There were two altars in the temple, which expressed the two covenants in the church. The first, the altar of burnt offerings, which was plated with bronze and was situated in front of the doors of the temple, was for the offering up of victims and sacrifices. It signified the fleshly minded worshipers of the Old Covenant. And then there was the altar of incense, which was covered with gold^[1] and set near the entrance of the Holy of Holies and was to burn fragrant gums on. This prefigured the interior and more perfect grace of the New Covenant and its worshipers.

Further, it is rightly enjoined that the humeral^[1] veil be made of gold, hyacinth, purple, scarlet twice dyed,^[2] and fine twisted linen, so that it may be evident with what variety of virtues the priest should be conspicuous. Thus in the vesture of the priest the gold is resplendent beyond all else; so should he especially shine beyond all others in the understanding of wisdom. Hyacinth is added, brilliant with the color of the skies, that by every matter which he penetrates with his understanding, he may not stoop to the base favors of earth but rise up to the love of heavenly things. He must beware of being incautiously snared by praise, thus despoiling himself of even the appreciation of truth.

With the gold and blue of the vesture there is also a mingling of purple. That is to say, the heart of the priest, while hoping for those high matters about which he preaches, should repress in itself the remotest suggestions of vice. He should, as it were, with kingly power reject them, ever setting his gaze on the nobility of his interior regeneration and safeguarding by his way of living his right to the heavenly kingdom. . . .

Now to gold, blue and purple is added twice-dyed scarlet, to signify that in the eyes of the Judge of the heart all that is good in virtues must be adorned with charity and that everything that is resplendent in human eyes must in the sight of the Judge within be lit up with the flame of love coming from the heart. Moreover, because this charity embraces both God and neighbor, its radiance is, as it were, of a double hue. He therefore that sighs for the beauty of his Maker but neglects the care of his neighbor, or who so compasses the care of the neighbor as to grow listless in divine love, in neglecting either of these does not know what it means to have twice-dyed scarlet in the adornment of the humeral.

But while the mind is intent on the precepts of charity, it remains, beyond doubt, that the flesh must be mortified by abstinence. Consequently fine-twisted linen is joined with the twice-dyed scarlet. Now fine linen comes from the earth with radiant hue. And what else is designated by linen but chastity, radiant in the comeliness of bodily cleanness? The twisted linen is also woven into the beauty of the humeral, for then chastity issues into the perfect radiance of purity, when the flesh is spent with abstinence. While thus, in company with the other virtues, the merit of mortified flesh is revealed, as it were, the twisted linen is resplendent in the variegated beauty of the humeral.

But why was it that [Christ] chose twelve apostles, and not some other number? In truth, I might from this very point conclude of my Christ that he was foretold not only by the words of prophets but by the embodied language of facts. For of this number I find figurative hints up and down the Creator’s dispensation in the twelve springs of Elim;^[1] in the twelve gems of Aaron’s priestly vestment;^[2] and in the twelve stones appointed by Joshua to be taken out of the Jordan and set up for the ark of the covenant.

Of these twelve, as of twelve precious stones, is the pillar of our faith built up. For these are the precious stones—sardius, jasper, smaragd, chrysolite, and the rest—woven into the robe of holy Aaron, even of him who bears the likeness of Christ, that is, of the true Priest. [These] stones [are] set in gold and inscribed with the names of the sons of Israel, twelve stones close joined and fitting one into another, for if any should sunder or separate them, the whole fabric of the faith falls in ruins.

And on the breast of the high priest were certain stones hanging, twelve in number, in the midst of which were placed two other stones, manifestation and truth.^[1] By means of a riddle through these the chorus of the holy apostles is clearly signified being, as it were, in a circle around Emmanuel, who is manifestation and truth. For he manifested the truth by having taken away the worship of God in shadows and in types.

The priest bearing the judgment of the children of Israel on his breast in the sight of the Lord means that he examines the causes of his subjects in accordance only with the mind of the Judge within. So . . . he allows no admixture of human reason in what he dispenses in the place of God, lest personal displeasure embitter him in his zeal for correction. While showing himself zealous against the transgressions of others, he should punish his own, lest his latent ill will stain the calmness of his judgment or hasty anger distort it.