A narrow trench dug in the ground, often by a plow, to prepare the ground for planting. In ancient Palestine a furrow was made by an animal-drawn wooden plow, or later, with an iron-tipped wooden plow. For example, in Job 39:9–10 God rhetorically asks Job whether he can control a wild ox in order to make a furrow. A furrow can also be used as an image of the infliction of oppression and pain (Ps. 129:3).

An instrument and process used by farmers to break up ground in preparation for planting (Isa. 28:24; Hos. 10:11). The plow was made of wood (1 Kings 19:21), and the point was covered with a metal plowshare (Isa. 2:4; Joel 3:10) that required occasional sharpening (1 Sam. 13:20–21). Usually, plowmen used pairs of oxen (1 Kings 19:19; Job 1:14) to pull the plow, although one might harness single animals or other animals such as donkeys (Deut. 22:10), depending on the situation and resources. The busy time of plowing at the beginning of the rainy season (around November) required hard work (Exod. 34:21; Prov. 20:4) and commitment (Luke 9:62). One also finds the term “plow” used figuratively for creating or doing something (making trouble [Job 4:8]), often with the negative ideas of destruction (Jer. 26:18) or punishment (Ps. 129:3).

A collection of 150 poems. They are the hymnbook of the OT period, used in public worship. Psalms contains songs of different lengths, types, and dates. The earliest psalm (Ps. 90) is attributed to Moses (mid-second millennium BC), while the content of Ps. 126 and Ps. 137 points to the latest periods of the OT (mid-first millennium BC). They continue to be used as a source of public worship and private devotion.

Historical Background

Most psalms have a title. In the Hebrew text this title comprises the first verse, whereas English translations set it off before the first verse. Titles vary. Many name an author (e.g., David [Ps. 3]; Asaph [Ps. 77]; sons of Korah [Ps. 42]), while others provide information about genre (e.g., Psalms of Ascent [Pss. 120–134]), tune (e.g., “Do Not Destroy” [Ps. 75]), use in worship (Ps. 92), and a circumstance that led to composition (Ps. 51). Information in the title gives hints concerning how psalms were written and brought into a final collection.

Composition

As mentioned, the titles of the psalms often give indications of authorship and occasionally name the circumstance that led to the writing of the psalm. A good example is Ps. 51, where the title states, “For the director of music. A psalm of David. When the prophet Nathan came to him after David had committed adultery with Bathsheba.” The title connects the psalm with the events recorded in 2 Sam. 11–12 and suggests that David wrote the song in response to his sin and Nathan’s confrontation.

Although only a handful of the psalms have such a historical title, it is likely that most psalms were composed in response to some specific circumstance that encouraged the author to write. Interestingly, though, the psalmists do not speak about the specific circumstance in the psalm itself. Psalm 51, for instance, fits perfectly with the situation that the title describes in that it expresses guilt toward God and asks for forgiveness, but nowhere does it speak specifically about adultery. The psalmists do this intentionally because they are writing the song not as a memorial to an event, but rather as a prayer that others who have had similar though not identical experiences can use after them. Thus, Ps. 51 has been used as a model prayer for many penitents, whether they have sinned like David or in another way.

Most modern hymns have a similar background. John Newton, for instance, was inspired to write “Amazing Grace” because of awe that he felt at his conversion to Christianity from the evil of being a slave trader. However, when he wrote it, he wanted others to sing it as reflecting not on his conversion but on their own.

Collection

The psalms were composed over a thousand-year period. Thus, it appears that the book of Psalms was a growing collection until it came to a close at an unknown time between the writing of the two Testaments.

In 1 Chron. 16:7–36 we may get a glimpse of how the process worked. The text describes David turning a musical composition over to the Levitical musician Asaph and his associates. It is likely that the priests kept an official copy of the book of Psalms in the holy place (the temple while it stood). The psalms, after all, were the hymns of ancient Israel. Their primary function was as a corporate book of prayer, though certainly they could be used in private devotions (note Hannah’s prayer in 1 Sam. 2:1–10 and its relationship to Ps. 113).

Organization and Structure

The psalms have no obvious organization that explains the location of all the psalms. They are not organized in terms of genre, authorship, time of composition, or length. There is only one statement about organization, found in Ps. 72:20: “This concludes the prayers of David son of Jesse.” In the light of this comment, it is surprising that a number of Davidic psalms appear in subsequent sections (Pss. 101; 103; 108–110; 122; 124; 131; 133; 138–145). The best explanation is that at one point Ps. 72 concluded the Davidic psalms, but there was a reorganization before the canonical order was permanently closed.

A number of contemporary theories try to find some deep structure to the book, but it is best to refrain from speculation in regard to the overall structure. Nonetheless, a few structural characteristics are obvious. First, the division of Psalms into five books seems to reflect the fivefold division of the Pentateuch:

I. Book 1 (Pss. 1–41)

II. Book 2 (Pss. 42–72)

III. Book 3 (Pss. 73–89)

IV. Book 4 (Pss. 90–106)

V. Book 5 (Pss. 107–150)

Each book ends with a doxology. Such an intentional association with the Pentateuch would lend support to the Psalter’s claim to authority. Although these are prayers to God, they are also God’s word.

Second, within the Psalter there are subcollections. That is, there are psalms that came into the book not individually but as a group. The best-known such group are the Psalms of Ascent (Pss. 120–134), probably so named because worshipers sang them while going up (ascending) to the Temple Mount during one of the annual religious festivals in Jerusalem.

Third, it appears that psalms are intentionally placed at the beginning and at the end of the book to serve as an introduction and a conclusion. Psalms 1–2 serve as an introduction that alerts the reader to the twin important themes of law and messiah. Psalm 1 pronounces a blessing on those who love God’s law. The psalms, after all, are an intimate and personal conversation with God. One must be on the side of the godly to enter such a holy textual space, just as one must be godly to enter the precincts of the temple. After the reader enters, Psalm 2 provides an encounter with God and his anointed one (messiah). At the end of the book, the last five psalms (Pss. 146–150) constitute a tremendous doxology of praise.

This leads to the final observation on structure. Psalms of lament predominate at the beginning of the book, but they give way to hymns of praise toward the end. It is almost as if one enters the Psalter mourning and leaves it praising. Indeed, the Psalter brings the reader into contact with God and thus transforms the reader from sadness to joy.

Literary Considerations

Genre. The individual psalms may be identified as songs, prayers, or poems. Specifically, they are lyric poems (expressing the emotions of the poet), often addressed to God, and set to musical accompaniment. Although the categories overlap, seven different types of psalms can be recognized, with the first three being by far the most common.

• Lament. The largest single group of psalms are the laments, characterized by the expression of unhappy emotions: sadness, disappointment, anger, worry. The lamenters call on God to save them, even while at times complaining about God’s actions toward them (Ps. 42:9–10). Some laments contain petitions for forgiveness (Ps. 51), while others assert innocence of any wrongdoing (Ps. 26). A few laments even contain curses directed toward the enemies who are trying to harm the psalmist (Ps. 69:19–28). Most laments end by praising God or reaffirming confidence in God (Ps. 130:7–8). Usually the reason for the change from mourning to rejoicing is not given, but Ps. 77 pinpoints the reason as the memory of God’s great salvation events in the past (vv. 10, 16–20). One psalm, Ps. 88, laments but never makes the turn, remaining in the pit of despair. Yet even here we have a glimmer of hope in that the one who laments is still speaking to God.

• Thanksgiving. When God answers a lament, the response is thanksgiving. Psalms of thanksgiving are very similar to hymns (see below), but they cite an earlier problem that God has addressed. Psalm 30 praises God for restoring the psalmist’s good fortune and health after he suffered due to his earlier arrogance that led him to forget God (vv. 6–7).

• Hymn. Hymns are psalms of unalloyed praise directed toward God. The psalmists often call for others to join their worship of God (Ps. 100).

• Remembrance. While many psalms evoke memories of God’s actions in the past (as the lament in Ps. 77 recalls the exodus), certain psalms focus on rehearsing the actions of God in the past. Psalm 136 is one of the most memorable examples. As a liturgical psalm, it recites a divine action (“[God] swept Pharaoh and his army into the Red Sea” [v. 15]) followed by a congregational response (“His love endures forever”).

• Confidence. These psalms are defined by their mood of quiet trust in God even in the midst of trouble. They often present a reassuring image of God. The picture of God as a shepherd in Ps. 23 or as a mother in Ps. 131 are good examples.

• Wisdom. Some psalms meditate on the law (Pss. 1; 119) or have interests similar to those of wisdom literature, such as Job, Proverbs, and Ecclesiastes (Pss. 49; 73).

• Kingship. A number of psalms praise God as king (Ps. 47) or the human king as his agent (Pss. 20–21) or both (Ps. 2).

Style. The psalms are poems, and so their style is characterized by the use of parallelism and figurative language. Poetry is also notable for its short lines. A poet packs a lot of meaning into very few words. So it is important to slow down and reflect on a psalm in order to derive its maximum effect. Besides brevity of expression, parallelism, and figurative language, poets create interest by using other literary tools. The psalmists use these poetic devices not only to inform their readers’ intellect but also to stimulate their imagination and arouse their emotions. (See also Acrostic; Imagery; Poetry.)

Theological Message

Although the psalms are not theological essays, readers can learn about God and their relationship with God from these poems. The book of Psalms is a bit like a portrait gallery of God, using images to describe who he is and the nature of our relationship with him. Some examples include God as shepherd (Ps. 23), king (Ps. 47), warrior (Ps. 98), and mother (Ps. 131), and the list could be greatly expanded. Each one of these picture images casts light on the nature of God and also the nature of our relationship with God. After all, the aforementioned psalms explicitly or implicitly describe God’s people as sheep, subjects, soldiers, and children.

Connection to the New Testament and Today

Jesus himself draws attention to Psalms as a book that anticipated his coming suffering and glorification (Luke 24:25–27, 44). The Gospels recognized that Jesus’ zeal for God was well expressed by Ps. 69:9 (John 2:17). When at the apex of his suffering on the cross, Jesus uttered the words found in Ps. 22:1 (Matt. 27:46). The NT writers also saw that Jesus was the fulfillment of the covenant that promised that a son of David would have an everlasting throne (2 Sam. 7:16). Accordingly, the royal psalms (e.g., Pss. 2; 110) often were applied to Jesus, who is the Messiah (the Christ, “the anointed one”).

Today we read Psalms not only as an ancient witness to the coming work of Christ but also, as John Calvin put it, as a mirror of our souls. The psalms were written for worshipers who came after them with similar though not identical joys and problems. The psalms should become models of our prayers.

The titles, or superscriptions, of fifteen psalms include the designation “a song of ascents,” also called “a song of degrees.” The notion of ascending, or going up, has influenced the understanding of these psalms. The “going up” has been seen as going up to Jerusalem for a holy day, going up to Jerusalem as part of the return from the exile, going up the fifteen steps at the courts of the temple (a Jewish tradition in the Mishnah), or an aspect of their poetic style. These psalms occur together as a group, Pss. 120–134. They include different genres but share an emphasis on Jerusalem, which supports the idea that they were used on pilgrimage for a holy day (see Exod. 24:13; 34:23; Lev. 23:4; and Deut. 16 for religious journeys to Jerusalem). Harvest imagery in some of these psalms and the Mishnah tradition suggest the Feast of Tabernacles, but they need not have been limited to this festival.

A collection of 150 poems. They are the hymnbook of the OT period, used in public worship. Psalms contains songs of different lengths, types, and dates. The earliest psalm (Ps. 90) is attributed to Moses (mid-second millennium BC), while the content of Ps. 126 and Ps. 137 points to the latest periods of the OT (mid-first millennium BC). They continue to be used as a source of public worship and private devotion.

Historical Background

Most psalms have a title. In the Hebrew text this title comprises the first verse, whereas English translations set it off before the first verse. Titles vary. Many name an author (e.g., David [Ps. 3]; Asaph [Ps. 77]; sons of Korah [Ps. 42]), while others provide information about genre (e.g., Psalms of Ascent [Pss. 120–134]), tune (e.g., “Do Not Destroy” [Ps. 75]), use in worship (Ps. 92), and a circumstance that led to composition (Ps. 51). Information in the title gives hints concerning how psalms were written and brought into a final collection.

Composition

As mentioned, the titles of the psalms often give indications of authorship and occasionally name the circumstance that led to the writing of the psalm. A good example is Ps. 51, where the title states, “For the director of music. A psalm of David. When the prophet Nathan came to him after David had committed adultery with Bathsheba.” The title connects the psalm with the events recorded in 2 Sam. 11–12 and suggests that David wrote the song in response to his sin and Nathan’s confrontation.

Although only a handful of the psalms have such a historical title, it is likely that most psalms were composed in response to some specific circumstance that encouraged the author to write. Interestingly, though, the psalmists do not speak about the specific circumstance in the psalm itself. Psalm 51, for instance, fits perfectly with the situation that the title describes in that it expresses guilt toward God and asks for forgiveness, but nowhere does it speak specifically about adultery. The psalmists do this intentionally because they are writing the song not as a memorial to an event, but rather as a prayer that others who have had similar though not identical experiences can use after them. Thus, Ps. 51 has been used as a model prayer for many penitents, whether they have sinned like David or in another way.

Most modern hymns have a similar background. John Newton, for instance, was inspired to write “Amazing Grace” because of awe that he felt at his conversion to Christianity from the evil of being a slave trader. However, when he wrote it, he wanted others to sing it as reflecting not on his conversion but on their own.

Collection

The psalms were composed over a thousand-year period. Thus, it appears that the book of Psalms was a growing collection until it came to a close at an unknown time between the writing of the two Testaments.

In 1 Chron. 16:7–36 we may get a glimpse of how the process worked. The text describes David turning a musical composition over to the Levitical musician Asaph and his associates. It is likely that the priests kept an official copy of the book of Psalms in the holy place (the temple while it stood). The psalms, after all, were the hymns of ancient Israel. Their primary function was as a corporate book of prayer, though certainly they could be used in private devotions (note Hannah’s prayer in 1 Sam. 2:1–10 and its relationship to Ps. 113).

Organization and Structure

The psalms have no obvious organization that explains the location of all the psalms. They are not organized in terms of genre, authorship, time of composition, or length. There is only one statement about organization, found in Ps. 72:20: “This concludes the prayers of David son of Jesse.” In the light of this comment, it is surprising that a number of Davidic psalms appear in subsequent sections (Pss. 101; 103; 108–110; 122; 124; 131; 133; 138–145). The best explanation is that at one point Ps. 72 concluded the Davidic psalms, but there was a reorganization before the canonical order was permanently closed.

A number of contemporary theories try to find some deep structure to the book, but it is best to refrain from speculation in regard to the overall structure. Nonetheless, a few structural characteristics are obvious. First, the division of Psalms into five books seems to reflect the fivefold division of the Pentateuch:

I. Book 1 (Pss. 1–41)

II. Book 2 (Pss. 42–72)

III. Book 3 (Pss. 73–89)

IV. Book 4 (Pss. 90–106)

V. Book 5 (Pss. 107–150)

Each book ends with a doxology. Such an intentional association with the Pentateuch would lend support to the Psalter’s claim to authority. Although these are prayers to God, they are also God’s word.

Second, within the Psalter there are subcollections. That is, there are psalms that came into the book not individually but as a group. The best-known such group are the Psalms of Ascent (Pss. 120–134), probably so named because worshipers sang them while going up (ascending) to the Temple Mount during one of the annual religious festivals in Jerusalem.

Third, it appears that psalms are intentionally placed at the beginning and at the end of the book to serve as an introduction and a conclusion. Psalms 1–2 serve as an introduction that alerts the reader to the twin important themes of law and messiah. Psalm 1 pronounces a blessing on those who love God’s law. The psalms, after all, are an intimate and personal conversation with God. One must be on the side of the godly to enter such a holy textual space, just as one must be godly to enter the precincts of the temple. After the reader enters, Psalm 2 provides an encounter with God and his anointed one (messiah). At the end of the book, the last five psalms (Pss. 146–150) constitute a tremendous doxology of praise.

This leads to the final observation on structure. Psalms of lament predominate at the beginning of the book, but they give way to hymns of praise toward the end. It is almost as if one enters the Psalter mourning and leaves it praising. Indeed, the Psalter brings the reader into contact with God and thus transforms the reader from sadness to joy.

Literary Considerations

Genre. The individual psalms may be identified as songs, prayers, or poems. Specifically, they are lyric poems (expressing the emotions of the poet), often addressed to God, and set to musical accompaniment. Although the categories overlap, seven different types of psalms can be recognized, with the first three being by far the most common.

• Lament. The largest single group of psalms are the laments, characterized by the expression of unhappy emotions: sadness, disappointment, anger, worry. The lamenters call on God to save them, even while at times complaining about God’s actions toward them (Ps. 42:9–10). Some laments contain petitions for forgiveness (Ps. 51), while others assert innocence of any wrongdoing (Ps. 26). A few laments even contain curses directed toward the enemies who are trying to harm the psalmist (Ps. 69:19–28). Most laments end by praising God or reaffirming confidence in God (Ps. 130:7–8). Usually the reason for the change from mourning to rejoicing is not given, but Ps. 77 pinpoints the reason as the memory of God’s great salvation events in the past (vv. 10, 16–20). One psalm, Ps. 88, laments but never makes the turn, remaining in the pit of despair. Yet even here we have a glimmer of hope in that the one who laments is still speaking to God.

• Thanksgiving. When God answers a lament, the response is thanksgiving. Psalms of thanksgiving are very similar to hymns (see below), but they cite an earlier problem that God has addressed. Psalm 30 praises God for restoring the psalmist’s good fortune and health after he suffered due to his earlier arrogance that led him to forget God (vv. 6–7).

• Hymn. Hymns are psalms of unalloyed praise directed toward God. The psalmists often call for others to join their worship of God (Ps. 100).

• Remembrance. While many psalms evoke memories of God’s actions in the past (as the lament in Ps. 77 recalls the exodus), certain psalms focus on rehearsing the actions of God in the past. Psalm 136 is one of the most memorable examples. As a liturgical psalm, it recites a divine action (“[God] swept Pharaoh and his army into the Red Sea” [v. 15]) followed by a congregational response (“His love endures forever”).

• Confidence. These psalms are defined by their mood of quiet trust in God even in the midst of trouble. They often present a reassuring image of God. The picture of God as a shepherd in Ps. 23 or as a mother in Ps. 131 are good examples.

• Wisdom. Some psalms meditate on the law (Pss. 1; 119) or have interests similar to those of wisdom literature, such as Job, Proverbs, and Ecclesiastes (Pss. 49; 73).

• Kingship. A number of psalms praise God as king (Ps. 47) or the human king as his agent (Pss. 20–21) or both (Ps. 2).

Style. The psalms are poems, and so their style is characterized by the use of parallelism and figurative language. Poetry is also notable for its short lines. A poet packs a lot of meaning into very few words. So it is important to slow down and reflect on a psalm in order to derive its maximum effect. Besides brevity of expression, parallelism, and figurative language, poets create interest by using other literary tools. The psalmists use these poetic devices not only to inform their readers’ intellect but also to stimulate their imagination and arouse their emotions. (See also Acrostic; Imagery; Poetry.)

Theological Message

Although the psalms are not theological essays, readers can learn about God and their relationship with God from these poems. The book of Psalms is a bit like a portrait gallery of God, using images to describe who he is and the nature of our relationship with him. Some examples include God as shepherd (Ps. 23), king (Ps. 47), warrior (Ps. 98), and mother (Ps. 131), and the list could be greatly expanded. Each one of these picture images casts light on the nature of God and also the nature of our relationship with God. After all, the aforementioned psalms explicitly or implicitly describe God’s people as sheep, subjects, soldiers, and children.

Connection to the New Testament and Today

Jesus himself draws attention to Psalms as a book that anticipated his coming suffering and glorification (Luke 24:25–27, 44). The Gospels recognized that Jesus’ zeal for God was well expressed by Ps. 69:9 (John 2:17). When at the apex of his suffering on the cross, Jesus uttered the words found in Ps. 22:1 (Matt. 27:46). The NT writers also saw that Jesus was the fulfillment of the covenant that promised that a son of David would have an everlasting throne (2 Sam. 7:16). Accordingly, the royal psalms (e.g., Pss. 2; 110) often were applied to Jesus, who is the Messiah (the Christ, “the anointed one”).

Today we read Psalms not only as an ancient witness to the coming work of Christ but also, as John Calvin put it, as a mirror of our souls. The psalms were written for worshipers who came after them with similar though not identical joys and problems. The psalms should become models of our prayers.

Temples have always been the domain and house of the gods throughout the ancient Near East. As the abode of the God of Israel, the Jerusalem temple served the same purpose. The temple played an important role in the social, religious, and political life of ancient Israel. No archaeological remains of the actual temple building exist today; nevertheless, the temple has dominated biblical scholarship. The Jerusalem temple was originally built by Solomon in 953 BC and was destroyed by the Babylonian king Nebuchadnezzar in 586 BC. After the exile, the temple was rebuilt and then rededicated by Zerubbabel in 515 BC (Ezra). Herod the Great significantly expanded and changed the temple, but it was eventually destroyed by the Romans under the direction of Titus in AD 70.

The biblical text refers to the temple in several ways: temple, house of God/Yahweh, and sanctuary/shrine. These terms all refer to the dwelling or house of God and an area of sacredness. The sources for information on the temple are biblical texts, Josephus, and the Mishnah (tractate Middot). The most detailed accounts of the construction of the Solomonic temple are found in 1 Kings 6–8; 2 Chron. 2–4. In addition to these major sections, there are several references to building activities and repairs to the temple throughout the OT. Another major text is Ezek. 40, but it is debated whether this represents the actual temple or an ideal temple. There are several references in the NT that directly or indirectly refer to functions and specific components of the Temple Mount complex.

Archaeological Investigation

The location of the Temple Mount in Jerusalem has been undisputed. Current scholarly opinion locates the temple on the spot of the current Muslim shrine, the Dome of the Rock. Today the larger enclosed area is referred to as the harem esh-sharif (the noble sanctuary). Explorers in the nineteenth century did not attempt archaeological research of the temple itself, although various explorations focused on recording visible features and conducting soundings along the sides of the Temple Mount. Even after the unification of Jerusalem in 1967, with three major excavations in the city, no archaeological investigation of the temple was conducted. Due to the political and religious variables associated with the Muslim holy sites, there are no foreseeable archaeological investigations. A recent renovation of the Mosque of Omar, located on the southern end of the Temple Mount, removed truckloads of earth. Unfortunately, there was no archaeological supervision of the project and no archaeological excavations of the site were conducted.

In spite of the limited archaeological excavations, several popular accounts of alternate locations of the temple have been proposed. Most of these place the temple somewhere other than the Dome of the Rock, but none of these proposals has garnered scholarly support to rival the current location.

First Temple: Temple of Solomon

Throughout the ancient Near East, temples served as monumental edifices that provided divine legitimacy for the king or dynasty. While temples should be considered part of the religious sphere of society, their construction, maintenance, and associated activities are interlinked with the political sphere. The construction of the temple in Jerusalem is also linked to state formation by the Israelites. The Solomonic temple ushered in a new period of religious activity among the ancient Israelites. Previously, Israel had worshiped at various shrines and sanctuaries, and its central religious practice was associated with the tabernacle. With the establishment of the monarchy, dynastic kingship and centralized authority were created. Although the biblical text credits Solomon as the Israelite king who built the temple, the project was initiated under David. David united the Israelite tribes, captured Jerusalem and made it the capital of the kingdom, and built a royal palace. He made Jerusalem the political capital but also the religious center when he brought the holy ark, the visible symbol of Yahweh’s presence, to Jerusalem (2 Sam. 5–6). David intended to build Yahweh a permanent dwelling (2 Sam. 7:2).

Location. The biblical text preserves multiple traditions and accounts of the location and acquisition of land for the temple. In the ancient world the city temple was commonly located on the acropolis (highest point) of the city. The temple is located on the highest point of a ridge where the OT city of Jerusalem is located (Jebusite city, later the City of David). There are two accounts of the purchase of the land: the threshing floors of Araunah (2 Sam. 24:18–25) and of Ornan (1 Chron. 21:15–30; 2 Chron. 3:1 [here the NIV supplies “Araunah,” but see, e.g., the NET, NASB, ESV]). It is possible that Araunah and Ornan were kin, but most likely they are the same person, with Samuel and Chronicles using variant names. However, the two accounts disagree further on the amount paid for the land: fifty silver shekels (2 Sam. 24:24) and six hundred shekels of gold (1 Chron. 21:25). One theory explains this discrepancy as arising from two separate transactions. First, David purchased the threshing floor to build an altar to Yahweh, and he later purchased the whole mountain to build a temple. Later tradition associates the hill where David built an altar with the location where earlier Abraham built an altar to sacrifice Isaac (Mount Moriah).

Construction and dimensions. Solomon started to build during the fourth year of his reign (2 Chron. 3:1), and construction lasted for seven years. The plan of the temple was revealed to Solomon during a night in the sanctuary at Gibeon (2 Chron. 1:7–13). The king obtained building materials, specifically cedar from Lebanon (2 Chron. 2:3–10), and construction and design expertise from Phoenician artisans (1 Kings 7:13–14, 45). The Solomonic temple consisted of a tripartite plan similar to other temples in Syro-Palestine during this period. There are two accounts for the construction and dedication of the first temple (1 Kings 6–8; 2 Chron. 3–7). Both accounts offer similar descriptions but there are some differences in measurements. Most scholars account for these differences by viewing the dimensions in the book of Chronicles as reflecting the temple measurements after Hezekiah’s repair and rebuilding projects.

The basic plan was a rectangle, 70 cubits long (120 ft. 7 in.) and 20 cubits wide (34 ft. 5 in.) on a straight axis facing east; the height was 30 cubits (51 ft. 7 in.). These measurements refer to the inside dimensions (1 cubit = 20.67 in.). The three distinct architectural units formed three distinct rooms where various functions were performed and also reflected levels of holiness. The three units were the ’ulam (“porch” or “vestibule”), the hekal (“cella” or “nave”), and the debir (the innermost sanctuary, the most holy place). In the biblical accounts the whole building is called the “house [bayit] of the Lord,” and the word “temple” is used for the hekal. There was a three-story structure built around the sides and back of the temple (see below).

The porch was 10 cubits (17 ft. 2 in.) by 20 cubits (34 ft. 5 in.). The account in Kings does not provide its height; the account in Chronicles gives the height as 120 cubits. In its description and measurements in the biblical text, the porch is considered separate from the temple (bayit, house). The porch contained two pillars of bronze: yakin (“he will establish”) on the right side and bo’az (“in strength”) on the left (see Boaz; Jakin). The pillars were bronze, 18 cubits (35 cubits in Chronicles) in height, with elaborate double capitals. The bottom capital was 5 cubits, round in shape, and surrounded by nets with pomegranates. Above this was another capital, 4 cubits high, shaped like a lily.

The hekal was 40 cubits long and 20 cubits wide and was the only part with windows (1 Kings 6:4). The debir was a cube, 20 cubits per side. The debir is also called the “holy of holies.” The difference in height (10 cubits shorter than the hekal  ) is due to the rise in the bedrock. This measurement is confirmed today in the interior of the Dome of the Rock.

The walls of the house (hekal and debir) were built of whole stones dressed in the quarry, as “no hammer, chisel or any other iron tool was heard at the temple site while it was being built” (1 Kings 6:7). The roof was made of cedar wood (1 Kings 6:10), with crossbeams and intersecting boards. The stone walls were covered from ground to ceiling with boards of cedar wood, and the floor was made of cypress wood, covered with gold (1 Kings 6:30). The wood had carved engravings of cherubim, palm trees, and open flowers. The hekal and the debir were separated by a partition made of olive wood.

The three-story structure surrounding the temple was constructed of cedar wood. Each story was 5 cubits. The width of the first floor was 5 cubits, the middle 6 cubits, and the top 7 cubits. This structure was entered from the right side of the temple, and the floors were connected by openings with ladders. This structure formed chambers and storage for the activities of the priests.

In front of the temple was a courtyard surrounded by a wall. Inside the courtyard was a great bronze basin (known as “the Sea”). This basin rested on the backs of twelve bronze oxen. Ten smaller basins in groups of five were set on elaborate wheeled stands. A large altar also was located in this courtyard.

In the holy of holies stood two large cherubim of olive wood covered with gold. They were 10 cubits in height, with a wingspan of 10 cubits. These cherubim stood over the ark of the covenant. In the hekal were the golden altar, the golden table, and ten lampstands.

History. From Solomon to Zedekiah, the temple was used for political and religious power shifts. Kings of Israel raided the temple treasury to pay off invaders, closed the temple, or placed idols in the temple in periods of apostasy. During periods of reform they repaired and rebuilt the temple and its furnishings.

Under Rehoboam’s reign, Shishak king of Egypt ransacked the temple and removed all its treasures (1 Kings 14:25–28; 2 Chron. 12:9). Asa and his father, Abijah, added to the treasure of the temple with silver, gold, and other vessels (2 Chron. 15:18) but used these to pay Ben-Hadad of Syria to help him fight Baasha king of Israel (16:2–3). Asa’s son Jehoshaphat (2 Chron. 17) ruled during a time of prosperity and reform. It was under his rule that the court in front of the temple probably was enlarged (20:5). The sons of Athaliah broke into the temple and worshiped Baal. During the reign of Amaziah the temple was plundered by Jehoash king of Israel (2 Chron. 25). Uzziah ruled for a long period of prosperity (787–736 BC) but attempted to burn incense on the altar in the hekal, a ritual kept solely for the priests. A later king, Jotham, built the Upper Gate of the house of Yahweh (2 Kings 15:35; 2 Chron. 27:3). Jotham’s son Ahaz took the silver and gold from the temple and sent it as a present to the king of Assyria. He moved and changed various vessels of the temple and shut its doors (2 Chron. 28:24).

Hezekiah son of Ahaz ruled during a time of prosperity and revival. He reopened the temple doors (2 Chron. 29), cleaned out the temple, and created a 500-cubit-square mount around the temple. Hezekiah conducted many building projects in Jerusalem and reforms throughout the land. He also “stripped off the gold with which he had covered the doors and doorposts of the temple of the Lord” to pay a ransom to Sennacherib king of Assyria (2 Kings 18:16). Due to his building activities, most scholars attribute major changes to the temple to Hezekiah’s reign. The differences in the temple descriptions in Kings and Chronicles probably reflect two different periods of history concerning the temple (e.g., Kings represents the temple during the period of Solomon, while Chronicles represents the changes to the temple by Hezekiah). Manasseh, Hezekiah’s son, undid the work of his father by building altars in the temple.

The last resurgence of the temple in the life of the people of Israel was under Josiah. He instigated a reform throughout the land and a cleansing of the temple. Hilkiah the high priest found a copy of the “Book of the Law” (2 Kings 22:8). After a reading of the law in the public square, a collection was taken from the people to be given to workers for temple repair. The Babylonians took some of the temple treasure (2 Chron. 36:7) under the rule of Jehoiakim. The last two kings of Judah, Jehoiachin and Zedekiah, also lost temple treasure to Babylon, and eventually the temple was destroyed during the destruction of Jerusalem in 586 BC (2 Chron. 36).

Second Temple: Zerubbabel and the Temple of Herod the Great

Zerubbabel’s temple. Solomon’s temple was rebuilt by the Jews who returned from exile under the decree of the Persian king Darius (Ezra 6:1–5). The temple was built under the direction of the governor Zerubbabel with the support of the prophets Haggai and Zechariah (Ezra 6:13–18) and was dedicated in 515 BC. This would have been a poorer temple due to the poverty of the inhabitants of Judah. During the Hasmonean period (152–37 BC) a platform and a fortress were constructed. Not much is known about the temple during this period. It would be greatly eclipsed by the work of Herod the Great.

Temple of Herod the Great. Herod invested heavily in building projects throughout his kingdom. He was keen on bringing Hellenistic culture to the Jews but also on upholding traditional Jewish religious practices, especially when it came to the temple. Just as the first temple mimicked the religious architecture of the ancient Near East, the second temple reflected the massive sacred architecture of the classical world. John 2:20 indicates that thus far it had taken forty-six years (beyond Herod’s life) to build. Herod could not alter the dimensions of the temple, but he was able to make additions to the outside, alter its outer furnishings, and expand the compound and platform to match the grandeur of Greco-Roman temples. Today scholars refer to all these buildings and the temple as the Temple Mount complex.

Herod expanded the space of the Temple Mount by building a “box” around the mountain. This was a massive wall with varying height due to the topography. This wall is still visible today, especially the current religious site of the Western Wall. This construction allowed for a level platform with various buildings and plazas on the top. The leveling was done by filling in the gaps and building subterranean arches in low areas. One of these areas is located on the southeast corner (the underground arched supports are erroneously called “Solomon’s Stables” today). The whole area was surrounded by a colonnaded portico (Solomon’s Colonnade [John 10:23; Acts 3:11; 5:12]). On the northwest corner was the Antonia Fortress (Acts 21:35), and the southern end of the complex contained the Royal Stoa, a basilica-style building (four rows of forty columns) that housed the Sanhedrin and had other religious and political functions (Luke 22:66).

This complex became the religious and political center of the city of Jerusalem, and Herod built many auxiliary components. Several entrances and bridges from the Upper City were built. The public entered the complex from the south. A southern complex consisting of monumental stairs (210 feet wide) and entrance and exit gates (Double and Triple Gates) took pedestrians from the outside up through underground tunnels to the top of the temple compound. These stairs became an area for public forums. In addition, several shops (Mark 11:15–17) were built around the complex, as well as a large bathhouse for ritual cleansing. In order to facilitate the many sacrifices, Herod built a complex hydrologic system that brought water into the city. This was accomplished by various aqueducts and storage pools. The Temple Mount had many cisterns and a new pool on the northeast end of the Temple Mount complex, the Pool of Israel. Although Herod could not alter the dimensions of the temple itself, he was able to enlarge the facade, added storage chambers and auxiliary buildings, build a second story above the temple, and construct several courtyards and various buildings associated with them. In keeping with the earlier tripartite level of holiness, these additional temple buildings and courtyards retained the same linear degree of holiness and exclusion.

Josephus called Herod’s temple “a structure more noteworthy than any under the sun” (Ant. 15.412). Herod built a new monumental facade in front of the existing temple and added a second story. Herod’s temple measured 100 cubits (172 ft.) in all three dimensions. It stood on top of a foundation that gave it added height. It had two stories, each one 45 cubits (77.5 ft.) in height. On the roof was a parapet, 3 cubits in height, which contained golden spikes, 1 cubit in height, to prevent birds from perching on the roof’s edge. The temple was decorated with gold overlay. The opening between the ’ulam (“porch”) and the sanctuary was 20 cubits high and 10 cubits wide (34 ft. by 17 ft.). There were two sets of double folding doors. The sanctuary contained the golden menorah, the table of the bread of the Presence, and the altar of incense. Between the sanctuary and the holy of holies was a large tapestry (veil) (Matt. 27:51; Mark 15:38; Luke 23:45). The holy of holies had gold plating on its walls. Around the temple were thirty-eight cells built in three stories (m. Mid. 4:3–4). All of the cells were interconnected by openings between adjoining cells and by one in the ceiling to reach the cell above. To the north, between the outer wall of the temple and the cells, was an inner stairway with access to the top of the temple and the upper chamber (second story of the temple). The upper chamber allowed priests to service the holy of holies. They would be suspended in baskets, covered on three sides, through openings in the floor to clean the gold overlay in the holy of holies.

The temple courtyard was surrounded by various gates and buildings. These were specific entrances and buildings that the priests used for the various functions of the sacrifices and offerings (Mark 13:1–2). These included the Kindling Gate, Wood Chamber, Gate of the Firstlings, Golah Chamber, Water Gate, Chamber of the Hearth, Gate of Jeconiah, Rinsing Chamber, Gate of the Offering-Women, Salt-Parva Chamber, and Gate of the Flame-Singers. In front of the temple were two narrow courts: the court of the priests to the west and the court of the Israelites (men) to the east. Inside the temple court was the altar of burnt offering. During the Second Temple period it was a stationary, square-shaped altar constructed of unhewn stones. According to the Mishnah (m. Mid. 3:1), this altar was 32 cubits square at the base and about 10 cubits in height. A ramp 32 cubits long, also built of unhewn stones, led the priests up to the altar from the south. A laver, the great bronze basin known as “the Sea,” stood west of the altar between the altar and the temple porch (’ulam) for the washing of hands and feet. North of the altar was the place of slaughtering.

The court of the women, 135 cubits square, was in front of the temple to the east. This court had four smaller courts, one at each corner. Women could enter the temple only as far as this court. It was surrounded by a colonnade. Inside these porches (porticoes) were thirteen collection boxes for money. This is where Jesus saw the poor widow donating two copper coins (Luke 21:1–3). The court had four large lampstands nearly half the height of the temple. The Mishnah states that each of the corner chambers was 40 cubits square and roofless. The central area was exposed to the sky, with a portico around each courtyard—typical of Mediterranean buildings. The chamber to the immediate right of the court’s entrance (northeast) was the chamber of the woodshed, where priests examined logs for impurities (e.g., parasites). To the left (southeast) was the chamber of the Nazirites. To the northwest was the chamber of the lepers. A leper who had been healed brought an offering and then bathed in this chamber before coming to the priests for the performance of rituals. In the southwest corner was the chamber of the house of oil. Between the court of the women and the temple court was the Nicanor Gate. Fifteen semicircular steps led up to this gate. It was on these steps that the Levites sang the fifteen Psalms of Ascent (Pss. 120–134).

Surrounding the temple and the court of the women was a balustrade or railing that served as a boundary beyond which no Gentile could enter. Outside this boundary was the court of the Gentiles (see John 12:20–22; Acts 21:27–29). Archaeologists have found an inscription that forbids Gentiles, upon pain of death, to enter any farther. Herod’s temple was destroyed in AD 70. The Temple Mount continued to be used and considered sacred, as Roman temples, Crusader churches, and Muslim shrines marked the sacredness of the location.

Role of the Temple

The temple was the dwelling place of Yahweh. It was the domain of the religious leaders, priests, and Levites. It also represented the relationship/covenant between God and the nation of Israel. Various kings used the temple for their political maneuvering and attempts to shift the religious worship of the nation. The temple was the visible presence of God and embodied the political and religious aspirations of the people. The temple sat on top of a sacred mountain.

During turbulent political times the temple was central to God’s protection and judgment. From the Babylonian and Roman periods, two texts spoke of a future temple. Ezekiel’s vision saw a futuristic temple measuring 500 cubits square surrounded by a massive court measuring 3,000 cubits square (Ezek. 40:1–47:12). Among the DSS, the Temple Scroll also talks about a rebuilt temple. Today many Christians and Jews look to a future rebuilding of the temple.

The titles, or superscriptions, of fifteen psalms include the designation “a song of ascents,” also called “a song of degrees.” The notion of ascending, or going up, has influenced the understanding of these psalms. The “going up” has been seen as going up to Jerusalem for a holy day, going up to Jerusalem as part of the return from the exile, going up the fifteen steps at the courts of the temple (a Jewish tradition in the Mishnah), or an aspect of their poetic style. These psalms occur together as a group, Pss. 120–134. They include different genres but share an emphasis on Jerusalem, which supports the idea that they were used on pilgrimage for a holy day (see Exod. 24:13; 34:23; Lev. 23:4; and Deut. 16 for religious journeys to Jerusalem). Harvest imagery in some of these psalms and the Mishnah tradition suggest the Feast of Tabernacles, but they need not have been limited to this festival.

Temples have always been the domain and house of the gods throughout the ancient Near East. As the abode of the God of Israel, the Jerusalem temple served the same purpose. The temple played an important role in the social, religious, and political life of ancient Israel. No archaeological remains of the actual temple building exist today; nevertheless, the temple has dominated biblical scholarship. The Jerusalem temple was originally built by Solomon in 953 BC and was destroyed by the Babylonian king Nebuchadnezzar in 586 BC. After the exile, the temple was rebuilt and then rededicated by Zerubbabel in 515 BC (Ezra). Herod the Great significantly expanded and changed the temple, but it was eventually destroyed by the Romans under the direction of Titus in AD 70.

The biblical text refers to the temple in several ways: temple, house of God/Yahweh, and sanctuary/shrine. These terms all refer to the dwelling or house of God and an area of sacredness. The sources for information on the temple are biblical texts, Josephus, and the Mishnah (tractate Middot). The most detailed accounts of the construction of the Solomonic temple are found in 1 Kings 6–8; 2 Chron. 2–4. In addition to these major sections, there are several references to building activities and repairs to the temple throughout the OT. Another major text is Ezek. 40, but it is debated whether this represents the actual temple or an ideal temple. There are several references in the NT that directly or indirectly refer to functions and specific components of the Temple Mount complex.

Archaeological Investigation

The location of the Temple Mount in Jerusalem has been undisputed. Current scholarly opinion locates the temple on the spot of the current Muslim shrine, the Dome of the Rock. Today the larger enclosed area is referred to as the harem esh-sharif (the noble sanctuary). Explorers in the nineteenth century did not attempt archaeological research of the temple itself, although various explorations focused on recording visible features and conducting soundings along the sides of the Temple Mount. Even after the unification of Jerusalem in 1967, with three major excavations in the city, no archaeological investigation of the temple was conducted. Due to the political and religious variables associated with the Muslim holy sites, there are no foreseeable archaeological investigations. A recent renovation of the Mosque of Omar, located on the southern end of the Temple Mount, removed truckloads of earth. Unfortunately, there was no archaeological supervision of the project and no archaeological excavations of the site were conducted.

In spite of the limited archaeological excavations, several popular accounts of alternate locations of the temple have been proposed. Most of these place the temple somewhere other than the Dome of the Rock, but none of these proposals has garnered scholarly support to rival the current location.

First Temple: Temple of Solomon

Throughout the ancient Near East, temples served as monumental edifices that provided divine legitimacy for the king or dynasty. While temples should be considered part of the religious sphere of society, their construction, maintenance, and associated activities are interlinked with the political sphere. The construction of the temple in Jerusalem is also linked to state formation by the Israelites. The Solomonic temple ushered in a new period of religious activity among the ancient Israelites. Previously, Israel had worshiped at various shrines and sanctuaries, and its central religious practice was associated with the tabernacle. With the establishment of the monarchy, dynastic kingship and centralized authority were created. Although the biblical text credits Solomon as the Israelite king who built the temple, the project was initiated under David. David united the Israelite tribes, captured Jerusalem and made it the capital of the kingdom, and built a royal palace. He made Jerusalem the political capital but also the religious center when he brought the holy ark, the visible symbol of Yahweh’s presence, to Jerusalem (2 Sam. 5–6). David intended to build Yahweh a permanent dwelling (2 Sam. 7:2).

Location. The biblical text preserves multiple traditions and accounts of the location and acquisition of land for the temple. In the ancient world the city temple was commonly located on the acropolis (highest point) of the city. The temple is located on the highest point of a ridge where the OT city of Jerusalem is located (Jebusite city, later the City of David). There are two accounts of the purchase of the land: the threshing floors of Araunah (2 Sam. 24:18–25) and of Ornan (1 Chron. 21:15–30; 2 Chron. 3:1 [here the NIV supplies “Araunah,” but see, e.g., the NET, NASB, ESV]). It is possible that Araunah and Ornan were kin, but most likely they are the same person, with Samuel and Chronicles using variant names. However, the two accounts disagree further on the amount paid for the land: fifty silver shekels (2 Sam. 24:24) and six hundred shekels of gold (1 Chron. 21:25). One theory explains this discrepancy as arising from two separate transactions. First, David purchased the threshing floor to build an altar to Yahweh, and he later purchased the whole mountain to build a temple. Later tradition associates the hill where David built an altar with the location where earlier Abraham built an altar to sacrifice Isaac (Mount Moriah).

Construction and dimensions. Solomon started to build during the fourth year of his reign (2 Chron. 3:1), and construction lasted for seven years. The plan of the temple was revealed to Solomon during a night in the sanctuary at Gibeon (2 Chron. 1:7–13). The king obtained building materials, specifically cedar from Lebanon (2 Chron. 2:3–10), and construction and design expertise from Phoenician artisans (1 Kings 7:13–14, 45). The Solomonic temple consisted of a tripartite plan similar to other temples in Syro-Palestine during this period. There are two accounts for the construction and dedication of the first temple (1 Kings 6–8; 2 Chron. 3–7). Both accounts offer similar descriptions but there are some differences in measurements. Most scholars account for these differences by viewing the dimensions in the book of Chronicles as reflecting the temple measurements after Hezekiah’s repair and rebuilding projects.

The basic plan was a rectangle, 70 cubits long (120 ft. 7 in.) and 20 cubits wide (34 ft. 5 in.) on a straight axis facing east; the height was 30 cubits (51 ft. 7 in.). These measurements refer to the inside dimensions (1 cubit = 20.67 in.). The three distinct architectural units formed three distinct rooms where various functions were performed and also reflected levels of holiness. The three units were the ’ulam (“porch” or “vestibule”), the hekal (“cella” or “nave”), and the debir (the innermost sanctuary, the most holy place). In the biblical accounts the whole building is called the “house [bayit] of the Lord,” and the word “temple” is used for the hekal. There was a three-story structure built around the sides and back of the temple (see below).

The porch was 10 cubits (17 ft. 2 in.) by 20 cubits (34 ft. 5 in.). The account in Kings does not provide its height; the account in Chronicles gives the height as 120 cubits. In its description and measurements in the biblical text, the porch is considered separate from the temple (bayit, house). The porch contained two pillars of bronze: yakin (“he will establish”) on the right side and bo’az (“in strength”) on the left (see Boaz; Jakin). The pillars were bronze, 18 cubits (35 cubits in Chronicles) in height, with elaborate double capitals. The bottom capital was 5 cubits, round in shape, and surrounded by nets with pomegranates. Above this was another capital, 4 cubits high, shaped like a lily.

The hekal was 40 cubits long and 20 cubits wide and was the only part with windows (1 Kings 6:4). The debir was a cube, 20 cubits per side. The debir is also called the “holy of holies.” The difference in height (10 cubits shorter than the hekal  ) is due to the rise in the bedrock. This measurement is confirmed today in the interior of the Dome of the Rock.

The walls of the house (hekal and debir) were built of whole stones dressed in the quarry, as “no hammer, chisel or any other iron tool was heard at the temple site while it was being built” (1 Kings 6:7). The roof was made of cedar wood (1 Kings 6:10), with crossbeams and intersecting boards. The stone walls were covered from ground to ceiling with boards of cedar wood, and the floor was made of cypress wood, covered with gold (1 Kings 6:30). The wood had carved engravings of cherubim, palm trees, and open flowers. The hekal and the debir were separated by a partition made of olive wood.

The three-story structure surrounding the temple was constructed of cedar wood. Each story was 5 cubits. The width of the first floor was 5 cubits, the middle 6 cubits, and the top 7 cubits. This structure was entered from the right side of the temple, and the floors were connected by openings with ladders. This structure formed chambers and storage for the activities of the priests.

In front of the temple was a courtyard surrounded by a wall. Inside the courtyard was a great bronze basin (known as “the Sea”). This basin rested on the backs of twelve bronze oxen. Ten smaller basins in groups of five were set on elaborate wheeled stands. A large altar also was located in this courtyard.

In the holy of holies stood two large cherubim of olive wood covered with gold. They were 10 cubits in height, with a wingspan of 10 cubits. These cherubim stood over the ark of the covenant. In the hekal were the golden altar, the golden table, and ten lampstands.

History. From Solomon to Zedekiah, the temple was used for political and religious power shifts. Kings of Israel raided the temple treasury to pay off invaders, closed the temple, or placed idols in the temple in periods of apostasy. During periods of reform they repaired and rebuilt the temple and its furnishings.

Under Rehoboam’s reign, Shishak king of Egypt ransacked the temple and removed all its treasures (1 Kings 14:25–28; 2 Chron. 12:9). Asa and his father, Abijah, added to the treasure of the temple with silver, gold, and other vessels (2 Chron. 15:18) but used these to pay Ben-Hadad of Syria to help him fight Baasha king of Israel (16:2–3). Asa’s son Jehoshaphat (2 Chron. 17) ruled during a time of prosperity and reform. It was under his rule that the court in front of the temple probably was enlarged (20:5). The sons of Athaliah broke into the temple and worshiped Baal. During the reign of Amaziah the temple was plundered by Jehoash king of Israel (2 Chron. 25). Uzziah ruled for a long period of prosperity (787–736 BC) but attempted to burn incense on the altar in the hekal, a ritual kept solely for the priests. A later king, Jotham, built the Upper Gate of the house of Yahweh (2 Kings 15:35; 2 Chron. 27:3). Jotham’s son Ahaz took the silver and gold from the temple and sent it as a present to the king of Assyria. He moved and changed various vessels of the temple and shut its doors (2 Chron. 28:24).

Hezekiah son of Ahaz ruled during a time of prosperity and revival. He reopened the temple doors (2 Chron. 29), cleaned out the temple, and created a 500-cubit-square mount around the temple. Hezekiah conducted many building projects in Jerusalem and reforms throughout the land. He also “stripped off the gold with which he had covered the doors and doorposts of the temple of the Lord” to pay a ransom to Sennacherib king of Assyria (2 Kings 18:16). Due to his building activities, most scholars attribute major changes to the temple to Hezekiah’s reign. The differences in the temple descriptions in Kings and Chronicles probably reflect two different periods of history concerning the temple (e.g., Kings represents the temple during the period of Solomon, while Chronicles represents the changes to the temple by Hezekiah). Manasseh, Hezekiah’s son, undid the work of his father by building altars in the temple.

The last resurgence of the temple in the life of the people of Israel was under Josiah. He instigated a reform throughout the land and a cleansing of the temple. Hilkiah the high priest found a copy of the “Book of the Law” (2 Kings 22:8). After a reading of the law in the public square, a collection was taken from the people to be given to workers for temple repair. The Babylonians took some of the temple treasure (2 Chron. 36:7) under the rule of Jehoiakim. The last two kings of Judah, Jehoiachin and Zedekiah, also lost temple treasure to Babylon, and eventually the temple was destroyed during the destruction of Jerusalem in 586 BC (2 Chron. 36).

Second Temple: Zerubbabel and the Temple of Herod the Great

Zerubbabel’s temple. Solomon’s temple was rebuilt by the Jews who returned from exile under the decree of the Persian king Darius (Ezra 6:1–5). The temple was built under the direction of the governor Zerubbabel with the support of the prophets Haggai and Zechariah (Ezra 6:13–18) and was dedicated in 515 BC. This would have been a poorer temple due to the poverty of the inhabitants of Judah. During the Hasmonean period (152–37 BC) a platform and a fortress were constructed. Not much is known about the temple during this period. It would be greatly eclipsed by the work of Herod the Great.

Temple of Herod the Great. Herod invested heavily in building projects throughout his kingdom. He was keen on bringing Hellenistic culture to the Jews but also on upholding traditional Jewish religious practices, especially when it came to the temple. Just as the first temple mimicked the religious architecture of the ancient Near East, the second temple reflected the massive sacred architecture of the classical world. John 2:20 indicates that thus far it had taken forty-six years (beyond Herod’s life) to build. Herod could not alter the dimensions of the temple, but he was able to make additions to the outside, alter its outer furnishings, and expand the compound and platform to match the grandeur of Greco-Roman temples. Today scholars refer to all these buildings and the temple as the Temple Mount complex.

Herod expanded the space of the Temple Mount by building a “box” around the mountain. This was a massive wall with varying height due to the topography. This wall is still visible today, especially the current religious site of the Western Wall. This construction allowed for a level platform with various buildings and plazas on the top. The leveling was done by filling in the gaps and building subterranean arches in low areas. One of these areas is located on the southeast corner (the underground arched supports are erroneously called “Solomon’s Stables” today). The whole area was surrounded by a colonnaded portico (Solomon’s Colonnade [John 10:23; Acts 3:11; 5:12]). On the northwest corner was the Antonia Fortress (Acts 21:35), and the southern end of the complex contained the Royal Stoa, a basilica-style building (four rows of forty columns) that housed the Sanhedrin and had other religious and political functions (Luke 22:66).

This complex became the religious and political center of the city of Jerusalem, and Herod built many auxiliary components. Several entrances and bridges from the Upper City were built. The public entered the complex from the south. A southern complex consisting of monumental stairs (210 feet wide) and entrance and exit gates (Double and Triple Gates) took pedestrians from the outside up through underground tunnels to the top of the temple compound. These stairs became an area for public forums. In addition, several shops (Mark 11:15–17) were built around the complex, as well as a large bathhouse for ritual cleansing. In order to facilitate the many sacrifices, Herod built a complex hydrologic system that brought water into the city. This was accomplished by various aqueducts and storage pools. The Temple Mount had many cisterns and a new pool on the northeast end of the Temple Mount complex, the Pool of Israel. Although Herod could not alter the dimensions of the temple itself, he was able to enlarge the facade, added storage chambers and auxiliary buildings, build a second story above the temple, and construct several courtyards and various buildings associated with them. In keeping with the earlier tripartite level of holiness, these additional temple buildings and courtyards retained the same linear degree of holiness and exclusion.

Josephus called Herod’s temple “a structure more noteworthy than any under the sun” (Ant. 15.412). Herod built a new monumental facade in front of the existing temple and added a second story. Herod’s temple measured 100 cubits (172 ft.) in all three dimensions. It stood on top of a foundation that gave it added height. It had two stories, each one 45 cubits (77.5 ft.) in height. On the roof was a parapet, 3 cubits in height, which contained golden spikes, 1 cubit in height, to prevent birds from perching on the roof’s edge. The temple was decorated with gold overlay. The opening between the ’ulam (“porch”) and the sanctuary was 20 cubits high and 10 cubits wide (34 ft. by 17 ft.). There were two sets of double folding doors. The sanctuary contained the golden menorah, the table of the bread of the Presence, and the altar of incense. Between the sanctuary and the holy of holies was a large tapestry (veil) (Matt. 27:51; Mark 15:38; Luke 23:45). The holy of holies had gold plating on its walls. Around the temple were thirty-eight cells built in three stories (m. Mid. 4:3–4). All of the cells were interconnected by openings between adjoining cells and by one in the ceiling to reach the cell above. To the north, between the outer wall of the temple and the cells, was an inner stairway with access to the top of the temple and the upper chamber (second story of the temple). The upper chamber allowed priests to service the holy of holies. They would be suspended in baskets, covered on three sides, through openings in the floor to clean the gold overlay in the holy of holies.

The temple courtyard was surrounded by various gates and buildings. These were specific entrances and buildings that the priests used for the various functions of the sacrifices and offerings (Mark 13:1–2). These included the Kindling Gate, Wood Chamber, Gate of the Firstlings, Golah Chamber, Water Gate, Chamber of the Hearth, Gate of Jeconiah, Rinsing Chamber, Gate of the Offering-Women, Salt-Parva Chamber, and Gate of the Flame-Singers. In front of the temple were two narrow courts: the court of the priests to the west and the court of the Israelites (men) to the east. Inside the temple court was the altar of burnt offering. During the Second Temple period it was a stationary, square-shaped altar constructed of unhewn stones. According to the Mishnah (m. Mid. 3:1), this altar was 32 cubits square at the base and about 10 cubits in height. A ramp 32 cubits long, also built of unhewn stones, led the priests up to the altar from the south. A laver, the great bronze basin known as “the Sea,” stood west of the altar between the altar and the temple porch (’ulam) for the washing of hands and feet. North of the altar was the place of slaughtering.

The court of the women, 135 cubits square, was in front of the temple to the east. This court had four smaller courts, one at each corner. Women could enter the temple only as far as this court. It was surrounded by a colonnade. Inside these porches (porticoes) were thirteen collection boxes for money. This is where Jesus saw the poor widow donating two copper coins (Luke 21:1–3). The court had four large lampstands nearly half the height of the temple. The Mishnah states that each of the corner chambers was 40 cubits square and roofless. The central area was exposed to the sky, with a portico around each courtyard—typical of Mediterranean buildings. The chamber to the immediate right of the court’s entrance (northeast) was the chamber of the woodshed, where priests examined logs for impurities (e.g., parasites). To the left (southeast) was the chamber of the Nazirites. To the northwest was the chamber of the lepers. A leper who had been healed brought an offering and then bathed in this chamber before coming to the priests for the performance of rituals. In the southwest corner was the chamber of the house of oil. Between the court of the women and the temple court was the Nicanor Gate. Fifteen semicircular steps led up to this gate. It was on these steps that the Levites sang the fifteen Psalms of Ascent (Pss. 120–134).

Surrounding the temple and the court of the women was a balustrade or railing that served as a boundary beyond which no Gentile could enter. Outside this boundary was the court of the Gentiles (see John 12:20–22; Acts 21:27–29). Archaeologists have found an inscription that forbids Gentiles, upon pain of death, to enter any farther. Herod’s temple was destroyed in AD 70. The Temple Mount continued to be used and considered sacred, as Roman temples, Crusader churches, and Muslim shrines marked the sacredness of the location.

Role of the Temple

The temple was the dwelling place of Yahweh. It was the domain of the religious leaders, priests, and Levites. It also represented the relationship/covenant between God and the nation of Israel. Various kings used the temple for their political maneuvering and attempts to shift the religious worship of the nation. The temple was the visible presence of God and embodied the political and religious aspirations of the people. The temple sat on top of a sacred mountain.

During turbulent political times the temple was central to God’s protection and judgment. From the Babylonian and Roman periods, two texts spoke of a future temple. Ezekiel’s vision saw a futuristic temple measuring 500 cubits square surrounded by a massive court measuring 3,000 cubits square (Ezek. 40:1–47:12). Among the DSS, the Temple Scroll also talks about a rebuilt temple. Today many Christians and Jews look to a future rebuilding of the temple.