Posted on by Abe Austin

Scriptural Analysis- Exodus 36:14-19

14 And he made curtains of goats’ hair for the tent over the tabernacle: eleven curtains he made them.

15 The length of one curtain was thirty cubits, and four cubits was the breadth of one curtain: the eleven curtains were of one size.

16 And he coupled five curtains by themselves, and six curtains by themselves.

17 And he made fifty loops upon the uttermost edge of the curtain in the coupling, and fifty loops made he upon the edge of the curtain which coupleth the second.

18 And he made fifty taches of brass to couple the tent together, that it might be one.

19 And he made a covering for the tent of rams’ skins dyed red, and a covering of badgers’ skins above that.

The previous post detailed Bezaleel’s creation of the linen covering, which was the innermost layer, the one that was visible from the interior. Today we hear about all the following layers: the ones of goats’ hair, rams’ skin, and badgers’ skin. These would be visible from the outside, and I would imagine that they effectively blocked out the sun, such that the only illumination would be from the seven lamps on the menorah.

Of course, the menorah was only on one side of the inner curtain, which means there would have been no direct light source for the most holy place, only whatever light leaked in. We do not know how thick the inner curtain was, so maybe light was able to pass through or maybe not. If the most holy place was quite dim, this might seem like a strange choice given the common connection between God and light; but there are a couple possible reasons why this feature could have been fitting.

One explanation could be that this would help the priest to disconnect from the material world. Cutting off his sight may have helped him to surrender his own perception and reason, encouraging him to listen to his spiritual senses instead. Another reason might have been to symbolize the great shroud of mystery that still surrounds God, even when we are at our closest to Him. His depth and breadth are simply unfathomable and imperceivable to us. A third possibility is that the room might have been illuminated, but not by a natural light source. If Moses’s face was made to shine from his visits into the tabernacle, perhaps there was a divine glow that originated in there.

Posted on by Abe Austin

Scriptural Analysis- Exodus 33:21-23

21 And the Lord said, Behold, there is a place by me, and thou shalt stand upon a rock:

22 And it shall come to pass, while my glory passeth by, that I will put thee in a clift of the rock, and will cover thee with my hand while I pass by:

23 And I will take away mine hand, and thou shalt see my back parts: but my face shall not be seen.

In yesterday’s post I suggested that Moses’s request to see the glory of the Lord might have been in reference to an upcoming meeting between the two, not the one currently transpiring within the tabernacle. Today’s verses seem to support that idea, with God talking about placing Moses in the cleft of a rock. It doesn’t seem that geographical feature would have been present in the tabernacle, but it certainly would have been found up in the top of the mountain, which is where Moses will go immediately after this meeting.

This idea of placing Moses in the cleft of a rock and covering him with God’s hand is clearly symbolic. A cleft in the rock face is a wound in the body. There immediately comes to mind the image of Jesus Christ, pierced in the side while on the cross. We are all of us tucked within that wound, our frailty and impurity being covered by the works of Christ as Moses was by the hand of the Lord, giving us our only hope of surviving the image of God and receiving a good reward.

Even the fact that Moses was only permitted to see the back of God, and not His face, seems symbolic for our experience in following a Lord that we do not perfectly understand. We generally understand God, but certainly not in His totality. We long to see His face but feel we have only a general sense of His form. We follow according to what little we do understand, looking forward to the time when we will fully see “face to face, and shall know Him even as also we are known.“

Posted on by Abe Austin

Scriptural Analysis- Exodus 28:26-29

26 And thou shalt make two rings of gold, and thou shalt put them upon the two ends of the breastplate in the border thereof, which is in the side of the ephod inward.

27 And two other rings of gold thou shalt make, and shalt put them on the two sides of the ephod underneath, toward the forepart thereof, over against the other coupling thereof, above the curious girdle of the ephod.

28 And they shall bind the breastplate by the rings thereof unto the rings of the ephod with a lace of blue, that it may be above the curious girdle of the ephod, and that the breastplate be not loosed from the ephod.

29 And Aaron shall bear the names of the children of Israel in the breastplate of judgment upon his heart, when he goeth in unto the holy place, for a memorial before the Lord continually.

We heard yesterday how the breastplate was secured at each side to the shoulders. This would still allow it to swing from side-to-side, though, so today we hear that there were two more points of attachment on the forepart of the ephod, just above the waist. Thus, the gems and the names inscribed upon them would be held firmly in place.

Also, verse 29 explicitly confirms the symbolism that I mentioned in yesterday’s post: as the priest performs his duties in the tabernacle the names of the breastplate are to bear “upon his heart…for a memorial before the Lord continually.” Specifically, we are told, it is the “judgment of the children of Israel” that is to weigh upon his heart.

Much of the symbolism we have heard about the tabernacle would keep the priest in constant remembrance of God, but this breastplate would also keep him in constant remembrance of the children of Israel. Thus, the priest was a mediator between the two, bringing God and the Israelite into one within his own person, trying to close the gap between them via sacrificial offerings, a type for Christ who would come many years later.

Posted on by Abe Austin

Scriptural Analysis- Exodus 28:17-21

17 And thou shalt set in it settings of stones, even four rows of stones: the first row shall be a sardius, a topaz, and a carbuncle: this shall be the first row.

18 And the second row shall be an emerald, a sapphire, and a diamond.

19 And the third row a ligure, an agate, and an amethyst.

20 And the fourth row a beryl, and an onyx, and a jasper: they shall be set in gold in their inclosings.

21 And the stones shall be with the names of the children of Israel, twelve, according to their names, like the engravings of a signet; every one with his name shall they be according to the twelve tribes.

The face of the breastplate would be covered with twelve precious stones. They would be four rows of three stones, and each would be inscribed with the name of one of the twelve tribes of Israel. We were already told that each priest would bear the twelve names upon his shoulders, six on each side engraved in a single onyx stone, and now all of them again on the chest, but here each carved into its own unique jewel.

There may be some symbolism in this. Having a cluster of names on each shoulder could mean having a broad sense of the burden for the work that the priest must perform for each tribe. The work for the Danite would be indistinguishable from the work for a Benjaminite. Each would be part of the same mass of labor, and so, too, their names could be massed together, six on each shoulder. But the tribes were not to be lumped together in such a way upon the heart. Twelve unique stones on the chest suggests having a unique and individual love for each tribe, the priest being able to appreciate their separate roles within the whole.

As for the types of stone that are described, some of them are assumed my modern scholars to be incorrectly interpreted. For example, there is no evidence that these ancient people would have known of the diamond, nor that they would have had the technology to etch a name into it. It therefore seems highly likely that a different stone was meant.

I have to assume that each stone was not chosen at random. If a sardius was selected for Reuben, I assume there was something in the nature of the sardius that was seen as particularly fitting for the nature, role, and destiny of Reuben within ancient Israel. There are several commentaries that suggest what those connections might have been, but I do not have the background to know which ones are most credible, so for now I will content myself with the opinion that the connections do exist.

Posted on by Abe Austin

Scriptural Analysis- Exodus 27:20-21

20 And thou shalt command the children of Israel, that they bring thee pure oil olive beaten for the light, to cause the lamp to burn always.

21 In the tabernacle of the congregation without the veil, which is before the testimony, Aaron and his sons shall order it from evening to morning before the Lord: it shall be a statute for ever unto their generations on the behalf of the children of Israel.

We already heard about the seven lamps upon the menorah within the tabernacle, but today we learn about the oil that they would use. A wick would be placed into the oil that would absorb the oil up into its body. When lit, the wick would continually absorb up more oil as the previous oil was consumed in the flame. Being saturated by the oil, the wick would be able to tolerate the flame and not immediately turn to ash as it would if it were dry.

There is clear symbolism here, wherein the wick is our soul, the oil is the spirit of Christ, and the flame is the glory of God. Surrendering our lives to God’s glory is like being subjected to a fire, glorious and scorching at the same time, but we are able to tolerate its heat by the constant refreshing of His spirit. If the spirit in us is not refreshed, we will eventually run out and be left vulnerable to the flame. So, just as the priests were required to replace the oil “to cause the lamp to burn always,” we must continually seek spiritual refreshment to keep our spiritual flame forever alive. This brings to mind Jesus’s promise to be a fountain constantly springing up into everlasting life within us.

Another point that must be made is the requirement that the oil to be used was “pure oil olive beaten.” There were two ways of extracting the oil from olives. The first was to put them into a mill and grind them. This would extract a lot of oil quickly, but it would be filled with the sediment of the broken olives and particles from the stones used in the mill. The other method was to beat and bruise them in a pestle, after which the oil would flow out freely, extremely clear and pure.

Crushed olives, mixed with the sediment of the world, produces a cloudy oil. So, too, fragmented gospel, mixed with the trends of the world, produces an unclear vision. Pure truth takes precision and effort to extract. It includes beating out our misconceptions and bruising our ego, often flowing from our wounds. Of course, there is also symbolism of Christ as the olive that was beaten and bruised, and His spirit flowing out of his wounds for all of 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 27:2-5

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

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 26:7-11

7 And thou shalt make curtains of goats’ hair to be a covering upon the tabernacle: eleven curtains shalt thou make.

8 The length of one curtain shall be thirty cubits, and the breadth of one curtain four cubits: and the eleven curtains shall be all of one measure.

9 And thou shalt couple five curtains by themselves, and six curtains by themselves, and shalt double the sixth curtain in the forefront of the tabernacle.

10 And thou shalt make fifty loops on the edge of the one curtain that is outmost in the coupling, and fifty loops in the edge of the curtain which coupleth the second.

11 And thou shalt make fifty taches of brass, and put the taches into the loops, and couple the tent together, that it may be one.

We now move on to the second set of curtains. There are many similarities between this and the first, but also some notable differences. The first curtains were made of linen, which is made from the flax plant. This curtain is to be made from the hair of goats. If we take a peek ahead, the next layers will be made of rams skins and then badgers skins. Thus we have a progression from plant, to hair, to skin; the layers are becoming more animal as they go. What is more, they are becoming more wild. The linen is artificially woven by man, the goat’s hair grows on the beast, and the skins are obviously a result of an animal’s death. Also, the ram is a domesticated sheep, whereas the badger is a wild creature and unclean for the Israelites to eat, ergo more wild.

Another difference is that the individual curtains are longer than the previous. They are thirty cubits long as opposed to twenty-eight. Also there are eleven of them, and they are paired into two groups of five and six, as opposed to the ten linen curtains paired into five and five. Thus, these goat’s skin curtains, when combined together, are both longer and wider than the others, which makes sense given that it will be overlaying the first.

As with the first set of curtains, these are to have loops made in the long edge of both halves, and then those loops connected by a series of taches or hooks. This time the taches would be made of brass, though, not gold as with the first set of curtains. This again shows how the outer layer is less refined and precious than the inner.

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 26:1

1 Moreover thou shalt make the tabernacle with ten curtains of fine twined linen, and blue, and purple, and scarlet: with cherubims of cunning work shalt thou make them.

God is working from the inside out in His directions for the tabernacle. First He gave the testimony of Hebrew law, written upon the tablets of stone in the mountain. Those, He explained, were to be housed within the Ark of the Covenant, the first religious relic He described the fashion of. He went on to describe the table of shewbred, the menorah, and the lamps, which would be placed just outside the curtain where the ark resided. Now, in today’s verses, he goes further outward to describe the border of the tabernacle, which was to be defined by a series of curtains.

It seems to me that God is describing a body, whether that be the body of a man, or the body of a people. Looking at the design of the tabernacle, the written law reminds me of John’s pronouncement: “in the beginning was the Word,” meaning that first comes the idea, the concept, the Spirit of God, animating from within. Around that spiritual core are the instruments of ritual, the religious practices that keep the body connected to that inner spiritual core, that remind us of our center. Then, the outer layers, the skin that separate the spiritual from the outside world. The outer layer has one face pointed outward, one face pointing inward, a duality that allows one to navigate their surrounding domain while keeping the inner sacred sacred.

Let us keep that representation in mind as we examine the details of these curtains tomorrow.