Lesson #17

Building the Tabernacle

(Exodus 35: 1 40: 38)
In Exodus 25-31 Moses received the blueprints for constructing the
Tabernacle, the place on earth where God will dwell among his
covenant people. As Hebrews 8 points out, this earthly Tabernacle is
a copy and shadow of the genuine Tabernacle, which is in heaven;
hence, Moses was warned to make everything according to the
pattern shown *him+ on the mountain (Hebrews 8: 5).

With the episode of the golden calf rebellion and Moses smashing
the tablets of the Ten Commandments, the Israelites traumatically
violated this divinely mandated sacred space.

After Moses dealt with the rebellion he went back up Mt. Sinai and
spent an additional 40 days/40 nights in intimate communion with
God, descending the mountain visibly luminous from basking in Gods
divine presence.





















With the building of the Tabernacle in chapters 35-40, divine order is
restored. In Lesson #17, we witness the fashioning of the Tabernacle,
exquisite in its lapidary beauty and dazzling colors of violet, purple
and scarlet; gold, silver and bronze, relishing every resplendent
detail.

The parallel structure of command in chapters 25-31 and
implementation in chapters 35-40 is heightened by the use of
mirroring language between the two sections (often word for word,
phrase for phrase). Such repetition may seem redundant to modern
readers, but it is common practice in ancient Near Eastern literature,
a practice that highlights the completion and fulfillment of a divinely
ordered task.

When Moses completes the work of building the Tabernacle, the
pillar of cloud and fire settles down upon it, filling the Tabernacle
with the Glory of God.







In sharp contrast to the
golden calf rebellion,
characterized by division
and discord, work on
building the Tabernacle
begins by Moses
assembling the whole
Israelite community (35: 1)
and charging them with
working together as one
people to accomplish a
great taskconstructing a
sacred space where God will
dwell among them.

















Prelude

On six days work may be
done, but the seventh day
shall be holy to you as the
sabbath of complete rest to
the Lord. Anyone who does
work on that day shall be
put to death (35: 2).

Even faced with such a daunting
task as building the Tabernaclea
sacred space for Godthe
Sabbath must be observed
rigorously.
















You shall not even light a fire in
any of your dwellings on the
sabbath day (35: 3).

Since metalwork, which requires fire, is a
primary task in building the Tabernacle, the
prohibition on making fire is emphasized.

In a more universal sense, the ability to
make and use fire is a foundational
technology of any civilization, an ability in
Greek mythology that was reserved for the
gods. As Hesiod recounts in his Theogony,
Prometheus steals fire from Zeus and is
punished by being chained to a rock, where
an eagle eats his liver, which is regenerated
daily due to his immortality.





















Nicolas-Sbastien Adam. Prometheus Bound
(marble), 1762. Louvre Museum, Paris.
Moses said to the whole
Israelite community,
This is what the Lord has
commanded: Receive
from among you
contributions for the
Lord. Everyone, as his
heart prompts him, shall
bring . . . (35: 4-5).




















.
There you
go,
Moses!
Offerings shall be voluntary.
Let every artisan among
you come and make all
that the Lord has
commanded . . . (35: 10).




















.
Artisans shall volunteer.
The Lord has singled out
Bezalel, son of Uri, son of Hur,
of the tribe of Judah, and has
filled him with a divine spirit of
skill and understanding and
knowledge in every craft . . ..
He has also given both him and
Oholiab, son of Ahisamach, of
the tribe of Dan, the ability to
teach others. (35: 30, 34).




















.
Bezalel and Oholiab shall lead.
As God has Bezalel and Oholiab as
divinely appointed craftsmen, so
do other cultures and mythologies
have theirs:

Ugarit = Kothar-wa-Khasis
Egyptian = Ptah
Greek = Hephaestus
Roman = Vulcan





















.
Divine Craftsmen
Guillaume Coustou the Younger. Hephaestus at the
Forge (marble), 1742. Louvre Museum, Paris.
All the artisans who were doing
the work for the sanctuary came
from the work each was doing,
and told Moses, The people are
bringing much more than is
needed to carry out the work
which the Lord has commanded us
to do. Moses, therefore, ordered
a proclamation to be make
throughout the camp: Let neither
man nor woman make any more
contributions for the sanctuary.
(36: 4-6).




















.
The first time ever a pastor asked people to STOP
giving to the building fund!
The Tent Cloth



















.
5 Sheets
100 golden loops
and clasps,
with violet yarn
5 Sheets
The Tent Cloth, 4 layers



















.
Goat hair
Ram skins dyed red
Tahash skins (dolphin?)
The Frames



















.
20 acacia wood frames,
plated with gold
40 silver sockets
5 acacia wood bars,
plated with gold
The Veils



















.
4 acacia wood columns,
plated with gold
4 silver sockets
5 acacia wood columns,
plated with gold
5 bronze sockets
The Ark of the Covenant



















.
Acacia wood poles,
plated with gold Gold rings
Acacia wood box
plated with gold
Gold molding
Lid of solid gold
with two cherubim,
made of one piece
with the lid.
The Table of Showbread



















.
Acacia wood poles,
plated with gold
Gold rings
Gold molding
Acacia wood table,
plated with gold
Golden vessels
The Menorah



















.
Solid gold menorah,
made of one piece
3 cups shaped like
almond blossoms on
each branch
4 cups shaped like
almond blossoms on
center branch
Cups for holding oil
The Altar of Incense



















.
Acacia wood box
plated with gold
Gold rings
Acacia wood poles,
plated with gold
Gold molding Horns
Plated with gold
The Bronze Altar



















.
Acacia wood hollow box,
plated with bronze
Horns,
plated with bronze
Acacia wood poles,
plated with bronze
Bronze grate
The Basin



















.
Bronze basin and stand
The Courtyard



















.
Fine-twinned linen curtain
Bronze socket
Acacia wood post
Silver-plated cap
Bronze tent pegs
The Courtyard, Gate



















.
Four bronze posts,
with bronze sockets and silver caps
Fine-twinned linen curtain,
with violet, purple and scarlet yarn



















Amount of Metal Used
Gold
29 talents, 730 shekels = 36,990 oz.
$49,529,610

Silver
100 talents, 1,775 shekels = 125,325 oz.
$2,686,968

Bronze
70 talents, 2,400 shekels = 91,200 oz.
$16,416

Total Value: $52,232,994

Note: 1 talent = 75 lbs.; 1 shekel = 1/3 oz.
Gold = $1,339/oz.; Silver = $21.44/oz.;
Bronze = $0.18/oz.


Aaron, the High Priest
















Turban

Golden Plate (Sacred to the Lord)

Breastpiece

Embroidered Belt

Ephod

Linen Breeches (Undergarment)

Robe

Golden Bells & Pomegranates

Brocade Tunic


The Tabernacle


















Pillar of Cloud and Fire

1. Why is nearly half of Exodus devoted to the Tabernacle?
2. Why does the golden calf rebellion interrupt the Tabernacle
narrative? What is its purpose in the story?
3. After the golden calf rebellion the Israelites seem delighted
to get to work on the Tabernacle. How do you explain their
transition from rebellion to full cooperation?
4. God dwelt with Adam and Eve in the Garden of Eden quite
comfortably, but after sin enters the world in Genesis 3 God
distances himself from humanity. In Exodus he carefully moves
closer, finally manifesting his Glory in the Tabernacle in
Exodus 40. How do you explain Gods cautious behavior in his
relationship with humanity?
5. At the end of Exodus, how much time has passed since the
Israelites have left Egypt?




Copyright 2014 by William C. Creasy
All rights reserved. No part of this courseaudio, video,
photography, maps, timelines or other mediamay be
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[All Tabernacle illustrations in these lectures are taken from:
Paul F. Kiene. The Tabernacle of God in the Wilderness of Sinai,
trans. by John S, Crandall. Grand Rapids, Michigan: Zondervan
Publishing House, 1977. Used by permission.]