Verses 1-40
CHAPTER XXV.
THE SHRINE AND ITS FURNITURE.
Exodus 25:1-40
The first direction given to Moses on the mountain is to prepare for the making of a tabernacle wherein God may dwell with man. For this he must invite offerings of various kinds, metals and gems, skins and fabrics, oil and spices; and the humblest man whose heart is willing may contribute toward an abode for Him Whom the heaven of heavens cannot contain.
Strange indeed is the contrast between the mountain burning up to heaven, and the lowly structure of the wood of the desert, which was now to be erected by subscription.
And yet the change marks not a lower conception of deity, but an advance, just as the quiet and serene communion of a saint with God is loftier than the most agitating experience of the convert.
This is the first announcement of a fixed abiding presence of God in the midst of men, and it is therefore the precursor of much. St. John certainly alluded to this earliest dwelling of God on earth when he wrote, "The Word was made flesh, and tabernacled among us" (John 1:14). A little later it was said, "Ye also are builded together for an habitation of God" (Ephesians 2:22); and again the very words used at first of the tabernacle are applied to faithful souls: "We are a temple of the living God, as God said, I will dwell in them and walk in them" (2 Corinthians 6:16; Leviticus 26:11). For God dwelt on earth in the Messiah hidden by the veil, that is to say His flesh (Hebrews 10:20), and also in the hearts of all the faithful. And a yet fuller communion is to come, of which the tabernacle in the wilderness was a type, even the descent of the Holy City, when the true tabernacle of God shall be with men, and He shall tabernacle with them (Revelation 21:3).
It may seem strange that after the commandment "Let them make Me a sanctuary" the whole chapter is devoted to instructions, not for the tabernacle but for its furniture. But indeed the four articles enumerated in this chapter present a wonderfully graphic picture of the nature and terms of the intercourse of God with man. On one side is His revelation of righteousness, but righteousness propitiated and become gracious, and this is symbolised by the ark of the testimony and the mercy-seat. On the other side the consecration both of secular and sacred life is typified by the table with bread and wine, and by the golden candlestick. Except thus, no tabernacle could have been the dwelling of the Lord, nor ever shall be.
And this is the true reason why the altar of incense is not even mentioned until a later chapter (Exodus 30:1-38). We do homage to God because He is present: it is rather the consequence than the condition of His abode with us.
The first step towards the preparation of a shrine for God on earth is the enshrining of His will: Moses should therefore make first of all an ark, wherein to treasure up "the testimony which I shall give thee," the two tables of the law (Exodus 25:16). In it were also the pot of manna and Aaron's rod which budded (Hebrews 9:4), and beside it was laid the whole book of the law, for a testimony, alas! against them (Deuteronomy 31:26).
Thus the ark was to treasure up the expression of the will of God, and the relics which told by what mercies and deliverances He claimed obedience. It was a precious thing, but not the most precious, as we shall presently learn; and therefore it was not made of pure gold, but overlaid with it. That it might be reverently carried, four rings were cast and fastened to it at the lower corners, and in these four staves, also overlaid with gold, were permanently inserted.
The next article mentioned is the most important of all.
It would be a great mistake to suppose that the mercy-seat was a mere lid, an ordinary portion of the ark itself. It was made of a different and more costly material, of pure gold, with which the ark was only overlaid. There is separate mention that Bezaleel "made the ark, ... and he made the mercy-seat" (Exodus 37:1, Exodus 37:6), and the special presence of God in the Most Holy Place is connected much more intimately with the mercy-seat than with the remainder of the structure. Thus He promises to "appear in the cloud above the mercy-seat" (Leviticus 16:2). And when it is written that "Moses heard the Voice speaking unto him from above the mercy-seat which is upon the ark of the testimony" (Numbers 7:89), it would have been more natural to say directly "from above the ark" unless some stress were to be laid upon the interposing slab of gold. In reality no distinction could be sharper than between the ark and its cover, from whence to hear the voice of God. And so thoroughly did all the symbolism of the Most Holy Place gather around this supreme object, that in one place it is actually called "the house of the mercy-seat" (1 Chronicles 28:11).
Let us, then, put ourselves into the place of an ancient worshipper. Excluded though he is from the Holy Place, and conscious that even the priests are shut out from the inner shrine, yet the high priest who enters is his brother: he goes on his behalf: the barrier is a curtain, not a wall.
But while the Israelite mused upon what was beyond, the ark, as we have seen, suggests the depth of his obligation; for there is the rod of his deliverance and the bread from heaven which fed him; and there also are the commandments which he ought to have kept. And his conscience tells him of ingratitude, and a broken covenant; by the law is the knowledge of sin.
It is therefore a sinister and menacing thought that immediately above this ark of the violated covenant burns the visible manifestation of God, his injured Benefactor.
And hence arises the golden value of that which interposes, beneath which the accusing law is buried, by means of which God "hides His face from our sins."
The worshipper knows this cover to be provided by a separate ordinance of God, after the ark and its contents had been arranged for, and finds in it a vivid concrete representation of the idea "Thou hast cast all my sins behind Thy back" (Isaiah 38:17). That this was its true intention becomes more evident when we ascertain exactly the meaning of the term which we have, not too precisely, rendered "mercy-seat."
The word "seat" has no part in the original; and we are not to think of God as reposing on it, but as revealing Himself above. The erroneous notion has probably transferred itself to the type from the heavenly antitype, which is "the throne of grace," but it has no countenance either in the Greek or the Hebrew name of the Mosaic institution. Nor is the notion expressed that of gratuitous and unbought "mercy." When Jehovah showeth mercy unto thousands, the word is different. It is true that the root means "to cover," and is once employed in Scripture in that sense (Genesis 6:14); but its ethical use is generally connected with sacrifice; and when we read of a "sin-offering for atonement," of the half-shekel being an "atonement-money," and of "the day of atonement," the word is a simple and very similar development from the same root with this which we render mercy-seat (Exodus 30:10, Exodus 30:16; Leviticus 23:27, etc.).
The Greek word is found twice in the New Testament: once when the cherubim of glory overshadow the mercy-seat, and again when God hath set forth Christ to be a propitiation (Hebrews 9:5; Romans 3:25). The mercy-seat is therefore to be thought of in connection with sin, but sin expiated and thus covered and put away.
We know mysteries which the Israelite could not guess of the means by which this was brought to pass. But as he watched the high priest disappearing into that awful solitude, with God, as he listened to the chime of bells, swung by his movements, and announcing that still he lived, two conditions stood out broadly before his mind. One was the bringing in of incense: "Thou shalt bring a censer full of burning coals of fire from before the altar, that the cloud of the incense may cover the mercy-seat" (Leviticus 16:13). Now, the connection between prayer and incense was quite familiar to the Jew; and he could not but understand that the blessing of atonement was to be sought and won by intense and burning supplication. And the other was that invariable demand, the offering of a victim's blood. All the sacrifices of Judaism culminated in the great act when the high priest, standing in the most holy and the most occult spot in all the world, sprinkled "blood upon the mercy-seat eastwards, and before the mercy-seat sprinkled of the blood with his finger seven times" (Leviticus 16:14).
Thus the crowning height of the Jewish ritual was attained when the blood of the great national sacrifice was offered not only before God, but, with special reference to the covering up of the broken and accusing law, before the mercy-seat.
No wonder that on either side of it, and moulded of the same mass of metal, were the cherubim in an attitude of adoration, their outspread wings covering it, their faces bent, not only as bowing in reverence before the Divine presence, but, as we expressly read, "toward the mercy-seat shall the faces of the cherubim be." For the meaning of this great symbol was among the things which "the angels desire to look into."
We now understand how much was gained when God said "There will I meet thee, and I will commune with thee from above the mercy-seat" (Exodus 25:22). It was an assurance, not only of the love which desires obedience, but of the mercy which passes over failure.(39)
Thus far, there has been symbolised the mind of God, His righteousness and His grace.
The next articles have to do with man, his homage to God and his witness for Him.
There is first the table of the shewbread (Exodus 25:23-30), overlaid with pure gold, surrounded, like the ark, with "a crown" or moulding of gold, for ornament and the greater security of the loaves, and strengthened by a border of pure gold carried around the base, which was also ornamented with a crown, or moulding. Close to this border were rings for staves, like those by which the ark was borne. The table was furnished with dishes upon which, every Sabbath day, new shewbread might be conveyed into the tabernacle, and the old might be removed for the priests to eat. There were spoons also, by which to place frankincense upon each pile of bread; and "flagons and bowls to pour out withal." What was thus to be poured we do not read, but there is no doubt that it was wine, second only to bread as a requisite of Jewish life, and forming, like the frankincense, a link between this weekly presentation and the meal-offerings. But all these were subordinate to the twelve loaves, one for each tribe, which were laid in two piles upon the table. It is clear that their presentation was the essence of the rite, and not their consumption by the priests, which was possibly little more than a safeguard against irreverent treatment. For the word shewbread is literally bread of the face or presence, which word is used of the presence of God, in the famous prayer "If Thy presence go not with me, carry us not up hence" (Exodus 33:15). And of whom, other than God, can it here be reasonably understood? Now Jacob, long before, had vowed "Of all that Thou givest me, I will surely give the tenth to Thee" (Genesis 28:22). And it was an edifying ordinance that a regular offering should be made to God of the staple necessaries of existence, as a confession that all came from Him, and an appeal, clearly expressed by covering it with frankincense, which typified prayer (Leviticus 24:7) that He would continue to supply their need.
Nor is it overstrained to add, that when this bread was given to their priestly representatives to eat, with all reverence and in a holy place, God responded, and gave back to His people that which represented the necessary maintenance of the tribes. Thus it was, "on the behalf of the children of Israel, an everlasting covenant" (Leviticus 24:8).
The form has perished. But as long as we confess in the Lord's Prayer that the wealthiest does not possess one day's bread ungiven--as long, also, as Christian families connect every meal with a due acknowledgment of dependence and of gratitude--so long will the Church of Christ continue to make the same confession and appeal which were offered in the shewbread upon the table.
The next article of furniture was the golden candlestick (Exodus 25:31-40). And this presents the curious phenomenon that it is extremely clear in its typical import, and in its material outline; but the details of the description are most obscure, and impossible to be gathered from the Authorised Version. Strictly speaking, it was not a lamp, but only a gorgeous lamp-stand, with one perpendicular shaft, and six branches, three springing, one above another, from each side of the shaft, and all curving up to the same height. Upon these were laid the seven lamps, which were altogether separate in their construction (Exodus 25:37). It was of pure gold, the base and the main shaft being of one piece of beaten metal. Each of the six branches was ornamented with three cups, made like almond blossoms; above these a "knop," variously compared by Jewish writers to an apple and a pomegranate, and still higher, a flower or bud. It is believed that there was a fruit and flower above each of the cups, making nine ornaments on each branch. The "candlestick" in Exodus 25:34 can only mean the central shaft, and upon this there were "four cups with their knops and flowers" instead of three. With the lamp were tongs, and snuff-dishes in which to remove the charred wick from the temple.
As we are told that when the Lord called the child Samuel, "the lamp of God was not yet gone out" (1 Samuel 3:3), it follows that the lights were kept burning only during the night.
We have now to ascertain the spiritual meaning of this stately symbol. There are two other passages in Scripture which take up the figure and carry it forward. In Zechariah (Zechariah 4:2-12) we are taught that the separation of the lamps is a mere incident; they are to be conceived of as organically one, and moreover as fed by secret ducts with oil from no limited supply, but from living olive trees, vital, rooted in the system of the universe. Whatever obscurity may veil those "two sons of oil" (and this is not the place to discuss the subject), we are distinctly told that the main lesson is that of lustre derived from supernatural, invisible sources. Zerubbabel is confronted by a great mountain of hindrance, but it shall become a plain before him, because the lesson of the vision of the candlestick is this--"Not by might, nor by power, but by My Spirit, saith the Lord." A lamp gives light not because the gold shines, but because the oil burns; and yet the oil is the one thing which the eye sees not. And so the Church is a witness for her Lord, a light shining in a dark place, not because of its learning or culture, its noble ritual, its stately buildings or its ample revenues. All these things her children, having the power, ought to dedicate. The ancient symbol put art and preciousness in an honourable place, worthily upholding the lamp itself; and in the New Testament the seven lamps of the Apocalypse were still of gold. But the true function of a lamp is to be luminous, and for this the Church depends wholly upon its supply of grace from God the Holy Ghost. It is "not by might, nor by power, but by My Spirit, saith the Lord."
Again, in the Revelation, we find the New Testament Churches described as lamps, among which their Lord habitually walks. And no sooner have the seven churches on earth been warned and cheered, than we are shown before the throne of God seven torches (burning by their own incandescence--vide Trench, N. T. Synonyms, p. 162), which are the seven spirits of God, answering to His seven light-bearers upon the earth (Revelation 4:5).
Lastly, the perfect and mystic number, seven, declares that the light of the Church, shining in a dark place, ought to be full and clear, no imperfect presentation of the truth: "they shall light the lamps, to give light over against it."
Because this lamp shines with the light of the Church, exhibiting the graces of her Lord, therefore a special command is addressed to the people, besides the call for contributions to the work in general, that they shall bring pure olive oil, not obtained by heat and pressure, but simply beaten, and therefore of the best quality, to feed its flame.
It is to burn, as the Church ought to shine in all darkness of the conscience or the heart of man, from evening to morning for ever. And the care of the ministers of God is to be the continual tending of this blessed and sacred flame.
FOOTNOTES:
Verse 9
THE PATTERN IN THE MOUNT.
Exodus 25:9, Exodus 25:40.
Twice over (Exodus 25:9, Exodus 25:40, and cf. Exodus 26:30, Exodus 27:8, etc.) Moses was reminded to be careful to make all things after the pattern shown him in the mount. And these words have sometimes been so strained as to convey the meaning that there really exists in heaven a tabernacle and its furniture, the grand original from which the Mosaic copy was derived.
That is plainly not what the Epistle to the Hebrews understands (Hebrews 8:5). For it urges this admonition as a proof that the old dispensation was a shadow of ours, in which Christ enters into heaven itself, and our consciences are cleansed from dead works to serve the living God. The citation is bound indissolubly with all the demonstration which follows it.
We are not, then, to think of a heavenly tabernacle, exhibited to the material senses of Moses, with which all the details of his own work must be identical.
Rather we are to conceive of an inspiration, an ideal, a vision of spiritual truths, to which all this work in gold and acacia-wood should correspond. It was thus that Socrates told Glaucon, incredulous of his republic, that in heaven there is laid up a pattern, for him that wishes to behold it. Nothing short of this would satisfy the inspired application of the words in the Epistle to the Hebrews, where the readers, who were Jewish converts, are asked to recognise in this verse evidence that the light of the new dispensation illuminated the institutions of the old.
Without this pervading sentiment, the most elaborate specifications of weight and measurement, of cup and pomegranate and flower, could never have produced the required effect. An ideal there was, a divinely designed suggestiveness, which must be always present to his superintending vigilance, as once it shone upon his soul in sacred vision or trance; a suggestiveness which might possibly be lost amid correct elaborations, like the soul of a poem or a song, evaporating through a rendering which is correct enough, yet in which the spirit, even if that alone, has been forgotten.
It is surely a striking thing to find this need of a pervading sentiment impressed upon the author of the first piece of religious art that ever was recognised by heaven.
For it is the mysterious all-pervading charm of such a dominant sentiment which marks the impassable difference between the lowliest work of art, and the highest piece of art-manufacture which is only a manufactured article.
And assuredly the recognition of this principle among a people whose ancient history shows but little interest in art, calls for some attention from those who regard the tabernacle itself as a fiction, and its details as elaborated in Babylonia, in the priestly interest. (Kuenen, Relig. of Israel, ii. 148).
The problem of problems for all who deny the divinity of the Old Testament is to explain the curious position which its institutions are consistent in accepting. They rest on the authority of heaven, and yet they are not definitive, but provisional. They are always looking forward to another prophet like their founder, a new covenant better than the present one, a high priest after the order of a Canaanite enthroned at the right hand of Jehovah, a consecration for every pot in the city like that of the vessels in the temple (Deuteronomy 18:15; Jeremiah 31:31; Psalms 110:1, Psalms 110:4; Zechariah 14:20). And here, "in the priestly interest," is an avowal that the Divine habitation which they boast of is but the likeness and shadow of some Divine reality concealed. And these strange expectations have proved to be the most fruitful and energetic principles in their religion.
This very presence of the ideal is what will for ever make the highest natures quite certain that the visible universe is no mere resultant of clashing forces without a soul, but the genuine work of a Creator. The universe is charged throughout with the most powerful appeals to all that is artistic and vital within us; so that a cataract is more than water falling noisily, and the silence of midnight more than the absence of disturbance, and a snow mountain more than a storehouse to feed the torrents in summer, being also poems, appeals, revelations, whispers from a spirit, heard in the depth of ours.
Does any one, listening to Beethoven's funeral march, doubt the utterance of a soul, as distinct from clanging metal and vibrating chords? And the world has in it this mysterious witness to something more than heat and cold, moisture and drought: something which makes the difference between a well-filled granary and a field of grain rippling golden in the breeze. This is not a coercive argument for the hostile logic-monger: it is an appeal for the open heart. "He that hath ears to hear, let him hear."
To fill the tabernacle of Moses with spiritual meaning, the ideal tabernacle was revealed to him in the Mount of God.
Let us apply the same principle to human life. There also harmony and unity, a pervading sense of beauty and of soul, are not to be won by mere obedience to a mandate here and a prohibition there. Like Moses, it is not by labour according to specification that we may erect a shrine for deity. Those parables which tell of obedient toil would be sadly defective, therefore, without those which speak of love and joy, a supper, a Shepherd bearing home His sheep, a prodigal whose dull expectation of hired service is changed for investiture with the best robe and the gold ring, and welcome of dance and music.
How shall our lives be made thus harmonious, a spiritual poem and not a task, a chord vibrating under the musician's hand? How shall thought and word, desire and deed, become like the blended voices of river and wind and wood, a witness for the divine? Not by mere elaboration of detail (though correctness is a condition of all true art), but by a vision before us of the divine life, the Ideal, the pattern shown to all, and equally to be imitated (strange though it may seem) by peasant and prince, by woman and sage and child.
Verse 40
THE PATTERN IN THE MOUNT.
Exodus 25:9, Exodus 25:40.
Twice over (Exodus 25:9, Exodus 25:40, and cf. Exodus 26:30, Exodus 27:8, etc.) Moses was reminded to be careful to make all things after the pattern shown him in the mount. And these words have sometimes been so strained as to convey the meaning that there really exists in heaven a tabernacle and its furniture, the grand original from which the Mosaic copy was derived.
That is plainly not what the Epistle to the Hebrews understands (Hebrews 8:5). For it urges this admonition as a proof that the old dispensation was a shadow of ours, in which Christ enters into heaven itself, and our consciences are cleansed from dead works to serve the living God. The citation is bound indissolubly with all the demonstration which follows it.
We are not, then, to think of a heavenly tabernacle, exhibited to the material senses of Moses, with which all the details of his own work must be identical.
Rather we are to conceive of an inspiration, an ideal, a vision of spiritual truths, to which all this work in gold and acacia-wood should correspond. It was thus that Socrates told Glaucon, incredulous of his republic, that in heaven there is laid up a pattern, for him that wishes to behold it. Nothing short of this would satisfy the inspired application of the words in the Epistle to the Hebrews, where the readers, who were Jewish converts, are asked to recognise in this verse evidence that the light of the new dispensation illuminated the institutions of the old.
Without this pervading sentiment, the most elaborate specifications of weight and measurement, of cup and pomegranate and flower, could never have produced the required effect. An ideal there was, a divinely designed suggestiveness, which must be always present to his superintending vigilance, as once it shone upon his soul in sacred vision or trance; a suggestiveness which might possibly be lost amid correct elaborations, like the soul of a poem or a song, evaporating through a rendering which is correct enough, yet in which the spirit, even if that alone, has been forgotten.
It is surely a striking thing to find this need of a pervading sentiment impressed upon the author of the first piece of religious art that ever was recognised by heaven.
For it is the mysterious all-pervading charm of such a dominant sentiment which marks the impassable difference between the lowliest work of art, and the highest piece of art-manufacture which is only a manufactured article.
And assuredly the recognition of this principle among a people whose ancient history shows but little interest in art, calls for some attention from those who regard the tabernacle itself as a fiction, and its details as elaborated in Babylonia, in the priestly interest. (Kuenen, Relig. of Israel, ii. 148).
The problem of problems for all who deny the divinity of the Old Testament is to explain the curious position which its institutions are consistent in accepting. They rest on the authority of heaven, and yet they are not definitive, but provisional. They are always looking forward to another prophet like their founder, a new covenant better than the present one, a high priest after the order of a Canaanite enthroned at the right hand of Jehovah, a consecration for every pot in the city like that of the vessels in the temple (Deuteronomy 18:15; Jeremiah 31:31; Psalms 110:1, Psalms 110:4; Zechariah 14:20). And here, "in the priestly interest," is an avowal that the Divine habitation which they boast of is but the likeness and shadow of some Divine reality concealed. And these strange expectations have proved to be the most fruitful and energetic principles in their religion.
This very presence of the ideal is what will for ever make the highest natures quite certain that the visible universe is no mere resultant of clashing forces without a soul, but the genuine work of a Creator. The universe is charged throughout with the most powerful appeals to all that is artistic and vital within us; so that a cataract is more than water falling noisily, and the silence of midnight more than the absence of disturbance, and a snow mountain more than a storehouse to feed the torrents in summer, being also poems, appeals, revelations, whispers from a spirit, heard in the depth of ours.
Does any one, listening to Beethoven's funeral march, doubt the utterance of a soul, as distinct from clanging metal and vibrating chords? And the world has in it this mysterious witness to something more than heat and cold, moisture and drought: something which makes the difference between a well-filled granary and a field of grain rippling golden in the breeze. This is not a coercive argument for the hostile logic-monger: it is an appeal for the open heart. "He that hath ears to hear, let him hear."
To fill the tabernacle of Moses with spiritual meaning, the ideal tabernacle was revealed to him in the Mount of God.
Let us apply the same principle to human life. There also harmony and unity, a pervading sense of beauty and of soul, are not to be won by mere obedience to a mandate here and a prohibition there. Like Moses, it is not by labour according to specification that we may erect a shrine for deity. Those parables which tell of obedient toil would be sadly defective, therefore, without those which speak of love and joy, a supper, a Shepherd bearing home His sheep, a prodigal whose dull expectation of hired service is changed for investiture with the best robe and the gold ring, and welcome of dance and music.
How shall our lives be made thus harmonious, a spiritual poem and not a task, a chord vibrating under the musician's hand? How shall thought and word, desire and deed, become like the blended voices of river and wind and wood, a witness for the divine? Not by mere elaboration of detail (though correctness is a condition of all true art), but by a vision before us of the divine life, the Ideal, the pattern shown to all, and equally to be imitated (strange though it may seem) by peasant and prince, by woman and sage and child.