Exodus

Exodus 37

1 Bezalel went on to construct the ark of acacia wood, two and a half cubits long, a cubit and a half wide, and a cubit and a half high. 2 He overlaid it with pure gold, both inside and out, and made a gold molding around it. 3 And he cast four gold rings for its four feet, two rings on one side and two on the other. 4 Then he made poles of acacia wood and overlaid them with gold. 5 He inserted the poles into the rings on the sides of the ark in order to carry it. The Mercy Seat (Exodus 25:17–22) 6 He constructed a mercy seat of pure gold, two and a half cubits long and a cubit and a half wide. 7 He made two cherubim of hammered gold at the ends of the mercy seat, 8 one cherub on one end and one on the other, all made from one piece of gold. 9 And the cherubim had wings that spread upward, overshadowing the mercy seat. The cherubim faced each other, looking toward the mercy seat. The Table of Showbread (Exodus 25:23–30; Leviticus 24:5–9) 10 He also made the table of acacia wood two cubits long, a cubit wide, and a cubit and a half high. 11 He overlaid it with pure gold and made a gold molding around it. 12 And he made a rim around it a handbreadth wide and put a gold molding on the rim. 13 He cast four gold rings for the table and fastened them to the four corners at its four legs. 14 The rings were placed close to the rim, to serve as holders for the poles used to carry the table. 15 He made the poles of acacia wood for carrying the table and overlaid them with gold. 16 He also made the utensils for the table out of pure gold: its plates and dishes, as well as its bowls and pitchers for pouring drink offerings. The Lampstand (Exodus 25:31–40; Numbers 8:1–4) 17 Then he made the lampstand out of pure hammered gold, all of one piece: its base and shaft, its cups, and its buds and petals. 18 Six branches extended from the sides, three on one side and three on the other. 19 There were three cups shaped like almond blossoms on the first branch, each with buds and petals, three on the next branch, and the same for all six branches that extended from the lampstand. 20 And on the lampstand were four cups shaped like almond blossoms with buds and petals. 21 A bud was under the first pair of branches that extended from the lampstand, a bud under the second pair, and a bud under the third pair. 22 The buds and branches were all of one piece with the lampstand, hammered out of pure gold. 23 He also made its seven lamps, its wick trimmers, and trays of pure gold. 24 He made the lampstand and all its utensils from a talent of pure gold. The Altar of Incense (Exodus 30:1–10) 25 He made the altar of incense out of acacia wood. It was square, a cubit long, a cubit wide, and two cubits high. Its horns were of one piece. 26 And he overlaid with pure gold the top and all the sides and horns. Then he made a molding of gold around it. 27 He made two gold rings below the molding on opposite sides to hold the poles used to carry it. 28 And he made the poles of acacia wood and overlaid them with gold. 29 He also made the sacred anointing oil and the pure, fragrant incense, the work of a perfumer.

What the text says

## Summary Exodus 37 describes Bezalel's construction of the sanctuary's golden furnishings: the ark with its cherubim-covered mercy seat, the table for bread, the seven-branched lampstand, and the incense altar. Each object is made from acacia wood overlaid with gold or hammered from pure gold, with dimensions given in cubits and specific decorative and functional details (rings, poles, moldings). ## Key words - *Ya'as* ("he made", H6213H) — appears repeatedly in the qal narrative form, marking each successive stage of construction; the subject is consistently Bezalel (named explicitly only in v.1). - *shittim* ("acacia", H7848) — plural noun always in construct with *'atzei* ("woods of", H6086G), the standard material for the wooden cores of the ark, table, and incense altar. - *zahav tahor* ("pure gold", H2091 + H2889) — the adjective *tahor* qualifies *zahav* throughout, distinguishing overlay-grade or solid pure gold objects (mercy seat, lampstand) from gold-plated wood. - *miqshah* ("hammered work", H4749) — used for the cherubim (v.7) and the lampstand (v.17, 22), indicating a single-piece hammering technique rather than assembly from separate parts. - *keruvim* ("cherubim", H3742) — masculine plural noun describing the two figures formed from the same mass of gold as the mercy seat (v.7-9), with wings spread and faces turned toward each other and toward the *kapporet* ("atonement cover", H3727). ## What the text says The chapter is built almost entirely on a repeating syntactic pattern: a narrative *vav* + verb *Ya'as* ("he made") followed by the object marked with *'et* (H0853, untranslated), then descriptive phrases giving material and measurements. This creates a chain of short clauses ("and he made... and he overlaid... and he cast...") that mirrors the sequence of manufacturing steps rather than a static description. Measurements use construct chains such as *'orko* ("its length", H0753 + suffix) and *rochbo* ("its breadth", H7341 + suffix), each preceded by a numeral noun like *'ammatayim* ("two cubits", H0520A dual), so the Hebrew states the number before naming which dimension it measures. The cherubim description (vv.7-9) uses participles — *porsei* ("spreading", H6566) and *sokhekhim* ("covering", H5526B) — to depict continuous posture rather than a completed action, contrasting with the perfect-tense *'asah* ("he made") used for the completed hammering itself. The phrase *'ish 'el 'achiv* ("each to his brother", H0376I + H0251I) is an idiomatic way of expressing "facing one another" without a dedicated reciprocal pronoun in Hebrew. ## Differences between versions The Hebrew text of Exodus 37 has no equivalent sequence in the LXX excerpts provided; the Septuagint verses supplied for this range instead describe the courtyard curtains, pillars, and the tabernacle's screen (matching material found elsewhere, e.g., Exodus 38 in the Hebrew ordering). This reflects a difference in chapter/verse arrangement between the Hebrew (Masoretic) tradition and the Greek textual tradition for this section, rather than a translation variant of the same content. The Vulgate and Hebrew match closely in content and sequence throughout.

This explanation describes the text using linguistic data; it adds no doctrine or confessional interpretation.