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Public-domain commentary
Matthew Henry
From his Commentary on the Whole Bible. Henry comments on passages, not single verses — this entry covers 1 Kings 6:15–38. His three-level outline is real structure in the source text, so it is rendered as structure.
Here, I. We have a particular account of the details of the building.
1.The wainscot of the temple. It was of cedar (Kg1 6:15), which was strong and durable, and of a very sweet smell. The wainscot was curiously carved with knops (like eggs or apples) and flowers, no doubt as the fashion then was, Kg1 6:18.
2.The gilding. It was not like ours, washed over, but the whole house, all the inside of the temple (Kg1 6:22), even the floor (Kg1 6:30), he overlaid with gold, and the most holy place with pure gold, Kg1 6:21. Solomon would spare no expense necessary to make it every way sumptuous. Gold was under foot there, as it should be in all the living temples: the abundance of it lessened its worth.
3.The oracle, or speaking-place (for so the word signifies), the holy of holies, so called because thence God spoke to Moses, and perhaps to the high priest, when he consulted with the breast-plate of judgment. In this place the ark of the covenant was to be set, Kg1 6:19. Solomon made every thing new, and more magnificent than it had been, except the ark, which was still the same that Moses made, with its mercy-seat and cherubim; that was the token of God's presence, which is always the same with his people whether they meet in tent or temple, and changes not with their condition.
4.The cherubim. Besides those at the ends of the mercy-seat, which covered the ark,
(1.)Solomon set up two more, very large ones, images of young men (as some think), with wings made of olive-wood, and all overlaid with gold, Kg1 6:23, etc. This most holy place was much larger than that in the tabernacle, and therefore the ark would have seemed lost in it, and the dead wall would have been unsightly, if it had not been thus adorned.
(2.)He carved cherubim upon all the walls of the house, Kg1 6:29. The heathen set up images of their gods and worshipped them; but these were designed to represent the servants and attendants of the God of Israel, the holy angels, not to be themselves worshipped (see thou do it not), but to show how great he is whom we are to worship.
5.The doors. The folding doors that led into the oracle were but a fifth part of the wall (Kg1 6:31), those into the temple were a fourth part (Kg1 6:33); but both were beautified with cherubim engraven on them, Kg1 6:32, Kg1 6:35.
6.The inner court, in which the brazen altar was at which the priests ministered. This was separated from the court where the people were by a low wall, three rows of hewn stone tipped with a cornice of cedar (Kg1 6:36), that over it the people might see what was done and hear what the priests said to them; for, even under that dispensation, they were not kept wholly either in the dark or at a distance.
7.The time spent in this building. It was but seven years and a half from the founding to the finishing of it, Kg1 6:38. Considering the vastness and elegance of the building, and the many appurtenances to it which were necessary to fit it for use, it was soon done. Solomon was in earnest in it, had money enough, had nothing to divert him from it, and many hands made quick work. He finished it (as the margin reads it) with all the appurtenances thereof, and with all the ordinances thereof, not only built the place, but set forward the work for which it was built.
II.Let us now see what was typified by this temple.
1.Christ is the true temple; he himself spoke of the temple of his body, Joh 2:21. God himself prepared him his body, Heb 10:5. In him dwelt the fulness of the Godhead, as the Shechinah in the temple. In him meet all God's spiritual Israel. Through him we have access with confidence to God. All the angels of God, those blessed cherubim, have a charge to worship him.
2.Every believer is a living temple, in whom the Spirit of God dwells, Co1 3:16. Even the body is such by virtue of its union with the soul, Co1 6:19. We are not only wonderfully made by the divine providence, but more wonderfully made anew by the divine grace. This living temple is built upon Christ as its foundation and will be perfected in due time.
3.The gospel church is the mystical temple; it grows to a holy temple in the Lord (Eph 2:21), enriched and beautified with the gifts and graces of the Spirit, as Solomon's temple with gold and precious stones. Only Jews built the tabernacle, but Gentiles joined with them in building the temple. Even strangers and foreigners are built up a habitation of God, Eph 2:19, Eph 2:22. The temple was divided into the holy place and the most holy, the courts of it into the outer and inner; so there are the visible and the invisible church. The door into the temple was wider than that into the oracle. Many enter into profession that come short of salvation. This temple is built firm, upon a rock, not to be taken down as the tabernacle of the Old Testament was. The temple was long in preparing, but was built at last. The top-stone of the gospel church will, at length, be brought forth with shoutings, and it is a pity that there should be the clashing of axes and hammers in the building of it. Angels are ministering spirits, attending the church on all sides and all the members of it.
4.Heaven is the everlasting temple. There the church will be fixed, and no longer movable. The streets of the new Jerusalem, in allusion to the flooring of the temple, are said to be of pure gold, Rev 21:21. The cherubim there always attend the throne of glory. The temple was uniform, and in heaven there is the perfection of beauty and harmony. In Solomon's temple there was no noise of axes and hammers. Every thing is quiet and serene in heaven; all that shall be stones in that building must in the present sate of probation and preparation be fitted and made ready for it, must be hewn and squared by divine grace, and so made meet for a place there.
Historical interpretation
Historical Reception
One surviving comment on this verse from the historical church.
[These symbols] have already been expounded above, because the same representations or carvings were wrought on the walls of the house and on the inner doors, and the meaning of the figures is obviously that the first door of the temple actually received the same representations and carvings and the same cherubim as the inner parts. The reason for this is that the same mysteries of faith, hope and charity, which the sublime and the perfect each grasp in a sublime manner and that all the elect in heaven fully understand in the divine vision, are handed on also in the instruction of the unlettered for each one to learn and confess, in as much as those who have been initiated into the mysteries sometimes also succeed in understanding what they have devoutly believed.
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Summary
1 Kings 6:35 offers a meticulous description of the interior ornamentation within Solomon's Temple, detailing the intricate carvings of cherubim, palm trees, and open flowers. These decorative elements were then meticulously covered with gold, precisely fitted onto the carved surfaces. This verse underscores the unparalleled dedication to divine beauty and excellence in constructing a sacred space designed to reflect God's majesty and presence, highlighting both the artistic skill employed and the profound symbolic meaning embedded within every detail of the Temple's design.
Context
Literary Context
This verse is deeply embedded within the comprehensive account of Solomon's construction of the Temple in Jerusalem, primarily detailed in 1 Kings chapter 6. Following the initial descriptions of the Temple's overall dimensions, materials, and structural components in verses like 1 Kings 6:2-10, the narrative transitions to focus on the elaborate interior. Specifically, 1 Kings 6:14-36 provides an in-depth look at the cedar paneling, the inner sanctuary (the Most Holy Place), and the various decorative carvings and gold overlays. Verse 35, in particular, hones in on the artistic embellishments of the main hall, emphasizing the meticulous craftsmanship and the lavish resources dedicated to creating an environment of unparalleled beauty and sanctity, setting the stage for the Temple's dedication.
Historical & Cultural Context
Solomon's reign (c. 970-931 BC) is often remembered as a period of significant peace and prosperity for the united kingdom of Israel, which provided the necessary stability and resources for such a monumental undertaking as the Temple. In the ancient Near East, grand temples were common, often serving as the central hub of a city's religious and civic life, frequently adorned with symbolic iconography. However, the Israelite Temple, while incorporating some shared architectural and artistic motifs, was distinct in its singular dedication to YHWH and its adherence to specific divine instructions, echoing the design principles laid out for the Tabernacle in Exodus 25. The extensive use of gold was not merely for ostentation; it was a powerful symbol of divine glory, purity, holiness, and the immense value placed on God's dwelling, reflecting the theological conviction that only the finest and most precious materials were suitable for the Creator of all.
Key Themes
The detailed description in 1 Kings 6:35 significantly contributes to several overarching themes within 1 Kings and the broader biblical narrative. Firstly, it powerfully illustrates the theme of Divine Glory and Worthiness, emphasizing that God's dwelling place should mirror His incomparable majesty and intrinsic value. The lavish application of gold and intricate carvings speaks to Israel's desire to honor God with the utmost splendor and reverence. Secondly, the verse highlights the Symbolism of Sacred Art, where each chosen element—cherubim, palm trees, and open flowers—carries profound theological meaning, transforming the physical structure into a visual sermon. Cherubim, for instance, are consistently associated with guarding God's presence and holiness, as seen guarding Eden in Genesis 3:24 and on the Ark of the Covenant in Exodus 25:18-22. Palm trees often symbolize righteousness, victory, and flourishing life (Psalm 92:12), while open flowers represent beauty, purity, and the life-giving presence of God. Finally, the verse exemplifies the theme of Uncompromising Excellence in Worship, demonstrating a profound commitment to offering God nothing less than the very best in terms of craftsmanship, materials, and dedicated effort, reflecting the covenantal expectation of wholehearted devotion and sacrifice.
Exposition and Analysis
Key Word Analysis
Derived from H3742, this term refers to a class of celestial beings, often depicted with wings, consistently associated in biblical literature with guarding sacred spaces, attending God's throne, or symbolizing His presence and glory. Their prominent inclusion in the Temple's design, echoing their presence on the Ark of the Covenant and in Ezekiel's visionary temple (Ezekiel 41:18), signifies the sanctity and divine guardianship of the holy place, underscoring that the Temple was a realm where the divine and earthly realms intersected.
This refers to an architectural motif resembling a palm-like pilaster. The palm tree, particularly the date palm, was a common and significant motif in ancient Near Eastern art and symbolism. In a biblical context, it often represents righteousness, prosperity, victory, and flourishing life. Its presence in the Temple's interior suggests a place of divine blessing, vitality, and the flourishing of God's people under His favor, reminiscent of the righteous who "flourish like the palm tree" (Psalm 92:12).
Properly meaning "glistening" or "a burnished plate," but also referring to a "flower" (as bright-colored). This term refers to a blossom or flower, likely lilies or similar ornate blooms. Flowers universally symbolize beauty, purity, and the transient yet vibrant nature of life. In the Temple, they would have conveyed a sense of Edenic beauty, divine creativity, and the life-giving presence of God, transforming the sacred space into a visual garden of blessing and vitality, a place where God's beauty and life were manifest.
Verse Breakdown
"And he carved [thereon] cherubims and palm trees and open flowers"
This clause meticulously details the specific iconography chosen for the Temple's interior walls and doors. The selection of cherubim, palm trees, and open flowers was highly intentional, extending beyond mere decoration. It created a rich symbolic tapestry, transforming the Temple into a microcosm of sacred space—a guarded, flourishing garden reflecting divine order and presence. The act of "carving" (Hebrew, qâlaʻ H7049) implies skilled artistry and meticulous detail, underscoring the dedication of human craftsmanship to divine purposes, particularly in creating forms that evoke life and celestial presence.
"and covered [them] with gold fitted upon the carved work"
This phrase emphasizes the extraordinary lavishness and precision of the gold application. The gold was not merely a superficial coating but was "fitted upon" (Hebrew, yâshar H3474, meaning "to be straight or even," implying precise alignment) the carvings, suggesting a seamless integration that enhanced and highlighted the intricate details rather than obscuring them. Gold (Hebrew, zâhâb H2091), a precious and incorruptible metal, universally symbolizes divine glory, purity, holiness, and immense value. Its extensive use in the Temple underscored the incomparable majesty of God and the sacredness of His dwelling place, elevating the physical structure to reflect heavenly splendor.
Literary Devices
The verse masterfully employs several potent literary devices to convey its profound meaning and impact. Imagery is paramount, as the detailed description of cherubim, palm trees, and open flowers, all gleaming with gold, creates a vivid mental picture of unparalleled beauty and sacred splendor. This visual richness serves to impress upon the reader the magnificence of God's dwelling and the reverence it commanded. Symbolism is deeply embedded, with each carved element carrying profound theological weight: cherubim symbolize divine guardianship and God's holy presence, palm trees represent righteousness, victory, and flourishing life, and open flowers signify beauty, purity, and the life-giving presence of God. Together, these elements form a Merism, representing the totality of sacred beauty, divine order, and the flourishing life found within the Temple. The sheer scale of the gold overlay, while literal, also borders on Hyperbole in its effect, conveying an overwhelming sense of God's immeasurable worth and the Israelites' boundless devotion, suggesting a richness that transcends earthly value.
Theological and Thematic Connections
The lavish and symbolically rich decoration of Solomon's Temple, as meticulously described in 1 Kings 6:35, speaks volumes about the nature of God and humanity's proper response to Him. The commitment to such exquisite beauty and costly materials reflects the profound theological conviction that God is worthy of the absolute best—a being of ultimate glory, purity, and majesty. The Temple served as a tangible representation of God's covenantal presence among His people, and its design aimed to evoke awe, reverence, and a deep understanding of the divine order. The recurring motifs, particularly the cherubim, link the Temple back to the Garden of Eden, suggesting a restoration of humanity's access to God's presence, albeit mediated through the sacrificial system. The Temple was conceived as a sacred cosmos, a place where the earthly mirrored the heavenly, inviting worshippers into a deeper, transformative encounter with the Holy One.
Reflection and Application
While the physical Temple in Jerusalem no longer stands, the profound principles embedded in its meticulous design and lavish decoration, as highlighted in 1 Kings 6:35, remain profoundly relevant for believers today. This verse challenges us to consider the quality of our own "offerings" to God. Just as Solomon dedicated the finest materials and craftsmanship to God's house, we are called to offer our best in every aspect of our lives—our time, talents, resources, and affections—as genuine acts of worship. This extends beyond formal religious settings to our daily work, our relationships, and the cultivation of our personal character. The emphasis on beauty and excellence in the Temple reminds us that our worship, whether corporate or individual, should be marked by intentionality, thoughtfulness, and a pursuit of excellence that truly reflects the majesty of the God we serve. Furthermore, understanding the rich symbolism of the Temple's decorations encourages us to seek deeper meaning in our faith, recognizing that God often communicates profound truths through tangible forms and metaphors, inviting us to contemplate His character and plan in all of creation.
Questions for Reflection
FAQ
Why were cherubim, palm trees, and flowers chosen for the Temple decorations?
These specific motifs were chosen for their deep symbolic meaning, creating a rich theological tapestry within the Temple. Cherubim symbolized divine guardianship, the sacred presence of God, and access to His holiness, echoing their role in guarding the Garden of Eden (Genesis 3:24) and adorning the Ark of the Covenant. Palm trees were ancient symbols of righteousness, flourishing life, and victory, suggesting prosperity and divine favor within God's house (Psalm 92:12). Open flowers, likely lilies or other blossoms, represented beauty, purity, and the life-giving presence of God, signifying a place of blessing and vitality. Together, they transformed the Temple's interior into a visual parable of divine life, order, and holiness, inviting worshippers into a deeper understanding of God's character.
What was the significance of covering the carvings with gold?
The extensive use of gold in the Temple was profoundly significant, transcending mere aesthetics. Gold, as the most precious and incorruptible metal, universally symbolized divine glory, purity, holiness, and immense value. Covering the intricate carvings with gold was not merely for aesthetic appeal but conveyed the incomparable worth and majesty of the God who dwelt there. It elevated the sacred space to reflect heavenly splendor, aligning with biblical descriptions of God's throne and the New Jerusalem, which is depicted with streets of pure gold (Revelation 21:18). This lavishness underscored the Israelites' profound reverence and commitment to offering God nothing less than the very best, signifying that His dwelling place was a reflection of His supreme glory.
Christ-Centered Fulfillment
The exquisite beauty and symbolic richness of Solomon's Temple, particularly its gold-covered carvings as described in 1 Kings 6:35, ultimately point to and find their supreme fulfillment in the person and work of Jesus Christ. The physical Temple, with its intricate design and sacred symbolism, was a powerful shadow of the ultimate reality of God's dwelling among humanity. Jesus Himself declared, "Destroy this temple, and in three days I will raise it up," clearly referring to the "temple of his body" (John 2:19-21). In Christ, the fullness of deity dwells bodily (Colossians 2:9), making Him the true and perfect Temple—the very place where God's presence is fully manifested and accessible. The cherubim, which guarded God's holy presence in the earthly Temple, find their ultimate purpose in Christ, who, through His once-for-all sacrifice, has opened a new and living way into the Most Holy Place, granting us direct access to God's presence and enabling us to draw near with confidence (Hebrews 10:19-20). The unparalleled glory and beauty of the gold-adorned Temple are surpassed by the inherent, uncreated glory of Christ, who is the "radiance of God's glory and the exact representation of his being" (Hebrews 1:3). Furthermore, as believers, we are now living stones being built into a spiritual house, a holy priesthood, with Christ as the cornerstone (1 Peter 2:5), collectively reflecting the glory and beauty of God through Him, becoming a dwelling in which God lives by His Spirit (Ephesians 2:21-22).