THEOSISJerome of Stridon
He spoke to me, declaring that this is the offering before the Lord. The temple and the sanctuary featured two doors, and on both sides of these doors, there were additional doors, intricately connected to one another. Each side housed two doors, adorned with carved cherubim and palm tree motifs, just as they adorned the walls. The vestibule's exterior also showcased stout trees, with slanted windows overhead and representations of palm trees on the sides of the vestibule, lining the structure. The differences between the Septuagint and the Hebrew text are significant, particularly in the translation of “stouter trees” as “necessary” or “worthy of care,” and “slanted windows” as “hidden.” The conclusion of the description involves measurements indicating the structure's unifying elements.
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The man guiding the prophet into the inner sanctum of the temple revealed the wooden altar, complete with corners and horns, saying that this altar represents the offering before the Lord—one that burns like the thornbush (Exodus 3:2) yet does not consume, and concerning which the saint declares to God, “You have prepared before me a feast in the presence of my enemies” (Psalms 22:5).
In the temple and its innermost sanctuary, two doors signify the ordinances of the two covenants. Each of the doors had two more on either side, joined together, allowing a spiritual interpretation intertwined with historical truth, with each aspect relying on the other for a complete understanding; without one, true knowledge is incomplete. The presence of two doors on each side is apparent in a straightforward sense, as large dining rooms (tricliniums) typically feature adjacent doors that allow accessibility through four smaller entryways rather than two large ones. The doors to the temple, or the holy of holies, were beautifully engraved with cherubim and palm trees, symbolizing the victory and enlightenment bestowed upon those who entered.
The significant stylization of palm trees on the temple's walls reflects the importance of the cherubim etched into the doors. The robust trees at the vestibule's entrance were intended to support the intricate carvings, symbolically reinforcing the purity and strength of the sacred space. The physical doors, being both sturdy and ornate, were designed to prevent anyone from unlawfully encroaching upon the sacredness of the holy of holies, much like how Uzziah attempted to take on the priestly role unlawfully (2 Chronicles 26). Above each door were slanted or concealed windows, ensuring that the light penetrating these spaces remained partially obscured from the masses, allowing for only a limited understanding until the fullness of knowledge is revealed (1 Corinthians 13:12).
Palm tree carvings adorned both sides, yet the symmetrical division avoided designating a left side in this divine and mysterious domain. Rather, it emphasized both sides equally, reflecting the notion expressed in the Gospel when instructed, “If anyone strikes you on the right cheek, turn to him the other also” (Matthew 5:39). This highlights that when the right is struck, the other right represents a complete individual, embodying perfection in holiness. Furthermore, on the shoulders of the vestibule and the sides of the structure, the Septuagint uses “on the coverings of the elam,” referring to the vestibule (propylon), underscoring the uniformity and purposefulness of the pillars and walls throughout the temple. It reveals that the Lord's temple is designed with precision and wisdom, embodying a profound sense of order and reason.