Daniel 2:32-33

This image's head was of fine gold, his breasts and his arms of silver, his belly and his thighs of brass, his legs of iron, his feet part of iron and part of clay. The versions present no occasion of r,-mark, save that Theodotion has a doublet, αἱ χεῖρες , translating, "the hands, the breast, and the arms." The word rendered "fine" is really "good" ( טָב , ṭab ) . Naturally, there have not been preserved to us any composite images of this kind; gold and silver would certainly soon have found their way to the melting-pot after the fall of the Babylonian empire, had such a statue been erected in Babylon. Brass and iron were too precious not to follow in the same road. Among the Greeks, as we know, there were what were called "chryselephantine" statues, partly gold and partly ivory. In the description given of the Temple of Belus, we see a succession something akin to that in the statue, but it may be doubted whether we may deduce any connection between the two on that account. In the Book of Enoch the apocalyptist sees mountains of different kinds of metal—of gold, silver, brass, iron, tin, and mercury, the first four coinciding with the metals in Daniel's vision. Ewald refers in a note to the possibility that this idea might be borrowed from Hesiod, but rightly dismisses it as improbable. As to the metals used, gold and silver were well known in ancient times, as also iron, though, from the difficulty of working it, later. What is here translated "brass" ought to be rendered "copper;" "bronze" certainly was known very early, but the whole use of the word, נְחָשׁ (Aramaic), or נְחשֶׁת (Hebrew), implies that it is a simple metal; thus Deuteronomy 8:9 , "Out of whose hills thou mayest dig brass" (Hebrew, נְחשֶׁת ; Onkelos, נְחָשָׁא ). In this statue the progressive degradation of the material and situation is to be observed. The head, the highest part, gold; the shoulders, lower, silver; the belly and thighs, lower still, brass; the legs, lower yet, iron; and the feet and toes, lowest of all, a mixture of iron and clay. It is observed by Kliefoth that there is further a growing division. The head is one, without any appearance of division; the portion consisting of the breast and arms is divided, though slightly, for the chest is more important and bulky than the arms; the belly and thighs form a portion which from the plural form given to the word translated "belly," מעוֹהי ( m ‛oh ı ̄ ), suggests more of dividedness than does that above. The lowest portion, that forming the legs and toes, has the greatest amount of division. Kliefoth also refers to another point—that while there is a progressive degradation of the metal, there is also progression in degrees of hardness, silver being harder than gold, copper harder than silver, and iron hardest of all; then suddenly the iron is mingled with clay. There is not a new, softer material added to form a new fifth part; but there is a mingling of "clay "—clay suitable for the potter, or rather that has already been baked in the kiln, and therefore in the last degree brittle. In fact, there is a progress in frangibility—gold the most ductile of metals, and iron the least so, then clay, when baked, more brittle still. There are many other successions that might be followed, which are at least ingenious. The idea suggested by the phrase, "part of iron and part of clay," is that there was not a complete mingling, but that portions were seen that were clearly clay, and other portions as clearly still iron; there was therefore the superadded notion of the imperfect union of the parts with the necessary additional weakness which follows.