Such was the temple of the God of Abraham, Isaac and Jacob, restored by Herod, in which many of the scenes of the Gospels took place, and which was destined for so dramatic and mournful a fate. At once a public market, a house of prayer, and a fortress, it was condemned to be the tomb of Jewish nationality. Besieged and taken by the Romans, after a resistance unique in the annals of antiquity for its heroic desperation, it succumbed before the violence of Titus, and was profaned by Roman legionaries with torches and pickaxes in their hands. The echo of its fall, solemnly marked in the pages of human destiny, still resounds among us, for it was the overthrow of antiquity, and the irreparable destruction of the old civilisation of the East.
§ II. The Decoration and Furniture of the Temple.
The house of the Eternal was adorned with unheard-of splendour; precious woods, gold, silver, ivory and gems—nothing was spared by this people, jealous for the honour of their God; the accessories also of the worship of Jehovah, sacred vessels, knives, basins and utensils of every kind were works of art in which the chiseller and the metal-founder had each emulated the other’s skill. But the artists who decorated the former temple, let us not forget it, were Phœnicians. Now, the Phœnicians always confined themselves to the imitation of Egypt and Assyria; their technique has a hybrid character, which is, like Syria itself from a geographical point of view, a sort of compromise between Asia and Egypt. On these principles of criticism alone can we attempt to restore the decoration and furniture of Solomon’s temple.
The veil hung between the Holy Place and the Holy of Holies, and concealing the latter from sight, was a large piece of silk, on which the skilful hand of Eastern embroideresses had represented the image of the world; the four colours which entered into its composition were the symbols of the elements: purple represented the sea, saffron fire, hyacinth air, byssus earth. The inner walls were panelled with carved planks of cedar. In the Holy Place these wood-carvings represented colocynths and open flowers; in the Holy of Holies, palm-trees and fantastic animals or cherubim were mixed with the flowers. This decoration was relieved by plates of gold fixed on the wood with nails of the same metal. The Ark of the Covenant, in the Holy of Holies, was sheltered under the wings of two immense cherubim of wood overlaid with plates of gold. The different parts of these monstrous figures were borrowed from the animal world, like those of the winged bulls in the Ninevite palaces. According to the Bible, the cherubim are winged and have bulls’ feet; they draw Jehovah in his chariot or carry Him upon their back, like the Assyrian deities. Each cherub has at the same time a human face and a lion’s face. They form a silent procession upon the cedar panels, the leaves of the olive-wood doors, and the veil before the Holy of Holies, alternating with palms and colocynths, which, at Jerusalem, are substituted for the Egyptian lotus.
Fig. 176.—Egyptian naos and cherubim (M. de Vogüé, p. 33).
In the Holy of Holies there were two colossal statues of cherubs, 10 cubits high, overlaid with gold, which guarded the Ark of the Covenant. Each cherub had two gigantic wings, one outspread and drooped over the ark which it overshadowed, the other symmetrically outspread in the opposite direction and raised towards the ceiling. M. de Vogüé ingeniously compares with this description the Egyptian representations of two figures with long wings, kneeling on each side of the symbolic scarabæus or the solar disk supported by uræi, which they cover with their wings.