Exodus 25–27

Footnotes

1. 1 Now begin the detailed instructions for constructing the tabernacle of Yahweh, with all its furnishings. The first paragraph introduces the issue of the heavenly pattern for the construction, calls for the people to make willing offerings (vv. 2–7), and explains the purpose for these offerings (vv. 8–9). The message here is that God calls his people to offer of their substance willingly so that his sanctuary may be made.
2. 2 The verb is וְיִקְחוּ (véyiqkhu), the Qal imperfect or jussive with vav; after the imperative “speak” this verb indicates the purpose or result: “speak … that they may take” and continues with the force of a command.
3. 3 The “offering” (תְּרוּמָה, térumah) is perhaps better understood as a contribution since it was a freewill offering. There is some question about the etymology of the word. The traditional meaning of “heave-offering” derives from the idea of “elevation,” a root meaning “to be high” lying behind the word. B. Jacob says it is something sorted out of a mass of material and designated for a higher purpose (Exodus, 765). S. R. Driver (Exodus, ) corrects the idea of “heave-offering” by relating the root to the Hiphil form of that root, herim, “to lift” or “take off.” He suggests the noun means “what is taken off” from a larger mass and so designated for sacred purposes. The has “something taken off.”
4. 4 The verb יִדְּבֶנּוּ (yiddévennu) is related to the word for the “freewill offering” (נְדָבָה, nédavah). The verb is used of volunteering for military campaigns (Judg 5:2, 9) and the willing offerings for both the first and second temples (see 1 Chr 29:5, 6, 9, 14, 17).
5. 5 The pronoun is plural.
6. 6 The pronoun is plural.
7. 7 The blue refers to dye made from shellfish. It has a dark blue or purple-blue, almost violet color. No significance for the color is attached.
8. 8 Likewise this color dye was imported from Phoenicia, where it was harvested from the shellfish or snail. It is a deep purple-red color.
9. 9 This color is made from the eggs and bodies of the worm coccus ilicus, which is found with the holly plant—so Heb “worm of brilliance.” The powder made from the dried maggots produces a bright red-yellow color (W. C. Kaiser, Jr., “Exodus,” 2:). B. Jacob takes the view that these are not simply colors that are being introduced here, but fabrics dyed with these colors (Exodus, 765). At any rate, the sequence would then be metals, fabrics, and leathers (v. 5).
10. 10 This is generally viewed as a fine Egyptian linen that had many more delicate strands than ordinary linen.
11. 11 Goat’s hair was spun into yarn (35:26) and used to make the material for the first tent over the dwelling. It is ideal for tenting, since it is loosely woven and allows breezes to pass through, but with rain the fibers expand and prevent water from seeping through.
12. 12 W. C. Kaiser compares this to morocco leather (“Exodus,” 2:); it was skin that had all the wool removed and then was prepared as leather and dyed red. N. M. Sarna, on the other hand, comments, “The technique of leather production is never described [in ancient Hebrew texts]. Hence, it is unclear whether Hebrew me’oddamim (מְאָדָּמִים), literally ‘made red,’ refers to the tanning or dyeing process” (Exodus [], ).
13. 13 The meaning of the word תְּחָשִׁים (tékhashim) is debated. The Arabic tuhas or duhas is a dolphin, and so some think a sea animal is meant—something like a dolphin or porpoise (cf. ; “sealskins”; “hides of sea cows”). Porpoises are common in the Red Sea; their skins are used for clothing by the bedouin. The word has also been connected to an Egyptian word for “leather” (ths); see S. R. Driver, Exodus, . Some variation of this is followed by (“fine leather”) and (“fine goatskin leather”). Another suggestion connects this word to an Akkadian one that describes a precious stone that is yellow or orange and also leather died with the color of this stone (N. M. Sarna, Exodus [], ).
14. 14 The wood of the acacia is darker and harder than oak, and so very durable.
15. 15 The verb is a perfect with vav (ו) consecutive; it follows in the sequence initiated by the imperative in v. 2 and continues with the force of a command.
16. 16 The word here is מִקְדּשׁ (miqdash), “a sanctuary” or “holy place”; cf. “sacred residence.” The purpose of building it is to enable Yahweh to reside (וְשָׁכַנְתִּי, véshakhanti) in their midst. U. Cassuto reminds the reader that God did not need a place to dwell, but the Israelites needed a dwelling place for him, so that they would look to it and be reminded that he was in their midst (Exodus, ).
17. 17 The pronoun is singular.
18. 18 The expression “the pattern of the tabernacle” (תַּבְנִית הַמִּשְׁכָּן, tavnit hammiskan) has been the source of much inquiry. The word rendered “pattern” is related to the verb “to build”; it suggests a model. S. R. Driver notes that in ancient literature there is the account of Gudea receiving in a dream a complete model of a temple he was to erect (Exodus, ). In this passage Moses is being shown something on the mountain that should be the pattern of the earthly sanctuary. The most plausible explanation of what he was shown comes from a correlation with comments in the Letter to the Hebrews and the book of Revelation, which describe the heavenly sanctuary as the true sanctuary, and the earthly as the copy or shadow. One could say that Moses was allowed to see what John saw on the island of Patmos, a vision of the heavenly sanctuary. That still might not explain what it was, but it would mean he saw a revelation of the true tent, and that would imply that he learned of the spiritual and eternal significance of all of it. The fact that Israel’s sanctuary resembled those of other cultures does not nullify this act of revelation; rather, it raises the question of where the other nations got their ideas if it was not made known early in human history. One can conclude that in the beginning there was much more revealed to the parents in the garden than Scripture tells about (Cain and Abel did know how to make sacrifices before Leviticus legislated it). Likewise, one cannot but guess at the influence of the fallen Satan and his angels in the world of pagan religion. Whatever the source, at Sinai God shows the true, and instructs that it all be done without the pagan corruptions and additions. U. Cassuto notes that the existence of these ancient parallels shows that the section on the tabernacle need not be dated in the second temple period, but fits the earlier period well (Exodus, ).
19. 19 The pronoun is plural.
20. 20 Among the many helpful studies on the tabernacle, include S. M. Fish, “And They Shall Build Me a Sanctuary,” Gratz College of Jewish Studies 2 (1973): 43–59; I. Hart, “Preaching on the Account of the Tabernacle,” 54 (1982): 111–16; D. Skinner, “Some Major Themes of Exodus,” Mid-America Theological Journal 1 (1977): 31–42; S. McEvenue, “The Style of Building Instructions,” 4 (1974): 1–9; M. Ben-Uri, “The Mosaic Building Code,” Creation Research Society Quarterly 19 (1982): 36–39.
21. 21 This section begins with the ark, the most sacred and important object of Israel’s worship. Verses 10–15 provide the instructions for it, v. 16 has the placement of the Law in it, vv. 17–21 cover the mercy lid, and v. 22 the meeting above it. The point of this item in the tabernacle is to underscore the focus: the covenant people must always have God’s holy standard before them as they draw near to worship. A study of this would focus on God’s nature (he is a God of order, precision, and perfection), on the usefulness of this item for worship, and on the typology intended.
22. 22 The word “ark” has long been used by English translations to render אָרוֹן (’aron), the word used for the wooden “box,” or “chest,” made by Noah in which to escape the flood and by the Israelites to furnish the tabernacle.
23. 23 The size is two and a half cubits long, a cubit and a half wide, and a cubit and a half high. The size in feet and inches is estimated on the assumption that the cubit is 18 inches (see S. R. Driver, Exodus, ).
24. 24 The verbs throughout here are perfect tenses with the vav (ו) consecutives. They are equal to the imperfect tense of instruction and/or injunction.
25. 25 Here the verb is an imperfect tense; for the perfect sequence to work the verb would have to be at the front of the clause.
26. 26 The word זֵר (zer) is used only in Exodus and seems to describe something on the order of a crown molding, an ornamental border running at the top of the chest on all four sides. There is no indication of its appearance or function.
27. 27 The “testimony” is the Decalogue (Exod 24:12; 31:18; Deut 4:13; 9:9; 1 Kgs 8:9); the word identifies it as the witness or affirmation of God’s commandments belonging to his covenant with Israel. It expressed God’s will and man’s duty. In other cultures important documents were put at the feet of the gods in the temples.
28. 28 The noun is כַּפֹּרֶת (kapporet), translated “atonement lid” or “atonement plate.” The traditional translation “mercy-seat” (so , , , ) came from Tyndale in 1530 and was also used by Luther in 1523. The noun is formed from the word “to make atonement.” The item that the Israelites should make would be more than just a lid for the ark. It would be the place where atonement was signified. The translation of “covering” is probably incorrect, for it derives from a rare use of the verb, if the same verb at all (the evidence shows “cover” is from another root with the same letters as this). The value of this place was that Yahweh sat enthroned above it, and so the ark essentially was the “footstool.” Blood was applied to the lid of the box, for that was the place of atonement (see S. R. Driver, Exodus, ).
29. 29 After verbs of making or producing, the accusative (like “gold” here) may be used to express the material from which something is made (see §117.hh).
30. 30 The evidence suggests that the cherubim were composite angelic creatures that always indicated the nearness of God. So here images of them were to be crafted and put on each end of the ark of the covenant to signify that they were there. Ezekiel 1 describes four cherubim as each having human faces, four wings, and parts of different animals for their bodies. Traditions of them appear in the other cultures as well. They serve to guard the holy places and to bear the throne of God. Here they were to be beaten out as part of the lid.
31. 31 The text now shifts to use an imperative with the vav (ו) conjunction.
32. 32 The use of זֶה (zeh) repeated here expresses the reciprocal ideas of “the one” and “the other” (see R. J. Williams, Hebrew Syntax, 26, §132).
33. 33 The angels were to form one piece with the lid and not be separated. This could be translated “of one piece with” the lid, but it is likely the angels were simply fastened to it permanently.
34. 34 The verb means “overshadowing, screening” in the sense of guarding (see 1 Kgs 8:7; 1 Chr 28:18; see also the account in Gen 3:24). The cherubim then signify two things here: by their outstretched wings they form the throne of God who sits above the ark (with the Law under his feet), and by their overshadowing and guarding they signify this as the place of atonement where people must find propitiation to commune with God. Until then they are barred from his presence. See U. Cassuto, Exodus, .
35. 35 Heb “their faces a man to his brother.”
36. 36 Heb “the faces of the cherubim will be” (“the cherubim” was moved to the preceding clause for smoother English).
37. 37 Here then is the main point of the ark of the covenant, and the main point of all worship—meeting with God through atonement. The text makes it clear that here God would meet with Moses (“you” is singular) and then he would speak to the people—he is the mediator of the covenant. S. R. Driver (Exodus, ) makes the point that the verb here is not the word that means “to meet by chance” (as in Exod 3:18), but “to meet” by appointment for a purpose (וְנוֹעַדְתִּי, véno’adti). The parallel in the NT is Jesus Christ and his work. The theology is that the Law condemns people as guilty of sin, but the sacrifice of Christ makes atonement. So he is the “place of propitiation (Rom 3:25) who gains communion with the Father for sinners. A major point that could be made from this section is this: At the center of worship must be the atoning work of Christ—a perpetual reminder of God’s righteous standard (the testimony in the ark) and God’s gracious provision (the atonement lid).
38. 38 The verb is placed here in the text: “and I will speak”; it has been moved in this translation to be closer to the direct object clause.
39. 39 The Table of the Bread of the Presence (Tyndale’s translation, “Shewbread,” was used in and influenced , ) was to be a standing acknowledgment that Yahweh was the giver of daily bread. It was called the “presence-bread” because it was set out in his presence. The theology of this is that God provides, and the practice of this is that the people must provide for constant thanks. So if the ark speaks of communion through atonement, the table speaks of dedicatory gratitude.
40. 40 “Gold” is an adverbial accusative of material.
41. 41 There is some debate as to the meaning of מִסְגֶּרֶת (misgeret). This does not seem to be a natural part of the table and its legs. The drawing on the Arch of Titus shows two cross-stays in the space between the legs, about halfway up. It might have been nearer the top, but the drawing of the table of presence-bread from the arch shows it half-way up. This frame was then decorated with the molding as well.
42. 42 Heb “give.”
43. 43 Heb “which [are] to four of its feet.”
44. 44 Heb “houses”; , “holders.”
45. 45 The verb is a Niphal perfect with vav consecutive, showing here the intended result: “so that [the table] might be lifted up [by them].” The noun “the table” is introduced by what looks like the sign of the accusative, but here it serves to introduce or emphasize the nominative (see §117.i).
46. 46 Or “a deep gold dish.” The four nouns in this list are items associated with the table and its use.
47. 47 Or “cups” (, ).
48. 48 The expression “for pouring out offerings” represents Hebrew אֲשֶׁר יֻסַּךְ בָּהֵן (’asher yussakh bahen). This literally says, “which it may be poured out with them,” or “with which [libations] may be poured out.”
49. 49 The name basically means that the bread is to be set out in the presence of Yahweh. The custom of presenting bread on a table as a thank offering is common in other cultures as well. The bread here would be placed on the table as a symbol of the divine provision for the twelve tribes—continually, because they were to express their thanksgiving continually. Priests could eat the bread after certain times. Fresh bread would be put there regularly.
50. 50 Clearly the point here is to provide light in the tent for access to God. He provided for his worshipers a light for the way to God, but he also wanted them to provide oil for the lamp to ensure that the light would not go out. Verses 31–36 describe the piece. It was essentially one central shaft, with three branches on either side turned out and upward. The stem and the branches were ornamented every so often with gold that was formed into the shape of the calyx and corolla of the almond flower. On top of the central shaft and the six branches were the lamps.
51. 51 The word is מְנֹרָה (ménorah)—here in construct to a following genitive of material. The main piece was one lampstand, but there were seven lamps on the shaft and its branches. See E. Goodenough, “The Menorah among the Jews of the Roman World,” 23 (1950/51): 449–92.
52. 52 U. Cassuto (Exodus, ) says that the description “the cups, knobs and flowers” is explained in vv. 32–36 as three decorations in the form of a cup, shaped like an almond blossom, to be made on one branch. Every cup will have two parts, (a) a knob, that is, the receptacle at the base of the blossom, and (b) a flower, which is called the corolla, so that each lamp rests on top of a flower.
53. 53 Heb “will be from/of it”; the referent (“the same piece” of wrought metal) has been specified in the translation for clarity.
54. 54 Heb “from the sides of it.”
55. 55 Heb “from the second side.”
56. 56 The text uses “one” again; “the one … the one” means “the one … and the next” in the distributive sense.
57. 57 Heb “thus.”
58. 58 For clarity the phrase “the first” has been supplied.
59. 59 For clarity the phrase “the next” has been supplied.
60. 60 For clarity the phrase “the third” has been supplied.
61. 61 Heb “will be from it.”
62. 62 The word for “lamps” is from the same root as the lampstand, of course. The word is נֵרוֹת (nerot). This probably refers to the small saucer-like pottery lamps that are made very simply with the rim pinched over to form a place to lay the wick. The bowl is then filled with olive oil as fuel.
63. 63 The translation “set up on” is from the Hebrew verb “bring up.” The construction is impersonal, “and he will bring up,” meaning “one will bring up.” It may mean that people were to fix the lamps on to the shaft and the branches, rather than cause the light to go up (see S. R. Driver, Exodus, ).
64. 64 This is a Hiphil perfect with vav consecutive, from אוֹר (’or, “light”), and in the causative, “to light, give light.”
65. 65 The first word refers to something like small tongs or tweezers used to pull up and trim the wicks; the second word refers to fire-pans or censers.
66. 66 “are to be” has been supplied.
67. 67 Heb “a talent.”
68. 68 The text has “he will make it” or “one will make it.” With no expressed subject it is given a passive translation.
69. 69 The text uses two imperatives: “see and make.” This can be interpreted as a verbal hendiadys, calling for Moses and Israel to see to it that they make these things correctly.
70. 70 The participle is passive, “caused to see,” or, “shown.”
71. 71 The message of this section surely concerns access to God. To expound this correctly, though, since it is an instruction section for building the lampstand, the message would be: God requires that his people ensure that light will guide the way of access to God. The breakdown for exposition could be the instructions for preparation for light (one lamp, several branches), then instructions for the purpose and maintenance of the lamps, and then the last verse telling the divine source for the instructions. Naturally, the metaphorical value of light will come up in the study, especially from the NT. So in the NT there is the warning that if churches are unfaithful God will remove their lampstand, their ministry (Rev 2–3).
72. 1 This chapter is given over to the details of the structure itself, the curtains, coverings, boards and walls and veil. The passage can be studied on one level for its function both practically and symbolically for Israel’s worship. On another level it can be studied for its typology, for the tabernacle and many of its parts speak of Christ. For this one should see the commentaries.
73. 2 The word order in Hebrew thrusts the direct object to the front for particular emphasis. After the first couple of pieces of furniture are treated (chap. 25), attention turns to the tabernacle itself.
74. 3 This is for the adverbial accusative explaining how the dwelling place is to be made.
75. 4 S. R. Driver suggests that the curtains were made with threads dyed with these colors (Exodus, ). Perhaps the colored threads were used for embroidering the cherubim in the curtains.
76. 5 The construction is difficult in this line because of the word order. “Cherubim” is an adverbial accusative explaining how they were to make the curtains. And מַעֲשֵׂה חֹשֵׁב (ma’aseh khoshev) means literally “work of a designer”; it is in apposition to “cherubim.” The Hebrew participle means “designer” or “deviser” so that one could render this “of artistic designs in weaving” (S. R. Driver, Exodus, ). B. Jacob says that it refers to “artistic weavers” (Exodus, 789).
77. 6 Heb “one” (so ).
78. 7 Heb “twenty-eight cubits” long and “four cubits” wide.
79. 8 This is the active participle, not the passive. It would normally be rendered “joining together.” The Bible uses the active because it has the result of the sewing in mind, namely, that every curtain accompanies another (U. Cassuto, Exodus, ).
80. 9 Heb “a woman to her sister,” this form of using nouns to express “one to another” is selected because “curtains” is a feminine noun (see §139.e).
81. 10 The phrase “the other” has been supplied.
82. 11 Here “loops” has been supplied.
83. 12 Heb “a woman to her sister.”
84. 13 Heb “one”; “it shall be one tabernacle”; “that the tabernacle may be one whole”; “a single unit.”
85. 14 This chapter will show that there were two sets of curtains and two sets of coverings that went over the wood building to make the tabernacle or dwelling place. The curtains of fine linen described above could be seen only by the priests from inside. Above that was the curtain of goats’ hair. Then over that were the coverings, an inner covering of rams’ skins dyed red and an outer covering of hides of fine leather. The movement is from the inside to the outside because it is God’s dwelling place; the approach of the worshiper would be the opposite. The pure linen represented the righteousness of God, guarded by the embroidered cherubim; the curtain of goats’ hair was a reminder of sin through the daily sin offering of a goat; the covering of rams’ skins dyed red was a reminder of the sacrifice and the priestly ministry set apart by blood, and the outer covering marked the separation between God and the world. These are the interpretations set forth by Kaiser; others vary, but not greatly (see W. C. Kaiser, Jr., “Exodus,” 2:).
86. 15 This curtain will serve “for a tent over the tabernacle,” as a dwelling place.
87. 16 Heb “you will make them”
88. 17 Heb “one”
89. 18 The text seems to describe this part as being in front of the tabernacle, hanging down to form a valence at the entrance (S. R. Driver, Exodus, ).
90. 19 Heb “one”
91. 20 U. Cassuto (Exodus, ) cites b. Shabbat 98b which says, “What did the tabernacle resemble? A woman walking on the street with her train trailing behind her.” In the expression “the half of the curtain that remains,” the verb agrees in gender with the genitive near it.
92. 21 Literally “cubit.”
93. 22 U. Cassuto states the following: “To the north and to the south, since the tent curtains were thirty cubits long, there were ten cubits left over on each side; these covered the nine cubits of the curtains of the tabernacle and also the bottom cubit of the boards, which the tabernacle curtains did not suffice to cover. It is to this that v. 13 refers” (Exodus, ).
94. 23 Two outer coverings made of stronger materials will be put over the tent and the curtain, the two inner layers.
95. 24 See the note on this phrase in .
96. 25 There is debate whether the word הַקְּרָשִׁים (haqqérashim) means “boards” (, , , ) or “frames” (, , , ) or “planks” (see Ezek 27:6) or “beams,” given the size of them. The literature on this includes M. Haran, “The Priestly Image of the Tabernacle,” 36 (1965): 192; B. A. Levine, “The Description of the Tabernacle Texts of the Pentateuch,” 85 (1965): 307–18; J. Morgenstern, “The Ark, the Ephod, and the Tent,” 17 (1942/43): 153–265; 18 (1943/44): 1–52.
97. 26 “Wood” is an adverbial accusative.
98. 27 The plural participle “standing” refers to how these items will be situated; they will be vertical rather than horizontal (U. Cassuto, Exodus, ).
99. 28 Heb “the frame.”
100. 29 Heb “hands,” the reference is probably to projections that served as stays or supports. They may have been tenons, or pegs, projecting from the bottom of the frames to hold the frames in their sockets (S. R. Driver, Exodus, ).
101. 30 Or “being joined each to the other.”
102. 31 Heb “on the south side southward.”
103. 32 The clause is repeated to show the distributive sense; it literally says, “and two bases under the one frame for its two projections.”
104. 33 Or “westward” (toward the sea).
105. 34 The term rendered “corners” is “an architectural term for some kind of special corner structure. Here it seems to involve two extra supports, one at each corner of the western wall” (N. M. Sarna, Exodus [], ).
106. 35 Heb “they will be for the two corners.” This is the last clause of the verse, moved forward for clarity.
107. 36 These bars served as reinforcements to hold the upright frames together. The Hebrew term for these bars is also used of crossbars on gates (Judg 16:3; Neh 3:3).
108. 37 The noun is מִשְׁפָּט (mishpat), often translated “judgment” or “decision” in other contexts. In those settings it may reflect its basic idea of custom, which here would be reflected with a rendering of “prescribed norm” or “plan.”
109. 38 Although translated “curtain” (traditionally “veil,” so , , ) this is a different word from the one used earlier of the tent curtains, so “special curtain” is used. The word פָרֹכֶת (farokhet) seems to be connected with a verb that means “to shut off” and was used with a shrine. This curtain would form a barrier in the approach to God (see S. R. Driver, Exodus, ).
110. 39 The verb is the third masculine singular form, but no subject is expressed. It could be translated “one will make” or as a passive. The verb means “to make,” but probably has the sense of embroidering both here and in v. 1.
111. 40 Heb “put it.”
112. 41 This clause simply says “and their hooks gold,” but is taken as a circumstantial clause telling how the veil will be hung.
113. 42 Heb “on four silver bases.”
114. 43 The traditional expression is “within the veil,” literally “into the house (or area) of the (special) curtain.”
115. 44 Or “the Holy of Holies.”
116. 45 This was another curtain, serving as a screen in the entrance way. Since it was far away from the special curtain screening the Most Holy Place, it was less elaborate. It was not the work of the master designer, but of the “embroiderer,” and it did not have the cherubim on it.
117. 46 The word רֹקֵם (roqem) refers to someone who made cloth with colors. It is not certain, however, whether the colors were woven into the fabric on the loom or applied with a needle; so “embroiderer” should be understood as an approximation (cf. רקם).
118. 47 “will be” has been supplied.