(Adam.) It is also one of the gems of the breastplate. Its Greek name is said to be derived from Sardis, a city where it was first found. The stone, however, is mentioned in Exodus as a gem well known; and if so, it appears hardly probable that it was first found in Sardis. Taking the Hebrew appellation into view, it seems quite as probable that the Greek sardius is derived from sarks, (flesh,) and that the deep redness of the stone resembled the bloody appearance of the flesh of victims recently slaughtered. The foundation ornamented by this gem may indicate, therefore, the necessity of a vicarious offering, or the fact of such an offering or propitiation, either of which may be considered a doctrinal element, forming part of the foundation of a Christian's faith in the righteousness or merits of his Redeemer-the wall of his salvation. It may have been for this reason that the sardius, or blood-red stone, was the first gem in the High Priest's breastplate; as the atonement of our great Mediator may be considered his first qualification for entering into the holy of holies, where he ever continueth to make intercession for us, (Heb. vii. 25.)

$494. The seventh, chrysolite,' (zovóóživos, gold-stone.)—The name chrysolite is found nowhere else in Scripture, according to our common version, but the Septuagint gives the same Greek appellation to the first gem in the fourth row of Aaron's breastplate-a stone to which our translators have given the name beryl. It cannot be the same, however, as beryl is the ornament of the next foundation. The name is said to have been applied by the ancients to all stones of a golden colour; and some suppose it to have designated the topaz of the moderns, (Rob. Lex :) but here the topaz (zonάor) is enumerated as the garnishing of the ninth foundation.

Chrysolite may be, as a figure, among gems what we suppose gold to be amongst metals, a representation of truth or of the true riches-the true ransom of the soul, as distinguished from all supposed means of redemption, an allusion to which may be found Lam. iv. 1, 2: "How is the gold become dim; how is the most fine gold changed! the stones of the sanctuary are poured out in the top of every street. The precious sons of Zion, comparable to fine gold, how are they esteemed as earthen pitchers, the work of the hands of the potter!" Here the stones of the sanctuary and the fine gold, as well as the sons of Zion, are figures of the same truths, corresponding with the gold-stone and gold of the Apocalypse ;-the precious gems with which Jerusalem had been adorned by her Maker and Redeemer, as well as the city or covenant itself, appearing in a very different light when contemplated by the prophet from that in which she is now seen. The original composition of the vision of peace was always such as now represented; it was only under a legal and self-righteous construction that this composition appeared of a different character; as the prophet continues to say, Lam. iv. 7, 8, “Her Nazarites were purer than snow, they were whiter than milk,

they were more ruddy in body than rubies, their polishing was of sapphire: their visage is blacker than a coal; they are not known in the streets; their skin cleaveth to their bones; it is withered, it is become like a stick."

The foundation garnished with the gold-stone, we suppose to be a just exhibition of the character of the true riches-durable riches and righteousness, or the necessity of such riches-to show the necessity of the merits of Christ as a means of redemption; being equivalent to showing the necessity of his righteousness, as a wall of salvation.

'The eighth, beryl,' (Bigv2λos.)—This is the name of the tenth stone of the breastplate of Aaron, according to our common version, and of the eleventh according to the Septuagint. It is said to be the name of a gem of a sea-green colour, found principally in India, (Rob. Lex. 108.) This colour comes too near that of the emerald to draw a distinction between them; but we have no doubt there is a marked difference between the gems, however difficult it may be for us to arrive at a knowledge of it. The beryl of the breastplate, Ex. xxviii. 20, (,) Trommius supposes to be the same as the onyx and sardonyx; and besides this, in his H. and C. Index he assigns to the same root the sardius, the sapphire, and the emerald. The angelic personage seen by the prophet on the banks of the Hiddekel (Dan. x. 6) is described as having a body like beryl. We can hardly suppose this to be a body of a sea-green colour.

The beryl of Cant. v. 14, according to our common version, is rendered by the LXX agois-the name both of a city and of a precious stone, This name tagasis or zagoɛiv (Sept.,) Heb. 7, Lat. solaris (from du

sol, the sun,) signifies of or belonging to the sun. As, what is termed the east-gate, Jer. xix. 2, in our common version, is the sun-gate in the original, (vid. margin c. v. and Concord. of Trommius,) so the beryl of Ezek. i. 16, as we have it, is the aposis of the Septuagint, applied to the colour of the wheels of the living creatures; which wheels may reasonably be sup posed to have the appearance of those of the Ancient of Days described (Dan. vii. 9) as of burning fire-resembling the feet of the form like unto the Son of man, Rev. i. 15, "Like unto fine brass, as if they burned in a furnace," an appearance probably similar to that of the beryl-like body seen by Daniel, as above alluded to. Taking these peculiarities into view, we think the beryl of the Apocalypse must be a gem throwing forth a strong light, as of flame, or as of the rays of the rising sun, and may thus symbolize a manifestation of Christ as the Lord our righteousness, or be intended to point out this doctrine as one of the foundations or supports of the wall of salvation.

The ninth, a topaz;' or rather topaz, the indefinite article a having been unnecessarily introduced. We are not to suppose each foundation, or bastion, garnished with a single gem. The idea to be associated with this description is, that these structures are adorned each with its peculiar species

of gem. The topaz was the second stone in the first row of the breastplate of Aaron, both according to the LXX and our common version. According to Cruden this stone is said by some to be of a green colour, by others of a golden colour. The topaz of Ps. cxix. according to the Septuagint, is rendered in our common version fine gold, as distinguished from ordinary gold. It is said of wisdom, (spiritual understanding, we suppose,) Job xxviii. 19, "The topaz of Ethiopia shall not equal it, neither shall it be valued with pure gold." From these examples it would appear that, as a figure, the topaz of Scripture is spoken of more in reference to its great value than to any peculiarity of colour. In the high priest's breastplate the gem bore the name of Simeon, which signifies hearing, or he that heareth; that is, in mystic phraseology, not merely the hearing of the outward ear, but a hearing of the understanding-a comprehension of the true or hidden meaning of the written word-which, in fact, is the wisdom of God in a mystery, (1 Cor. ii. 6, 7;) that wisdom which may be said to be essential to a perception of the merits of Christ as a wall of salvation, and the value of which is so particularly set forth, Prov. iii. 14-15: "Happy is the man that findeth wisdom, and the man that getteth understanding. For the merchandise of it is better than the merchandise of silver, and the gain thereof than fine gold. She is more precious than rubies; and all the things thou canst desire are not to be compared with her." This wisdom or spiritual understanding we suppose to be essential to setting forth the wall of salvation in its true light, and may be thus termed one of its foundations. "The tenth, chrysoprasus.'—This name implies something of a golden vegetable-green colour, as distinguished from the sea-green hue of the emerald, (§ 492.) Пgásov (prason) being the name of a species of leek, chrysoprasus is equivalent to a golden-leek. Vegetable green appears to be a figure in Scripture of a flourishing condition, as Ps. lii. 8, "I am like a green olive tree in the house of my God," (Sept. fruitful.) Ps. xcii. 14, "They shall be fat and flourishing," (Heb. fat and green.) Ps. xxiii. 2, “He maketh me to lie down in green pastures," equivalent to the assurance of Jesus, "By me if any man enter he shall be saved, and shall go in and out and find pasture." The grass of the earth, indeed, as in the case of the green horse, ($ 155,) we have supposed to represent the evanescent pretensions of human righteousness; but the vegetable green of a precious gem may be considered the figure of a permanent verdure-a durable righteousness, a never-fading glory. The chrysoprasus may thus represent the true pasture, the true nourishment of eternal life; the merits of him, in allusion to whom it is said, Is. xi. 4, "He shall feed his flock like a Shepherd ;" and Rev. vii. 17, "For the Lamb in the midst of the throne shall feed them;" and who himself says, John vi. 55, “My flesh (my righteousness) is meat indeed, and my blood (my atonement) is drink indeed." Of this precious

doctrine, so essential to the spiritual wall of salvation, we think this tenth foundation (or bastion) may be a symbolical figure.

§ 496. The eleventh, jacinth,' or hyacinth, (vázıvdos.)—This does not appear to have been one of the gems of the priestly breastplate, unless it be so under a different name. Some Greek interpreters, according to Trommius, have substituted it in Ezekiel for the area, (carbuncle,) and others for the apsis, (topaz.) The LXX apply it as a material of covering to the red badger-skins and blue curtains of Exodus, &c. As a means of defence and perhaps of offence it was one of the materials of the breastplates of the Euphratean horsemen, Rev. ix. 16, 17, where it is associated with fire and brimstone, and where we have supposed it to correspond in appearance with the smoke issuing from the mouths of the horses, ($222.) Trommius supposes the colour to be sky-blue, (hemels blauw, in Belgian.) The hyacinth is said to be described by the ancients as of a violet colour, (Rees' Cyc.) From the connections in which the term is found as a colour, we suppose it to partake more of the appearance of a blueish or light smoke-coloured cloud; such a cloud as that which led the Israelites by day through the wilderness;— a cloud and a pillar of smoke alike symbolizing the veil of humanity under which the Deity was manifest in Christ, and that symbolical mode of revelation by which Jehovah has seen fit gradually to develope the mystery of salvation to the understanding of his people; as it is said of the coming of Christ, (Cant. iii. 6,) "Who is this that cometh out of the wilderness like pillars of smoke?" The cloud was the medium of access between God and the highly favoured children of Israel; and Christ, as a spiritual cloud, is the mediator and medium of access between God and man. We may accordingly suppose this eleventh support of the wall of salvation to be the exhibition of Christ in his mediatorial capacity-the doctrine of substitution, or the virtual intercession of him who veiled himself in human flesh, that he might unveil the truth of his becoming sin for us, that we might become the righteousness of God in him, (2 Cor. v. 21.)

'The twelfth, amethyst,' (¿ué dvoros.)-This name occurs in the Old Testament but in two places, (Ex. xxviii. 19, xxxix. 10,) where it is spoken of as one of the gems of the priestly breastplate. In the New Tes tament it is found only in this passage of revelation. The Greek derivation is said to be from μiw, to be drunken, preceded by à privative, the com pound originally applying to an herb or gem supposed to operate as a charm against drunkenness. The gem is said to be of a deep purple or violet colour, a colour similar to that of the blood as it appears in the veins of living person. Purple is also the colour usually ascribed in Scripture to the juice of the grape; the gem may therefore represent the new or spiritual wine, which Christ is to drink with his disciples in his Father's kingdom. This true wine is the opposite of the mixture in the harlot's cup, and is

accordingly the spiritual amulet capable of preserving the inhabitants of the earth from that drunkenness with which they were said to have been chargeable, (Rev. xvii. 2.)

As the red colour of the sardius may remind us of the blood of the victim slaughtered in sacrifice, (indicating the necessity of an atonement,) the purple of the amethyst may be supposed to represent the life-giving efficacy of that atonement, transfused, as it may be said, by imputation, into the spiritual body of the disciple; the atonement actually made by Christ being subsequently (as a matter entirely of grace) accounted that of all adopted in him. Such a spiritual transfusion of the element of eternal life, from the Redeemer into the spiritual being of the redeemed, may be termed the amethyst of the twelfth doctrine sustaining the spiritual wall of salvation; the last course of stone of this portion of the apocalyptic edifice being perhaps equivalent as a figure to the head-stone spoken of by the prophet (Zech. iv. 7.)

$497. The twelve characteristics of these fundamental elements of the wall of salvation are then as follows:

1. Jasper-(the diamond)—Precious and impenetrable—the precious corner-stone-Christ himself upon whom the whole fabric may be said to depend.

2. Sapphire-The heavenly covering of perfect beauty—the canopy of divine perfection-the moral perfection of Christ.

3. Chalcedony-(carbuncle)-The cause of praise (the gates)-grace in Christ, the only way of access into the city-and the element excluding every mercenary principle.

4. Emerald (sea-green)-Representing the requisitions of divine justice, and indicating the indispensable necessity of a provision to meet them.

5. Sardonyx-(white flesh)-Living flesh-the righteousness or merits of Christ, as the only means of justification.

6. Sardius-(red flesh)—The slaughtered body of the victim-the blood shed, without which there is no remission of sin—the only adequate propitiation.

7. Chrysolite (gold-stone)-The true riches-Christ the ransom-the only means of redemption.

8. Beryl-(Vagois)—Christ, the Sun of righteousness-the only source of boldness or confidence, (Ps. xix. 5.)

9. Topaz-(great value)—Wisdom-the true wisdom-the spiritual understanding of the truth, as it is in Jesus.

10. Chrysoprasus-The golden vegetable green, perennial-Christ the true pasture the position of rest.

11. Jacinth, or Hyacinth-The cloud, the pillar of smoke-the Mediator, Christ veiled in the flesh.