VII. _The Breastplate of the Ephod._—This was a rectangular piece of cloth of the same material as the ephod. That it might the better hold the precious stones with which it was set, it was doubled, its shape when so treated being that of a perfect square, with a side of about nine inches long. The stones were twelve in number, and fixed in settings of gold, being arranged in four rows of three each. On each stone was engraved the name of one of the twelve tribes. This breastplate was secured by two plaited or twisted chains of gold, fastened at the one end to the bezils of the shoulder-pieces of the ephod, at the other to rings of gold in the upper corners of the breastplate, and by two blue cords secured to rings of gold in the lower corners of the breastplate and in the sides of the ephod above the embroidered girdle. Josephus asserts that there was an aperture in the ephod immediately under the breastplate. For this statement there is no Scriptural authority; but it is possible that it is the record of a modification in the details of the vestment naturally evolved and established at some time subsequent to the institution of the vestment itself. VIII. _The Mitre._—This did not differ in essence from the head-dress of the priests except in one important respect—the addition of a gold plate, set on a lace of blue, and bearing the inscription, 'Holy to Jehovah.' Josephus does not mention this plate, but describes the mitre as a kind of triple tiara, surmounted by a flower-shaped cup of gold, and covering the turban proper.[4] This, however, is quite at variance with the original laws on the subject. In one respect these vestments are similar to those which it will be our duty to describe in the following pages. Although there is no injunction on the subject in the Law, the Talmud states clearly that 'he who wears the vestments of the priests outside the temple does a thing forbidden.' It is admitted by almost all students that the vestments during the first six or eight centuries of the Christian era were of much greater simplicity than those of later times. The evidence of contemporary art is overwhelmingly opposed to any other view. This fact being admitted, we need not be surprised by finding that until the eighth or ninth century no attempt was made to trace any connection between the elaborate vestments which we have just described, and the vestments worn by those who ministered in the offices of Christian worship.