We now proceed to consider the sanctuary itself, in which Jehovah would deign to dwell amongst men. While it contained symbolisms, some at least of which were to be found in the temples of the gods of the heathen, in its teaching and idea it was absolutely different from any other erection upon the earth. We have to remember that the sanctuary was the tabernacle of the wilderness, a tent amongst Israel’s tents, adapted to the circumstances of the people on their way to the land of promise. When Israel was settled as a nation in Canaan, the sanctuary took the form of a temple. Israel had only just left Egypt; a wealth of Egypt’s treasures was in their camp, and the arts and trades of Egypt were to their hand. God used for His purpose what was common to the camp, and communicated lessons of the deepest spiritual import by means of the materials and skill which were common to the people.
The arts and trades utilized by Jehovah in the construction of His sanctuary had attained to the highest proficiency in Egypt a long time prior to Israel’s exodus. Having been sojourners in the land, Israel had materials, tools, and knowledge for the work, but more than artistic and mechanical power were required to translate into shape and form the ideas patterned to Moses on the mount – special understanding was necessary; hence the chief artists were gifted with peculiar wisdom, by which they were enabled to grasp the thoughts of God, and to express them with artistic perfection. As it was the purpose of God to utilize the wealth and skill of the people, they were commissioned to “bring” gifts, and from the material of their gifts to “make” that which Jehovah required. All could give, if but few could make. The principle governing the acceptability of these offerings was very simple – namely, a willing heart; that which governed the acceptability of their work was a wise heart. But though willing and wise, both gifts and work were to be according to the requirements of Jehovah. If He would dwell among men, He must be His own Architect and Designer, consequently every part of the structure had to be formed precisely in accordance with His patterns.
The words “which the Lord commanded Moses so did he,” are repeated eighteen times in the last two chapters of Exodus.
It is not enough to desire to glorify God by splendid gifts meant to adorn His house or to beautify His service. The Israelites might have done that, and yet only have succeeded in, creating another splendid idolatry. All was done “as the Lord commanded Moses,” therefore all outspoke the mind of Jehovah, and not the mere taste and art of man. Jehovah’s thoughts shone out in every item of the structure, and light beamed forth from all, displaying Christ and God’s salvation.
The mineral, vegetable and animal kingdoms were all laid under tribute for the work, and various arts and trades were called into service, while one great principle governed the whole erection – a principle of very great charm, each part was rendered acceptable to God by the touch of the human hand!
Gems, gold, silver, and copper took the first place of importance in the design; wood and fine linen were given a place almost as worthy; skins formed the outer covering of the tent. The gold and silver were weighed, and wood and metal were proportioned according to standard measures (Ex. 30:1,31And thou shalt make an altar to burn incense upon: of shittim wood shalt thou make it. (Exodus 30:1)
3And thou shalt overlay it with pure gold, the top thereof, and the sides thereof round about, and the horns thereof; and thou shalt make unto it a crown of gold round about. (Exodus 30:3)), a fact which is a witness to the common knowledge of the people of these important matters. This knowledge was divinely regulated, as were all weights, measures, and money, instituted in Israel. The structure of the sanctuary and its furniture, and the mixture for the incense, were all planned according to definite proportion.
The art of the goldsmith took the preeminence in the building. In our illustration of the gold worker on page 184, the exceeding simplicity of his manner of working will be observed. But his hand-wrought jewelery is so delicate and lovely, as to outdo all that Western nations can now produce by their complex machinery.
The same thing is to be observed in the arts of weaving and embroidery. The relics of old linen, with woven patterns, or with gold threads delicately wrought into it, are marvelous in the fineness of the material, the beauty of the various colors employed, and the lacing in of the fine gold threads. Nothing of the kind is now made. The machines used were of the simplest kind. The hand accomplished these perfect works of art. Handwork bears the stamp of individuality upon it. The mind and taste of the worker are there. There was thus much scope for the wise-hearted men and women who formed the beautiful linen vails and curtains of the sanctuary, as they worked the blue, purple, and scarlet colors, and the forms of the cherubim wrought into them with fine gold thread. The Eastern eye seems to love variety in design, and variety in unity is that which is found in nature; Western peoples are content with repetitions of the self-same form at least, such is the case now that machinery rules art.
The garments of the priests, especially those of glory and beauty worn by the high priest, called also for great taste and skill, and left scope for variety.
The carpenter or joiner had his share of honor in the sacred structure. We are unable to follow him in a considerable part of his work, as the details of the boards of the building, and the smaller parts of the ark, table, and altar are not given. The wood he used was acacia or shittim – the timber tree of the wilderness, and such of the people as had an eye for its value, felled it and stored its most useful limbs, and “every man with whom was found shittim wood for any work of the service brought it.” (Ex. 35:2424Every one that did offer an offering of silver and brass brought the Lord's offering: and every man, with whom was found shittim wood for any work of the service, brought it. (Exodus 35:24)). If the embroiderer might individualize in ornamental details, the joiner was called primarily to exactitude. Size and measurement were the great requirements from his hand, and he worked by the cubit of the sanctuary, by the divinely-given standard of length. It may be that much of his work was executed in inlaid and variegated wood, and in such work, within the compass of the exact measurement, there could be the diversity so loved by the artist, and so delightfully in accordance with the handiwork of God. The fineness and quality of ancient Egyptian woodwork is apparent in our museums; boxes, chairs, and stools, made thousands of years ago, are worthy of the highest admiration, while some of the carving of those bygone days is of noble workmanship. A considerable part of the joiner’s work was overlaid with gold, a style of art very common in Egypt.
The dyer should be also mentioned. The colors of the sanctuary were full of significance. The dyer figures frequently on the monuments. His skill in Egypt was very great, and the Egyptians were masters in color.
Israel had a variety of dyed stores with them, and “every man with whom was found blue, and purple, and scarlet, and fine linen, and goats’ hair, and red skins of rams, and badgers’ skins, brought them”; indeed, all that was utilized in the sanctuary, except the silver redemption money, was given by Israel to Jehovah, and was given with a willing heart. Some have calculated the value of Israel’s gifts, and the amount for metal alone has been put down at about two hundred and forty thousand pounds of our money. This would represent but a comparatively small sum at the hand of each individual of the people. There were six hundred thousand men, and w e may take it as many women, not to count the children, so that if one million two hundred thousand persons each gave one-fifth of a pound the supposed total would be exceeded. Excepting the ransom money, the gifts were made in kind, and a bracelet or an ornament from each family would more than supply the requisite amount of metal; and as Israel did not wear their ornaments after the sin of the golden calf, it is reasonable to suppose that the idolatrous symbols of Egyptian worship were melted down and were transformed into the symbols of Jehovah’s glory. “And they came, both men and women, as many as were willing-hearted, and brought bracelets, and earrings, and rings, and tablets, all jewels of gold,” all of which had been brought out of Egypt, unless some had been taken as spoil from the Amalekites. The brazen mirrors of the women, which were given to Jehovah’s service, were also of Egyptian origin, and, in most if not all instances, bore upon them emblems or representations of the gods.
The dedication to the divine service of precious thins was not a new institution, for the treasuries of the temples of Egypt were filled with such objects. Israel dedicated its gifts to Jehovah, and what was given was accepted by Him as wave-offerings – the offerer lifting up the gift and waving it heavenwards, as before God, “as an acknowledgment that He to whom it was offered is Lord and Giver of all.”