as tessellated, because the forms of squares were interwoven in it. The white colour was a symbol of purity, the fine linen pointed to sanctity, the interwoven squares were understood as an emblem of completeness. 2. Over this tunic was tied the Girdle, made of fine linen with blue, red, and crimson, and embroidered with figures like the curtain of the Court and the Sanctuary. It was very long and broad, and was tied several times round the waist, while the end hung loosely down to the ankles; but whenever the priest was engaged in active ministrations, he threw the end over his left shoulder, in order not to be impeded in his work. Although the girdle formed an indispensable part of the oriental dress, it is more especially the symbol of readiness, of office, and of appointment to fixed duties; and it had this meaning in the priestly attire. 6 3. The Drawers are thus described by Josephus: They are a girdle composed of fine twined linen; the feet are inserted into them in the manner of breeches; but above half of them is cut off, and they end at the thighs, and are there tied fast.' 4. The head of the common priest was covered by the Turban; it was made of thick folds of linen, doubled round many times and firmly sewn together; and it was fastened to the head by means of ribbons, to prevent its falling off. This turban, which was never to be removed, was to remind the priest that the head, the seat of reflection and wisdom, was especially consecrated, that he should hallow his thoughts, and direct all his ideas to purity and truth. The High-priests shared these garments with the common priests; but they had, besides, distinguishing vestments and ornaments which proclaimed their office to be one of higher importance and holiness. 1. The High-priest wore on his mitre a plate of gold, sometimes called a crown, reaching probably only from one temple to the other, and fastened to the turban by a thin ribbon. On this glittering ornament the significant words 'Holiness to the Lord' (p) were inscribed. They declared that the wearer was entirely devoted to the service of God, and that his mission was to elevate and sanctify the chosen people. The plate was, like the diadem, the emblem of royalty; for the High-priest was the anointed chief of the kingdom of priests, the spiritual representative of the Israelites, the visible connecting link between God and His people. 6 2. But the most characteristic garment of the Highpriest was the Ephod, which he wore above the tunic. It was made of the finest texture, the work of the skilful weaver,' not only of blue and red, crimson and fine twined linen, but also of gold threads, which again symbolised the sovereignty of the High-priest as spiritual king; it was without sleeves, and consisted of two parts called shoulder-pieces,' one of which covered the back, the other the breast and the upper part of the body. Where they were united on the shoulders, two onyx-stones set in gold were fixed. On these onyx-stones 'the names of the twelve tribes of Israel were to be engraved, six on each stone according to their age; and the High-priest was to wear these stones as "stones of memorial" for the children of Israel when he stood before God. The significance of this arrangement is self-evident. The Highpriest represented Israel before God; the stones were, therefore, for the people who saw them and their names engraved on them, a memorial that the High-priest officiated in their name; that he interceded in their favour; that he strove to expiate their sins and to reconcile them with their Creator, from whom they had swerved by their transgressions. The stones with the names on them were, therefore, for every individual an earnest admonition to render himself, by repentance and atonement, worthy of that reconciliation; for the prayers and sacrifices of the High-priest are efficacious only in so far as the people itself shows a craving after the restoration of that blissful harmony.'* The ephod had a band or girdle, woven of the same costly texture, and forming with it one entire piece. 3. Above the ephod, and attached to it by two chains twisted of gold thread, and resting chiefly upon the heart, was the Breast-plate of Decision. This remarkable portion of the pontifical vestments was woven of the same fine texture and the same costly materials as the ephod, with which it was meant to be closely connected. On the breast-plate sparkled twelve precious stones in four equal rows; on each stone the name of one of the twelve tribes of Israel was engraven. Nothing represents both the origin and destiny of man more strikingly and more beautifully than precious stones carefully worked out. Like the jewel, man is a child of the earth; but as this earthly frame encloses the breath of God and an eternal soul, it is a precious treasure in the eyes of God; He values man as bearing His image and His indelible impress. But it is the aim of man to train himself from a creature of the earth into a denizen of heaven, to transform the gloom and heaviness inherent in matter into the aerial brightness which is the essence of the spirits; and the smiling splendour of the precious stones, which are, like him, taken from the same dark womb of the common mother, symbolize to him that internal regeneration, that ascending from earth to heaven, from impurity to purity, from worldliness to sanctity, which is the innermost tendency of the Mosaic dispensation. But further, the jewels are, among all ancient nations, regarded as the foci of light, as the eyes of the earth; they are the emblems of the stars, which they *See Kalisch, on Exod. xxviii. rival in splendour; their brilliancy recalls the brightness of heaven; and if the names of the tribes were engraven on twelve stones, the hosts of Israel were reminded to strive after the light and the purity of the heavenly hosts.' (Kalisch, loc. cit.) The twelve jewels, as far as it is at present possible to ascertain the meaning of the Hebrew terms, were as follows: 1. Carnelian, topaz, and smaragd. 2. Carbuncle, sapphire, and emerald. 4. Chrysolite, onyx, and jasper. These stones were, at the same time, used for a very peculiar purpose. By their means the High-priest was, in critical and difficult emergencies, enabled to discover and reveal the will of God; hence the breast-plate was designated the breast-plate of decision;' and the twelve stones are described by the remarkable terms Urim and Thummim, or Light and Truth. As, therefore, the Urim and Thummim are identical with the twelve gems, they must bear some reference to the symbolical meaning of the latter; and this is, as has been observed above, purification from the state of sin and worldliness. 'The brilliancy of the precious stone is a type of the shining splendour of the purified soul and of the celestial orbs. Now the Urim and Thummim are nothing else than this "perfect light or brilliancy;" they represent the absolute banishment of terrestrial selfishness, the highest possible degree of self-denial. Therefore Aaron had to wear them on the heart, the source of all desires, of all mundane propensities-on the heart, which is "deceitful above all things and wicked, which no man knows and which God alone searches." If the heart of the High-priest was purified, if he pursued no other interests than the welfare of his people, then only was he worthy and capable of becoming the medium through which Israel received advice and guidance in times of trouble and uncertainty. And thus the much-disputed question, in what manner the answers of the Urim and Thummim were given, may perhaps be decided. The High-priest was, by the sight of the gems, powerfully impressed with the grandeur of his mission; his mind gave itself up entirely to the duties of his office; all earthly thoughts vanished before him; he was raised to a prophetic vision, and in this state of sanctity God deigned to reveal to him His will and the destinies of His people; and both the Highpriest and the people were convinced of the truth of such inspirations. But there is this difference between the High-priest and the prophet, that the former has to try to rise up to God by moral exertion, whilst God descends to the latter spontaneously; the one is a servant, the other a messenger; and therefore the office of the Highpriest is continuous, while prophets are only inspired in extraordinary times and for special purposes.' (Ibid.) 4. To complete the magnificent attire of the Highpriest, he wore between the ephod and the tunic the Robe, which was longer than the ephod and shorter than the tunic. It was of fine blue wool, without sleeves, woven of one piece with an aperture for the neck, round which a strong border was worked for protection from tearing. The blue colour of the garment was a significant symbol of that heavenly virtue which was to be the constant aim of the High-priest. Yet in order that his principal vestment might not be wanting in those colours which chiefly characterise the Tabernacle and the priestly attire, it ended in a broad hem of pomegranates, of blue, red, and crimson. Between these pomegranates small golden bells were inserted. The bells were not merely meant as an additional ornament, but they served a more important purpose. Their sound, produced when |