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Essay
The Design of the Menorah
based
on the works of the Lubavitcher Rebbe |
The menorah's branches as ascending diagonally,
rather than in an arch; the importance of following the conception
of our sages, rather than that of the artist who fashioned the Arch
of Titus; the Rambam's conception of the goblets as positioned upside
down; the symbolism this implies, that the menorah is the source
of Divine light for the world at large.
The Shape of the Branches of the Menora
The menorah is very frequently employed as a Jewish symbol.
Nevertheless, the authenticity of the design with which the menorah
is usually depicted is a matter of question. For there are several
inconsistencies between the designs generally employed and the
description of this article in the traditional sources. The branches
of the Menorah are one such example.
Generally, these branches are depicted as semi-circular or oblong
in shape. Nevertheless, Rashi in his commentary to the Torah,[1]
explicitly writes that the branches “extended upward in a diagonal.”
Indeed, the very Hebrew word which the Torah uses to describe the
branches, ohbe, implies a straight line.[2]
What is the Rambam’s view?
Part of the confusion concerning the shape of the branches of
the menorah stems from the fact that the Rambam makes
no definite statement regarding this issue, neither in his Commentary
on the Mishnah, nor in his Mishneh Torah. For that reason,
several commentaries[3] were led to the conclusion
that he also agrees that the branches were semi-circular.
Nothing, however, could be further from the truth. The Rambam
does not describe the shape of the branches of the menorah,
because it is unnecessary. In both his Commentary on the Mishnah
and his Mishneh Torah,[4]
he adds drawings in which he depicts the menorah. And in
both instances, he shows the branches as extending diagonally, in
straight lines. Unfortunately, at the time the Rambam wrote
these works, printing presses had not been invented. It was not
until several centuries after his passing that his texts were printed,
and in these printings, his original drawings were omitted.[5]
Equally clear evidence of the Rambam’s perspective can be
gleaned from the commentary to the Torah written by his son, Rabbeinu
Avraham. When describing the manner in which the menorah
was fashioned,[6] Rabbeinu Avraham states: “The six
branches... extended upward from the center shaft of the menorah
in a straight line, as depicted by my father, and not in a semi-circle
as depicted by others.”
The Position of the Goblets
Another of the points of difference between the Rambam’s
conception of the menorah as reflected in the above-mentioned
diagrams, and the commonly accepted design of the menorah,
is the position of the goblets. To explain: There were 22 goblets
in the menorah.[7] The Rambam describes them[8] as “Alexandrian chalices with wide
mouths and narrow bases.” In his drawings of the menorah,
he depicts them as having been positioned upside down,[9]
while the general conception is that they are standing upright.
The Source for the Misconceptions
How did these misconceptions arise? The source for the commonly
accepted drawings of the menorah is its depiction on the
arch of Titus in Rome. When Titus returned from the conquest of
Jerusalem, he had an arch constructed in honor of his victorious
army, and on that arch appears a relief which includes a depiction
of the menorah.
The design on that arch is obviously an artist’s interpretation,
and not an exact replica of the menorah of the Beis HaMikdash.
This is reflected by the fact that certain elements of the menorah
are omitted in this depiction. For example, the menorah had
feet extending from its base,[10] and the menorah
on the Arch of Titus has no feet. Similarly, the depiction contains
additions, for on its shaft is the form of a sea-dragon, one of
the false deities worshiped by the Romans.[11] Accordingly, it cannot be relied
on as an accurate source regarding the design of the menorah,
particularly in regard to points where it contradicts the views
of our people’s leading Torah authorities.
Herein, lies another significant point: As mentioned, the menorah
is often employed as a Jewish symbol. This is indeed appropriate,
for our Sages teach[12] that the menorah is “testimony to all the
inhabitants of the world that the Divine Presence rests within Israel.”
How unfitting is it that instead of drawing that symbol according
to its conception by Torah sages, the conception from the arch
which proudly states “Judea is vanquished” is used instead!
The Outpouring of Divine Light
To return to the design of the menorah, one might ask: why
are the goblets indeed positioned upside down? The resolution of
this question is connected with the function of the menorah
within the Beis HaMikdash. Our Sages explain[13] that the purpose of the menorah was not to
illuminate the Sanctuary, but rather to spread its light throughout
the entire world. For this purpose, the windows of the Beis
HaMikdash were constructed in a unique manner, wide on the outside,
narrow on the inside,[14]
clearly indicating that their purpose was for the light of the Beis
HaMikdash to shine outward.
A similar concept applies in regard to a goblet.[15] It possesses two
functions: to receive and to pour. Turning a goblet upside down
indicates an emphasis on spreading influence to others. To apply
these concepts to the goblets of the menorah — their overturned
position reflects the purpose of the menorah within the Beis
HaMikdash, not to receive and contain G-dly light, but to spread
that light throughout the world at large.
An overturned cup is associated with happiness.[16] This also relates to the Beis
HaMikdash which served as the source of happiness and joy for
the Jewish people. May we soon experience the ultimate happiness,
when we, together with the entire Jewish people, return to Eretz
Yisrael, to Jerusalem, and to the Beis HaMikdash. And
may this take place in the immediate future.
[1].
Terumah 25:32.
[2].
See Shmos 2:3, which describes the small ark, which carried
Moshe, as being hidden “among the bulrushes near the riverbank.”
Although there is some debate about the particular species intended,
all the commentaries agree that the reference is to reeds which
grow upward in straight lines.
[3].
See the Maaseh Chosheiv.
[4].
These original drawings have been published recently by Rav Kapach,
based on ancient manuscript copies of both texts.
[5].
The irony of this is compounded by the fact that drawings were added
in subsequent printings of the Commentary on the Mishnah.
These drawings, however, were not copies of the drawings originally
made by the Rambam, but rather original works, produced for
this printing. The texts with these drawings have been reprinted
very frequently and are included in the standard printed texts of
the Talmud. In regard to the branches of the menorah
— and similarly, in regard to certain other drawings throughout
the work — the drawings in these texts run contrary to the Rambam’s
own work.
[6].
In his commentary to Terumah, loc. cit.
[7].
Hilchos Beis HaBechirah 3:3.
[8].
Ibid.:9.
[9].
In his Commentary on the Mishnah (Middos 3:7), the
Rambam does state that his diagram of the menorah
is not to be considered as an exact replica, but rather as a depiction
of the general concept. This is obviously the case, for he draws
the goblets as triangles although it appears that they were coneshaped.
A cone is more difficult to draw than a triangle and it appears
that the Rambam considered the more simple form as sufficient.
In regard to the position of the goblets, by contrast, it is unlikely
that his depiction of them as having been positioned upside down
is an imprecision. For it would have been just as easy to depict
them as positioned upright.
[10].
Menachos 28b, Hilchos Beis HaBechirah 3:2.
[11].
See Avodah Zorah 42b.
[12].
Menachos 86b.
[13].
Ibid.
[14].
See I Melachim 6:4, as explained in Menachos, op. cit.
[15].
See the commentary of Rabbeinu Bachaye to Terumah
25:31, Toras HaOleh, and other sources which offer similar
interpretations.
[16].
See the sichos of the night of Simchas Torah, 5748.
Adapted from Likkutei Sichos, Vol. XXI, Parshas Terumah;
Vol. XXVI, Parshas Tetzaveh
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