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Commentary on 1 Kings 7 verses 13–47
We have here an account of the brass-work about the temple. There was no iron about the temple, though we find David preparing for the temple iron for things of iron, Ch1 29:2. What those things were we are not told, but some of the things of brass are here described and the rest mentioned.
I. The brasier whom Solomon employed to preside in this part of the work was Hiram, or Huram (Ch2 4:11), who was by his mother's side an Israelite, of the tribe of Naphtali, by his father's side a man of Tyre, Kg1 7:14. If he had the ingenuity of a Tyrian, and the affection of an Israelite to the house of God (the head of a Tyrian and the heart of an Israelite), it was happy that the blood of the two nations mixed in him, for thereby he was qualified for the work to which he was designed. As the tabernacle was built with the wealth of Egypt, so the temple with the wit of Tyre. God will serve himself by the common gifts of the children of men.
II. The brass he made use of was the best he could get. All the brazen vessels were of bright brass (Kg1 7:45), good brass, so the Chaldee, that which was strongest and looked finest. God, who is the best, must be served and honoured with the best.
III. The place where all the brazen vessels were cast was the plain of Jordan, because the ground there was stiff and clayey, fit to make moulds of for the casting of the brass (Kg1 7:46), and Solomon would not have this dirty smoky work done in or near Jerusalem.
IV. The quantity was not accounted for. The vessels were unnumbered (so it may be read, Kg1 7:47, as well as unweighed), because they were exceedingly numerous, and it would have been an endless thing to keep the account of them; neither was the weight of the brass, when it was delivered to the workmen, searched or enquired into; so honest were the workmen, and such great plenty of brass they had, that there was no danger of wanting. We must ascribe it to Solomon's care that he provided so much, not to his carelessness that he kept no account of it.
V. Some particulars of the brass-work are described.
1.Two brazen pillars, which were set up in the porch of the temple (Kg1 7:21), whether under the cover of the porch or in the open air is not certain; it was between the temple and the court of the priests. These pillars were neither to hang gates upon nor to rest any building upon, but purely for ornament and significancy. (1.) What an ornament they were we may gather from the account here given of the curious work that was about them, chequer-work, chain-work, net-work, lily-work, and pomegranates in rows, and all of bright brass, and framed no doubt according to the best rules of proportion, to please the eye. (2.) Their significancy is intimated in the names given them (Kg1 7:21): Jachin - he will establish; and Boaz - in him is strength. Some think they were intended for memorials of the pillar of cloud and fire which led Israel through the wilderness: I rather think them designed for memorandums to the priests and others that came to worship at God's door, [1.] To depend upon God only, and not upon any sufficiency of their own, for strength and establishment in all their religious exercises. When we come to wait upon God, and find our hearts wandering and unfixed, then by faith let us fetch in help from heaven: Jachin - God will fix this roving mind. It is a good thing that the heart be established with grace. We find ourselves weak and unable for holy duties, but this is our encouragement: Boaz - in him is our strength, who works in us both to will and to do. I will go in the strength of the Lord God. Spiritual strength and stability are to be had at the door of God's temple, where we must wait for the gifts of grace in the use of the means of grace. [2.] It was a memorandum to them of the strength and establishment of the temple of God among them. Let them keep close to God and duty, and they should never lose their dignities and privileges, but the grant should be confirmed and perpetuated to them. The gospel church is what God will establish, what he will strengthen, and what the gates of hell can never prevail against. But, with respect to this temple, when it was destroyed particular notice was taken of the destroying of these pillars (Kg2 25:13, Kg2 25:17), which had been the tokens of its establishment, and would have been so if they had not forsaken God.
2.A brazen sea, a very large vessel, above five yards in diameter, and which contained above 500 barrels of water for the priests' use, in washing themselves and the sacrifices, and keeping the courts of the temple clean, Kg1 7:23, etc. It stood raised upon the figures of twelve oxen in brass, so high that either they must have stairs to climb up to it or cocks at the bottom to draw water from it. The Gibeonites, or Nethinim, who were to draw water for the house of God, had the care of filling it. Some think Solomon made the images of oxen to support this great cistern in contempt of the golden calf which Israel had worshipped, that (as bishop Patrick expresses it) the people might see there was nothing worthy of adoration in those figures; they were fitter to make posts of than to make gods of. Yet this prevailed not to prevent Jerusalem's setting up the calves for deities. In the court of the tabernacle there was only a laver of brass provided to wash in, but in the court of the temple a sea of brass, intimating that by the gospel of Christ much fuller preparation is made for our cleansing than was by the law of Moses. That had a laver, this has a sea, a fountain opened, Zac 13:1.
3.Ten bases, or stands, or settles, of brass, on which were put ten lavers, to be filled with water for the service of the temple, because there would not be room at the molten sea for all that had occasion to wash there. The bases on which the lavers were fixed are very largely described here, Kg1 7:27, etc. They were curiously adorned and set upon wheels, that the lavers might be removed as there was occasion; but ordinarily they stood in two rows, five on one side of the court and five on the other, Kg1 7:39. Each laver contained forty baths, that is, about ten barrels, Kg1 7:38. Those must be very clean that bear the vessels of the Lord. Spiritual priests and spiritual sacrifices must be washed in the laver of Christ's blood and of regeneration. We must wash often, for we daily contract pollution, must cleanse our hands and purify our hearts. Plentiful provision is made for our cleansing; so that if we have our lot for ever among the unclean it will be our own fault.
4.Besides these, there was a vast number of brass pots made to boil the flesh of the peace-offerings in, which the priests and offerers were to feast upon before the Lord (see Sa1 2:14); also shovels, wherewith they took out the ashes of the altar. Some think the word signifies flesh-hooks, with which they took meat out of the pot. The basins also were made of brass, to receive the blood of the sacrifices. These are put for all the utensils of the brazen altar, Exo 38:3. While they were about it they made abundance of them, that they might have a good stock by them when those that were first in use wore out and went to decay. Thus Solomon, having wherewithal to do so, provided for posterity.
What else can the lilies mean but the glory of the heavenly homeland and the beauty of immortality fragrant with the flowers of paradise? What else can the four cubits mean but the word of the gospel, which promises us entry into eternal happiness and shows us the road by which we may reach it? Therefore, when holy teachers show us the promised threshold of the heavenly kingdom in the four books of the holy gospel, it is as if the tops of the pillars display the lily work of four cubits that is on them. Taking this text literally, it should be noted that when the lily work on the capitals is recorded as having been of four cubits and the words “in height” or “in width” are not added, it is, of course, left to the reader’s judgment whether this ought to be understood as referring to height or to width. It is agreed beyond the slightest doubt that a pillar that a rope of twelve cubits spanned would be four cubits thick. For the circumference of every circle is three times the length of its diameter. Finally because the bronze sea was ten cubits in diameter, as we read in what follows, it was thirty cubits in circumference. But because the lily work is said to have been four cubits, whether this means in width or height, at all events, the meaning of the figure is clear, because it is only through the gospel that the voice most ardently longed for has sounded: “Do penance, for the kingdom of heaven is at hand.”
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SUMMARY
First Kings 7:19 provides a precise and vivid description of the ornate "chapiters," or capitals, that crowned the two monumental bronze pillars, Jachin and Boaz, positioned at the entrance of King Solomon's Temple porch. This verse highlights the exquisite "lily work" adorning these architectural elements, specifying their height as four cubits, thereby emphasizing the meticulous craftsmanship and profound aesthetic beauty integrated into the sacred structure. It underscores the divine mandate for excellence and splendor in all aspects of the Temple, reflecting God's glory and the reverence due to His dwelling place.
CONTEXT
Literary Context: This verse is deeply embedded within the larger narrative of King Solomon's extensive building projects, particularly the construction of the Temple in Jerusalem. Following the general architectural layout described in 1 Kings 6, Chapter 7 shifts focus to Solomon's personal palace and, more significantly, provides intricate details concerning the Temple's furnishings and monumental features. Specifically, 1 Kings 7:15-22 is dedicated to the two grand bronze pillars, Jachin and Boaz, which stood prominently at the Temple's entrance. Our verse, 1 Kings 7:19, elaborates on the decorative "chapiters" atop these pillars, demonstrating the narrative's progression from broad structural descriptions to specific, ornate details, thereby emphasizing the Temple's grandeur and the meticulousness of its divine design.
Historical & Cultural Context: The construction of the Temple under King Solomon's reign marked a monumental shift in Israelite history, signifying a permanent and central dwelling place for God among His people, a transition from the portable Tabernacle. In the ancient Near East, temples were not merely functional structures but were often adorned with elaborate symbolism, reflecting the cosmology and values of the civilization. The use of floral motifs, such as lilies or lotus blossoms, was common in regional art and architecture, frequently symbolizing purity, life, fertility, and divine favor. The "lily work" on the chapiters in Jerusalem's Temple reflects a sophisticated blend of Israelite theological purpose with broader Phoenician and regional artistic conventions. The precise measurement of "four cubits" (approximately six feet) for these decorative elements underscores their substantial size and visual prominence, indicating the immense resources and high level of craftsmanship dedicated to the Temple's construction, showcasing the best of Israelite and Tyrian artistry.
Key Themes: The meticulous description found in 1 Kings 7:19 significantly contributes to several overarching themes present throughout 1 Kings and the broader biblical narrative:
EXPOSITION AND ANALYSIS
Key Word Analysis
Verse Breakdown
Literary Devices
The description in 1 Kings 7:19 employs several literary devices to convey its meaning and impact. The most prominent is Emphasis through Detail, where the narrator meticulously describes the specific ornamentation of the chapiters. This precise focus on "lily work" and its exact measurement ("four cubits") serves to highlight the extraordinary beauty, craftsmanship, and immense resources dedicated to the Temple, underscoring its unparalleled significance as God's dwelling. There is also a strong element of Symbolism, as the "lily work" itself carries connotations of purity, beauty, and life, subtly imbuing the man-made structure with natural, divine attributes and pointing to the sanctity of the space. Furthermore, the mention of "the porch" functions as a form of Synecdoche, where a part (the entrance area) stands for the whole (the Temple's welcoming yet awe-inspiring presence), signaling the grandeur and holiness that awaited those who entered.
THEOLOGICAL AND THEMATIC CONNECTIONS
The detailed description of the Temple's adornments, particularly the "lily work" on the chapiters, reinforces the profound theological truth that God delights in beauty, excellence, and meticulous craftsmanship offered in worship. It challenges any notion that sacred spaces or acts of worship need only be functional; rather, they should reflect the glory, majesty, and inherent beauty of the God they honor. This attention to aesthetic detail parallels the elaborate instructions given for the Tabernacle, demonstrating a consistent divine expectation for the best and most beautiful in His service. The Temple, in its splendor, was a tangible representation of God's presence and His covenant faithfulness, a place where heaven and earth met, and its beauty was intended to inspire awe and reverence for the Holy One. It was a physical manifestation of the spiritual truth that God is worthy of our utmost devotion and our finest offerings.
REFLECTION AND APPLICATION
While the physical Temple no longer stands, the principles embedded in its construction remain profoundly relevant for believers today. 1 Kings 7:19 reminds us that God values not only grand acts of faith but also the intricate details of our lives and service. It calls us to pursue excellence, beauty, and intentionality in all we do for God's glory, whether it's in our corporate worship, our daily work, our relationships, or the stewardship of our gifts and talents. Just as the Temple's beauty pointed to God's majesty, our lives, as temples of the Holy Spirit (1 Corinthians 6:19), should reflect His character and draw others to Him through their integrity, beauty, and faithfulness. This verse encourages us to consider how we can bring our "lily work"—our best, most thoughtful, and most beautiful efforts—to God, not out of mere obligation, but out of a heart of worship that recognizes His supreme worthiness and desires to honor Him in every facet of our existence.
Questions for Reflection
FAQ
Why is there such detailed description of architectural elements in the Bible?
Answer: The detailed descriptions of the Tabernacle and later Solomon's Temple, including elements like the "lily work" on the chapiters in 1 Kings 7:19, serve several crucial purposes. Firstly, they underscore the divine origin of the design; God Himself provided the blueprint, emphasizing His meticulousness and desire for holiness and beauty in His dwelling place. Secondly, these details highlight the immense value and reverence attributed to God's presence among His people. No expense or effort was spared, reflecting the people's devotion and the king's commitment to honoring the Lord. Thirdly, the specifics often carry rich symbolic meaning, teaching theological truths about God's character, His relationship with humanity, and the nature of worship. Finally, they provide a historical record of a significant period in Israel's history and the pinnacle of their craftsmanship, demonstrating the glory and splendor of God's kingdom on earth and serving as a tangible reminder of His covenant with His people.
CHRIST-CENTERED FULFILLMENT
The exquisite "lily work" adorning the Temple's pillars, as described in 1 Kings 7:19, ultimately points beyond the physical structure to the person and work of Jesus Christ. While Solomon's Temple was a magnificent dwelling place for God's presence on earth, it was always a shadow, a type, of the greater reality to come. Jesus Himself declared that He was the true Temple, stating, "Destroy this temple, and in three days I will raise it up" (John 2:19), referring to His own body and resurrection. He is the ultimate embodiment of God's beauty, purity, and life, far surpassing any earthly adornment or architectural splendor. The "lily work" on the pillars, symbolizing purity and vibrant life, finds its perfect fulfillment in Christ, who is "holy, innocent, unstained, separated from sinners, and exalted above the heavens" (Hebrews 7:26). Furthermore, through His sacrificial death and glorious resurrection, Christ has made believers into a new, spiritual temple, "a dwelling place for God by the Spirit" (Ephesians 2:22). In this new temple, the "lily work" is not of bronze and human craftsmanship, but of the transformed lives of believers, reflecting the beauty of Christ's character and the life of His Spirit within them, ultimately culminating in the New Jerusalem where "the Lord God Almighty and the Lamb are its temple" (Revelation 21:22), and all creation will forever behold His perfect, unblemished beauty.