Exodus 26:1

The Tabernacle

26:1 ¹ “The tabernacle itself ²  you are to make with ³  ten curtains of fine twisted linen and blue and purple and scarlet; ⁴  you are to make them with ⁵  cherubim that are the work of an artistic designer.

Exodus 26:31

26:31 “You are to make a special curtain ⁶  of blue, purple, and scarlet yarn and fine twisted linen; it is to be made ⁷  with cherubim, the work of an artistic designer.

Exodus 26:36

26:36 “You are to make a hanging ⁸  for the entrance of the tent of blue, purple, and scarlet yarn and fine twined linen, the work of an embroiderer. ⁹ 

Exodus 28:5-6

28:5 The artisans ¹⁰  are to use ¹¹  the gold, blue, purple, scarlet, and fine linen.

28:6 “They are to make the ephod of gold, blue, purple, scarlet, and fine twisted linen, the work of an artistic designer.

Exodus 28:15

28:15 “You are to make a breastpiece for use in making decisions, ¹²  the work of an artistic designer; you are to make it in the same fashion as the ephod; you are to make it of gold, blue, purple, scarlet, and fine twisted linen.

Exodus 28:33

28:33 You are to make pomegranates ¹³  of blue, purple, and scarlet all around its hem ¹⁴  and bells of gold between them all around.

[26:1]  ¹ sn 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.

[26:1]  ² tn 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.

[26:1]  ³ tn This is for the adverbial accusative explaining how the dwelling place is to be made.

[26:1]  ⁴ sn S. R. Driver suggests that the curtains were made with threads dyed with these colors (Exodus, 280). Perhaps the colored threads were used for embroidering the cherubim in the curtains.

[26:1]  ⁵ tn 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, 280-81). B. Jacob says that it refers to “artistic weavers” (Exodus, 789).

[26:31]  ⁶ tn Although translated “curtain” (traditionally “veil,” so ASV, NAB, NASB) 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, 289).

[26:31]  ⁷ tn 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.

[26:36]  ⁸ sn 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.

[26:36]  ⁹ tn 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. HALOT 1290-91 s.v. רקם).

[28:5]  ¹⁰ tn Heb “and they.” The word “artisans” is supplied as the referent of the pronoun, a connection that is clearer in Hebrew than in English.

[28:5]  ¹¹ tn Heb “receive” or “take.”

[28:15]  ¹² tn Heb “a breastpiece of decision” (חֹשֶׁן מִשְׁפָּט, khoshen mishpat; so NAB). The first word, rendered “breastpiece,” is of uncertain etymology. This item was made of material similar to the ephod. It had four rows of three gems on it, bearing the names of the tribes. In it were the urim and thummim. J. P. Hyatt refers to a similar object found in the Egyptian reliefs, including even the twisted gold chains used to hang it from the priest (Exodus [NCBC], 282).

[28:33]  ¹³ sn This must mean round balls of yarn that looked like pomegranates. The fruit was very common in the land, but there is no indication of the reason for its choice here. Pomegranates are found in decorative schemes in Ugarit, probably as signs of fertility. It may be that here they represent the blessing of God on Israel in the land. The bells that are between them possibly have the intent of drawing God’s attention as the priest moves and the bells jingle (anthropomorphic, to be sure), or that the people would know that the priest was still alive and moving inside. Some have suggested that the pomegranate may have recalled the forbidden fruit eaten in the garden (the gems already have referred to the garden), the reason for the priest entering for atonement, and the bells would divert the eye (of God) to remind him of the need. This is possible but far from supportable, since nothing is said of the reason, nor is the fruit in the garden identified.

[28:33]  ¹⁴ tn The text repeats the idea: “you will make for its hem…all around its hem.”