have been the measures for the meal used in the loaves.

spoons] The Hebrew word is that used for the small gold cups that were filled with frankincense in the offerings of the Princes, Num. vii. 14 sq. The LXX. render it Outoka =incense cups. See on Lev. xxiv. 7. These must be the only vessels which are mentioned by Josephus in connection with the Tableδύο φιάλαι χρύσεαι λιβανωτοῦ πλήρεις (4 Ant.'

With

to cover withal] More correctly rendered in the margin, to pour out withal. It is strange that our translators in the text should have left Luther and Cranmer, backed as they are by the LXX., the Vulg., the Syriac, the Targuns, and the most direct sense of the original words, to follow Saadia and the Talmud. the exception of some recent Jewish versions, the best modern authorities apply the passage, along with the two last names of vessels, to the rite of the Drink offering, which appears to have regularly accompanied every Meat offering (Lev. xxiii. 18; Num. vi. 1 . 15, xxviii. 14, &c.). The subject is important in its bearing upon the meaning of the Shewbread: the corrected rendering of the words tends to shew that it was a true Meat offering [see on Lev. xxiv. 9].-The first part of the verse might thus be rendered;-And thou shalt make its bowls and its incense-cups and its flagons and its chalices for pouring out the Drink offerings.

30. The Shewbread Table was placed in the Holy Place on the north side (xxvi. 35). Directions for preparing the Shewbread are given in Lev. xxiv. 5-9. It consisted of twelve large cakes of unleavened bread, which were arranged on the Table in two piles, with a golden cup of frankincense on each pile (Jos.

Ant.' III. 10. § 7). It was renewed every Sabbath day. The stale loaves were given to the priests, and the frankincense appears to have been lighted on the Altar for a memorial [see on Lev. ii. 2]. We may presume that the Drink offering was renewed at the same time. The Shewbread, with all the characteristics and significance of a great national Meat offering, in which the twelve tribes were represented by the twelve cakes, was to stand before Jehovah perpetually, in token that He was always graciously accepting the good works of His people, for whom Atonement had been made by the victims offered on the Altar in the Court of the Sanctuary [see notes on Lev. xxiv. 5—9].

knops, and his flowers, shall be of the

same.

32 And six branches shall come out of the sides of it; three branches of the candlestick out of the one side, and three branches of the candlestick out of the other side:

33 Three bowls made like unto almonds, with a knop and a flower in one branch; and three bowls made like almonds in the other branch, with a knop and a flower: so in the six branches that come out of the candlestick.

The Golden Candlestick.

31-39. (Cf. xxxvii. 17—24). 31. a candlestick of pure gold] This would more properly be called a lamp-stand than a candlestick. Its purpose was to support seven oil-lamps. Like the Shewbread Table, it is a prominent object amongst the spoils of the Temple sculptured on the Arch of Titus. This figure is copied from Reland [see on v. 23].

The size of the Candlestick is nowhere mentioned: but we may form an estimate of it by comparing the figure with that of the Table. It is most likely that the two objects are represented on the same scale. Its height appears to have been about three feet, and its width two feet. The details of the sculpture usefully illustrate the description in the text. But the work and form of the pedestal here represented are not in accordance with Jewish taste or usage at any period. Reland conjectures that the original foot may have been broken off, and lost or stolen when the Candlestick was taken out of the Temple,

and that the pedestal in the sculpture was added by some Roman artist to set off the trophy. There are other ancient representations of the Candlestick on gems, in tombs, and on the walls of synagogues. Some of these are copied in Reland's work, and one has lately been discovered by Capt. Wilson in a ruined synagogue in the valley of the Jarmuk. In most of them the stem is supported on three feet, or claws. This arrangement however is supposed to contradict Josephus, who says that the stem rose from a pedestal: the word he uses (Báois) is however not quite free from ambiguity. In general form the other figures of the Candlestick copied by Reland nearly agree with that on the arch except in the limbs being more slender, in which particular they are countenanced by the description in Josephus (B. J.' VII. 5. §5). It is likely that the sculptor may have thickened the limbs in his work to give them better effect from the point of view from which spectators would see them.

of beaten work] See on v. 18.

his shaft, and his branches, his bowls, his knops, and his flowers] This might rather be rendered, its base, its stem, its flower cups [see next verse], its knobs, and its

lilies.

33. Three bowls made like unto almonds] More strictly, three cups of almond flowers. These appear to be the cups in immediate contact with the knobs as shewn in the sculpture.

a flower] Most of the old versions render the word as a lily, and this rendering well agrees with the sculpture.

the candlestick] Here, and in the two following verses, the word appears to denote the stem, as the essential part of the Candlestick. It would seem from vv. 33-35 that the ornamentation of the Candlestick consisted of uniform members, each comprising a series of an almond flower, a knob and a lily; that the stem comprised four of these members; that each pair of branches was united to the stem at one of the knobs; and that each branch comprised three members. In comparing the description in the text with the sculptured figure, allowance may be made for some deviation in the sculptor's copy, which was pardonable enough, considering the purpose for which the representation was made.

34 And in the candlestick shall be four bowls made like unto almonds, with their knops and their flowers.

35 And there shall be a knop under two branches of the same, and a knop under two branches of the same, and a knop under two branches of the same, according to the six branches that proceed out of the candlestick.

36 Their knops and their branches shall be of the same: all it shall be one beaten work of pure gold.

37. seven lamps] These lamps were probably like those used by the Egyptians and other nations, shallow covered vessels more or less of an oval form, with a mouth at one end from which the wick protruded. This may help us to the simplest explanation of the rather obscure words, "that they may give light over against it." The Candlestick was placed on the south side of the Holy Place (xxvi. 35), with the line of lamps parallel with the wall, or, according to Josephus, somewhat obliquely. If the wick-mouths of the lamps were turned outwards, they would give light over against the Candlestick; that is, towards the north side [see Num. viii. 2].

37. they shall light] See marginal rendering and note on Lev. xxiv. 2.

38. the tongs] The Hebrew word is the same as in Is. vi. 6. The small tongs for the lamps were used to trim and adjust the wicks.

the snuff-dishes] These were shallow vessels used to receive the burnt fragments of wick removed by the tongs. The same Hebrew word is translated, in accordance with its connection, fire pans, xxvii. 3, xxxviii. 3; and censers, Num. iv. 14, xvi. 6, &c. For the regulations respecting the Priests' tending the lamps, see xxvii. 20, 21, xxx. 8; Lev. xxiv. 2-4 (with the note); 2 Chro. xiii. 11.

39. a talent of pure gold] Amongst the discrepant estimates of the weight of the Hebrew talent, the one that appears to be received

NOTE ON

ON THE COLOURS OF THE TABERNACLE.

I.

Our version is most probably right in its rendering of the names of the three colours used in the curtains and vails of the Tabernacle. But the subject is a doubtful one. The names of colours in all languages appear to have been very vaguely used, until the progress of science in connection with the decorative arts has rendered greater precision both possible and

Several writers have treated of the symbolism of the lights of the Golden Candlestick

with their oil, of its ornamentation with the knobs and flowers, and of its branched form (Bähr, Hengstenberg, Keil, &c.). All these particulars might have been in later times appropriated by the prophetic inspiration as figures illustrative of spiritual truth. See Zech. iv. 1-14; Rev. i. 12, 13, 20. But in any especial connection with the place held by the Candlestick in the Sanctuary, as its plan was revealed to Moses, there appears to be only one peculiar point of symbolism on which stress can be laid-the fact that the lamps were seven in number. The general fashion of the Candlestick and its ornaments might have been a matter of taste; light was of necessity required in the Tabernacle, and whereever light is used in ceremonial observance, it may of course be taken in a general way as a figure of the Light of Truth; but in the Sanctuary of the covenanted people, it must plainly have been understood as expressly significant that the number of the lamps agreed with the number of the Covenant. Covenant of Jehovah was essentially a Covenant of light.

40. See on v. 9.

The

desirable. Our own word gray, as applied not only to the mixture of black and white now so called, but also to the brown dress of the "gray friars" and to the cockchafer (the "gray fly" of Milton); and the Latin purpureus as applied to snow, the swan and the foam of the sea, to the rose, to a beautiful human eye, as well as to the colour now known as purple, may be taken as instances. The iuáriov TорOνроûν of John xix. 2 is called xλaμúda kokkívny in Matt. xxvii. 28. Mr.

Gladstone's essay on the use of the names of colours in Homer furnishes other illustrations1. That the Hebrew names were used with not more stedfastness is proved by Mr Bevan in Smith's Dict. of the Bible' (Art. 'Colours'). The Hebrew names in the text must however have been applied at the time with distinct denotation in reference to the use of the yarn in the embroidery of the curtains. The uncertainty concerns only our discovering what the colours actually were. The earliest equivalents we have for the Hebrew words are those used by the LXX., which have been adopted by Philo and Josephus, and have been followed by the ancient versions in general. But we are unfortunately far from certain of the purport of the Greek words.

II.

The most important of the three colours mentioned in this place is the one rendered blue. The balance of evidence seems to be in favour of its being a pure sky blue. The Hebrew is tekeleth (2), for which the LXX. have váκiveos, and the Vulgate Hyacinthus. As the name of a flower, the Greek word has been taken for the iris, the gladiolus, the delphinium, or the hyacinth: as the name of a precious stone, it evidently could not, as some have supposed, belong to the amethyst, since it is mentioned with the amethyst (apéovoros) in Rev. xxi. 20; it most likely denoted the sapphire2: as the name of a colour, it has been supposed to denote pure blue, purple, violet, black, red or rust colour3. Of the different flowers to which the word has been ascribed, it may be remarked that the greater number are blue; for example, the common iris, the larkspur, the wild hyacinth, and the starch hyacinth, which is so abundant in the neighbourhood of Athens. The Hebrew word has been very generally taken to denote either blue, or bluish purple, while "the purple" associated with it has been supposed to have had a stronger red tingė. Philo, Josephus, and Saadia, with most of the Fathers and the rabbinists, appear to have understood it as the colour of the sky. Philo, who took it to symbolize the air, in the expression which he applies to the air (þúσeɩ yàp μédas), has been reasonably supposed to allude to the dark full

1 Essays on Homer,' Vol. III. p. 457.

2 Professor Maskelyne considers that the hyacinth of Pliny ('H. Ñ.' XXXVII. 40) and other classical writers was what we call the sapphire, while the stone called sapphire by the ancients was lapis lazuli. Edinb. Rev.' No. 253. See note on Ex. xxviii. 18.

3 See Liddell and Scott's 'Lex.'

4 Vit. Mos.' III. 6.

5 Ant.' III. 7. § 7. See also note on Ex. XXV. 5.

tinge which distinguishes the skies of southern latitudes 6.

That the Egyptians in early times used indigo as a blue dye is certain, and it is by no means improbable that the Israelites did the same. If, as Wilkinson and others suppose, the blue border of the Israelites' garments was adopted from an Egyptian custom, the facts that the Egyptian borders were certainly dyed with indigo, and that the Hebrew and Greek words expressing the colour of the Israelites' borders (Num. xv. 38) are těkeleth and váκivos, favour the notion that these words express the colour obtained from indigo. But the etymology of the Hebrew term is supposed rather to indicate that the colour was procured, like the Tyrian purple, from a shell-fish. It is conceived that while a species of Murex produced the purple, a Buccinum produced the blue. Both colours were obtained by the Tyrians from "the Isles of Elishah," that is, the Isles of the Egean Sea, where it seems most probable that each must have been obtained from the sea 10. The art of preparing the dye from the fish is now lost, and this, of course, increases the uncertainty of the question at issue.

It is however likely that tekēleth was the name of the well-known colour obtained The from more than one kind of dye. inquiry regarding the colour itself has peculiar interest from its having been the predominating colour in the decoration of the Sanctuary. Besides taking its place with the other two colours in the curtains and vails of the Tabernacle, it is found by itself in the loops of the curtains (Ex. xxvi. 4), in the lace of the breastplate of the High Priest (xxviii. 28), in the robe of the ephod (xxviii. 31), and the lace of the mitre (xxviii. 37). In wrapping up the sacred utensils when the host was on the march, blue cloths, purple cloths, and scarlet cloths were used for the various articles according to specific directions (Num. iv.). The national significance of blue appears to be shewn in the blue fringes that have been mentioned (Num. xv. 38; cf. Matt. xxiii. 5).

Several Jewish commentators, followed by Luther and Cranmer, have taken the word těkēleth to denote yellow silk. It is hardly

Other grounds for rendering the Hebrew word sky blue, rather than violet or bluish purple, as Gesenius and others have preferred, may be found in Bochart, ‘Op.' Vol. III. p. 728, and Bähr, Symbolik,' Vol. I. p. 303.

7 Wilkinson, Pop. Acc.' Vol. II. p. 78. 8 Henstenberg, Egypt and the Books of Moses,' Smith, The Pentateuch,' p. 302.

9 Bochart, Op.' p. III. 727. Gesenius, s. v. Fürst, s. v. Wilkinson, Note on Herodot. III. 20. Tristram, Nat. Hist. of the Bible,' p. 297. 10 Ezek. xxvii. 7; Jer. x. 9. Cf. Plin. 'H.N.' IX. 60, sq.