We know from Josephus that in the vesture of the high-priest these two uncut stones joined the shoulder-bands
of the ephod together;[61] the parallel is therefore complete. Indeed, if we may believe Dom Calmet, a reminiscence of ancient Egypt is to be found even in the form of the hooks affixed to the two precious stones. These hooks, he tells us, had the form of an asp biting into the loop or eye of the opposite shoulder-band: “Dicunt Græci uncum illum exhibuisse formam aspidis admordentis oram hujus hiatus.”[62] The head of the asp is a favorite object in Egyptian decoration.[63] This detail, however, is not insisted on, but merely mentioned in passing, as we find no allusion to it in the Pentateuch, nor is it based upon a tradition of ascertained authority.
We read further: “And thou shalt take two onyx stones, and shalt grave on them the names of the children of Israel: six names on one stone, and the other six on the other, according to the order of their birth. With the work of an engraver and a jeweller thou shalt engrave them with the names of the children of Israel, set in gold and compassed about: and thou shalt put them on both sides of the ephod, a memorial of the children of Israel. And Aaron shall bear their names before the Lord upon both shoulders, for a remembrance.”[64]
Our European museums, and more so still that of Boulaq, near Cairo, possess a large number of
gems of every form, engraven with mystic inscriptions or the names of the members of a noble family. The exact destination of many of these stones is often unknown, and it is probable that some of them have belonged to sacerdotal garments, or may have adorned the shoulder-bands we are considering. In any case, we know not only that the Egyptians engraved precious stones with marvellous skill, but also that they were in the habit of dedicating, as ex voto, gems bearing the names of a whole family, to render each of its members always present to the remembrance of the gods. Thus many of the stones now in the Louvre were offered by princely houses to the gods whose protection they sought to secure.[65]
Moses, by the command of God, adopted this idea in composing the vestments of Aaron, placing on the shoulders of the high-priest two precious stones, upon which were engraven the names of the twelve tribes of Israel; expressing under this graceful symbolism the office and character of the priesthood. He thus reminded his people that the priest is a mediator between God and men, and that he presents himself before JEHOVAH in the name and on behalf of this people, whose whole weight, so to speak, he seems to bear upon his shoulders.
“The ephod,” says Josephus, “is a cubit in width, and leaves the middle of the chest open.”[66] These words have been a great perplexity to the learned, but are easily explained when we look at the Egyptian vestment, which is not
more than a cubit in width, and leaves open the middle of the chest in the space between the two shoulder-bands and the upper edge of the corselet. “It is there,” adds Josephus, “that the pectoral is placed.” This was a span square, of the same fabric as the ephod, enriched with precious stones, and called εσσήνης, (essenes), which signifies also λόγιον, oracle. This exactly filled up the space left bare by the ephod. It would be difficult to give a more accurate description of the Egyptian vestment. In the eighth verse of the twenty-eighth chapter of Exodus we read: “And the belt of the ephod, which passes over it, shall be of the same stuff.”
In the Egyptian paintings the lower edge of the ephod is encircled by a girdle usually made of the same material as the corselet itself. The resemblance in every particular between the Hebrew and the Egyptian ephod is, in fact, perfect.
We must now proceed more fully to consider the pectoral, the importance of which renders it worthy of very careful study.