DOI Page / Citation link:
https://doi.org/10.11588/diglit.803#0094
88 THE BRITISH MUSEUM.
a graving tool after he had made it a molten calf*."
The Israelites had learned in Egypt the worship of
Apis, and had doubtless become acquainted with the
imitative arts of that nation, which they never entirely
laid aside, though the commands of the Deity were
especially directed against all the imitative arts of
every description. In Samuel, too, we have an ac-
count of an image of Dagon, the god of the Philis-
tines, which fell upon its face before the ark •(■.
Sculptured images,, however, were not used by
idolaters alone. The art, though forbidden in general
terms as the only means of weaning the Israelites
from the practices of the Egyptians, was allowed,
and employed by God himself in the service of
religion, chiefly in the representation of divine attri-
butes. In Exodus, chapters xxxi. and xxxvi., Bezaleel
and Aholiab are expressly named as inspired sculp-
tors, "in whom the Lord put wisdom and under-
standing to know how to work all manner of work for
the service of the sanctuary." Bezaleel formed the
cherubims of colossal dimensions which covered the
mercy-seat |.
The serpent of brass, which Moses placed upon a
pole §, was another of the sculptures made by divine
ordination.
Hiram, of Tyre, was the sculptor sent for by
Solomon to assist in the decoration of the temple.
"He was a widow's son of the tribe of Naphtali,
and his father was a man of Tyre, a worker in brass;
and he was filled with wisdom and understanding,
and cunning to work all works in brass. And
he came to King Solomon and wrought all his
work ||."
" * Exod. xxxii. 4. t 1 Sam. t. 3.
t Exod. xxxvii. 7. § Numb. xxi. 9.
i || 1 Kings, vii. 14.
a graving tool after he had made it a molten calf*."
The Israelites had learned in Egypt the worship of
Apis, and had doubtless become acquainted with the
imitative arts of that nation, which they never entirely
laid aside, though the commands of the Deity were
especially directed against all the imitative arts of
every description. In Samuel, too, we have an ac-
count of an image of Dagon, the god of the Philis-
tines, which fell upon its face before the ark •(■.
Sculptured images,, however, were not used by
idolaters alone. The art, though forbidden in general
terms as the only means of weaning the Israelites
from the practices of the Egyptians, was allowed,
and employed by God himself in the service of
religion, chiefly in the representation of divine attri-
butes. In Exodus, chapters xxxi. and xxxvi., Bezaleel
and Aholiab are expressly named as inspired sculp-
tors, "in whom the Lord put wisdom and under-
standing to know how to work all manner of work for
the service of the sanctuary." Bezaleel formed the
cherubims of colossal dimensions which covered the
mercy-seat |.
The serpent of brass, which Moses placed upon a
pole §, was another of the sculptures made by divine
ordination.
Hiram, of Tyre, was the sculptor sent for by
Solomon to assist in the decoration of the temple.
"He was a widow's son of the tribe of Naphtali,
and his father was a man of Tyre, a worker in brass;
and he was filled with wisdom and understanding,
and cunning to work all works in brass. And
he came to King Solomon and wrought all his
work ||."
" * Exod. xxxii. 4. t 1 Sam. t. 3.
t Exod. xxxvii. 7. § Numb. xxi. 9.
i || 1 Kings, vii. 14.