Building a Sanctuary Model

In teaching the lessons of the sanctuary, a model is of invaluable assistance. It gives the hearers at a glance a view of what they would otherwise only conjecture. This is apparent to anyone who has had the use of a model in his work.

The model which I use is about five feet by three. Upon investigation, I found that a model of this size, in brass, if constructed by a company specializing in model building, would cost around $400. The cost of only one item—the court pillars, with crossbars—would be $100, as estimated by a New York Company. This being prohibitive, I set about to construct the model myself. In this way the cost was reduced by about one half.

The first thing was planning the model. It was necessary to determine the size and shape of the various parts, and other details. For a working basis, the Jewish Encyclopedia, the works of Hastings, and other standard works on the sanctuary were consulted. The Bible, however, was always the final authority. Be­cause there was such a difference of opinion about many of the parts of the Mosaic sanctu­ary in the reference works, these sources were consulted merely to gain a conception.

The model has not been constructed strictly to scale, neither is it meant to be an authori­tative reproduction of the original. The articles of furniture are approximately in pro­portion, one to the other, but not to the sanctu­ary or to the court. The reason for this was to have the furniture large enough to be seen plainly by an audience of two or three hundred, and yet have a model that is easily handled.

The sanctuary and furniture are of brass, mounted on a wooden platform. It is virtually impossible to obtain any ready-made parts for a model sanctuary. Except for the materials for the coverings and curtains, the altars, and several other pieces which were made by silversmiths, all parts were handmade. A friend gave full use of his tools and machinery, including a speed lathe, for the brasswork.

Presents Impressive Appearance

A model of brass presents a beautiful ap­pearance. It is representative of the original sanctuary and of the truths presented. Any­one who lives in or near a large city where materials are available, and who has the neces­sary equipment, including a machinist's lathe —and the patience—can make a model of this type.

All the furniture is fastened to the base of the platform from beneath. .The model is electrically lighted, a step-down transformer being used. There are four independent switch connections for the candlestick, two altars, and the two apartments of the sanctuary. The building specifications may be outlined as follows :

1. The Platform is a three-step set-back ar­rangement. A brass angle is attached to the first step, for protection and to set the model off. The platform sides are of clear, white pine; and the base of maple plywood—wal­nut-stained, spray-shellacked, and highly pol­ished.

2. The Court is 48 x 24 inches. There are twenty pillars each on the north side and the south side, ten each on the east and the west. The pillars are of brass tubing, with balls plugged in on the top. Each pillar has two hooks (screw eyes). Gold-colored metal cords are attached from the hooks to stakes (screw eyes) inserted in the base. A bar runs through all pillars, thus holding them firm. The pillars are attached to the platform from beneath by screws.

3. The Altar of Burnt Offerings is hollow, made of square brass tubing. A grate is set in snugly on a ledge. On the top, at the cor­ners, are four horns pointing outward, and on two sides near the top are four rings, two on each side, to hold the staves. On the four sides, pegs are riveted in, to represent brass plates fastened to the wooden altar. A re­flector holding a small fifteen-watt bulb is attached from beneath. A slanting approach leads to the altar.

4. The Laver. At first I used a sterling silver open saltcellar purchased in a depart­ment store. This was later replaced by a brass laver, turned to order by a silversmith. This stands between the altar of burnt offerings and the sanctuary.

5. The Candlestick is made of tubing, with three curved branches screwed to each,side of a tapered center shaft. It is wired with the thinnest insulated wire obtainable. The amber bulbs, the size of a pea, screw into small sockets attached to the ends of the branches. The candlestick stands on the left as one enters the sanctuary.

6. The Table of Shewbread is a thin brass plate, with four tapered legs. A narrow strip with crown work and design is brazed to the edges of the top. There are four rings in the legs to hold the staves. The table stands on the right as one enters the sanctuary.

7. The Altar of incense, like the altar of burnt offerings, is hollow, made of square tubing. A design is etched on all four sides. The altar has a graduated top, with crown-work, and four horns pointing out. A small cup to hold the incense rests on a ledge inside the altar. A reflector, holding a small bulb, is fastened from beneath. The altar stands just before the veil.

8. The Ark is a rectangular chest. The two cherubim are fastened to the mercy seat, one on each end, with one wing covering the body and the other outstretched over the mercy seat. They face each other and look down toward the mercy seat. On the top edge of the ark is a crownwork, and on each corner is a ring to hold the two staves. The cherubim were cast by a silversmith.

The sides of the sanctuary are made of strips of brass. These represent the upright boards. There are twenty on the north side and eight on the west side. They rest on end in a channel which represents the silver sockets, and are held together by five bars which are run through rings. The rings are screwed into the "walls." On the south side is a glass plate, set in a channel which is hinged to the brass base. The reason for having a glass on this side is to give the audience a view of the furniture and apartments, without removing the side.

The sanctuary pillars are of tubing fitted in sockets (bases). They are held firm by screws from beneath. Similar sockets are used for caps. For greater rigidity, a brass strip is screwed to the caps of the pillars. The pillars have screw eyes for hooks, inserted near the top, from which hang the veil and the door cur­tain. There are five pillars at the entrance of the sanctuary, and four separating the apart­ments. A bar extends from the center pillar at the entrance, to a pillar at the west side of the sanctuary. To this "ridgepole" are attached three "shades" which hold bulbs to light the sanctuary.

The Four Coverings of the Sanctuary

There are four coverings. The first covering is made of ten strips of ribbon—blue, purple, and scarlet—sewed together in that order. It is made in two sections of five strips each, which are joined by gold cord, laced through eyelets sewed along two edges. On this cover­ing are embroidered angels in gold-colored thread. The angels are flying and blowing trumpets—significant of the judgment.

To represent the second covering of goats' hair, a piece of cream-colored coarse material is used.

The third covering is a ram's skin, dyed red.

The fourth and uppermost covering is a genuine sealskin, unplucked and undyed. It is grayish brown in color, and was given by a Nevi York Jewish furrier, who took an interest in the project. The first three coverings hang over the sides of the sanctuary. The fourth stretches out beyond the sides, and can be attached to stakes.

The veil, door curtain, and curtain for the court entrance were knitted. They were made of blue, purple, and scarlet colors. The court hangings are of linen, and hang on the hooks of the pillars, to which the cords are tied.

The ten commandments—two tables of stone —were made by a tombstone maker. Since it is impossible to get all the commandments on such small tables, a Hebrew character was made to represent each of the commandments. The commandments are frequently made in this way, especially for the miters which are worn by Jewish rabbis in certain religious services. The characters are done in raised letters, this effect being produced by the sand­blast method. The commandments can be placed inside the ark.

Several small animals—sheep and goats—and a figure representing a penitent man, were purchased in a department store. There is also a small incense burner.

When the lectures are given, all the lights of the hall or auditorium are turned out, and the sanctuary, altar, and candlestick lights are switched on. A spotlight with an amber lens is flashed on the model, giving it a golden hue, and making the highly polished furniture, sanctuary, and pillars glisten like burnished gold. With this soft, mellow light, and the subdued lights of the candlestick, a most beau­tiful effect is produced.

Transporting the model does not present a problem, as it can be carried in a specially made trunk. This can be put in the back of an automobile, after the cushion in the rear seat has been removed. Or it can be carried on a rack attached to the top of an automobile.

A miniature model to illustrate the sanctuary truths is most effective, It Makes a lasting impression on the hearers, impressing them with the beauty of the original sanctuary, and the resplendent grandeur of the heavenly, where Jesus our High Priest intercedes for man.