Biblical writers often use "text painting": the form of the text portrays the topic of the text. The first half of the flood narrative describes the rising waters, steadily raising the ark toward heaven. The second half describes the descending waters. At the center: "Yahweh remembered Noah" (Genesis 8:1). Rise, rise, rise THEN recede, recede, recede.

Mary Douglas (Leviticus as Literature) has described the structure of Leviticus as a tour of the tabernacle, taking us from the courtyard into the Most Holy Place and then back out, as if we were high priests on the Day of Atonement.

Years ago, I heard Gabriella Gelardini lecture on the structure of Hebrews. She showed that this letter mimics the structure of Leviticus, and serves as a brilliant example of this technique. She took note of recurring words and discovered this chiastic form:

A. 1:1-4

B. 2:1-4: escape

C. 3:1-6: look to Jesus

D. 4:12-13: invisible

E. 6:13-20: veil

F. 8:1-6/9:11-14: heavenly tabernacle

E’. 10:19-23: veil

D’. 11:1-3: visibility

C’. 12:1-3: look to Jesus

B’. 12:25-29: escape

A’. 13:20-25

Gelardini described it as a pyramid or mountain. The first half of the book climbs up, the second half climbs back down. Notice: “veil” (E/E’) surrounds the section about the heavenly tabernacle. We climb the text through the veil into the heavenly sanctuary, and then come back out.

This is just what the high priest does on the day of atonement (Lev 16). He passes through the veil into the Most Holy Place, then comes out again. And, of course, the day of atonement is one of the primary themes of the central part of the letter (Heb 9:6-28).

Jesus is the better high priest who performs a perfect, once-for-all, everlasting day of atonement by entering the true tabernacle in heaven. The form of the letter follows Jesus into the heavenly sanctuary. As we read, we accompany Him further up, further in, so we have confidence to enter “through the veil, that is, His flesh” (Heb 10:20).