"The carpenter stretcheth out his rule; he marketh it out with a line; he fitteth it with planes; and he marketh it out with the compass; and maketh it after the figure of a man; according to the beauty of a man, that it may remain in the house."

What can be the meaning of the phrase, "He fitteth this image with planes?" between the actions of marking it out with lines, and marking it out with compasses. Can a plane be employed in any part of the process of carving a human figure, in wood, or in stone? surely not. But if it could be so employed, certainly it would not be before the compasses had been used in proportioning it. For we ought to consider that the application of a plane, by a carpenter, is to smoothen the surface of a board, not to delineate any thing on it, but rather to erase what may be already there; whatever is rough, and rises above the superficies; and by the use of this word in the plural, we are led to the notion of one plane after another: first, a coarse jack plane, then a finer tool. We must own, however, that foreign versions have better rendered the passage, "The carpenter opens his rule, and traces it with chalk; he makes it with squares, [or he regulates it by the square;] he gives it form by the compass, &c. The LXX render, "he regulates it by measure:" Vulgate, "he forms it with red chalk, he sets it by the square." It appears then, that these interpreters understood the instrument called a square, used by carpenters, to be here intended: and so Scheuzer expressly explains it; not suspecting any other meaning of the word square.

Bishop Lowth is little nearer to the true sense, on the whole, whose rendering is,

"He marketh out the form of it with red ochre,
He worketh it with the sharp tool."

We must now submit the words of this passage to careful examination.

1st, It is certain that the Hebrew word sered, signifies red chalk, or red ochre; a natural production of the earth. Pliny says, lib. xxxv. cap. 6. that "the red chalk of Egypt and Africa is most useful to workmen, as it penetrates best." This red chalk, rubrica, was known also to Homer, who describes the vessels employed in the Trojan war, as painted

with it.

קו

2dly, That p kav, denotes a line, and that the prophet says, the carpenter stretches out this line; which we shall suppose him to have filled with red chalk, by rubbing it well in: then fixing this line tight at each end, and springing it, striking is the phrase among workmen, the red chalk will delineate, or mark the place of the line from end to end, whereever it has struck. This action is done every day among us. Now, a number of lines thus drawn at regular intervals, horisontally, and crossed by others at the same intervals, perpendicularly, will form so

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many squares; these squares, thus obtained, will give points of intersection, and areas enclosed, which correspond with an original, squared in like manner; or, these squares may be used as a scale whereby to proportion a figure. [The process forms a regular principle, or procedure of art, and is of constant application; as appears in "The Artist's Repository."] This is the very meaning of the prophet; literally, "he makes it in the squares," plural. For,

3dly, That the word used by the prophet denotes squares, appears from the renderings of the LXX and Vulgate, though misapplied to an instrument, called a square. So, also, Exod. xxxviii. 5. "He cast four rings for the four ends," the four corners of the square, "of the grate of brass." Exod. xxvi. 4. "The uttermost edge of a curtain ;" the corner of the square in fact, the word signifies an angle; as the angle of an house, which is its frequent application; the external angle, which in most houses is square.

4thly, I am really unwilling to change the import of the word rendered compasses;" to which instrument, it has been very long applied; but as the introduction of squares, and the application of them, in this instance, supersedes the use of compasses, and lays them aside entirely, I apprehend, we must take this word to mean an outline, the contour, the circumference of the figure drawn in among, and by means of, the squares. The outline of the human figure we know is curve in its parts; and this is the genuine idea of the word literally," and in the curve outlines he delineates it."

5thly, "And makes it according to the image of, AISH," a chief man, a dignitary, a sovereign. See this idea confirmed on the subject of the figures of Baal, and of the kings of the East. Plate of Baal, Amos v. 26.

If the prophet had been thus technical in his description of this process, it is worth our while to understand his language, and to bring it to the test of experience. Very fortunately, among the mass of figures collected by Denon, in his lately published "Travels in Egypt," is one which perfectly illustrates this passage; and shows, that, in Egypt, a process was practised similar to that described by Isaiah in a manner so orderly; which we should recollect consists in, 1st, filling a line with red chalk; 2dly, stretching it over a surface; 3dly, striking it, and thereby, 4thly, forming lines; crossing these lines, thereby forming, 5thly, squares; 6thly, delineating the contour of the figure in these squares; and, 7thly, forming it with dignified proportion and majesty, to represent a sovereign; in a high style and character; a divinity fit for a niche in a temple consecrated to its service.

Neither is this all: for I understand the prophet, as saying, "When those of the same profession are called together to admire this figure, when it is exhibited, and awaits their honourable suffrages, even

then should the whole academy be ashamed of their idol, even then should they, as one man, stand astonished, and blush at their folly." The inauguration of statues, or opening them to public inspection was, as it still is in statuary countries, an occasion of great festivity, and gratification to the artists, Vide Nebuchadnezzar's golden image, Dan. iii.

Let us now attend to an actual instance, in illustration of these suggestions. Denon's explanation of plate cxxiv. No. I. in his Travels in Egypt.

"A figure, which I believe to be that of Orus or the earth, son of Isis or Osiris. I have seen it most frequently with one or other of those divinities, or making offerings to them, always a figure younger, and of smaller proportion, than themselves. I found this on one of the columns of the portico of Tentyra: it was covered with stucco, and painted. The stucco being partly scaled off, gave me the opportunity of discovering lines traced, as if with red chalk. Curiosity prompted me to take away the whole of the stucco, and I found the form of the figure sketched, with corrections of the OUTLINE; a division into twenty-two parts; the separation of the thighs being in the middle of the whole height of the figure, and the head comprising rather less than a seventh part. Had the Egyptians then a model, a rule, an original canon? Had they then an art, whose principles were fixed?" So far that artist: we may safely answer his questions in the affirmative; and may say, that to such a "model, rule, or canon," to such an "art whose principles were fixed," is the allusion of the prophet Isaiah in the passage before us.

As the figure which we have copied from Denon, for our head piece, explains the process to perfect satisfaction, and is an unquestionable instance, we shall close our investigation of the subject, by merely arranging the version of these stanzas. The whole passage is one of the most poetical effusions in Scripture; of which bishop Lowth says, "It far exceeds any thing that ever was written on the subject, in force of argument, energy of expression, and elegance of composition." Yes, surely; for the prophet was restricted by no hesitation on the score of public decorum; he exposes that vice with the whole fury of his poetical inspiration, at which Horace only sneers, lib. i. sat. 8.

Olim truncus eram ficulnus, inutile lignum,
Cum faber incertus, scamnum faceretne priapum,

Maluit esse Deum. Deus inde ego, furum aviumque Maxima formido.

The sculptors of imagery statues are all of them vanity;
Even their most highly valued, masterpieces, shall not profit them
Rather, they themselves witness against them;
They neither see, nor know;

Therefore, they shall be confounded.
When one of them hath formed a deity,
Or, when he hath east a molten image,

Is it profitable for any thing?

Behold, all his fellow artists shall be ashamed,

And the workmen themselves, who labour on the human statue,
They shall assemble together, even all of them....

They shall stand, they shall fear, they shall be ashamed as one man,
[At the public exhibition of this figure as a work of art.]
The worker in iron, he sharpeneth the sacred tool;
He worketh it in the glowing coals,

And with his hammer giveth it a proper shape,
And laboureth it with the power of his arm;
Surely, too! he is hungry, and his strength faileth;
He drinketh no water, and is faint.

The worker in woods; he stretcheth out the line;
And strikes it, coloured with red chalk:

He sketches it, the figure, in among the squares,
And in its contours he correctly delineates it.

Yea, he executeth it, in a style, according to the character of a superior man,

According to the glory, in beauty, of the human form,
That it may dignify a sacred station in a temple.

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Such seems to be the sentiments, and such the language of the prophet. Whoever is acquainted with the history of art, well knows the emulation among ancient artists, knows too, that the language of the prophet is not only correct and technical, but strongly descriptive of what, after all, is indescribable, that spirit of exertion and rivalship, of appropriating personal fame, national honour, and civic digniPraxiteles and a Phidias; for the Venus of Cnidus, ty, to which we are beholden for the productions of a for the Hercules of Glycon, and for the Pythian Apollo: those more than mortal statues of the artist, and amateur! not of their own day only, when they were fresh from the master's hand, but of the present age also, which justly appreciates their merit as invaluable, while it pities that blindness, that depravity of heart, which led their votaries to adore them as simulachra of deities, if not as deities themselves; marble though they were!

Ir is rather extraordinary that a creature so well known in the East, as the hyæna is, should be so seldom mentioned in Scripture. We have two places where it is understood to be named: the first is, 1 Sam. xiii. 18. "the valley of Zeboim." Aquila renders "of the hyanas ;" and the second place is, Jer. xii. 9. where the LXX render the "speckled bird" of our translation, by "the cave of the hyæna." Bochart exerts himself to establish the hyæna in this place, and Mr. Parkhurst, with great satisfaction supports him. Scheuzer also looks this way: they would render, "Is then my heritage to me as a fierce hyæna? Is there a wild beast all around upon her?" Without depreciating this version, let us examine the passage. "I have forsaken my [VERY] house, my constant abode: I have left my heritage. Why so? for what cause? My heritage was to me as a lion's lair in the marshy places of the forest; its inhabitant gave out its growl against me, thereby repelling me when I approached to visit it; insomuch that therefore I hated it. Like the OITH TJEBUO is mine heritage to me: the OITH turns himself every way round upon it, forbidding my approach at any part. Therefore, go, assemble yourselves all ye wild beasts of the field; proceed to devour it, rushing into it on all sides." But I could almost wish to connect the field with the following words; to this purpose: "Go, in a general body, all wild beasts; proceed to devour, what should be, THE fertile field," which is the meaning of the word shadai, rendered "field ;" and fixes the subject to be devoured. The idea seems to be that of a person, who having met with ingratitude, leaves the ingrateful to all calamities; his field having got one wild beast in it, he relinquishes it to all wild beasts. The

question is, what is this wild beast, this oith tjebuo? Let us investigate the import of the words.

The word oith signifies "the rusher;" whether bird, beast, or man. The word tjebuo signifies striped, or streaked: the "striped rusher," then, is the literal rendering of the words used. Is this rusher a beast or a bird? It is taken for a bird by our translators, and by Jerom, who has led the modern versions; but it is clear the LXX took it for a beast, and that beast the hyæna: but why is the heritage the cave of this beast? and this cave the LXX seem to say, circular it it. Nevertheless, this agrees with the idea above suggested, of a fruitful field, into which a wild beast had got, and where he turns himself every way, to repel the proprietor; but then this obliges us, by parallelism, to take the lion of the former verse, for the lion's lair, or den, which is not mentioned, though it may be implied, in the original. The hyæna is the animal most probable to be this tjebuo, at present; and as such we receive it. "It is well known at Aleppo," says Russell; "lives in the hills at no great distance from town; and is held in great horror." Is the size of a large dog. Is remarkably striped, or streaked. It has much similitude to the wolf, in nature and form; but has only four toes or each foot, in which it is very nearly singular. It is extremely wild, sullen, and ferocious; will sometimes attack men ; rushes with great fury on flocks and cattle. It ransacks graves, devours dead bodies, &c. Is untameable.

I cannot avoid suggesting a possibility that that very obscure animal the sheeb, may be the tjabuo of this place. I find the following account of it in Russell, vol. ii. p. 185. "The natives talk of another animal, named sheeb, which they consider as distinct

from the wolf, and reckon more ferocious. Its bite is said to be mortal; and that it occasions raving madness before death... is like a wolf... is perhaps only a mad wolf. Long intervals elapse in which nothing is heard of the sheeb. In 1772, the fore part and tail of one was brought from Spheery to Dr. Freer. It was shot near Spheery; was one of several that had followed the Bassora caravan over the desert, from near Bassora to Aleppo. Many persons in the caravan had been bitten, all of whom died in a short time, raving mad. It was reported that some near Aleppo were bitten, and died in like manner; but the doctor

saw none himself. The circumference of the body and neck rather exceeded that of the wolf. Colour, yellowish gray." If an animal of properties so terrible had taken its abode in any person's heritage, no wonder he should abandon it to its fate. As the creature was scarce, never seen by Dr. Russell, or his brother, may this account for the ignorance of translators? Were a mad dog to get into any person's house in England, would he not quit it? This creature coming from the desert, agrees with "the valley of Zeboim, toward the wilderness," in Sam. N.B. No mention of streaks.

We have had, and shall have again, repeated occasions of wishing for better acquaintance with the natural history of the East, especially in those interpreters whose public translation is the voice of authority; among other instances we notice that of rendering tahash, Numb. iv. 10; Ezek. xvi. 10. et. al. by the badger, which should rather be a kind of seal; and that of rendering ran tannin, in the passage under consideration, "sea monsters," which draw out the breast, and give suck. Now philosophy knows nothing of monsters; whatever is capable of posterity, of having young ones to suckle, is no monster. I know that this word tannin, is supposed by those who have endeavoured to understand the natural history of the Bible, to denote a whale, or the whale kind: but, I rather wish to restrain it to the amphibia, to that class of animals which haunt the shores, as well as frequent the waters. To justify this idea, let us inquire how the tannin are described in Scripture.

We observe, first, that these tannin are frequently associated with the crocodile, which we know is completely amphibious, taking the leviathan for that creature as Psalm lxxiv. 13. "Thou brakest the heads of the [tanninim] dragons in the waters; thou brakest the heads of the leviathan in pieces, and gavest him to be meat to the people inhabiting the wilderness." Isai. xxvii. 1. "The Lord shall punish leviathan.. and he shall slay the [tannin] dragon that is in the sea." As the tannin is associated with the leviathan, it is clear it cannot be that creature, in these passages.

Those commentators who have supposed that tannin means a whale, must relinquish that opinion when considering the expressions of the prophet Malachi, i. 3. "I disliked Esau, and gave his mountains to solitude, and his inheritance to the tanuth [dragons, Eng. Tr.] of the wilderness." Now, to say nothing of the scarcity of whales in the Red Sea, where only they could visit the inheritance of Edom; how can whales

come on shore to possess these inheritances, since whales are not amphibious, but always remain in the deep?

The LXX render this word, Lam. iv. 3. by dragons; the Vulgate by lamia; but neither dragons, i.e. serpents, nor lamia, have breasts, or suckle their young. The LXX read sometimes exo, hedgehogs, and elsewhere sirenes; the Vulgate also reads "sirens in the houses of pleasure," Isai. xiii. 22. so that we may perceive, this word tannin, and its relatives, has been a perplexity to translators, as well ancient as modern.

But what are the characteristics of the tannin in Scripture? 1st, It is evidently a creature of the amphibious kind; as appears from passages already adduced. 2dly, It suckles its young; and draws out the breast. 3dly, It is capable of exerting its voice very mournfully, as appears, Micah i. 8. "I will make a wailing like the dragons" [tannim] when do dragons, i.e. serpents, wail? when do they mourn and lament? 4thly, It is capable of holding its breath a while, of drawing in vehemently a quantity of breath, and, consequently, of emitting it with violence, of panting, as Jer. xiv. 6. "The wild asses stand on the high places: they puff for breath, or puff out breath, like tannim [dragons] their eyes fail because there is no grass." By these properties we may discover the tannim.

I propose to submit to the reader, rather a class of animals than any distinct species, or individual, because I am not altogether certain how many of those facts which are known to us, were known in Syria: nor what kinds, of the same class of creatures, were most likely to furnish subjects of comparison to the writers in Judea, &c. Besides which, I presume, we must make allowances for the different countries to which these tannin are referred as, to Egypt, to Babylon, &c. whose species might differ from each other, perhaps, considerably.