attempts. Such instruments indeed are represented in the pyramids. "The oldest perhaps," says the same author,t "found in the sculptures, are in a tomb near the pyramids of Gizeh, between three and four thousand years old." According to Rosellini, there is represented in the tomb of Imai, at Gizeh, an eight stringed harp, which must belong to the times preceding the last fifteen dynasties. In another very ancient tomb at Gizeh, there are represented players on a similar harp. Indeed, upon the oldest monuments instruments are found with the most diverse number of strings, and any advancement in the art of constructing them cannot be traced. * Wilk. II. p. + II. 3. p. 13. 230. + Wilk. p. 271. CHAPTER V. THE MATERIALS AND ARTS EMPLOYED IN THE CONSTRUCTION OF THE TABERNACLE AND PRIESTS' GARMENTS. Cultivation of the Arts among the Egyptians and Israelites. It has been adduced as an argument against the historical character of the Pentateuch, that the construction of the tabernacle and the priest's garments, implies a cultivation of the arts and an abundance of costly materials, such as we could not expect to find among the Israelites when they left Egypt. These materials consisted not merely of gold, silver and brass, but also of costly stuffs, furs and spices, things which a nomade people are not accustomed to carry with them in their wanderings. It is accordingly argued that the whole description of the tabernacle belongs not to history but to fiction.* The assertion was made with so much confidence that it has by degrees become established and traditional. The foundation for its confutation, we have indeed previously laid,† by showing that the prevalent view concerning the condition of the Israelites in Egypt, according to which they merely continued their nomade life, is a false one, since they there availed themselves of the advantages of Egyptian culture and civilization, and in some respects attained to considerable prosperity. To complete the structure, there * See Vater, Abhand. S. 648, De Wette, Beitr. I. S. 259. II. S. 260. Von Bohlen, S. CXII. + Beiträge Th. 2. S. 430 ff. is now nothing further requisite, than to show that the materials which were used in making the tabernacle and priestly robes, were at that time already in use in Egypt, but most especially that the arts and contrivances which come into consideration, were there already in existence and known. For the material and intellectual resources of the Egyptians we justly consider as common to the Israelites with them. But to furnish this information is not our only design in this chapter. We also aim at a more positive object beyond this. While we show that the Israelitish arts are connected with the Egyptian by many characteristic peculiarities, we prove that the situation of things is just such as it must be, if we suppose that Moses is the author of the Pentateuch, or at least that it is historically accurate, while later fiction or fictitious narrative could not have originated or sustained this Egyptian relationship. We begin with a general declaration of one of the most distinguished investigators of Egyptian antiquity. "It is a wonderful fact, that the first information which we have with regard to the history and manners of the Egyptians, shows us a nation which is far advanced in civilized life. The same customs and inventions which prevailed in the Augustan era of this people, at the commencement of the eighteenth dynasty, are also found even in the far distant age of Osirtasen, the contemporary of Joseph." The art of Cutting and Setting precious Stones. The materials which were used in the construction of the tabernacle and priest's garments were a part of them hard, and a part soft. Among the former, precious stones take the first place. Bez aleel, is spoken of in Ex. 33: 36, as distinguished among other things for his skill "in the preparation of stones for setting." Precious stones, on which the names of the Israelites were engraven in the character engraven on the signet ring, were placed, according to Ex. 28: 9-11, 17, seq., in golden encasements upon the ephod and breastplate of the high priest. The art of cutting precious stones, generally very early discovered, was practised in Egypt even in very ancient times.* “There are several necklaces of gold and cornelian in the new gallery of Egyptian antiquities opened at the British Museum, whose exquisite workmanship could scarcely be surpassed by modern artists, though as we see from the engraving, the apparatus of the jeweller was as simple as could well be imagined. This is still the case in Hindoostan, where the native jeweller, travelling from house to house with his little furnace and blow pipe, produces ornaments of considerable beauty."+ How very much genuine precious stones were valued is indeed evident from the circumstance that imitations of them were made in considerable numbers. The Theban artists were particularly distinguished in this employment of counterfeiting. As, then we find it common for the Egyptians to imitate the ornaments of the rich in cheaper materials for the use of the lower classes, it is very evident that the spirit of luxury, which belongs to an advanced state of civilization was already at an early period widely diffused in Egypt.‡ That the art of the engraver was native to Egypt, is manifest from the data which Wilkinson has furnished with regard to the many of them he has also engravings. is described the signet yet preserved, of of the Pharaohs. Upon one side of the plate the name of the king is engraved; upon the opposite, a lion with the motto: "The lord of strength," which is applied to the king; Egyptian signets. Of There, for example, one of the earliest * See quotations from Winkelmann, Müller and others in Bähr Symbol. Th. II. S. 103. Taylor, p. 88. § Vol. III. p. 373-4 + Taylor, p. 88. on one side is a scorpion, and on the opposite a crocodile.* Moreover, various other inscriptions are found engraved on Egyptian rings."+ The art of Purifying and Working Metals. Among the hard materials, the metals hold the second place. Of Bezaleel it is said in Ex. 35: 32, he had power to devise curious works, to work in gold and silver and brass." With this compare what Rosellinit says: "From all such articles, as they are represented in the Egyptian tombs, it is manifest, how anciently the art of casting and working metals was practised in Egypt"-And: "The greater part of Egyptian metallic articles are of bronze, not a few of gold, a smaller number of silver, very few of lead and those made of iron are seldom found."§ The gold which was ordered to be used about the sanctuary is commonly designated as pure gold. A painting in the tomb at Thebes which bears the date of Thothmes IV., appears to represent the fusion and purifying of gold.¶ Many ornaments are found in the Egyptian collections which are made of the purest gold. The monuments furnish clear evidence that gold was purified, and thus of course distinguished from that which was unwrought and not purified. Incorrectly, therefore have some, referring to some one old ornament, made of impure gold, denied to the Egyptians the art of preparing pure gold.** According to Ex. 25: 11, the ark of testimony, and according to 26: 29, all the boards of the ། * The assertion of Pliny, 33: 6 : “Non signat Oriens aut Aegyptus etiam nunc, literis contenta solis," is by these discoveries shown to be false. + Compare Wilk. III. p. 376. § Ros. II. 2. P. 298. II.2. p. 297. ** Ibid. p. 280. || See Ex. 25: 11, 17, 24, 29 and other passages. ¶ Rosellini II. 2. p. 278. |