on Exo 25:20. Only their faces were not turned towards one another and bent down towards the ark, as in the case of the golden cherubim of the ark; but, according to 2Ch 3:13, they were turned לבּית, towards the house, i.e., the Holy Place, so as to allow of the extension of the wings along the full length of the Most Holy Place.Ornaments of the walls; the floors and doors. - 1Ki 6:29. All the walls of the house (the Holy Place and the Most Holy) round about (מסב, adverb) he made engraved work (carving) of cherubs, palms, and open flowers from within to the outside (i.e., in the Most Holy as well as in the Holy Place). ול...מן = אל...מן; and לפנים as in 1Ki 6:20. This completes the account of the nature of the covering of wood. In addition to the oval figures and open flowers (1Ki 6:18), there were also figures of cherubim and palm-trees carved in the wooden panels. Nothing is said as to the distribution of these figures. But a comparison with Eze 41:18 shows at any rate so much, that the palm-trees alternated with the cherubs, so that there was always one cherub standing between two palm-trees. The gourd-shaped figures and the open flowers probably formed the upper and lower setting of the rows of palms and cherubs, the flowers hanging in the form of garlands above the palms and cherubs, and the rows of gourds arranged in bars constituting the boundary lines both above and blow. It is a disputed question whether there was only one row of palms and cherubs running round the walls, or whether there were two, or possibly even three. There is more probability in the second or third of these assumptions than in the first, inasmuch as on the walls of the Egyptian temples there were often three or four rows of mythological characters in relief arranged one above another (compare my work on the Temple, pp. 70ff.).
Verse 30
The floor of the house he overlaid with gold within and without, i.e., in the Most Holy Place and in the Holy Place also.
Verses 31-32
He made the entrance to the back room, doors (i.e., consisting of doors; cf. Ewald, §284, a., β) of olive wood, which moved, according to 1Ki 7:50, on golden hinges. וגו האיל, “the projection of the door-posts was fifth” (מזוּזות( ” is construed freely as an explanatory apposition to האיל, to which it is really subordinate; cf. Ewald, §290, e.). These obscure words, which have been interpreted in very different ways (see Ges. Thes. pp. 43f.), can hardly have any other meaning than this: the projecting
