xxxi. 1-18.
Next after this marking off so sharply of the holy from the profane, this consecration of men to special service, this protection of sacred unguents and sacred gums from secular use, we come upon a passage curiously contrasted, yet not really antagonistic to the last, of marvellous practical wisdom, and well calculated to make a nation wise and great.
The Lord announces that He has called by name Bezaleel, the son of Uri, and has filled him with the Spirit of God. To what sacred office, then, is he called? Simply to be a supreme craftsman, the rarest of artisans. This also is a divine gift. "I have filled him with the Spirit of God in wisdom and in understanding and in knowledge and in all manner of workmanship, to devise cunning works, to work in gold and in silver and in brass and in cutting of stones for setting, and in carving of wood, to work in all manner of workmanship,"--that is to say, of manual dexterity. With him God had appointed Aholiab; "and in the hearts of all the wise-hearted I have put wisdom." Thus should be fitly made the tabernacle and its furniture, and the finely wrought garments, and the anointing oil and the incense.
So then it appears that the Holy Spirit of God is to be recognised in the work of the carpenter and the jeweller, the apothecary and the tailor. Probably we object to such a statement, so baldly put. But inspiration does not object. Moses told the children of Israel that Jehovah had filled Bezaleel with the Spirit of God, and also Aholiab, for the work "of the engraver ... and of the embroiderer ... and of the weaver" (xxxv. 31, 35).
It is quite clear that we must cease to think of the Divine Spirit as inspiring only prayers and hymns and sermons. All that is good and beautiful and wise in human art is the gift of God. We feel that the supreme Artist is audible in the wind among the pines; but is man left to himself when he marshals into more sublime significance the voices of the wind among the organ tubes? At sunrise and sunset we feel that
"On the beautiful mountains the pictures of God are hung";
but is there no revelation of glory and of freshness in other pictures? Once the assertion that a great masterpiece was "inspired" was a clear recognition of the central fire at which all genius lights its lamp: now, alas! it has become little more than a sceptical assumption that Isaiah and Milton are much upon a level. But the doctrine of this passage is the divinity of all endowment; it is quite another thing to claim Divine authority for a given product sprung from the free human being who is so richly crowned and gifted.
Thus far we have smoothed our way by speaking only of poetry, painting, music--things which really compete with nature in their spiritual suggestiveness. But Moses spoke of the robe-maker, the embroiderer, the weaver, and the perfumer.
Nevertheless, the one is carried with the other. Where shall we draw the line, for example, in architecture or in ironwork? And there is another consideration which must not be overlooked. God is assuredly in the growth of humanity, in the progress of true civilisation--in all, the recognition of which makes history philosophical. It is not only the saints who feel themselves to be the instruments of a Greater than they. Cromwell and Bismarck, Columbus, Raleigh and Drake, William the Silent and William the Third, felt it. Mr. Stanley has told us how the consciousness that he was being used grew up in him, not through fanaticism but by slow experience, groping his way through the gloom of Central Africa.
But none will deny that one of the greatest factors in modern history is its industrial development. Is there, then, no sacredness here?