Gold and silver in the pillars; why the coverings are eleven
Cyril: …‘My Father is greater than I’ (John 14:28), although in the nature of Godhead he is equal in measure and falls short in nothing of the surpassing greatness of the One who begot him. The length of the post is ten cubits (Exodus 26:16). For Christ is all-perfect, as in the heights of the Godhead, and in the divine Scripture the number that reaches ten is taken as a sign of perfection. The post has a golden capital and a golden shaft as well (Exodus 26:29). Indeed, the temple born of the Virgin is made rich by the indwelling of the highest nature. Gold is a symbol of Godhead, since it ranks above all others, at least as far as such material goes. The base is of silver, and double (Exodus 26:19). Christ is bright and plain to see on earth, according to the saying: ‘God is the Lord, and he has appeared to us’ (Psalm 118:27). And the knowledge of him is, as it were, twofold, for in him are recognized both God and man. This, I think, is the meaning of the base being double, so to speak, and of silver.
Palladius: Your comparison is apt.
Cyril: But look at this, my good friend.
Palladius: What is it?
Cyril: He had commanded that the whole tent be spread out in ten curtains, and then he adds in between: ‘And you shall make coverings of hair as a shelter over the tent; you shall make eleven coverings. The length of one covering shall be thirty cubits, and the width of one covering four cubits; the eleven coverings shall have the same length. And you shall join five coverings together, and six coverings together, and you shall fold double the sixth covering at the front of the tent. And you shall make fifty loops on the edge of the one covering, the one in the middle at the joining, and you shall make fifty loops on the edge of the second covering that joins it’ (Exodus 26:7–10). What does this mean, then, Palladius? He sets up ten curtains. How, then, are the coverings not equal to them in number, but one is left over, that is, the eleventh? For he says: ‘You shall join five coverings together, and six coverings together’ (Exodus 26:9).
Palladius: I cannot say.
Cyril: But the arrangement will make clear what we are looking for.
Palladius: What do you mean?
Cyril: He says that five curtains were to be fastened to one another, and another five, of the same form, set opposite in the same way. So when the two sets had been raised facing each other, from north and south, say, or from east and west, an eleventh side was then formed, running through the middle, with the ten on either side of it, divided into two sets. Over it, perhaps, the eleventh covering was stretched, holding both sides together with rings and loops. Its pillars were like those of the others, except fewer in number. For the ten curtains, as I said before, stretched to a length of twenty-eight cubits, while the eleventh, which lay in the very middle of the others, across the width of the five (and these are four cubits each),
Greek
μενος· «Ὁ Πατήρ μου μείζων μου ἐστὶ,» καίτοι κατὰ φύσιν θεότητος, ἰσομέτρως ἔχων, καὶ τῆς τοῦ τεκόντος ὑπεροχῆς οὐχ ἡττώμενος. Μῆκος δὲ τῷ ξύλῳ, δεκάπηχυ. Παντέλειος γὰρ ὡς ἐν ὑψώμασι τῆς θεότητος, ὁ Χριστός. Τελειότητος δὲ σημεῖον, ὁ εἰς δέκα τρέχων ἀριθμὸς παρά γε τῇ θείᾳ λαμβάνεται Γραφῇ. Χρυσῆ δὲ τῷ ξύλῳ κεφαλὴ, καὶ μὴν καὶ σῶμα χρυσοῦν. Φύσεώς γε μὴν τῆς ἀνωτάτω καταπλουτεῖ τὸν ἐναυλισμὸν ὁ ἐκ Παρθένου ναός. Σύμβολον δὲ θεότητος, ὁ χρυσὸς, ὑπεροχὴν ἔχων τὴν κατὰ πάντων, ὡς ἐν ὕλης τυχὸν τῆς τοιᾶσδε λόγῳ. Ἐξ ἀργύρου δὲ καὶ ἐκ δυοῖν ἡ βάσις. Λαμπρὸς δὲ καὶ διαφανὴς ἐν γῇ ὁ Χριστὸς, κατά γε τὸ, «Θεὸς Κύριος, καὶ ἐπέφανεν ἡμῖν·» καὶ οἱονεὶ διφυᾶ τὴν γνῶσιν ἔχει· νοεῖται γὰρ ἐν αὐτῷ Θεός τε καὶ ἄνθρωπος. Τουτὶ γὰρ, οἶμαι, ἔστι, τὸ διπλῆν ὥσπερ ἔχειν καὶ ἐξ ἀργύρου τὴν βάσιν.
{ΠΑΛΛ.} Εἰκάζεις ὀρθῶς.
{ΚΥΡ.} Θέα γε μὴν ἐκεῖνο, ὦ τᾶν.
{ΠΑΛΛ.} Ὅ τι δή;
{ΚΥΡ.} Εἰς αὐλαίας γὰρ δέκα προστεταχὼς ὅλην ἐκτείνεσθαι τὴν σκηνὴν, ἐπιλέγει μεταξύ· «Καὶ ποιήσεις δέῤῥεις τριχίνας, σκέπην ἐπὶ τῆς σκηνῆς· ἕνδεκα ποιήσεις αὐτὰς δέῤῥεις, τὸ μῆκος τῆς δέῤῥεως τῆς μιᾶς ἔσται τριάκοντα πήχεων, καὶ τεσσάρων πήχεων τὸ εὖρος τῆς δέῤῥεως τῆς μιᾶς· τὸ αὐτὸ μῆκος ἐπὶ ταῖς ἕνδεκα δέῤῥεσι. Καὶ συνάψεις τὰς πέντε δέῤῥεις ἐπὶ τὸ αὐτὸ, καὶ τὰς ἓξ δέῤῥεις ἐπὶ τὸ αὐτὸ, καὶ ἐπιδιπλώσεις τὴν δέῤῥιν τὴν ἕκτην κατὰ πρόσωπον τῆς σκηνῆς· καὶ ποιήσεις ἀγκύλας πεντήκοντα ἐπὶ τοῦ χείλους τῆς δέῤῥεως τῆς μιᾶς, τῆς ἀνὰ μέσον κατὰ τὴν συμβολήν. Καὶ πεντήκοντα ἀγκύλας ποιήσεις ἐπὶ τοῦ χείλους τῆς δέῤῥεως τῆς συναπτούσης τῆς δευτέρας.» Τί τὸ χρῆμα λοιπὸν, ὦ Παλλάδιε; δέκα μὲν γὰρ ἐγείρει τὰς αὐλαίας. Εἶτα πῶς οὐκ ἰσάριθμοι ταύταις αἱ δέῤῥεις, περιττεύει δὲ μία, τοῦτ' ἔστιν ἡ ἑνδεκάτη; Συνάψεις γὰρ, φησὶν, τὰς πέντε δέῤῥεις ἐπὶ τὸ αὐτὸ, καὶ τὰς ἓξ δέῤῥεις ἐπὶ τὸ αὐτό.
{ΠΑΛΛ.} Οὐκ ἔχω φράσαι.
{ΚΥΡ.} Ἀλλ' ἥ γε θέσις σαφηνιεῖ τὸ ζητούμενον.
{ΠΑΛΛ.} Πῶς ἔφης;
{ΚΥΡ.} Πέντε μὲν γὰρ αὐλαίας ἀλλήλαις συνεσφιγμένας ὅτι προσῆκε γενέσθαι φησίν· ἑτέρας δὲ πέντε, κατὰ τὸ αὐτὸ δὲ σχῆμα, καὶ ἐν ἴσῳ τρόπῳ ἀντιτεταγμένας. Τοιγαροῦν ἀλλήλαιν καὶ ἀντιπροσώπως ἀντεγηγερμέναιν, ὡς ἐκ βοῤῥέου τυχὸν καὶ νότου, ἤγουν ἐξ ἠοῦς καὶ μέντοι καὶ δυσμῶν, ἑνδεκάτη τις ἡ διὰ μέσου λοιπὸν ἐσχεδιάζετο πλευρὰ, ἀνὰ μέρος ποιουμένη τὰς δέκα, διῃρημένας εἰς δύο, ἐφ' ᾗ τάχα που καὶ δέῤῥις ἡ ἑνδεκάτη περιτετά[ν]νυσται, κρίκοις τε καὶ ἀγκύλαις ἄμφω συνέχοντα τὰς πλευράς· καθ' ὁμοιότητα δὲ τῶν ἄλλων, καὶ οἱ ταύτης στύλοι, πλὴν ἥττους ἐν ἀριθμῷ. Αἱ μὲν γὰρ δέκα αὐλαῖαι, καθάπερ ἤδη προεῖπον, εἰς μῆκος ἐξετείνοντο πήχεων ὀκτὼ καὶ εἴκοσιν, ἥ γε μὴν ἑνδεκάτη καὶ μεσαιτάτη τῶν ἄλλων, τὸ εὖρος τῶν πέντε (τετραπήχεις