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1 Kings 7

1 Kings 7 describes the construction of Solomon's palace and the temple furnishings, emphasizing the grandeur and intricate details. It focuses on both the king's residence and the temple's sacred objects, highlighting the work of Hiram, a skilled craftsman. The chapter reveals Solomon's devotion to both his royal duties and the worship of God, reflecting the wealth and splendor of his reign.

1 Kings 7:1-5 (NKJV)
1 But Solomon took thirteen years to build his own house; so he finished all his house.
2 He also built the House of the Forest of Lebanon; its length was one hundred cubits, its width fifty cubits, and its height thirty cubits, with four rows of cedar pillars and cedar beams on the pillars.
3 And it was paneled with cedar above the beams that were on forty-five pillars, fifteen to a row.
4 There were windows with beveled frames in three rows, and window was opposite window in three tiers.
5 And all the doorways and doorposts had rectangular frames; and window was opposite window in three tiers.

Solomon’s palace took longer to complete than the temple, showcasing its size and complexity. The House of the Forest of Lebanon, named for the abundance of cedar, was vast, with detailed architectural features like rows of pillars, cedar paneling, and intricately framed windows. Its design and structure reflect Solomon's immense wealth and the craftsmanship of the era, paralleling the grandeur of the temple, but focused on royal luxury.

1 Kings 7:6 (NKJV)
6 He also made the Hall of Pillars: its length was fifty cubits, and its width thirty cubits; and in front of them was a portico with pillars, and a canopy was in front of them.

Solomon built another grand structure called the Hall of Pillars, a large open hall supported by pillars and a portico. This area served as a public space for gatherings, reflecting the splendor and functionality of Solomon’s palace. The use of pillars and a canopy adds to its architectural beauty and royal elegance.

1 Kings 7:7 (NKJV)
7 Then he made a hall for the throne, the Hall of Judgment, where he might judge; and it was paneled with cedar from floor to ceiling.

The Hall of Judgment was designed as a place for Solomon to dispense justice. Its cedar paneling from floor to ceiling added an aura of authority and dignity, highlighting Solomon’s role as king and judge. This hall's design reinforced the idea of justice being central to his reign.

1 Kings 7:8 (NKJV)
8 And the house where he dwelt had another court inside the hall, of like workmanship. Solomon also made a house like this hall for Pharaoh’s daughter, whom he had taken as wife.

Solomon’s personal residence, situated near the hall, had a similarly impressive design, showcasing his royal status. Additionally, he built a separate house for Pharaoh's daughter, reflecting both his political alliances and the integration of royal marriage into his reign. The structures demonstrate the lavishness of Solomon’s lifestyle.

1 Kings 7:9-12 (NKJV)
9 All these were of costly stones, cut to size, trimmed with saws, inside and out, from the foundation to the eaves, and also on the outside to the great court.
10 The foundation was of costly stones, large stones, some ten cubits and some eight cubits.
11 And above were costly stones, hewn to size, and cedar wood.
12 The great court was enclosed with three rows of hewn stone and a row of cedar beams. So were the inner court of the house of the Lord and the vestibule of the temple.

The use of costly, expertly hewn stones and cedar wood underscores the magnificence of Solomon’s constructions. Both his palace and the temple’s inner courts were built with the same care and expense, showing that both the royal and religious structures were crafted with equal attention to detail and quality. The grandeur of these materials also symbolized Solomon’s prosperity and devotion to God.

1 Kings 7:13-14 (NKJV)
13 Now King Solomon sent and brought Huram from Tyre.
14 He was the son of a widow from the tribe of Naphtali, and his father was a man of Tyre, a bronze worker; he was filled with wisdom and understanding and skill in working with all kinds of bronze work. So he came to King Solomon and did all his work.

Huram, or Hiram, was a skilled craftsman in bronze, chosen by Solomon to oversee the detailed metalwork for the temple. His background, as a man of mixed heritage, highlighted his exceptional skill, wisdom, and understanding in his craft. Hiram’s role was crucial in bringing to life the intricate designs for the temple’s furnishings, contributing to the sacred beauty of Solomon’s temple.

1 Kings 7:15-22 (NKJV)
15 And he cast two pillars of bronze, each one eighteen cubits high, and a line of twelve cubits measured the circumference of each.
16 Then he made two capitals of cast bronze, to set on the tops of the pillars. The height of one capital was five cubits, and the height of the other capital was five cubits.
17 He made a lattice network, with wreaths of chainwork, for the capitals which were on top of the pillars: seven chains for one capital and seven for the other capital.
18 So he made the pillars, and two rows of pomegranates above the network all around to cover the capitals that were on top; and thus he did for the other capital.
19 The capitals which were on top of the pillars in the hall were in the shape of lilies, four cubits.
20 The capitals on the two pillars also had pomegranates above, by the convex surface which was next to the network; and there were two hundred such pomegranates in rows on each of the capitals all around.
21 Then he set up the pillars by the vestibule of the temple; he set up the pillar on the right and called its name Jachin, and he set up the pillar on the left and called its name Boaz.
22 The tops of the pillars were in the shape of lilies. So the work of the pillars was finished.

Hiram cast two massive bronze pillars, Jachin and Boaz, as part of the temple's entrance. Their intricate design, including capitals adorned with pomegranates and lilies, emphasized both the artistic beauty and the symbolic meaning embedded in the temple architecture. These pillars likely represented stability and strength, with their names reflecting divine support for the temple and Israel.

1 Kings 7:23-26 (NKJV)
23 And he made the Sea of cast bronze, ten cubits from one brim to the other; it was completely round. Its height was five cubits, and a line of thirty cubits measured its circumference.
24 Below its brim were ornamental buds encircling it all around, ten to a cubit, all the way around the Sea. The ornamental buds were cast in two rows when it was cast.
25 It stood on twelve oxen: three looking toward the north, three looking toward the west, three looking toward the south, and three looking toward the east; the Sea was set upon them, and all their back parts pointed inward.
26 It was a handbreadth thick; and its brim was shaped like the brim of a cup, like a lily blossom. It contained two thousand baths.

The bronze Sea was a large basin used for ceremonial washing, symbolizing purity. Its size and ornamentation, including the twelve oxen facing the four directions, represented the twelve tribes of Israel. This basin, with its immense capacity, was both practical and symbolic, reflecting the purity required in worship and the connection between the temple and all of Israel.

1 Kings 7:27-30 (NKJV)
27 He also made ten carts of bronze; four cubits was the length of each cart, four cubits its width, and three cubits its height.
28 And this was the design of the carts: They had panels, and the panels were between frames;
29 on the panels that were between the frames were lions, oxen, and cherubim. And on the frames was a pedestal on top. Below the lions and oxen were wreaths of plaited work.
30 Every cart had four bronze wheels and axles of bronze, and its four feet had supports. Under the laver were supports of cast bronze beside each wreath.

The ten bronze carts were used to support the lavers (basins), crafted with detailed designs of lions, oxen, and cherubim, symbolizing strength, service, and divine protection. Their intricate decorations added to the grandeur of the temple, emphasizing both artistic excellence and the sacred nature of these objects. The wheels and supports allowed for mobility, reflecting the practical use of the lavers in temple rituals.

1 Kings 7:31-33 (NKJV)
31 Its opening inside the crown at the top was one cubit in diameter, and the opening was round, shaped like a pedestal, one and a half cubits in outside diameter; also on the opening were engravings, but the panels were square, not round.
32 Under the panels were the four wheels, and the axles of the wheels were joined to the cart. The height of a wheel was one and a half cubits.
33 The workmanship of the wheels was like the workmanship of a chariot wheel: their axle pins, their rims, their spokes, and their hubs were all of cast bronze.

These verses provide more details about the construction of the carts. The wheels, resembling those of a chariot, allowed for movement of the lavers. The detailed craftsmanship, down to the square panels and the intricate engravings on the openings, showcases the precision and skill involved in creating these essential temple items. Everything was designed to be functional and beautiful.

1 Kings 7:34-37 (NKJV)
34 And there were four supports at the four corners of each cart; its supports were part of the cart itself.
35 On the top of the cart, at the height of half a cubit, it was perfectly round. And on the top of the cart, its flanges and its panels were of the same casting.
36 On the plates of its flanges and on its panels he engraved cherubim, lions, and palm trees, wherever there was a clear space on each, with wreaths all around.
37 Thus he made the ten carts. All of them were of the same mold, one measure, and one shape.

The ten carts were consistent in design, symbolizing order and uniformity in the temple's structure. The cherubim, lions, and palm trees engraved on the flanges and panels added to the sacred imagery, with each cart decorated similarly to signify their common purpose. The level of detail in the casting and engraving speaks to the dedication and effort put into building the temple furnishings.

1 Kings 7:38-39 (NKJV)
38 Then he made ten lavers of bronze; each laver contained forty baths, and each laver was four cubits. On each of the ten carts was a laver.
39 And he put five carts on the right side of the house, and five on the left side of the house. He set the Sea on the right side of the house, toward the southeast.

The ten lavers, placed on the bronze carts, were essential for the ceremonial washing of the temple priests. The placement of the carts and the Sea on either side of the temple indicated a well-planned and balanced design. This organization facilitated the use of water for cleansing, emphasizing the importance of purity in the worship practices.

1 Kings 7:40-42 (NKJV)
40 Huram made the lavers and the shovels and the bowls. So Huram finished doing all the work that he was to do for King Solomon for the house of the Lord:
41 the two pillars; the two bowl-shaped capitals that were on top of the two pillars; the two networks covering the two bowl-shaped capitals which were on top of the pillars;
42 four hundred pomegranates for the two networks (two rows of pomegranates for each network, to cover the two bowl-shaped capitals that were on the pillars);

Huram completed his work for the temple, crafting essential items like lavers, shovels, and bowls. The two pillars, Jachin and Boaz, with their intricate capitals and decorative pomegranates, were a focal point at the entrance of the temple. The detailed craftsmanship reflected the beauty and sacredness of the temple, with every object created to serve a functional and symbolic role in worship.

1 Kings 7:43-45 (NKJV)
43 the ten carts, and ten lavers on the carts;
44 one Sea, and twelve oxen under the Sea;
45 the pots, the shovels, and the bowls. All these articles which Huram made for King Solomon for the house of the Lord were of burnished bronze.

Huram's contribution included not just the larger, more visible items like the carts and lavers but also smaller, practical items such as pots, shovels, and bowls. All were made of burnished bronze, symbolizing purity and strength, and these objects were integral to the temple’s functioning, particularly in handling sacrifices and offerings.

1 Kings 7:46-47 (NKJV)
46 In the plain of Jordan the king had them cast in clay molds, between Succoth and Zaretan.
47 And Solomon did not weigh all the articles, because there were so many; the weight of the bronze was not determined.

The bronze items were cast in the Jordan Valley between Succoth and Zaretan, where there was an abundance of natural resources for such large-scale work. The sheer number of items made was so vast that their total weight was never calculated, further illustrating the enormity of the temple project and Solomon’s great wealth.

1 Kings 7:48-50 (NKJV)
48 Thus Solomon had all the furnishings made for the house of the Lord: the altar of gold, and the table of gold on which was the showbread;
49 the lampstands of pure gold, five on the right side and five on the left in front of the inner sanctuary, with the flowers and the lamps and the wick-trimmers of gold;
50 the basins, the trimmers, the bowls, the ladles, and the censers of pure gold. And the hinges of gold, both for the doors of the inner room (the Most Holy Place) and for the doors of the main hall of the temple.

Solomon had all the essential furnishings of the temple made of pure gold, including the altar, the table for the showbread, the lampstands, and various utensils. The use of gold highlighted the temple's sacredness and the immense value placed on the objects used in worship. The inner sanctuary (Most Holy Place) and the main hall were treated with equal reverence, as shown by the golden hinges on the doors.

1 Kings 7:51 (NKJV)
51 So all the work that King Solomon had done for the house of the Lord was finished; and Solomon brought in the things which his father David had dedicated: the silver and the gold and the furnishings. He put them in the treasuries of the house of the Lord.

After all the construction and furnishing of the temple were completed, Solomon brought in the treasures that his father David had dedicated. This act honored David’s preparation for the temple and symbolized the continuity between father and son. The silver, gold, and other items were placed in the temple’s treasury, signifying the completion of the work and the fulfillment of David’s vision for the house of the Lord.

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