About Exodus

Exodus tells the story of Israel's deliverance from Egyptian slavery, the giving of the Law at Sinai, and the establishment of the tabernacle as the center of worship.

Author: MosesWritten: c. 1445-1405 BCReading time: ~5 minVerses: 38
DeliveranceRedemptionCovenantLawWorshipGod's Presence

King James Version

Exodus 36

38 verses with commentary

Construction of the Tabernacle Begins

Then wrought Bezaleel and Aholiab, and every wise hearted man, in whom the LORD put wisdom and understanding to know how to work all manner of work for the service of the sanctuary, according to all that the LORD had commanded.

View commentary
The chapter opens with 'Then wrought Bezaleel and Aholiab'—moving from calling (ch. 35) to working, from potential to actualization. The phrase 'every wise hearted man, in whom the LORD put wisdom' (חֲכַם־לֵב אֲשֶׁר נָתַן יְהוָה חָכְמָה, chakham-lev asher natan YHWH chokhmah) emphasizes divine enablement as the source of competence. The repetition 'to know how to work' underscores that spiritual wisdom produces practical skill—God's Spirit enables both understanding and execution of sacred work.

And Moses called Bezaleel and Aholiab, and every wise hearted man, in whose heart the LORD had put wisdom, even every one whose heart stirred him up to come unto the work to do it:

View commentary
Moses calls the workers 'every one whose heart stirred him up' (אֲשֶׁר נְשָׂאוֹ לִבּוֹ, asher nasa'o libbo), repeating the willing-heart theme from chapter 35. This demonstrates that both giving materials (35:21) and giving labor require the same heart motivation—internal compulsion from God's Spirit, not external coercion. The calling to 'come unto the work to do it' emphasizes that good intentions must transition to actual labor; stirred hearts must produce working hands.

And they received of Moses all the offering, which the children of Israel had brought for the work of the service of the sanctuary, to make it withal. And they brought yet unto him free offerings every morning.

View commentary
The workers receive 'all the offering which the children of Israel had brought'—passive construction emphasizing that people brought gifts; workers received them. The continuing phrase 'and they brought yet unto him free offerings every morning' describes sustained generosity, not one-time enthusiasm. The daily bringing of freewill offerings (נְדָבָה, nedavah) demonstrates that generous worship flows from ongoing relationship with God, not momentary emotion. This persistent giving would soon become problematic (v. 5-7) when abundance exceeded need.

And all the wise men, that wrought all the work of the sanctuary, came every man from his work which they made;

View commentary
The wise craftsmen 'came every man from his work which they made' (אִישׁ אִישׁ מִמְּלַאכְתּוֹ, ish ish mi-melakhto)—individually and collectively approaching Moses with their concern. Their wisdom extended beyond craftsmanship to stewardship: recognizing when enough materials had been gathered. This interruption of work to address excess demonstrates that faithful stewardship sometimes requires saying 'enough'—a countercultural concept in contexts of scarcity or greed. Wise workers know both when to labor and when to stop collecting.

And they spake unto Moses, saying, The people bring much more than enough for the service of the work, which the LORD commanded to make.

View commentary
The craftsmen report 'The people bring much more than enough' (מַרְבִּים לְהָבִיא מִדֵּי הָעֲבֹדָה, marbim lehavi midei ha-avodah)—literally 'exceeding to bring more than enough for the service.' This abundance demonstrates that when God's people give from stirred hearts, He ensures more than sufficient provision for His purposes. The phrase 'much more than enough' reflects gospel mathematics where God's provision always exceeds mere adequacy—baskets of fragments after feeding multitudes (Mark 6:43), 'able to do exceeding abundantly above all we ask or think' (Ephesians 3:20).

And Moses gave commandment, and they caused it to be proclaimed throughout the camp, saying, Let neither man nor woman make any more work for the offering of the sanctuary. So the people were restrained from bringing.

View commentary
Moses issues a proclamation 'throughout the camp' (בַּמַּחֲנֶה, ba-machaneh) commanding cessation of offerings—perhaps the only biblical instance of commanding people to stop giving. The phrase 'Let neither man nor woman make any more work for the offering' (אַל־יַעֲשׂוּ־עוֹד מְלָאכָה לִתְרוּמַת הַקֹּדֶשׁ, al-ya'asu-od melakhah litrumah ha-kodesh) demonstrates that even good things (giving) must be done in proper measure and timing. Wisdom knows both when to give and when to cease giving.

For the stuff they had was sufficient for all the work to make it, and too much.

View commentary
The summary statement 'For the stuff they had was sufficient for all the work to make it, and too much' (וְהַמְּלָאכָה הָיְתָה דַיָּם לְכָל־הַמְּלָאכָה לַעֲשׂוֹת אֹתָהּ וְהוֹתֵר, veha-melakhah hayetah dayam lekhol-hamelakhah la'asotah vehoter) emphasizes divine sufficiency. The word for 'sufficient' (דַּי, dai) conveys exact adequacy—not lack, not excess, but enough. God's mathematics ensure His work has precisely what it needs. This principle applies to spiritual gifts (1 Corinthians 12), daily bread (Matthew 6:11), and His grace ('My grace is sufficient,' 2 Corinthians 12:9).

The Tabernacle Curtains

And every wise hearted man among them that wrought the work of the tabernacle made ten curtains of fine twined linen, and blue, and purple, and scarlet : with cherubims of cunning work made he them.

View commentary
The actual tabernacle construction begins with 'every wise hearted man' making ten curtains of fine twined linen (שֵׁשׁ מָשְׁזָר, shesh mashzar) and colored threads. These innermost curtains, visible only to ministering priests, featured cherubim embroidered with 'cunning work' (מַעֲשֵׂה חֹשֵׁב, ma'aseh choshev—'designer's work')—artistic excellence dedicated to God though rarely seen. This teaches that God deserves our finest work regardless of human visibility; we work for Him, not for applause. The cherubim design recalls Eden's guarded entrance (Genesis 3:24), now opened through the sacrificial system.

The length of one curtain was twenty and eight cubits, and the breadth of one curtain four cubits: the curtains were all of one size.

View commentary
The precise measurements—28 cubits length, 4 cubits width (approximately 42' × 6')—demonstrate that following God's pattern (25:9) requires exact obedience, not approximate compliance. The phrase 'one size for all the curtains' (מִדָּה אַחַת לְכָל־הַיְרִיעֹת, middah achat lekhol-hayeri'ot) emphasizes uniformity and order in God's house. This consistency enables proper joining and structural integrity, illustrating that God's people must follow common standards to work together effectively in building His dwelling—diversity of function within unity of purpose.

And he coupled the five curtains one unto another: and the other five curtains he coupled one unto another.

View commentary
Five curtains coupled together (חֹבְרֹת, chovrot) form larger units, demonstrating how individual elements join to create the whole. The verb 'coupled' (חָבַר, chavar) means 'to unite, join, or associate'—the same root describing covenant partnership. This illustrates that God's dwelling requires both individual faithfulness (each curtain precisely made) and corporate unity (curtains joined together). The church similarly consists of individual believers perfectly formed in Christ, then joined together as living stones (1 Peter 2:5).

And he made loops of blue on the edge of one curtain from the selvedge in the coupling: likewise he made in the uttermost side of another curtain, in the coupling of the second.

View commentary
Loops of blue (לֻלָאֹת תְּכֵלֶת, lula'ot tekhelet) on curtain edges enable joining through clasps—small details making unity possible. Blue, the color of heaven, symbolizes divine origin and authority. These heavenly-colored loops teach that true unity in God's house comes through divine means, not human strategies. The specific number (fifty loops) and precise placement (edge of the curtain) demonstrate that unity requires intentional design, not accidental convergence.

Fifty loops made he in one curtain, and fifty loops made he in the edge of the curtain which was in the coupling of the second: the loops held one curtain to another.

View commentary
Fifty loops in one curtain matching fifty loops in the other (חֲמִשִּׁים לֻלָאֹת, chamishim lula'ot) 'coupled one to another' demonstrates perfect correspondence—what God has designed to join, He makes compatible. This precise matching illustrates that genuine unity in Christ's body isn't forced conformity but designed compatibility. When God's pattern is followed, components fit together perfectly; discord arises from deviation, not from following God's design.

And he made fifty taches of gold, and coupled the curtains one unto another with the taches: so it became one tabernacle.

View commentary
Fifty clasps of gold (קַרְסֵי זָהָב, karsei zahav) join the curtain sections, making the tabernacle 'one' (אֶחָד, echad)—the same word used of God's unity (Deuteronomy 6:4, 'Hear, O Israel: the LORD our God is one LORD'). Gold represents divinity; only divine intervention creates genuine oneness. Jesus prayed that His disciples would be 'one' as He and the Father are one (John 17:21)—supernatural unity reflecting Trinitarian unity, accomplished through Christ's divine work, not human effort.

And he made curtains of goats' hair for the tent over the tabernacle: eleven curtains he made them.

View commentary
Curtains of goats' hair (יְרִיעֹת עִזִּים, yeri'ot izzim) form a covering over the beautiful inner curtains, providing protection from elements. Goat hair, coarse and durable, represents humble service concealing inner glory—illustrating that spiritual beauty often hides beneath plain exteriors. This layered structure (glory within, humility without) prefigures Christ who 'made himself of no reputation' (Philippians 2:7) and had 'no beauty that we should desire him' (Isaiah 53:2) while containing divine glory.

The length of one curtain was thirty cubits, and four cubits was the breadth of one curtain: the eleven curtains were of one size.

View commentary
Eleven curtains of goat hair (contrasted with ten inner curtains) provide slightly different dimensions, creating proper overlap and coverage. The specific number and measurements demonstrate God's attention to both aesthetic beauty (inner curtains) and practical protection (outer coverings). This dual concern—beauty and function, glory and protection—teaches that God cares about both transcendent worship and practical provision, both inspired praise and daily bread.

And he coupled five curtains by themselves, and six curtains by themselves.

View commentary
The identical phrase 'one measure was to all the curtains' (מִדָּה אַחַת לְכֹל, middah achat lekhol) appearing again emphasizes consistency even in outer coverings. Whether visible (inner curtains) or hidden (outer coverings), God's standard of excellence remains constant. This teaches that we should work with equal diligence in public ministry and private service, in visible leadership and hidden prayer, because God sees and values all work done according to His pattern.

And he made fifty loops upon the uttermost edge of the curtain in the coupling, and fifty loops made he upon the edge of the curtain which coupleth the second.

View commentary
Fifty loops on the goat-hair curtain edges mirror the fifty loops on inner curtains (v. 12), demonstrating that both visible and hidden components follow the same unifying principle. Whether gold clasps join beautiful linen or brass clasps join practical goat hair (v. 18), the pattern of unity through divine design remains consistent. This teaches that superficial differences (materials, visibility) don't alter fundamental spiritual principles (unity, order, divine pattern).

And he made fifty taches of brass to couple the tent together, that it might be one.

View commentary
Fifty clasps of brass (bronze, נְחֹשֶׁת, nechoshet) couple the goat-hair curtains, contrasting with gold clasps for inner curtains (v. 13). Bronze represents judgment and endurance (the bronze altar received sin-offerings), appropriate for outer protection facing harsh elements. The progression from gold within to bronze without teaches that God's dwelling requires both intrinsic glory (gold) and external strength (bronze)—beauty protected by durability, grace upheld by justice.

And he made a covering for the tent of rams' skins dyed red, and a covering of badgers' skins above that.

View commentary
Rams' skins dyed red (עֹרֹת אֵילִם מְאָדָּמִים, orot eilim me'addamim) formed the third covering, explicitly associated with sacrifice (rams were primary offerings, as in Abraham's substitution, Genesis 22:13). The red dye emphasizes blood and atonement—covering sin through substitutionary death. Above this, badgers'/dugongs' skins (עֹרֹת תְּחָשִׁים, orot techashim) provided waterproof outer protection. Four coverings total (linen, goat hair, rams' skins, badgers' skins) demonstrate progressive concealment of glory and layered protection of holiness.

And he made boards for the tabernacle of shittim wood, standing up.

View commentary
The boards (קְרָשִׁים, kerashim) of shittim wood (acacia) overlaid with gold form the tabernacle's structural frame—humanity (wood) clothed in divinity (gold). Standing upright (עֹמְדִים, omedim), these boards represent believers standing firm in God's house, rooted in divine strength. The dual nature (wood and gold) prefigures Christ's two natures (human and divine) and believers' identity (earthly origin, heavenly standing)—'you have died, and your life is hidden with Christ in God' (Colossians 3:3).

The length of a board was ten cubits, and the breadth of a board one cubit and a half.

View commentary
Precise dimensions (ten cubits length, cubit and a half breadth—approximately 15' × 2.25') emphasize God's exact specifications. Each board's uniformity enabled proper joining, illustrating that believers, though individually complete, must fit together according to divine design. The phrase 'one board' (הַקֶּרֶשׁ הָאֶחָד, ha-keresh ha-echad) repeated for measurements stresses individual accountability within corporate structure—each person must be properly formed to join correctly with others.

One board had two tenons, equally distant one from another: thus did he make for all the boards of the tabernacle.

View commentary
Two tenons (יָדוֹת, yadot, literally 'hands') per board, 'equally distant one from another' (מְשֻׁלָּבֹת, meshullavaot, 'joined' or 'set in order'), enabled secure fitting into silver sockets. These 'hands' grasping the foundation picture believers' connection to Christ, the foundation (1 Corinthians 3:11). The equal distancing demonstrates balanced grounding—not leaning one direction or another, but firmly established in God's truth. Each board's two connection points illustrate that genuine stability requires multiple secure attachments, not single-point reliance.

And he made boards for the tabernacle; twenty boards for the south side southward:

View commentary
Twenty boards for the south side (פְּאַת־נֶגְבָּה תֵימָנָה, pe'at-negbah teimanah, 'corner of the south, southward') begin the framework, with specific attention to orientation and placement. The south side, facing the desert's heat, required the same careful construction as other sides—teaching that all parts of God's house deserve equal attention regardless of external conditions or visibility. No shortcuts are permitted in constructing God's dwelling; every side must be equally well-built.

And forty sockets of silver he made under the twenty boards; two sockets under one board for his two tenons, and two sockets under another board for his two tenons.

View commentary
Forty sockets of silver (אַדְנֵי־כֶסֶף, adnei-keseph, literally 'foundations of silver') under twenty boards (two per board) provided stable foundation. Silver throughout Scripture represents redemption (the half-shekel atonement money, Exodus 30:11-16, provided the silver for these sockets, 38:25-27). Every board resting on redemption-silver teaches that God's house stands entirely on atoning sacrifice—believers find sure footing not in personal merit but in purchased redemption. Christ is our foundation, and we stand only because He paid the price.

And for the other side of the tabernacle, which is toward the north corner, he made twenty boards,

View commentary
Twenty boards for the north side (צֶלַע הַמִּשְׁכָּן הַשֵּׁנִית, tzela ha-mishkan ha-shenit, 'the second side of the tabernacle') mirror the south side's construction, demonstrating symmetry and balance in God's house. The identical number and arrangement teach that God's principles apply consistently regardless of direction or orientation—His standards don't shift with circumstances. Theological truth maintains integrity in all contexts, under all conditions.

And their forty sockets of silver; two sockets under one board, and two sockets under another board.

View commentary
Forty silver sockets on the north side (identical to the south, v. 24) reinforce that God's dwelling rests equally on redemption throughout—no side lacks proper foundation, no area stands on inferior support. This universal foundation of atonement-silver prefigures Christ's sufficient sacrifice for all believers—His redemption doesn't vary by geography, culture, or time. The gospel's foundation remains consistent across all contexts.

And for the sides of the tabernacle westward he made six boards.

View commentary
Six boards form the west side (יַרְכְּתֵי הַמִּשְׁכָּן, yarketei ha-mishkan, 'the rear/back of the tabernacle'), creating the back wall opposite the entrance. The tabernacle's orientation (entrance east, back west) meant worshipers faced west, moving away from the rising sun—a deliberate contrast with pagan sun-worship. Israel's God dwelt in the west, and His people approached Him moving away from sun-worship, demonstrating that true worship rejects created things for the Creator (Romans 1:25).

And two boards made he for the corners of the tabernacle in the two sides.

View commentary
Two corner boards (קְרָשִׁים, kerashim) for the tabernacle's back corners demonstrate attention to structural integrity even at junction points. Corners, where sides meet, require special reinforcement—illustrating that transitions and connections need particular care in building God's house. These corner boards prevented gaps and maintained stability, teaching that God's dwelling allows no weakness, no undefined space, no vulnerable joints. The church similarly requires careful attention to how different parts connect.

And they were coupled beneath, and coupled together at the head thereof, to one ring: thus he did to both of them in both the corners. coupled: Heb. twinned

View commentary
Corner boards 'coupled together beneath' and 'coupled together above' (תָּמִים, tammim—'perfect, complete') ensure seamless joining from foundation to top. This complete coupling illustrates that connections in God's house must be secure throughout, not just superficially. Unity isn't merely external appearance but internal reality, from foundation (doctrine) to crown (practice). The coupling 'unto one ring' (אֶל־הַטַּבַּעַת הָאֶחָת, el-hatabba'at ha-echat) emphasizes that diverse boards unite in one purpose, one Lord, one faith (Ephesians 4:5).

And there were eight boards; and their sockets were sixteen sockets of silver, under every board two sockets . under: Heb. two sockets, two sockets under one board

View commentary
Summary: eight boards and sixteen silver sockets for the west side demonstrate that even the back of God's dwelling stands fully on redemption-foundation. No part of the tabernacle rests on anything inferior to atonement-silver. This universal foundation teaches that God's house—whether front or back, visible or hidden, public or private—stands entirely on Christ's redemptive work. No area of the church, no aspect of Christian life, has any foundation except Jesus Christ (1 Corinthians 3:11).

And he made bars of shittim wood; five for the boards of the one side of the tabernacle,

View commentary
Bars of shittim wood (acacia, בְּרִיחֵי עֲצֵי שִׁטִּים, berichei atzei shittim) overlaid with gold bound the standing boards together horizontally, creating lateral strength. While boards stood individually on redemption-foundations, bars joined them corporately—illustrating that believers, though each individually redeemed, require mutual connection for stability. The bars represent fellowship, accountability, and shared purpose that bind God's people together. Without lateral support, individual boards could topple; without genuine community, individual believers become vulnerable.

And five bars for the boards of the other side of the tabernacle, and five bars for the boards of the tabernacle for the sides westward.

View commentary
Five bars for each side (north, south) demonstrate systematic connection—not random or haphazard, but ordered and complete. The number five often represents grace in Scripture (five fingers, five senses, five offerings in Leviticus). These grace-bars binding God's house together suggest that genuine unity comes through divine grace, not human effort. The symmetry (five per side) emphasizes God's consistent pattern across all aspects of His dwelling.

And he made the middle bar to shoot through the boards from the one end to the other.

View commentary
The middle bar 'in the midst of the boards' reaching 'from end to end' (הַבְּרִיחַ הַתִּיכֹן בְּתוֹךְ הַקְּרָשִׁים, haberiach ha-tikhon betokh ha-kerashim... מִן־הַקָּצֶה אֶל־הַקָּצֶה, min-hakatzeh el-hakatzeh) provided central, comprehensive support spanning the entire side. This central bar pictures Christ, the unifying center of His church, who binds all believers together from one end (beginning of time) to the other (consummation). He is the 'one mediator' (1 Timothy 2:5) connecting all parts of His body across all generations.

And he overlaid the boards with gold, and made their rings of gold to be places for the bars, and overlaid the bars with gold.

View commentary
Overlaying the boards with gold (וְאֶת־הַקְּרָשִׁים צִפָּה זָהָב, ve'et-hakerashim tzippah zahav) transformed humble desert wood into reflections of divine glory. Gold represents divinity, purity, and royalty—covering wood demonstrates how God clothes His people in righteousness not their own. The boards' identity didn't change (still acacia), but their appearance and function transformed through covering with precious metal. Similarly, believers retain humanity while being clothed in Christ's righteousness (Galatians 3:27).

And he made a vail of blue, and purple, and scarlet , and fine twined linen: with cherubims made he it of cunning work.

View commentary
Making rings of gold (טַבְּעֹת זָהָב, tabba'ot zahav) as places for bars demonstrates that even connection points must reflect divine glory. The rings, though functional hardware, were made precious through gold—teaching that every aspect of God's house, even practical necessities, should reflect His excellence. In the body of Christ, even seemingly mundane functions (administration, helps, etc.) are gifts from God deserving golden excellence (1 Corinthians 12:28).

And he made thereunto four pillars of shittim wood, and overlaid them with gold: their hooks were of gold; and he cast for them four sockets of silver.

View commentary
Overlaying bars with gold (וְאֶת־הַבְּרִיחִם צִפָּה זָהָב, ve'et-habberichim tzippah zahav) ensures that elements binding the structure together share the same glory as elements being bound. Unity mechanisms aren't inferior to individual components—both reflect divine character. This teaches that ministry focused on connection and unity (reconciliation, peacemaking, fellowship) is as valuable as other gifts. Those who bind Christ's body together do golden work.

And he made an hanging for the tabernacle door of blue, and purple, and scarlet , and fine twined linen, of needlework ; of needlework: Heb. the work of a needleworker or, embroiderer

View commentary
The veil (פָּרֹכֶת, parokhet) of blue, purple, scarlet, and fine linen with cherubim worked in 'cunning work' separated the Holy Place from the Most Holy Place, barring access to God's immediate presence. This barrier represented sin's separation between God and humanity—only the high priest could pass through once yearly with blood (Hebrews 9:7). At Christ's death, this veil tore top to bottom (Matthew 27:51), signifying that His sacrifice opened direct access to God's presence for all believers (Hebrews 10:19-20).

And the five pillars of it with their hooks: and he overlaid their chapiters and their fillets with gold: but their five sockets were of brass.

View commentary
The veil hangs on four pillars of shittim wood overlaid with gold, with hooks of gold, standing in sockets of silver—combining the primary tabernacle materials (gold/divinity, wood/humanity, silver/redemption). These pillars holding the veil teach that the barrier between God and humanity stands on redemption, involves humanity, and reflects divinity—all elements coming together in the separation caused by sin. Christ embodies all three: divine-human mediator providing redemption that removes the barrier. The four pillars may represent universality (four corners of earth)—the barrier affected all humanity.

Test Your Knowledge

Continue Your Study