Many therefore in all times have endeavoured to read the meaning of the parts, either as symbols of a divine order in creation, or as types of the divine counsel fulfilled by the coming of Christ. Into these ingenious speculations we cannot enter at length; but the Jewish opinion current in the apostolic age must be noticed, if only to place the originality of the Epistle in a true light.
Both Josephus and Philo, representing at no great interval of time the complementary teaching of Jerusalem and Alexandria, agree in regarding the Tabernacle as being in some sense a symbol of the universe. There is a characteristic difference in their treatment of the subject. Josephus is definite and literal in his interpretation: Philo plays, as it were, with many thoughts, and is not always consistent in the meanings which he indicates. But both alike follow a naturalistic symbolism. The Tabernacle is not for either of them the sign of another order.
The interpretation of Josephus is contained in a single chapter which may be quoted entire as illustrating a dominant type of thought at the time when the Epistle was written. After describing the Tabernacle and its furniture, he continues: One might marvel at the hatred which men persistently shew towards us as though we made light of the Divinity ( to; qei'on ) which they are minded to worship. For if any one will consider the structure of the Tabernacle, and regard the dress of the priest and the vessels which we use in the divine service, he will find that the lawgiver was a godlike ( qei'on ) man and that we are visited with evil reproaches by the world without any good ground. For he will find that the several parts have been framed to imitate and represent the universe ( ta; o{la ), if he takes the trouble to observe them with impartiality and intelligence. The Tabernacle for example, which was thirty cubits long, the Lawgiver divided into three parts: two of these he left open to all the priests, as an ordinary and common place, and so indicated the earth and the sea, for these are accessible to all: the third portion he confined to God alone, because the heaven is also inaccessible to men. Again by setting the twelve loaves upon the Table he indicated the year, divided into so many months. By making the Candlestick a combination of seventy members he expressed darkly the influences of the planets exercised over definite portions of the zodiac, each of ten degrees,, and by setting seven lamps upon it, he shews the course of the planets, for they are so many in number. The veils being woven of four fabrics signify the nature of the elements: that is to say, the fine linen seems to indicate the earth because flax springs from the earth; and the purple the sea, from the fact that it is dyed with the blood of fish; the blue is designed to signify the air, and the scarlet is a natural emblem of fire. Further the High-priest's robe being of linen indicates the earth, and the blue, the sky, having a resemblance to lightning given by the pomegranates and to thunder by the sound of the bells. The Ephod [he wished to represent] the nature of the world which it was the pleasure of God should be formed of four elements, inwoven with gold, I fancy, to suggest the splendour which attaches to all things. And he set the Breastplate in the middle of the Ephod to serve as the earth, for the earth occupies the midmost place. Yet more by investing the High-priest with a Girdle, he indicates the ocean, for this embraces the world. Furthermore the two sardonyx-stones by which he fastened the dress of the High-priest signify severally the sun and the moon; and whether we please to understand by the twelve jewels the twelve months or the twelve groups of