Posted on by Abe Austin

Scriptural Analysis- Exodus 27:2-5

2 And thou shalt make the horns of it upon the four corners thereof: his horns shall be of the same: and thou shalt overlay it with brass.

3 And thou shalt make his pans to receive his ashes, and his shovels, and his basins, and his fleshhooks, and his firepans: all the vessels thereof thou shalt make of brass.

4 And thou shalt make for it a grate of network of brass; and upon the net shalt thou make four brasen rings in the four corners thereof.

5 And thou shalt put it under the compass of the altar beneath, that the net may be even to the midst of the altar.

Yesterday we heard the dimensions and underlying structure of the altar in the tabernacle courtyard and now we hear how it was to be overlaid and adorned. First, we are told that four horns were to be erected on its four corners. These might have been in the shape of actual horns like one might see on an animal, or perhaps they were a vague, raised shape like a pyramid or an obelisk. There is no special symbolism described for the four horns, but we hear from later passages that the guilty would sometimes go and cling to them as a way of seeking sanctuary.

All of the altar, we are told, was to be covered in brass, the same as the sockets of the outer pillars of the tabernacle. Just as gold adorned everything within the tabernacle, the less-valuable brass will be used to adorn everything in the courtyard. Of course, of all the metals brass is one of the most visually similar to gold. They both share a particular yellowish-brown color. Thus, even while making the exterior portion of the tabernacle distinct from the interior, they do still appear to be connected. So, too, our journey to God goes through multiple stages, but all of it is part of the same process.

Finally, we are told of the instruments for the altar. There are, of course, two main components to the altar.

  1. The fire burning at the bottom, for which there were to be fashioned brass shovels and firepans.
  2. The animal to be burned in that fire, for which there were to be fashioned brass basins and fleshhooks.

Finally, mediating between these two is the brass grate that was to rest halfway down the interior of the altar. The animal carcass, of course, would rest upon this as it was burned, the animal not passing down into the coals, but the heat passing up into the flesh. The grate is therefore both a separator and a unifier. It is a symbol for Christ who stands between God and man, simultaneously keeping us separate from the divine justice that would condemn us, while also bringing us in contact with the divine grace that will redeem us.

Note: It can be difficult to visualize some of the structures described in these verses. Here is an excellent and extremely focused series of animations that show the visual form of the temple and its instruments, built up verse-by-verse from the Exodus record: https://youtube.com/playlist?list=PLpjohncRg94EZ55nJrbaKfi-lfeo3MFgl&si=6wm1J9Sdnu7LKYC_

Posted on by Abe Austin

Scriptural Analysis- Exodus 27:1

1 And thou shalt make an altar of shittim wood, five cubits long, and five cubits broad; the altar shall be foursquare: and the height thereof shall be three cubits.

We have finished for the time being with the tabernacle, and now turn our attention to the outer courtyard that the tabernacle would sit within. As with the tabernacle, we start by describing the instruments and edifices that were to be placed within the courtyard, the first of which being the sacrificial altar.

In today’s verse we hear the dimensions of the altar. It is a square, five cubits by five, or 7.5 feet on each side. It is three cubits tall, or 4.5 feet, which is a pretty ideal height for laying things down to be burned. As with all the other elements of the temple, its body would be composed of shittim wood. We will hear of its overlaying and adornment in tomorrow’s verses.

This altar would, of course, be used for the offering of every large animal. Later verses, such as Exodus 29:11, seem to suggest that the animal may not have been slaughtered and prepared upon the altar, but was only burned there. Therefore, the altar is not an instrument of death, but the instrument by which that which is already dead is transformed into smoke, which is obviously a symbol of spirit. It is a place where those that have perished are consumed by the fire of God in order to be transformed to a new and better state. It is a hopeful, joyful instrument.

Note: It can be difficult to visualize some of the structures described in these verses. Here is an excellent and extremely focused series of animations that show the visual form of the temple and its instruments, built up verse-by-verse from the Exodus record: https://youtube.com/playlist?list=PLpjohncRg94EZ55nJrbaKfi-lfeo3MFgl&si=6wm1J9Sdnu7LKYC_

Posted on by Abe Austin

Great Forgiveness

Great forgiveness is not passively forgetting your pain over the passage of time, but actively surrendering it while it still burns bright. Obviously, forgiving over time after the pain has died down is better than not forgiving at all, but it is only a step towards greater, more active forgiveness.

Jesus gave an incredible standard for forgiveness when he declared, “Father, forgive them, for they know not what they do.” He was not only forgiving those who tortured and killed him, but he was doing it in the very moment that they were carrying out that torture and execution, not after he was resurrected and impervious to their pain. Perhaps we will never get all the way to being able to match such great forgiveness as that, but that is the ideal that we are meant to move in the direction of.

Great forgiveness is not passive, it is active.

Posted on by Abe Austin

True Forgiveness

True forgiveness isn’t about trying to minimize the wrongs of others, or to trying to justify their flagrant offenses away.

True forgiveness is knowing that what the other person did is objectively condemnable and that you would be absolutely within your rights to demand justice, but turning it all over to God anyway. It is letting God be the judge, letting Him choose justice or mercy according to His will.

True forgiveness is not excusing, it is releasing.

Posted on by Abe Austin

The Need for Hope

I used to believe that I needed to make my faith so unshakeable that it would stand even when there was nothing left to hope for. Even if every promise had been broken, every desire withheld, and every ambition laid waste, I would still need to do what is right just because it is right.

Now, though, my feelings have shifted. From a pragmatic point of view, I’ve just never seen any good behavior come out of me when I am hopeless, nor have I ever heard of anyone else living a morally fulfilling life while totally devoid of hope. Hope is a virtue, after all, so it is wrong to assume that I could fill the full measure of my life without it.

What matters, I think, is what that hope is in. I need a hope in something that is transcendent, something for which there is no earthly possibility of failure, something that isn’t terrestrial. My original thoughts that I needed to have faith even without hope came about because terrestrial hopes were just about the only hopes I ever had, so surrendering those felt like surrendering hope entirely.

Even my hopes for good things like to improve my marriage, or to have my children secure in their faith, or to be secure against the storms of the world, are terrestrial hopes that will let me down sooner or later. They are terrestrial because they are based on other mortal people and resources. My marriage, my family, and my earthly foundation can all betray me, and at one point or another each will let me down.

I need to have a hope that remains even if my marriage fails, even if my children go astray, and even if my preparations fall short. I need to have hope in something that is now and forever assured, something greater than anything in this world so that nothing in this world can tarnish it. I need to have hope in the divine, in a Savior, in a redemption that has already and forever been won. A true and abiding hope in these, and these alone, will see me through every trial and tribulation.

Posted on by Abe Austin

Too Much Certainty

As I observe all of the angry discourse in our society today, I am left with a sense that we are much too certain of ourselves.

If the other side is wrong, we are certain that then we must be right, even though in most cases that is not necessarily so.

We are certain that we know causation, when all that has been demonstrated is correlation.

In the domains of definite uncertainty, where neither God nor science has spoken, we are nonetheless certain that our opinion is ultimately right.

I do believe that some things we can be certain of, and should be certain of, and should live with passionate conviction to those certainties. But I think that those are only a few, core things, and we should be nuanced enough to call all the rest a hunch, a belief, and an assumption.

Posted on by Abe Austin

Scriptural Analysis- Exodus 26:36-37

36 And thou shalt make an hanging for the door of the tent, of blue, and purple, and scarlet, and fine twined linen, wrought with needlework.

37 And thou shalt make for the hanging five pillars of shittim wood, and overlay them with gold, and their hooks shall be of gold: and thou shalt cast five sockets of brass for them.

Yesterday we heard of the inner curtain, dividing the interior of the tabernacle into two rooms, now we hear about the outer curtain, which would divide the entire tabernacle from its surrounding courtyard. This door would follow the pattern of the inner curtain and the ceiling, made of fine-twined linen dyed blue, and purple, and scarlet. Thus, all the interior would be uniform.

This curtain would be hung from five pillars, as opposed to the four for the interior curtain. The odd number of pillars suggest that they were spaced evenly across the entrance, and not grouped together on either side with a single wide entryway in the middle. To me that suggests that the interior curtain was similarly broken up by each pillar. This would mean there would be four divisions to pass through the outer curtain, and three divisions to pass through the inner. Alternatively, some depictions assume the external curtain had two pillars grouped on each side, with one support pillar in the middle, creating two divisions, and no support pillar for the interior curtain, creating just one division there.

Another similarity between the exterior and interior curtains is that their pillars would be made of shittim wood overlaid with gold, with golden hooks to hold the curtains. The interior curtains, however, were said to have silver sockets at their base, just like the boards that made up the walls, whereas these external pillars are said to have sockets of brass. It’s a small change, but the use of less-valuable brass suggests that these pillars were to be seen as part of the outer courtyard, rather than part of the tabernacle. We will hear how brass was the chief metal used for the instruments and structures of the courtyard, which seems to correlate to that the place being less sanctified than the tabernacle.

Note: It can be difficult to visualize some of the structures described in these verses. Here is an excellent and extremely focused series of animations that show the visual form of the temple and its instruments, built up verse-by-verse from the Exodus record: https://youtube.com/playlist?list=PLpjohncRg94EZ55nJrbaKfi-lfeo3MFgl&si=6wm1J9Sdnu7LKYC_

Posted on by Abe Austin

Scriptural Analysis- Exodus 26:34-35

34 And thou shalt put the mercy seat upon the ark of the testimony in the most holy place.

35 And thou shalt set the table without the veil, and the candlestick over against the table on the side of the tabernacle toward the south: and thou shalt put the table on the north side.

We have a brief two-verse interlude to describe the placement of the previously described instruments within the constructed tabernacle. The Ark of the Covenant is to go behind the curtain that divides the holy place from the most holy place and have its mercy seat affixed on top of it. Then the table of shewbread and the candlestick will be placed on the other side of the curtain.

When walking into the tabernacle, the priest will be on the eastern side, with the candlestick on his left hand (on the south side of the tabernacle) and the table of shewbread on his right hand (on the north side of the tabernacle). There may be some significance to that placement. The left hand has been traditionally associated with the conceptual, the creative, and the spiritual, which is better represented by the transcendent, immaterial quality of light. The right hand has been associated with order, structure, and certainty, which is better represented by the physical, deliberately-constructed quality of bread.

Even the shape of the candlestick with its odd angles and curves and the table with its squared corners and edges speaks to that duality of chaotic potential and ordered reality. Standing between them both would be the priest, representing man who has ever had a foot in both the conceptual and literal world. Opposite the man, and also resting between the conceptual and literal world, would be the veil and the Ark of the Covenant on the other side. This, of course, represents God. He is ahead of us, forward in the way that we want to go. To cross the tabernacle and reach him we must follow a straight path, keeping the conceptual left and the literal right in proper balance, which we will do so long as where we are walking is towards Him.

Posted on by Abe Austin

Scriptural Analysis- Exodus 26:31-33

31 And thou shalt make a veil of blue, and purple, and scarlet, and fine twined linen of cunning work: with cherubims shall it be made:

32 And thou shalt hang it upon four pillars of shittim wood overlaid with gold: their hooks shall be of gold, upon the four sockets of silver.

33 And thou shalt hang up the veil under the taches, that thou mayest bring in thither within the veil the ark of the testimony: and the veil shall divide unto you between the holy place and the most holy.

We go from the external structure of the tabernacle to internal. The veil being described in these verses would divide the interior of the tabernacle in two. Entering the front curtain (which we will get to shortly), the priest would enter a holy place, but it would be partitioned off from the most holy place by the second curtain which is described today.

This curtain was to be made of fine-twined linen that had been dyed blue, purple, and scarlet, and was to be decorated with cherubim needlework. This detail is exactly the same as what was said for the first layer of curtains that was laid over the top and sides of the tabernacle. That first blue-purple-scarlet linen layer would have been the only one visible from within, thus the ceiling and walls would all match this new dividing curtain.

Furthermore, verse 33 specifies that the position of this new wall-curtain was to be directly under the taches that divided the back half of the outer cover from the front half. I previously discussed possible meanings of those taches, and one of those was that they might have been were to there to provide a distinct separation in the ceiling from the holy place and the most holy. There would be no strand of cloth that ran from the walls and ceiling of the holy place into the walls and ceiling of the most holy place.

Note: It can be difficult to visualize some of the structures described in these verses. Here is an excellent and extremely focused series of animations that show the visual form of the temple and its instruments, built up verse-by-verse from the Exodus record: https://youtube.com/playlist?list=PLpjohncRg94EZ55nJrbaKfi-lfeo3MFgl&si=6wm1J9Sdnu7LKYC_

Posted on by Abe Austin

Scriptural Analysis- Exodus 26:26-30

26 And thou shalt make bars of shittim wood; five for the boards of the one side of the tabernacle,

27 And five bars for the boards of the other side of the tabernacle, and five bars for the boards of the side of the tabernacle, for the two sides westward.

28 And the middle bar in the midst of the boards shall reach from end to end.

29 And thou shalt overlay the boards with gold, and make their rings of gold for places for the bars: and thou shalt overlay the bars with gold.

30 And thou shalt rear up the tabernacle according to the fashion thereof which was shewed thee in the mount.

Yesterday we heard how the rear corners would have couplings to help hold the separate walls together as one. There would need to be greater support however, as thus far all 48 boards are freestanding one next to the other, with nothing to stop them tipping over and falling.

Today’s verses address that by describing how rings would be put in the boards, through which long bars would be inserted. Five bars would be run through for each side, holding each wall together as one. Thus fifteen bars in all, to support three different walls.

Verse 28 mentions that the central bar would reach from one end to another, presumably meaning that it would run the full length of the wall. It is unclear whether the other bars would also run the full length of their walls, but it seems like that would be the most sturdy design.

With this we reach the end of the description for the exterior walls of the tabernacle, and in verse 30 we are once again told that Moses was shown the design of it all in the mountain, in addition to receiving the written description. The combination of both word and picture is a very powerful combination. Words are able to be much more technical and precise, detailing exact measurements and dimensions, but it is easy to get lost in the words and lose all context of what any of them mean. An image, on the other hand, may lack the specific measurements, but it provides an abiding context that puts all of the words in their proper place. The two methods of instruction combined create the greatest understanding.

Note: It can be difficult to visualize some of the structures described in these verses. Here is an excellent and extremely focused series of animations that show the visual form of the temple and its instruments, built up verse-by-verse from the Exodus record: https://youtube.com/playlist?list=PLpjohncRg94EZ55nJrbaKfi-lfeo3MFgl&si=6wm1J9Sdnu7LKYC_