It becomes almost absolutely certain that this is the true solution of the riddle, when we find that when Herod rebuilt the Temple in the first century B.C., he erected a similar screen for the same purpose in front of his Temple. Its dimensions, however, were one-third larger. It was 40 cubits high, and 20 cubits across, and it supported five beams instead of two;[106] not to display the chequer-work and pomegranates of Solomon’s screen, but to carry the Golden Vine, which was the principal ornament of the façade of the Temple in its latest form.[107] [Illustration: 110. Plan of Solomon’s Temple, showing the disposition of the chambers in two storeys.] Although it is easy to understand how it was quite possible in metal work to introduce all the ornaments enumerated in the Bible, and with gilding and colour to make these objects of wonder, we have no examples with which we can compare them, and any restoration must consequently be somewhat fanciful. Still, we must recollect that this was the “bronze age” of architecture. Homer tells us of the brazen house of Priam, and the brazen palace of Alcinous; the Treasuries at Mycenæ were covered internally with bronze plates; and in Etruscan tombs of this age metal was far more essentially the material of decoration than carving in stone, or any of the modes afterwards so frequently adopted. The altar of the Temple was of brass. The molten sea, supported by twelve brazen oxen; the bases, the lavers, and all the other objects in metal work, were in reality what made the Temple so celebrated; and very little was due to the mere masonry by which we should judge of a Christian church or any modern building. No pillars are mentioned as supporting the roof, but every analogy derived from Persian architecture, as well as the constructive necessities of the case, would lead us to suppose they must have existed, four in the sanctuary and eight in the pronaos. [Illustration: 111. Plan of Temple at Jerusalem, as rebuilt by Herod. Scale 200 ft. to 1 in.]