The Message Remix (32 page)
Authors: Eugene H. Peterson
“Come—all of you who have skills—come and make everything that GOD has commanded: The Dwelling with its tent and cover, its hooks, frames, crossbars, posts, and bases; the Chest with its poles, the Atonement-Cover and veiling curtain; the Table with its poles and implements and the Bread of the Presence; the Lampstand for giving light with its furnishings and lamps and the oil for lighting; the Altar of Incense with its poles, the anointing oil, the fragrant incense; the screen for the door at the entrance to The Dwelling; the Altar of Whole-Burnt-Offering with its bronze grate and poles and all its implements; the Washbasin with its base; the tapestry hangings for the Courtyard with the posts and bases, the screen for the Courtyard gate; the pegs for The Dwelling, the pegs for the Courtyard with their cords; the official vestments for ministering in the Holy Place, the sacred vestments for Aaron the priest and for his sons serving as priests.”
So everyone in the community of Israel left the presence of Moses. Then they came back, every one whose heart was roused, whose spirit was freely responsive, bringing offerings to GOD for building the Tent of Meeting, furnishing it for worship and making the holy vestments. They came, both men and women, all the willing spirits among them, offering brooches, earrings, rings, necklaces—anything made of gold—offering up their gold jewelry to GOD. And anyone who had blue, purple, and scarlet fabrics; fine linen; goats’ hair; tanned leather; and dolphin skins brought them. Everyone who wanted to offer up silver or bronze as a gift to GOD brought it. Everyone who had acacia wood that could be used in the work, brought it. All the women skilled at weaving brought their weavings of blue and purple and scarlet fabrics and their fine linens. And all the women who were gifted in spinning, spun the goats’ hair.
The leaders brought onyx and other precious stones for setting in the Ephod and the Breastpiece. They also brought spices and olive oil for lamp oil, anointing oil, and incense. Every man and woman in Israel whose heart moved them freely to bring something for the work that GOD through Moses had commanded them to make, brought it, a voluntary offering for GOD.
Bezalel and OholiabMoses told the Israelites, “See, GOD has selected Bezalel son of Uri, son of Hur, of the tribe of Judah. He’s filled him with the Spirit of God, with skill, ability, and know-how for making all sorts of things, to design and work in gold, silver, and bronze; to carve stones and set them; to carve wood, working in every kind of skilled craft. And he’s also made him a teacher, he and Oholiab son of Ahisamach, of the tribe of Dan. He’s gifted them with the know-how needed for carving, designing, weaving, and embroidering in blue, purple, and scarlet fabrics, and in fine linen. They can make anything and design anything.”
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“Bezalel and Oholiab, along with everyone whom GOD has given the skill and know-how for making everything involved in the worship of the Sanctuary as commanded by GOD, are to start to work.”
“Bezalel and Oholiab, along with everyone whom GOD has given the skill and know-how for making everything involved in the worship of the Sanctuary as commanded by GOD, are to start to work.”
Moses summoned Bezalel and Oholiab along with all whom GOD had gifted with the ability to work skillfully with their hands. The men were eager to get started and engage in the work. They took from Moses all the offerings that the Israelites had brought for the work of constructing the Sanctuary. The people kept on bringing in their freewill offerings, morning after morning.
All the artisans who were at work making everything involved in constructing the Sanctuary came, one after another, to Moses, saying, “The people are bringing more than enough for doing this work that GOD has commanded us to do!”
So Moses sent out orders through the camp: “Men! Women! No more offerings for the building of the Sanctuary!”
The people were ordered to stop bringing offerings! There was plenty of material for all the work to be done. Enough and more than enough.
The TapestriesThen all the skilled artisans on The Dwelling made ten tapestries of fine twisted linen and blue, purple, and scarlet fabric with an angel-cherubim design worked into the material. Each panel of tapestry was forty-six feet long and six feet wide. Five of the panels were joined together, and then the other five. Loops of blue were made along the edge of the outside panel of the first set, and the same on the outside panel of the second set. They made fifty loops on each panel, with the loops opposite each other. Then they made fifty gold clasps and joined the tapestries together so that The Dwelling was one whole.
Next they made tapestries of woven goat hair for a tent that would cover The Dwelling. They made eleven panels of these tapestries. The length of each panel was forty-five feet long and six feet wide. They joined five of the panels together, and then the other six, by making fifty loops along the edge of the end panel and fifty loops along the edge of the joining panel, then making fifty clasps of bronze, connecting the clasps to the loops, bringing the tent together. They finished it off by covering the tapestries with tanned rams’ skins dyed red, and covered that with dolphin skins.
The FramingThey framed The Dwelling with vertical planks of acacia wood, each section of frame fifteen feet long and two and a quarter feet wide, with two pegs for securing them. They made all the frames identical: twenty frames for the south side, with forty silver sockets to receive the two tenons from each of the twenty frames; they repeated that construction on the north side of The Dwelling. For the rear of The Dwelling facing west, they made six frames, with two additional frames for the rear corners. Both of the two corner frames were double in thickness from top to bottom and fit into a single ring—eight frames altogether with sixteen sockets of silver, two under each frame.
They made crossbars of acacia wood, five for the frames on one side of The Dwelling, five for the other side, and five for the back side facing west. The center crossbar ran from end to end halfway up the frames. They covered the frames with a veneer of gold, made gold rings to hold the crossbars, and covered the crossbars with a veneer of gold.
They made the curtain of blue, purple, and scarlet material and fine twisted linen. They wove a design of angel-cherubim into it. They made four posts of acacia wood, covered them with a veneer of gold, and cast four silver bases for them.
They made a screen for the door of the tent, woven from blue, purple, and scarlet material and fine twisted linen with embroidery. They framed the weaving with five poles of acacia wood covered with a veneer of gold, and made gold hooks to hang the weaving and five bronze bases for the poles.
The Chest037
Bezalel made the Chest using acacia wood: He made it three and three-quarters feet long and two and a quarter feet wide and deep. He covered it inside and out with a veneer of pure gold and made a molding of gold all around it. He cast four gold rings and attached them to its four feet, two rings on one side and two rings on the other. He made poles from acacia wood, covered them with a veneer of gold, and inserted the poles for carrying the Chest into the rings on the sides.
Bezalel made the Chest using acacia wood: He made it three and three-quarters feet long and two and a quarter feet wide and deep. He covered it inside and out with a veneer of pure gold and made a molding of gold all around it. He cast four gold rings and attached them to its four feet, two rings on one side and two rings on the other. He made poles from acacia wood, covered them with a veneer of gold, and inserted the poles for carrying the Chest into the rings on the sides.
Next he made a lid of pure gold for the Chest, an Atonement-Cover, three and three-quarters feet long and two and a quarter feet wide.
He sculpted two winged angel-cherubim out of hammered gold for the ends of the Atonement-Cover, one angel at one end, one angel at the other. He made them of one piece with the Atonement-Cover. The angels had outstretched wings and appeared to hover over the Atonement-Cover, facing one another but looking down on the Atonement-Cover.
The TableHe made the Table from acacia wood. He made it three feet long, one and a half feet wide and two and a quarter feet high. He covered it with a veneer of pure gold and made a molding of gold all around it. He made a border a handbreadth wide all around it and a rim of gold for the border. He cast four rings of gold for it and attached the rings to the four legs parallel to the tabletop. They will serve as holders for the poles used to carry the Table. He made the poles of acacia wood and covered them with a veneer of gold. They will be used to carry the Table.
Out of pure gold he made the utensils for the Table: its plates, bowls, jars, and jugs used for pouring.
The LampstandHe made a Lampstand of pure hammered gold, making its stem and branches, cups, calyxes, and petals all of one piece. It had six branches, three from one side and three from the other; three cups shaped like almond blossoms with calyxes and petals on one branch, three on the next, and so on—the same for all six branches. On the main stem of the Lampstand, there were four cups shaped like almonds, with calyxes and petals, a calyx extending from under each pair of the six branches. The entire Lampstand with its calyxes and stems was fashioned from one piece of hammered pure gold. He made seven of these lamps with their candle snuffers, all out of pure gold.
He used a seventy-five-pound brick of pure gold to make the Lampstand and its accessories.
The Altar of IncenseHe made an Altar for burning incense from acacia wood. He made it a foot and a half square and three feet high, with its horns of one piece with it. He covered it with a veneer of pure gold, its top, sides, and horns, and made a gold molding around it with two rings of gold beneath the molding. He placed the rings on the two opposing sides to serve as holders for poles by which it will be carried. He made the poles of acacia wood and covered them with a veneer of gold.
He also prepared with the art of a perfumer the holy anointing oil and the pure aromatic incense.
The Altar of Whole-Burnt-Offering038
HemadetheAltar of Whole-Burnt-Offering from acacia wood. He made it seven and a half feet square and four and a half feet high. He made horns at each of the four corners. The horns were made of one piece with the Altar and covered with a veneer of bronze. He made from bronze all the utensils for the Altar: the buckets for removing the ashes, shovels, basins, forks, and fire pans. He made a grate of bronze mesh under the ledge halfway up the Altar. He cast four rings at each of the four corners of the bronze grating to hold the poles. He made the poles of acacia wood and covered them with a veneer of bronze. He inserted the poles through the rings on the two sides of the Altar for carrying it. The Altar was made out of boards; it was hollow.
The WashbasinHemadetheAltar of Whole-Burnt-Offering from acacia wood. He made it seven and a half feet square and four and a half feet high. He made horns at each of the four corners. The horns were made of one piece with the Altar and covered with a veneer of bronze. He made from bronze all the utensils for the Altar: the buckets for removing the ashes, shovels, basins, forks, and fire pans. He made a grate of bronze mesh under the ledge halfway up the Altar. He cast four rings at each of the four corners of the bronze grating to hold the poles. He made the poles of acacia wood and covered them with a veneer of bronze. He inserted the poles through the rings on the two sides of the Altar for carrying it. The Altar was made out of boards; it was hollow.
He made the Bronze Washbasin and its bronze stand from the mirrors of the women’s work group who were assigned to serve at the entrance to the Tent of Meeting.
The CourtyardAnd he made the Courtyard. On the south side the hangings for the Courtyard, woven from fine twisted linen, were 150 feet long, with their twenty posts and twenty bronze bases, and fastening hooks and bands of silver. The north side was exactly the same.
The west end of the Courtyard had seventy-five feet of hangings with ten posts and bases, and fastening hooks and bands of silver. Across the seventy-five feet at the front, or east end, were twenty-two and a half feet of hangings, with their three posts and bases on one side and the same for the other side. All the hangings around the Courtyard were of fine twisted linen. The bases for the posts were bronze and the fastening hooks and bands on the posts were of silver. The posts of the Courtyard were both capped and banded with silver. The screen at the door of the Courtyard was embroidered in blue, purple, and scarlet fabric with fine twisted linen. It was thirty feet long and seven and a half feet high, matching the hangings of the Courtyard. There were four posts with bases of bronze and fastening hooks of silver; they were capped and banded in silver. All the pegs for The Dwelling and the Courtyard were made of bronze.
This is an inventory of The Dwelling that housed The Testimony drawn up by order of Moses for the work of the Levites under Ithamar, son of Aaron the priest. Bezalel, the son of Uri, son of Hur, of the tribe of Judah, made everything that GOD had commanded Moses. Working with Bezalel was Oholiab, the son of Ahisamach, of the tribe of Dan, an artisan, designer, and embroiderer in blue, purple, and scarlet fabrics and fine linen.
Gold. The total amount of gold used in construction of the Sanctuary, all of it contributed freely, weighed out at 1,900 pounds according to the Sanctuary standard.
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