Zechariah’s Sixth Vision (5:1–4)

Flying scroll (5:1). The dimensions given are about fifteen feet by thirty feet, if we use the conventional size of a cubit. The fact that the prophet can report on these dimensions suggests his vision shows the scroll unrolled. The “flying” component is probably a sign of the transitional nature of the scroll, suspended between heaven and earth, like the basket noted later.

On one side … on the other (5:3). Though it is not unheard of for scrolls to have writing on both sides, the terminology here suggests that two side-by-side columns of writing are intended, perhaps one column addressing each of the crimes.

Every thief … everyone who swears falsely (5:3). Interpreters have wondered about the significance of these two crimes being mentioned here. If we continue the thought of the visions of Zechariah all having connection with temple building, a solution is possible. As in building projects today, the procedure often calls for raising support from some key donors before construction begins. They pledge donations that provide confidence for the project to proceed. In the ancient world, such pledges were supported by formal oaths, and such oaths transformed the pledged gifts into divine property. In this combination, anyone who pledged gifts to the temple initially but then reneged on their pledges would be guilty first of swearing falsely and then of theft, for they continued to possess that which now technically belonged to deity (cf. Hag. 1:4; Mal. 3:8–10). The curses written on the scroll will bring about the destruction of that which has been withheld as well as the destruction of the house of the perpetrators.

Zechariah’s Seventh Vision (5:5–11)

Measuring basket (5:6). While ceramic vessels are the most commonly found examples of standard volume measures, there is ample evidence in narrative and artistic sources to demonstrate that baskets of woven reeds were also used as common containers. Nevertheless, it should be noted that the container is never identified as specifically a basket in the Hebrew text.

A couple of possibilities have been suggested in relation to this container. First, special ceremonial containers were used to transport the premier stone, as well as to house the foundation deposits. This container is described only by its size, an ephah, which is generally considered about two thirds of a bushel. There is no indication what material it is made out of. The container used for foundation deposits in Mesopotamia is called a quppu and could be either a wicker basket or a wooden chest. Judging from what was placed in them, they could be of varying sizes.39

Second, an alternative interpretation has been adopted by Meyers and Meyers based on an older study by Marenof. In this view the Hebrew word, rather than the usual “ephah,” is a technical term derived from Sumerian by way of Akkadian referring to a shrine.40 The concept of small terracotta shrines being constructed to house small figurines is seen in the calf figurine and shrine from Ashkelon. The difficulty with this interpretation is that the linguistic path is tenuous, and it is hard to imagine that the author would have used such a term with the expectation that his audience would understand it.41

In the end, none of these suggestions is particularly persuasive and each one has problems connected with it.

Lead (5:7). Though the NIV interprets this as a cover, the text refers to it as a “talent” of lead (a particular weight, usually convex disk shaped), and as a stone of lead in verse 8. Temple foundation deposits often included metal pieces (gold, silver, iron, bronze, lead), sometimes small scraps, other times large blocks, and at times as square convex tablets or bricks.42 Nevertheless, its role here cannot presently be illuminated specifically from ancient Near Eastern materials. There is no evidence for the use of lead as a cover for any form of vessel in antiquity. It may be that this image is intended to represent a strong closure to symbolic evil.

Foundation peg figurine from the time of Rim-Sin, about 2000 B.C.

Kim Walton, courtesy of the Oriental Institute Museum

In the basket sat a woman (5:7). The small size of the container has led to the conclusion that a figurine of a woman is in the basket. The most logical connection of figurines to temple building is that they were often buried next to the foundation deposit or beneath the door-pivot stone.43 Such figurines could either indicate dedication to a particular deity or represent an apotropaic (protective) deity.

There are numerous problems with this interpretation. Theologically, it is difficult to see why a figurine, putatively idolatrous, would be accorded the status granted here in the Lord’s temple. Archaeologically, the foundation pegs are not attested anywhere near this time period; the latest examples are from about 2000 B.C.44 Culturally, this practice is not attested in Persian contexts. Iconographically, the pegs were generally not women. Finally, contextually, the other elements in this vision (container, lead) have no connection to foundation pegs. Consequently, unless further examples can be found in this period, this interpretation should be set aside, but no other information from the ancient Near East can inform our interpretation.

Two women (5:9). The common assumption that these are angels cannot be sustained. In the Old Testament angels are portrayed neither as female nor as having wings. In the broader ancient Near Eastern context, female deities are sometimes portrayed as having wings–for example, Anat in Ugaritic literature45 and Ishtar in Mesopotamia.46 Most winged figures, however, were protective spirits, which are often seen flanking gods or sacred items (such as the cosmic tree).47 This interpretation fits well with the information in the context.

Stork (5:9). The Hebrew term indicates any bird of the long-legged variety. A number of birds in this order are migratory and at seasonal times are present in Palestine. As with the scroll, the “flying” component of the image may point to a transitional state between heaven and earth.

Winged female protective spirits flanking Sacred Tree, Nimrud, 860 B.C.

Werner Forman Archive/The British Museum