Poole on 1 Kings 7:27-30: The Bases of the Ten Lavers, Part 1

Verse 27:[1]  And he made ten bases of brass; four cubits was the length of one base, and four cubits the breadth thereof, and three cubits the height of it.

[Ten bases (thus Jonathan, Munster, Pagnine, Vatablus, Junius and Tremellius, Piscator, Malvenda), ‎הַמְּכֹנוֹת [2]]  Machines (Tigurinus), basins (Syriac, Arabic).  Bases, that is, which are to be placed under the fonts, or lavers (Vatablus, Munster, similarly all interpreters).  It is evident from 1 Kings 7:38; 2 Chronicles 4:6 (Lapide).  They were washing the sacrificial victims, first whole and living in the Sheep Pool;[3] then skinned and dismembered in these basins.  On account of which the brazen sea was in the midst of these tubs (Lapide, thus Martyr).  The bases were the moveable or ambulatory seats of the basins (Junius).  They had wheels, whereby they would be drawn from place to place.  In form they were after the likeness of squared boxes (Martyr).

He made ten bases; upon which stood the ten lavers mentioned below, 1 Kings 7:38, in which they washed the parts of the sacrifices, 2 Chronicles 4:6.

Verse 28:[4]  And the work of the bases was on this manner:  they had borders, and the borders were between the ledges…

[And the very work of the bases, ‎וְזֶ֛ה מַעֲשֵׂ֥ה הַמְּכוֹנָ֖ה]  Now, this was the work of the base (Pagnine, Vatablus).  That is, the construction of the individual bases was of this sort (Vatablus).

[It was lattice-work [5]]  Thus it is called, because by intervals it is scraped and carved out (Menochius).  ‎מִסְגְּרֹ֣ת לָהֶ֑ם, closures[6] were to them (Montanus, Mariana, Piscator), that is, either lips or crowns (Mariana); or, broad bands, on which images were carved (Junius, Piscator).  Zophori[7] (Junius and Tremellius).  A lip extended outward similar to a Zophorus (Arabic); sides (Strigelius), small panels (Castalio), ornamental panels (Tigurinus), projecting shelves (Syriac), moldings were on them (Pagnine, Vatablus), that is, on the individual bases (Vatablus).  This description is very difficult, because it is delivered in words concise and ambiguous.  The main point, however, is that this machine was chariot-like after the likeness of a four-horse chariot.  In its upper part was a belt, or crown, or band, which was compassing the four sides, or faces, of that squared opening.  It is called a closure, not because it was concluding or forming a boundary for some place, but because the space contained between two projections, or cornices; in such a way that the upper projection appears to jut out over the heads of the living creatures after the manner of a roof:  But it is the lower projection, like a bar, upon which the feet of the living creatures rest (Martyr).  Closures were to them; that is, they were closed round about, with four brazen panels on the four sides, and with an upper fifth panel, which was the platform of the base, on which was placed the basin or laver (Malvenda).

They had borders; broad brims, possibly for the more secure holding of the lavers.

[And gravings between the joinings, ‎וּמִסְגְּרֹ֖ת בֵּ֥ין הַשְׁלַבִּֽים׃ [8]]  And the belts or closures, etc., between the stepped sections (Montanus), between the closed borders (Tigurinus), the joints (Jonathan), the transverse-joinings (Malvenda), the edges (Strigelius), the joinings (Septuagint).  It signifies the extremities, by which the brazen panels, of which the base was consisting, were joining each other (Menochius).  Between the toothed moldings (Junius and Tremellius); between the projections (Pagnine, Vatablus, Martyr, Osiander).  Thus he calls those things that were similar to side-frames of beds made in the old form; which were so called by the Hebrews because they were after the likeness of steps; that is to say, The lowest and the highest parts were projecting.  The individual belts were between the two projections, that is, the lowest and the highest (Vatablus).  Between the steps (Munster, Mariana), or rungs, projecting by degrees from the panels (Munster).  Thus the bases in the upper part were having steps narrower than the lower steps (Martyr).  Now, the closures or joinings of brass were fitted in the four corners of the base (Munster).  Closures they call the projecting engravings, because these close and terminate, as it were, the flat and smooth panel, namely, the flat intermediate spaces of the panel (Sanchez).

Verse 29:[9]  And on the borders that were between the ledges were lions, oxen, and cherubims:  and upon the ledges there was a base above:  and beneath the lions and oxen were certain additions made of thin work.

[And between the little crowns, etc., ‎בֵּ֣ין הַשְׁלַבִּ֗ים]  Between the stepped sections (Montanus); between the projections (Pagnine), namely, the lowest and the highest.  On top of the great base was another small base, or a certain little column in the place of a base (Vatablus) [as the following words show].

[The lions, etc.]  The engravings of lions, etc., were covering the joinings of the brazen panels, lest they appear to be pieced together, but rather seem to be continuous (Lapide).

[And in the joinings likewise above, ‎וְעַל־הַשְׁלַבִּ֖ים כֵּ֣ן מִמָּ֑עַל]  And upon the projections [or seams, etc., as previously] was a base (or support [Junius and Tremellius], foot) from above (Junius and Tremellius, Pagnine, Montanus, Malvenda), that is, a supported platform or surface, on which the supported laver was resting (Piscator out of Junius).  [Others translate the כֵּן as thus, similarly, etc.]  And upon the joinings, thus also above (Septuagint).  And similarly upon the upper steps (Munster).  And likewise upon the overlays, both above and below, lions, etc. (Syriac).  And in the same manner he skillfully fashioned the cover of them, and on both their upper part and their lower part he carved lions, etc. (Arabic).

A base; so he calls the uppermost part of the base; for though it was above, yet it was a base to the laver, which stood upon it.

[And beneath lions and oxen]  Understand [from the former part of the verse] and Cherubim (Vatablus, Junius, Piscator).  A Synecdoche (Piscator), that is, which were on those bands (Vatablus); which were engraved on that base.  By Cherubim understand, either, the images of youths having wings[10] (Munster); or, eagles (Josephus[11] in Grotius):  A Cherub was consisting of the figure of an eagle, ox, lion, and man.  Now, it is συνεκδοχή/synecedoche:  for part of a Cherub is called a Cherub; as the Ox is a Cherub, Ezekiel 10:14 (Grotius).

[Bands of brass, as it were, hanging down]  Extending downwards; Hebrew, a work of descent.[12]  Suitably did he carve these bands, because oxen and lions are wont to be bound and yoked with bands (Lapide out of Ribera).  ‎לֹי֖וֹת מַעֲשֵׂ֥ה מוֹרָֽד׃,[13] additions (understanding, certain [Munster, Vatablus, Pagnine]) or adjections (adjunctions [Malvenda], or couplings [Montanus, Osiander], places [Septuagint]), a work of descent (Osiander, thus the Septuagint), in work beaten out (Tigurinus), or thin (Munster), or drawn (Junius and Tremellius), ductile (Munster), or extended (Pagnine, Vatablus, Montanus).  Certain additions were made by an extended work; that is, which had not been made when the base itself was cast (Vatablus out of Munster).  From רָדַד, to extend, is made מוֹרָד, an extended work, just as מוֺרָג/sleigh is made from גָּרַר, to drag (Bochart’s A Sacred Catalogue of Animals 1:2:32:310:62).  Bands applied, made of elegant work, entwined and continuous (Junius, Piscator).  Certain knobs were added, which served in place of bases, that is, upon which those living creatures appeared to be resting:  as they were wont to be placed under the images (Vatablus).  By a work attractive and continuous (Arabic); workmanship of the most beautiful appearance (Syriac).  [Others render this entire member of the verse in this way:]  And the sides, on which were lions and oxen, had borders, above and below, to which were added feet (Strigelius).  Now, to the edges, both above and below the lions and oxen, tori/molding had been added, with the finest workmanship (Castalio).  Whether לֹיוֹת signifies toros, convex molding, or cymatia/wave-shaped, or scotias/concave, or simas/crowning, is still not evident to me:  lest anyone should err.  Meanwhile I will call it toros, convex molding.  But if they are tori, convex molding, he calls them simos/flattened, which were not having perfect roundness, but were formed to a flattened circle (Castalio).  And upon the steps of the base above (that is, the upper part of the step of the base was spread beneath the feet, and so were distinguished by no figure), and below the lions and ox (in the place of oxen) couplings (that is, they were joined) in extended work; that is, they were joined one to another as far as the work was extending, namely, throughout the whole.  And so those ornaments were on the front of the steps, which he calls the lower part, but not where the feet were placed (Mariana).

Certain additions; either as bases for the feet of the said lions and oxen, or only as further ornaments.

Verse 30:[14]  And every base had four brasen wheels, and plates of brass:  and the four corners thereof had undersetters:  under the laver were undersetters molten, at the side of every addition.

[And four wheels]  Upon which the bases appear to have been rotated and moved here and there (Lapide).

Four brazen wheels; whereby the bases and lavers might be carried from place to place, as need required.

[And brazen axles, ‎וְסַרְנֵ֣י נְחֹ֔שֶׁת [15]]  And plates (or poles [Jonathan, Castalio) of brass (Munster, Pagnine, Vatablus).  [Thus all interpreters; except the Syriac, which has, and a collar of brass.]  That is, whereby the sides of the squared base were covered, and which were next to the knobs (Vatablus).  These plates were laid over the axles, so that they might bear the bases imposed upon them (Junius, Piscator).

[And on the four sides little shoulders, as it were, ‎וְאַרְבָּעָ֥ה פַעֲמֹתָ֖יו כְּתֵפֹ֣ת לָהֶ֑ם]  And in the four (or, and the four [Montanus]) corners (cross-pieces [Junius and Tremellius]) thereof (understanding, of the base; that is, of the individual bases [Vatablus]) were shoulders (supports [Vatablus], scapulæ [Junius and Tremellius], little columns [Vatablus], shoulders, as it were [Munster]) to them (Pagnine, Tigurinus, etc.).  With good reason does he call them shoulders; because, just as burdens are borne on the shoulders, so the fonts were supported by those props (Martyr).  On the flat panel of the base under the laver were sculpted lions, etc., that is, the heads of the individuals with wings, which after the likeness of shoulders were supporting the font (Menochius).  And in the four corners shoulders; that is, handles (Mariana).  The outer panels, rising from the four corners into the form of shoulders, so that the laver might not wobble while being pushed (Junius, Piscator).  The bases were having four corners, not exactly level with the rest, but projecting after the manner of shoulders, which would receive the bellies of the lavers, placed over against and above the moldings wherewith the bases were surrounded (Castalio).

Undersetters; Hebrew, shoulders; fitly so called, because they strongly supported the lavers, that they should not fall from their bases when the bases were removed together with the lavers.

[Looking toward each other, ‎מֵעֵ֥בֶר אִ֖ישׁ לֹיֽוֹת׃]  From the crossing of a man (instead of, from the side of each) of the joinings[16] (Montanus), or, the joinings; that is, the joined shoulders; the Handles which he calls shoulders were joined; that is, adhering to the basin itself (Mariana).  And each set over against the addition (Munster), or of the additions of each laver (Junius and Tremellius), that is, the ornaments, which were near the neck of the laver under its projections, a half cubit below the top of the laver:  see verse 35 (Piscator out of Junius).  From the side of the individual additions (Pagnine, Vatablus), that is, in the bottom of the font (Vatablus).  Each one over against the other behind the addition (Tigurinus).  With the work of joining extended (Jonathan).  Over against each joint; that is, on each side were emerging little shoulders, where the upper panel was conjoined to the lower, namely, in the four corners (Osiander).

[1] Hebrew: ‎וַיַּ֧עַשׂ אֶת־הַמְּכֹנ֛וֹת עֶ֖שֶׂר נְחֹ֑שֶׁת אַרְבַּ֣ע בָּאַמָּ֗ה אֹ֚רֶךְ הַמְּכוֹנָ֣ה הָֽאֶחָ֔ת וְאַרְבַּ֤ע בָּֽאַמָּה֙ רָחְבָּ֔הּ וְשָׁלֹ֥שׁ בָּאַמָּ֖ה קוֹמָתָֽהּ׃

[2] מְכֹנָה, fixed resting-place, is related to the verbal root כּוּן, to be firm.

[3] This appears to be a reference to a pool located by the Sheep Gate at Jerusalem.  See John 5:2.

[4] Hebrew:  ‎וְזֶ֛ה מַעֲשֵׂ֥ה הַמְּכוֹנָ֖ה מִסְגְּרֹ֣ת לָהֶ֑ם וּמִסְגְּרֹ֖ת בֵּ֥ין הַשְׁלַבִּֽים׃

[5] 1 Kings 7:28:  “And the work of the bases was on this manner:  they had borders (‎מִסְגְּרֹ֣ת לָהֶ֑ם; interrasile erat, it was openwork/lattice-work, in the Vulgate), and the borders were between the ledges…”

[6] מִסְגֶּרֶת/border/rim is related to the verbal root סָגַר, to shut or close.

[7] A zophorus is a figure-bearing band.

[8] שְׁלַבִּים/joinings/rungs is related to the verbal root שָׁלַב, to join.

[9] Hebrew: ‎וְעַֽל־הַמִּסְגְּר֞וֹת אֲשֶׁ֣ר׀ בֵּ֣ין הַשְׁלַבִּ֗ים אֲרָי֤וֹת׀ בָּקָר֙ וּכְרוּבִ֔ים וְעַל־הַשְׁלַבִּ֖ים כֵּ֣ן מִמָּ֑עַל וּמִתַּ֙חַת֙ לַאֲרָי֣וֹת וְלַבָּקָ֔ר לֹי֖וֹת מַעֲשֵׂ֥ה מוֹרָֽד׃

[10] The Rabbis sometimes interpreted כְּרוּב/Cherub as כְּרָבְיָא, like a youth.

[11] Antiquities 8:3:5.

[12] Hebrew:  ‎מַעֲשֵׂ֥ה מוֹרָֽד׃.  מוֹרָד/descent is related to the verbal root יָרַד, to go down.

[13] לִוְיָה/wreath is related to the verbal root לָוָה, to join.

[14] Hebrew: ‎וְאַרְבָּעָה֩ אוֹפַנֵּ֙י נְחֹ֜שֶׁת לַמְּכוֹנָ֤ה הָֽאַחַת֙ וְסַרְנֵ֣י נְחֹ֔שֶׁת וְאַרְבָּעָ֥ה פַעֲמֹתָ֖יו כְּתֵפֹ֣ת לָהֶ֑ם מִתַּ֤חַת לַכִּיֹּר֙ הַכְּתֵפֹ֣ת יְצֻק֔וֹת מֵעֵ֥בֶר אִ֖ישׁ לֹיֽוֹת׃

[15] 1 Kings 7:30a:  “And every base had four brasen wheels, and plates of brass (וְסַרְנֵ֣י נְחֹ֔שֶׁת)…”  סֶרֶן signifies an axle.

[16] A woodenly literalistic rendering.