THEOSISJerome of Stridon
And lo, six individuals emerged from the upper gate directed toward the north, each wielding an instrument of destruction. Among them was one dressed in linen garments, with a scribe's tool at his waist, and they approached the brazen altar. The glory of the God of Israel ascended from the cherub where it was, moving to the threshold of the Lord’s house. This divine presence summoned a man attired in linen and possessing a scribe’s implement. In some translations, the term for the linen garments has been rendered differently, while others more closely align with the scriptural description. Instead of the damaging tool that every farmer held, the Septuagint uniquely translated it as an axe.
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Thus, in order to eradicate the sins of humanity, who were fashioned on the sixth day of creation, six figures proceeded from the high gate facing north, each equipped with an axe. As John proclaimed, "Even now the axe is laid to the root of the trees; therefore, every tree that does not bear good fruit is cut down and thrown into the fire" (Luke 3:9). Among these six was a seventh, dressed in the linen attire of the high priesthood, bearing a scribe's instrument for recording the iniquities of all, distinguishing the righteous from the wicked, with a sapphire girdle reflecting the hue of the precious stone, an element of the high priest's vestments. The six figures positioned themselves by the brazen altar, which served as the location for sacrificial offerings, distinctly recognized from the gold altar for incense within the temple. They took their stand at the altar, prepared to execute commands and to discern those beyond redemption. Meanwhile, the glory of the God of Israel ascended from one cherub and moved to the uncovered court of the temple, an area open to the air. This same glory called to the man in high priestly attire, instructing him according to the Scriptures. Some interpret the six figures as angels fulfilling divine will, while the one in priestly garments symbolizes the Savior, who serves as both priest and messenger of the great council, referenced by "Thou art a priest forever, according to the order of Melchizedek" (Psalms 109:4). The linen garment, referred to as ποδήρη (podir) in the Septuagint, is an essential part of the high priest's attire, touching the ground and deriving its name from its length. It is noteworthy that I have previously published a work on the high priest's garments, to which I direct the reader for further understanding. Regarding the term translated as scribe’s tool, it, too, has a Greek designation that suggests it is a container for quills, whereas we may refer to it in the context of inkpots. The four cherubim include one who is sent forth by the divine presence to communicate with him in high priestly robes. Though some believe the term for cherubim is shown in a feminine plural form, it is essential to recognize that in the singular masculine form, it remains unchanged in its pluralization. The plural term for angels is malashim, indicating their kind; similarly, cherubim and seraphim align in number and order. Moreover, the term Sabaoth, indicating the host of Heaven, is expressed in feminine plural form, reflecting its linguistic nature. Those asserting that the image of the High Priest reflects the Savior point to the Revelation of John (Rev. 1:12-13), noting, "And I turned to see the voice that spoke with me, and having turned, I saw seven golden lampstands; and in the midst of the lampstands, one like the Son of Man..."