Exodus36

Bezaleel, Aholiab, and other wise-hearted craftsmen began the work of the Tabernacle, utilizing the abundant offerings from the Israelites. So plentiful were the contributions that Moses had to command the people to cease bringing more, as the materials were more than sufficient. The chapter then details the meticulous creation of the Tabernacle's various components, including its inner curtains, outer coverings, wooden framework, inner veil, and door hanging, all according to the Lord's specific instructions.
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The Skilled Workers Begin the Task

1
“So Bezalel, Oholiab, and every skilled person are to carry out everything commanded by the LORD, who has given them skill and ability to know how to perform all the work of constructing the sanctuary.” ​
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Then Moses summoned Bezalel, Oholiab, and every skilled person whom the LORD had gifted—everyone whose heart stirred him to come and do the work. ​
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They received from Moses all the contributions that the Israelites had brought to carry out the service of constructing the sanctuary. Meanwhile, the people continued to bring freewill offerings morning after morning, ​
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so that all the skilled craftsmen who were doing all the work on the sanctuary left their work
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and said to Moses, “The people are bringing more than enough for doing the work the LORD has commanded us to do.” ​
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After Moses had given an order, they sent a proclamation throughout the camp: “No man or woman should make anything else as an offering for the sanctuary.” So the people were restrained from bringing more, ​
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since what they already had was more than enough to perform all the work.

Making the Inner Curtains

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All the skilled craftsmen among the workmen made the ten curtains for the tabernacle. They were made of finely spun linen, as well as blue, purple, and scarlet yarn, with cherubim skillfully worked into them. ​
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Each curtain was twenty-eight cubits long and four cubits wide; all the curtains were the same size.
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And he joined five of the curtains together, and the other five he joined as well.
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He made loops of blue material on the edge of the end curtain in the first set, and also on the end curtain in the second set.
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He made fifty loops on one curtain and fifty loops on the end curtain of the second set, so that the loops lined up opposite one another.
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He also made fifty gold clasps to join the curtains together, so that the tabernacle was a unit. ​

Making the Tent Coverings

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He then made curtains of goat hair for the tent over the tabernacle—eleven curtains in all. ​
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Each of the eleven curtains was the same size—thirty cubits long and four cubits wide.
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He joined five of the curtains into one set and the other six into another.
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He made fifty loops along the edge of the end curtain in the first set, and fifty loops along the edge of the corresponding curtain in the second set.
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He also made fifty bronze clasps to join the tent together as a unit. ​
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Additionally, he made for the tent a covering of ram skins dyed red, and over that a covering of fine leather. ​

Constructing the Tabernacle Framework

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Next, he constructed upright frames of acacia wood for the tabernacle. ​
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Each frame was ten cubits long and a cubit and a half wide.
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Two tenons were connected to each other for each frame. He made all the frames of the tabernacle in this way.
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He constructed twenty frames for the south side of the tabernacle,
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with forty silver bases to put under the twenty frames—two bases for each frame, one under each tenon. ​
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For the second side of the tabernacle, the north side, he made twenty frames
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and forty silver bases—two bases under each frame.
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He made six frames for the rear of the tabernacle, the west side,
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and two frames for the two back corners of the tabernacle,
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coupled together from bottom to top and fitted into a single ring. He made both corners in this way.
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So there were eight frames and sixteen silver bases—two under each frame.
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He also made five crossbars of acacia wood for the frames on one side of the tabernacle, ​
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five for those on the other side, and five for those on the rear side of the tabernacle, to the west.
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He made the central crossbar to run through the center of the frames, from one end to the other.
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And he overlaid the frames with gold and made gold rings to hold the crossbars. He also overlaid the crossbars with gold. ​

The Veil and the Entrance Screen

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Next, he made the veil of blue, purple, and scarlet yarn, and finely spun linen, with cherubim skillfully worked into it. ​
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He also made four posts of acacia wood for it and overlaid them with gold, along with gold hooks; and he cast four silver bases for the posts.
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For the entrance to the tent, he made a curtain embroidered with blue, purple, and scarlet yarn, and finely spun linen, ​
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together with five posts and their hooks. He overlaid the tops of the posts and their bands with gold, and their five bases were bronze. ​

Study Notes for Exodus 36

Verse 1

This verse initiates the physical construction of the Tabernacle, emphasizing that the skill and understanding required for sacred work is a gift divinely endowed by the LORD.

Verse 2

The work required both divine appointment (Bezaleel and Aholiab) and personal willingness; the workers whose hearts 'stirred him up' were called to service.

Verse 3

The people’s zeal was so great that they brought free-will offerings daily, showcasing the extraordinary generosity of the recently freed Israelites toward God’s dwelling place.

Verse 5

This is a unique moment in scripture where a religious building campaign had to be halted because the people’s voluntary offerings exceeded the necessary materials.

Verse 6

Moses had to issue a formal command to restrain the giving, confirming that the collection was based entirely on the generous, free contributions of the community.

Verse 8

The inner Tabernacle curtains were the most beautiful, woven with cherubim and utilizing the expensive colors (blue, purple, scarlet), intended to reflect the glory of the divine presence.

Verse 13

The golden 'taches' (clasps) linked the two sets of five curtains, creating a single unified structure ('one tabernacle'), symbolizing the unity and integration of the sacred space.

Verse 14

The goats' hair curtains formed the second layer, providing a darker, more durable covering over the fine linen to protect the sacred interior from the desert elements.

Verse 18

Unlike the inner gold clasps, the clasps for the outer goats' hair layer were made of brass (or bronze), reflecting its external function and lower level of sanctity.

Verse 19

The final two layers provided robust protection: rams’ skins dyed red (durable leather) and an outermost covering of *tachash* skins (often translated 'badgers' skins' but likely referring to seal or dugong), known for being waterproof and resilient.

Verse 20

The framework utilized shittim wood (acacia), a hard, durable wood common in the desert, signifying stability and permanence even though the Tabernacle was designed to be portable.

Verse 24

The sockets were made of silver, derived from the census tax paid by the people (Ex. 30:11-16). Their heaviness provided the massive weight required to anchor the entire structure firmly in the sand.

Verse 31

The five bars were essential for structural integrity, holding the upright boards firmly together across the length of the Tabernacle walls.

Verse 34

The boards and bars were completely overlaid with gold, ensuring that the interior of the Tabernacle appeared entirely golden, reflecting divine glory, purity, and wealth.

Verse 35

The veil separated the Holy Place from the Most Holy Place, where the Ark resided. It was elaborately woven with cherubim, symbolizing the barrier guarding God's immediate presence.

Verse 37

This external hanging served as the entry door to the Holy Place. It used the same rich colors as the inner veil but was distinguished by being 'needlework' (embroidery) rather than woven cherubim.

Verse 38

The five pillars of the entrance screen rested on brass sockets, a lesser metal than the silver used for the main structure and inner veil, marking the transition from the sacred courtyard to the Holy Place.

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