5 min read

The Temple's Golden Trees Withered When Menashe Bowed

Solomon planted golden trees inside the Temple that bore real fruit. One king's idol made the whole forest die in a single afternoon.

Curated by Arthur · Told by Maggid ·
Table of Contents
  1. The Forest Inside the House
  2. Seven Kinds of Gold
  3. The Afternoon the Forest Died
  4. What Garmu Knew

The Forest Inside the House

Solomon built a forest inside the Temple. Not carved wood or gilded reliefs on the walls, though there were those too, but actual trees with roots in the floor of the sanctuary, branches spreading toward the ceiling, leaves that moved when a breeze came in from the courtyard. And the trees were gold. Real gold in the grain of the wood, gold in the veins of the leaves, gold glinting from the bark. And they bore fruit.

When the orchards and vineyards of the Land of Israel were in season, the gold trees inside the Temple bore fruit alongside them. The blossoms came. The small green knots of early fruit appeared. The fruit swelled and colored and ripened until it hung heavy on gold branches in the most sacred room in the world. Then, when the harvest season ended outside, the fruit inside dried and fell and the gold branches were bare again until the next spring.

That was the Temple the tradition imagined. Not a museum of religious objects. A living house, keyed to the rhythms of the land outside its walls, beating in time with the agricultural year.

Seven Kinds of Gold

The rabbis catalogued the gold used in the construction with the same precision they brought to everything. There were seven distinct varieties. Pure gold so refined that Solomon threw a thousand talents into a furnace a thousand times over until a single refined talent remained. Chased gold called sagur, so rare that every goldsmith in the country would close their shop whenever a piece came to market because nothing they could produce was worth showing beside it. Refined gold so perfectly purified that artisans fed it to ostriches and recovered it from the bodies of the birds, which somehow stripped impurities the furnace could not reach.

The rabbis knew these metals did not exist in any catalogue a merchant could consult. They were naming a purity beyond what human craft can achieve, a set of materials that could only have been brought into the world by the same hands that spoke light into existence on the first morning. The Temple was built from things that were impossible to make but possible to receive.

The Afternoon the Forest Died

King Menashe brought an idol into the Temple. The tradition was specific: he placed it in the inner sanctum, in the Holy of Holies, the most sacred space in the building. He bowed before it inside the house that was meant to hold only one Presence.

The gold trees died in that afternoon. Not slowly. Not over a season. The leaves went first, dropping from the branches without being touched, the way leaves fall when the root connection severs at once rather than gradually. The fruit dropped green and hard. The branches went dry. The whole forest that had been breathing in time with the orchards of Israel stood dead inside the sanctuary before anyone outside the walls knew what Menashe had done inside them.

The world outside did not change immediately. The vineyards of Israel still bore fruit that season. The crops still grew. Only inside the Temple, in the room where the gold trees had kept perfect time with the living land, did the death register at once. What Menashe bowed toward in the inner room was exactly proportional to what it cost him in the room where he bowed.

What Garmu Knew

There was a family of priests, the house of Garmu, who held the secret of baking the showbread, the loaves placed on the golden table in the Temple every week. They refused to teach their method to anyone outside the family. The rabbis criticized them for this: knowledge of sacred service should not be hoarded.

But then the tradition recorded what happened when the rabbis tried to replace them with Alexandrian bakers. The replacement bread went stale in a way the original bread never had. The original showbread had stayed fresh, warm, as aromatic on the day of its removal as on the day it was placed. The Alexandrian bakers made better-looking bread that tasted like nothing and dried out like common loaves. The house of Garmu was called back.

The gold trees that died when Menashe bowed and the showbread that went wrong when Garmu was replaced were the same argument in two versions: the Temple was not a building that could be operated by substitutes. The people who kept it running were woven into it. When the sacred relationship was replaced by idolatry or by competent strangers, the building registered the substitution in the only language it had: the gold went dead, the bread went dry.


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The texts this telling draws on, in full. Open a card to read inline, or expand it for a wider, quieter read.

Shir HaShirim Rabbah 10:3Shir HaShirim Rabbah

The Song of Songs, a beautiful and often enigmatic book, offers some tantalizing clues, and the Midrash (rabbinic interpretive commentary), specifically Shir HaShirim Rabbah, amplifies them, painting a vivid picture of this sacred space.!

The verse "palanquin" in (Song of Songs 3:9), the Midrash tells us, that's the Temple. And "King Solomon made himself" (Song of Songs 3:9)? Well, that's definitely Solomon himself! Though, interestingly, earlier interpretations in the Midrash saw Solomon as an allusion to God. See how rich and layered these texts can be?

That "timber of Lebanon" (Song of Songs 3:9)? That’s a direct reference to the materials used in its construction, as we see echoed in II (Chronicles 2:15): “We will cut timber from Lebanon.”

It's the details about the gold that really capture the imagination. "He made its pillars of silver" (Song of Songs 3:10) connects to the description in I (Kings 7:21), which speaks of establishing pillars for the hall of the Sanctuary. And the "cushion of gold" (Song of Songs 3:10)? According to one teaching, the entire Temple was plated with gold, except for the backs of the doors.

But then Rabbi Yitzchak chimes in with a fascinating distinction. He says that this teaching about the doors might only apply to the Second Temple. In the First Temple, even the backs of the doors were covered in gold! Can you even imagine that level of opulence?

And it wasn’t just any gold. Oh no. We learn that there were seven distinct types of gold used in the Temple. Seven! Fine gold, pure gold, chased gold, beaten gold, glittering gold, refined gold, and parvayim gold.

Fine gold, the Midrash explains, is fine whether you’re at home or traveling, echoing the verse in (Genesis 2:12) "The gold of that land was fine." Rabbi Yitzchak adds that it's valuable whether you are at home or on the road. Pure gold was so pure that it could be placed in a crucible and come out lacking nothing. Rabbi Yuda, quoting Rabbi Ami, says that Solomon would put one thousand gold talents into the fire one thousand times until he was left with just one talent. Intense!

Beaten gold, we're told, could be drawn like wax. And then there's a fascinating, almost gossipy aside: Hadrian had some that weighed as much as an egg-bulk, while Diocletian had some the size of a Gordian dinar. And the current government? They have none of it, and never did!

Chased gold (sagur) was so exceptional that it would cause all the goldsmiths to close up shop (soger). It was so rare and valuable that no one else could compete.

Now, you might be thinking, "Wait a minute, didn't it say something about silver, too?" Good catch! I (Chronicles 29:4) mentions "seven thousand talents of refined silver, to overlay the walls of the houses.” But the Midrash asks, was it really silver? Wasn't it actually gold? The answer: it's called silver (kesef) because it would put to shame (makhsif) all the owners of gold. Even the most mundane items, like basins, pots, shovels, and even the teeth of keys (ḥafifot), were made of this precious metal. Rabbi Simai even points out that even the cup (pota) under the hinge was made of gold, to teach us that the Temple lacked nothing!

Glittering gold (mupaz) was like sulfur enflamed in fire, according to Rabbi Patriki. Rabbi Avun suggests it gets its name from the land where it was mined: Ufaz (me’ufaz).

And then there's refined gold. One tradition says they would cut it like olives, feed it to ostriches, and it would emerge refined. Another says they would conceal it in dung for seven years! Talk about dedication to purity!

Finally, parvayim gold. Reish Lakish says it was red like the blood of a bull (par). Some even say that it produced fruit! The Midrash paints this incredible image: When Solomon built the Temple, he crafted all sorts of trees from this gold. And when the trees in the field would produce fruit, these golden trees in the Temple would do the same! The fruit would fall, and they would gather it for Temple maintenance.

But here's where the story takes a somber turn. When Menashe placed an idol in the Sanctuary, all those trees dried up. That's what the verse in (Nahum 1:4) refers to when it says, "The flower of Lebanon withers." But there's hope! The Midrash assures us that in the future, the Holy One will restore them, and as (Isaiah 35:2) promises, "It will blossom and rejoice, even with joy and song."

The "seat of purple wool" (Song of Songs 3:10) ties back to the curtains of sky-blue, purple, and crimson wool and fine linen described in II (Chronicles 3:14).

And the verse concludes with a powerful image: "Its interior is plated with love" (Song of Songs 3:10). Rabbi Yudan says this refers to the merit of the Torah and the righteous people who study it. Rabbi Azarya, quoting Rabbi Yehuda in the name of Rabbi Simon, says it represents the Divine Presence itself.

So, what does all of this tell us? More than just a description of a building, the Midrash reveals a profound understanding of the Temple as a place of immense spiritual and material value. A place where even the smallest details reflected the glory of God and the dedication of the people. And perhaps, a reminder that even in the face of destruction and despair, the promise of renewal and restoration always remains.

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Shir HaShirim Rabbah 6:5Shir HaShirim Rabbah

Not just any bread, but the showbread, the lechem haPanim, a special offering placed on the golden table in the Temple.

This bread wasn't your average loaf. Its unique size and shape demanded exceptional skill in both preparation and, crucially, removal from the oven. They were the undisputed masters of showbread baking. But here's the twist: they refused to share their secrets.

Why the secrecy? Well, as Shir HaShirim Rabbah 6 tells us, the Sages, frustrated by the Garmu family's reluctance, even brought in bakers from Alexandria, hoping they could replicate the showbread. But these Alexandrian bakers, while skilled, couldn't master the delicate art of removing the bread from the oven without tearing it. back then, bread was often baked by sticking it to the inside wall of the oven. The Garmu family had a unique method – they ignited the oven in a specific way, ensuring the bread baked perfectly and could be removed intact. The imported bakers? Not so much. Some say their bread even became moldy!

In Rabbi Meir, the Garmu family were eventually persuaded to return to their position, but only after their wages were doubled. Rabbi Yehuda, however, insists their wages were quadrupled! Some interpret this passage to mean that the sums mentioned were paid per year, on behalf of their preparation of the showbread for the entire year (Rashash, Yoma 38a).

So, why the initial reluctance to teach their craft? Their answer is fascinating. They feared the Temple would be destroyed (and, of course, it eventually was). They worried that if their knowledge fell into the wrong hands – specifically, an "unworthy person" who might use the showbread in idol worship – it would be a desecration. It was a weighty responsibility, and they guarded it fiercely.

And here’s where it gets even more interesting. The text praises the Garmu family's integrity. They were so careful to avoid any appearance of impropriety that neither their sons nor daughters ever possessed bread from fine flour, lest anyone accuse them of profiting from the showbread. They lived by the principle: "You shall be vindicated before God and before Israel" (Numbers 32:22) and "you will find grace and good favor in the eyes of God and man" (Proverbs 3:4).

But the story doesn't end there. Shir HaShirim Rabbah contrasts the house of Garmu with another family, the house of Kamtzar. The Kamtzar family were expert scribes, renowned for their ability to write the four letters of God's name – the Tetragrammaton – simultaneously using four quills held in one hand (Yoma 38b). This was considered a great honor, ensuring the divine name was never incomplete, even for a moment.

When asked why they wouldn't share their skills, the Kamtzar family remained silent. They had no answer. The text suggests that their silence stemmed from a desire to increase their own glory, diminishing the glory of God. And as a result, their glory faded. They left no descendants, no legacy. "The memory of the righteous is for a blessing," (Proverbs 10:7) tells us, but "the name of the wicked will rot" (Proverbs 10:7).

Ben Azzai draws a powerful lesson from these contrasting stories: "From your own they will give you, by your name they shall call you, and in your place they shall seat you, and there is no forgetfulness before the Omnipresent." In other words, we are judged by our actions, our motivations. Our deeds shape our legacy.

What does this ancient tale tell us today? Perhaps it's a reminder that true wisdom lies not just in possessing knowledge, but in understanding how to use it responsibly. It's about balancing the desire for personal recognition with the greater good. And maybe, just maybe, it's about appreciating the hidden skills and quiet acts of integrity that often go unnoticed, but ultimately shape our world.

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Shir HaShirim Rabbah 13:3Shir HaShirim Rabbah

That’s kind of what happens when we dive into Shir HaShirim Rabbah, the commentary on the Song of Songs. a passage that takes the beautiful imagery of springtime and transforms it into a story of exile, redemption, and rebuilding.

It all starts with the verse: “My beloved spoke up, and he said to me” (Song of Songs 2:10). But who is the "beloved" and who is the "me"? Well, in this interpretation, the "beloved" is God, and the "me" is Israel. And the message? It’s delivered through the prophets Daniel and Ezra. It’s a message of hope, of a new dawn after a long, hard winter. "Rise up, my love, my fair one."

“For, behold, the winter is past” (Song of Songs 2:11), the text continues. Now, this isn’t just about flowers blooming. It’s about the end of the 70 years that Israel spent in exile. But wait a minute, you might be thinking. Wasn’t the Babylonian exile actually 70 years? Here, Shir HaShirim Rabbah gets a little… creative with the math. It says that the "rain is over and gone" (Song of Songs 2:11) refers to the 52 years after the destruction of the Temple until the Chaldean (Babylonian) kingdom fell.

So where do the other 18 years go? Rabbi Levi offers an explanation: those 18 years were when a "Divine Voice" was supposedly berating Nebuchadnezzar, saying, "Bad slave, rise up and destroy the house of your Master because the children of your Master do not heed Him." It's a fascinating way to frame it, isn't it? Like God is almost reluctantly using Nebuchadnezzar as an instrument of divine justice.

But the passage doesn’t dwell on the past for too long. It quickly shifts to the blossoming future. “The blossoms have appeared in the land” (Song of Songs 2:12), and these "blossoms" aren’t just pretty flowers. They represent people like Mordechai and Ezra – leaders who emerged to guide the Jewish people.

Then comes a fascinating wordplay. “The time of the nightingale [zamir] has arrived” (Song of Songs 2:12). But the text doesn't stop there. It connects zamir to the word shetizamer, meaning "to be cut off," suggesting this is the time for circumcision, the time for the wicked to be broken, just as Isaiah (14:5) says: “The Lord has broken the staff of the wicked.” It’s a time for destruction of the old and preparation for the new.

And what about building? Well, the text continues, citing Obadiah (1:21): “Saviors will ascend Mount Zion,” and Haggai (2:9): “The glory of this [latter] house will be greater [than that of the first].” This isn't just about rebuilding a physical temple; it's about restoring national pride and spiritual purpose.

Then there’s the “sound of the turtledove [hator] is heard in our land” (Song of Songs 2:12). Rabbi Yoḥanan cleverly connects hator to the word tayar, meaning "explorer" or "scout." Who is this "good explorer"? It's Cyrus, the Persian king who allowed the Jews to return to Jerusalem and rebuild the Temple! The passage quotes Ezra (1:2–3), where Cyrus proclaims that God has commanded him to build a Temple in Jerusalem and invites the Jewish people to return.

Finally, “The fig tree has formed its unripe figs” (Song of Songs 2:13) symbolizes the baskets of first fruits brought to the Temple. “The vines in blossom emitted fragrance” (Song of Songs 2:13), representing the libations offered in the Temple. Everything is pointing towards renewal, towards a restored relationship with God.

So, what can we take away from this ancient interpretation of a love poem? It’s a reminder that even in the darkest of times, hope remains. It shows us how our ancestors found meaning and connection to their faith through allegory, transforming the pain of exile into a promise of redemption. And it reminds us that even seemingly simple verses can contain layers upon layers of meaning, waiting to be uncovered. What winters are we waiting to see pass? What blossoms are we hoping to see emerge in our own lives and communities?

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