Exodus 27:16

Translation
King James Version
And for the gate of the court shall be an hanging of twenty cubits, of blue, and purple, and scarlet, and fine twined linen, wrought with needlework: and their pillars shall be four, and their sockets four.
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KJV (with Strong's)
And for the gate H8179 of the court H2691 shall be an hanging H4539 of twenty H6242 cubits H520, of blue H8504, and purple H713, and scarlet H8144 H8438, and fine twined H7806 linen H8336, wrought with needlework H7551 H4639: and their pillars H5982 shall be four H702, and their sockets H134 four H702.
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Complete Jewish Bible
"For the gateway of the courtyard there is to be a screen thirty feet long made of blue, purple and scarlet yarn and finely woven linen. It should be in colors, the work of a weaver. It is to be on four posts in four sockets.
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Berean Standard Bible
The gate of the courtyard shall be twenty cubits long, with a curtain embroidered with blue, purple, and scarlet yarn, and finely spun linen. It shall have four posts and four bases.
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American Standard Version
And for the gate of the court shall be a screen of twenty cubits, of blue, and purple, and scarlet, and fine twined linen, the work of the embroiderer; their pillars four, and their sockets four.
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World English Bible Messianic
For the gate of the court shall be a screen of twenty cubits, of blue, and purple, and scarlet, and fine twined linen, the work of the embroiderer; their pillars four, and their sockets four.
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Geneva Bible (1599)
And in the gate of the court shalbe a vaile of twentie cubites, of blewe silke, and purple, and skarlet, and fine twined linen wrought with needle, with the foure pillars thereof and their foure sockets.
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Young's Literal Translation
`And for the gate of the court a covering of twenty cubits, blue, and purple, and scarlet, and twined linen, work of an embroiderer; their pillars four, their sockets four.
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See also
Exodus 26:36Psalms 45:14Exodus 28:39Exodus 39:29Exodus 36:37Judges 5:30Exodus 26:31
See on the biblical-era map
The Kingdom of Egypt in the Time of Moses
The Kingdom of Egypt in the Time of Moses View full PDF

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In the KJVVerse 2,289 of 31,102

Study This Verse

SUMMARY

Exodus 27:16 meticulously details the specifications for the gate of the Tabernacle's outer court, describing it as a vibrant hanging twenty cubits wide, crafted from blue, purple, and scarlet threads, interwoven with fine twined linen and adorned with intricate needlework. This ornate entrance, supported by four pillars and their corresponding sockets, served as the singular point of access to the sacred precinct, emphasizing both the divine prescription for approaching God and the profound spiritual truths embodied in its materials and design, setting it apart as a focal point of divine access and beauty.

CONTEXT

  • Literary Context: Exodus 27:16 is situated within a larger block of text (Exodus 25-31) that provides God's precise instructions to Moses for the construction of the Tabernacle and its furnishings. Specifically, it follows the detailed description of the outer court's dimensions and its surrounding hangings of fine twined linen (Exodus 27:9-15). While the court's perimeter was uniformly plain white, the gate, as described in this verse, stands out dramatically in its color and artistry. This immediate contrast highlights its unique function as the sole entrance, marking a clear distinction between the common wilderness and the consecrated space where God's presence would dwell. The gate's design is thus integral to the overall architectural blueprint, ensuring that access to the divine presence was both regulated and visually distinct, serving as a critical transition point into the holy dwelling.
  • Historical & Cultural Context: The Tabernacle was God's dwelling place among the Israelites during their wilderness wanderings, serving as the central hub of their worship and national identity. In a nomadic society, a portable sanctuary was essential, and its construction was a monumental undertaking, requiring skilled artisans and precious materials. Unlike the pagan temples of surrounding cultures, which often had multiple points of entry or were designed to be exclusive to priests, the Tabernacle's single, divinely prescribed gate underscored the unique nature of Israel's God and the singular way of approaching Him. This emphasis on precise divine instruction was crucial for a people who had just been delivered from Egyptian polytheism and were learning to worship the one true God according to His holy standards, as commanded by God to Moses in Exodus 25:8. The use of specific colors and materials was not merely aesthetic but carried profound symbolic meaning, common in ancient Near Eastern cultures, yet here imbued with unique theological significance by divine revelation.
  • Key Themes: This verse contributes significantly to several overarching themes in Exodus and the broader Pentateuch. It reinforces the theme of Divine Presence and Dwelling, as the Tabernacle is the place where God condescends to dwell among His people. The gate's singularity and beauty underscore the theme of Holy Access, emphasizing that approach to God is not arbitrary but divinely ordained and exclusive. The meticulous details and precious materials highlight God's Holiness and Worthiness, demanding the finest and most precise offerings in worship. Furthermore, the distinct colors introduce the theme of Symbolic Meaning in Worship, where every element of the Tabernacle points to deeper spiritual realities, foreshadowing the ultimate revelation of God's plan of salvation. This theme is consistent with the detailed instructions for the inner curtains and veil in Exodus 26, which also employ these specific colors.

EXPOSITION AND ANALYSIS

Key Word Analysis

  • Hanging (Hebrew, mâçâk', H4539): This Hebrew term, H4539, refers to a cover, veil, or curtain used to separate or enclose a space. In the context of the Tabernacle, mâçâk is used for the gate of the court, the entrance to the Tent of Meeting (Exodus 26:36), and the veil separating the Holy Place from the Most Holy Place (Exodus 26:31). Its function as a "hanging" rather than a solid door suggests a degree of accessibility, yet it clearly delineates a boundary, signifying that entry into God's presence is not automatic but requires a divinely appointed way. It acts as both an invitation and a barrier, controlling access to the sacred.
  • Wrought with needlework (Hebrew, maʻăseh_ _râqam', H4639): This phrase combines H4639 (maʻăseh), meaning "work" or "product," with H7551 (râqam), a primitive root meaning "to variegate color" or "embroider." Unlike the work of a "weaver" (e.g., Exodus 26:31), which involved weaving designs directly into the fabric, "needlework" implies a more detailed, perhaps appliqué-like, artistry applied to an existing fabric. This specification highlights the extraordinary skill and meticulous craftsmanship required for the Tabernacle's adornments. It underscores the immense value and beauty dedicated to God's dwelling, signifying that nothing less than the finest artistry and most precious materials were suitable for His presence.
  • Sockets (Hebrew, ʼeden', H134): This term, H134, derived from a root suggesting strength, refers to a basis or foundation, particularly for a building or column. In the Tabernacle, these "sockets" were typically made of bronze for the outer court and silver for the inner sanctuary, providing a firm and stable base for the wooden pillars. Their presence here emphasizes the divine precision in every aspect of the Tabernacle's construction, ensuring stability and adherence to God's exact architectural blueprint. The four sockets for the four pillars indicate a robust and divinely ordained support system for the gate.

Verse Breakdown

  • "And for the gate of the court [shall be] an hanging of twenty cubits": This clause establishes the primary feature and dimension of the court's entrance. The "gate" (H8179, shaʻar) is not a solid structure but a "hanging" or curtain (H4539, mâçâk), indicating a controlled yet not impenetrable access point. Its width of twenty cubits (H6242, ʻesrîym; H520, ʼammâh), approximately 30 feet or 9.1 meters, is substantial, making it a prominent and inviting opening into the outer court, contrasting with the overall length of the court (100 cubits) and its narrower width (50 cubits). This dimension signals both accessibility and the importance of this singular entry point.
  • "[of] blue, and purple, and scarlet, and fine twined linen, wrought with needlework": This is the most descriptive part, detailing the rich materials and colors of the gate's fabric. The combination of "blue" (H8504, tᵉkêleth), "purple" (H713, ʼargâmân), and "scarlet" (H8144, shânîy; H8438, tôwlâʻ) threads, intricately embroidered (H7551, râqam; H4639, maʻăseh) onto "fine twined linen" (H8336, shêsh; H7806, shâzar), signifies profound spiritual truths. Blue often symbolizes heaven, divinity, and God's heavenly throne; purple, a costly dye, represents royalty, majesty, and kingship, indicating that the Tabernacle is the dwelling of the King of kings; scarlet, derived from a crimson worm, is frequently associated with life, blood, and atonement, foreshadowing sacrifice; and fine twined linen denotes purity and righteousness. The "needlework" emphasizes the exquisite artistry and value dedicated to this sacred entrance.
  • "[and] their pillars [shall be] four, and their sockets four": This specifies the structural support for the gate hanging. Four pillars (H5982, ʻammûwd) would hold up the twenty-cubit wide curtain, ensuring its stability and prominence. The "sockets" (H134, ʼeden) were likely made of bronze, providing a firm foundation for the wooden pillars. This detail underscores the divine precision in every aspect of the Tabernacle's construction, ensuring stability and adherence to God's exact architectural blueprint, demonstrating the robust and intentional nature of this sacred entry.

Literary Devices

Exodus 27:16 is rich in Symbolism. The gate itself serves as a powerful symbol of Access and Separation, marking the singular, divinely appointed way into God's holy presence while simultaneously distinguishing the sacred space from the common. The colors employed are highly symbolic: Blue (heavenly origin, divine nature), Purple (royalty, kingship), Scarlet (sacrifice, atonement, life), and Fine Twined Linen (purity, righteousness). These colors, also used in the inner curtains and veil of the Tabernacle, create a visual language that communicates profound theological truths about God's character and the way to approach Him. There is also a clear Contrast between the ornate, colorful gate and the plain white linen hangings of the rest of the court (Exodus 27:9-15), drawing immediate attention to the entrance as a unique and significant feature. The meticulous detail in specifying dimensions, materials, and support structures also demonstrates Divine Precision and Order, reinforcing the idea that God's dwelling place and the means of approaching Him are not arbitrary but are established according to His perfect will. The use of Merism can be seen in the combination of "pillars" and "sockets," representing the complete structural support system for the gate.

THEOLOGICAL AND THEMATIC CONNECTIONS

The gate of the Tabernacle court, with its vibrant colors and singular access point, powerfully communicates fundamental theological truths about God's nature and humanity's approach to Him. It underscores God's holiness and His demand for a divinely appointed, specific way to enter His presence. The beauty and preciousness of the materials reflect the immense value and glory of God Himself, inviting reverence and awe. The gate's function as the sole entry point foreshadows the singular "way" to God that would be revealed in the New Covenant, emphasizing that access to the divine is not through human ingenuity or multiple paths, but through God's gracious provision, which requires a specific, divinely ordained means of approach.

REFLECTION AND APPLICATION

The Tabernacle gate, with its blend of beauty, precision, and regulated access, offers profound insights for our contemporary walk of faith. It reminds us that approaching God is not a casual or common endeavor, but a sacred privilege that demands reverence and intentionality. The gate's exquisite design, far from being merely decorative, points to the inherent glory and worth of the One we worship, challenging us to offer God our very best in every aspect of our lives—our time, talents, resources, and devotion. Furthermore, the singular nature of the gate underscores the truth that God has provided one specific way for humanity to draw near to Him. This should inspire both gratitude for the open access we now have through Christ and a renewed commitment to walk in the "new and living way" He has provided. Our worship, like the gate, should be beautiful in its sincerity, precise in its adherence to God's Word, and always pointing to the unique path He has established for communion with Him, recognizing that true access is always a gift of grace.

Questions for Reflection

  • How does the intricate design of the Tabernacle gate challenge our understanding of worship today, urging us toward greater intentionality and reverence?
  • In what ways do the colors (blue, purple, scarlet, white) of the gate speak to the character of God and our relationship with Him, and how might these truths inform our spiritual lives?
  • Considering Jesus as the ultimate "gate" or "door" to God, how does this truth impact your daily walk, your approach to prayer, and your understanding of salvation?

FAQ

Why was the gate of the court so much more ornate than the rest of the court hangings?

Answer: The gate of the court was designed to be significantly more ornate than the surrounding plain white linen hangings (as described in Exodus 27:9-15) for several crucial reasons. Firstly, it served as the sole point of entry into the sacred outer court, making it a highly significant architectural feature. Its distinct beauty immediately drew attention to the entrance, signaling that one was about to step into a consecrated space, set apart for God's presence. Secondly, the rich colors (blue, purple, scarlet) and intricate needlework were symbolic, conveying profound theological truths about the nature of the God who dwelt within—His heavenly origin (blue), His royalty and kingship (purple), and the necessity of atonement and sacrifice (scarlet). This visual splendor distinguished the sacred entrance from the common, emphasizing the holiness and majesty of the One who was to be approached, inviting reverence from those who sought to enter.

What is the significance of "twenty cubits" for the gate's width?

Answer: The "twenty cubits" specified for the gate's width translates to approximately 30 feet or 9.1 meters. This dimension is significant because it represents a substantial opening within the 100-cubit long court. While the gate was broad enough to allow for the passage of people and sacrificial animals, it was still a controlled and singular entry point. Its width made it a prominent and welcoming feature, yet its singular nature reinforced the idea that there was only one divinely appointed way to enter God's presence. This breadth, combined with its striking beauty, served as an invitation to approach, but only through the prescribed means and at the designated location, underscoring both the accessibility and the exclusivity of the path to God.

CHRIST-CENTERED FULFILLMENT

The gate of the Tabernacle court, with its singular access point and rich symbolism, finds its ultimate and glorious fulfillment in Jesus Christ. Just as the gate was the only way into God's earthly dwelling, Jesus declared, "I am the door; if anyone enters through Me, he will be saved." He is also the "way, the truth, and the life; no one comes to the Father except through Me." The colors of the gate beautifully prefigure His person and work: the blue points to His heavenly origin and divine nature, the Son of God who descended from above (John 3:13); the purple signifies His kingship and royalty, the King of kings who reigns forever (Revelation 19:16); the scarlet represents His atoning blood and sacrificial death, through which our sins are covered and life is given (Hebrews 9:22); and the fine twined linen speaks of His perfect purity and righteousness, which He imputes to all who believe (2 Corinthians 5:21). The intricate "needlework" on the gate can be seen as a metaphor for the perfectly wrought work of redemption accomplished by Christ on the cross. His death tore the temple veil from top to bottom (Matthew 27:51), signifying that the way to the Most Holy Place, to God Himself, is now wide open and accessible for all who enter through Him. The physical gate, once a barrier and a pointer, is now superseded by the living Person of Christ, our direct and glorious access to the Father.

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Commentary on Exodus 27 verses 9–19

Before the tabernacle there was to be a court or yard, enclosed with hangings of the finest linen that was used for tents. This court, according to the common computation of cubits, was fifty yards long, and twenty-five broad. Pillars were set up at convenient distances, in sockets of brass, the pillars filleted with silver, and silver tenter-hooks in them, on which the linen hangings were fastened: the hanging which served for the gate was finer than the rest, Exo 27:16. This court was a type of the church, enclosed and distinguished from the rest of the world, the enclosure supported by pillars, denoting the stability of the church, hung with the clean linen, which is said to be the righteousness of saints, Rev 19:8. These were the courts David longed for and coveted to reside in (Psa 84:2, Psa 84:10), and into which the people of God entered with praise and thanksgiving (Psa 100:4); yet this court would contain but a few worshippers. Thanks be to God, now, under the gospel, the enclosure is taken down. God's will is that men pray every where; and there is room for all that in every place call on the name of Jesus Christ.

Matthew Henry (1662–1714) — Commentary on the Whole Bible. This section covers verses 9–19. Public domain.
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Source: Quotations drawn from early Church Fathers and historical Christian theologians (AD 100–1500). Some quotes address the surrounding passage context rather than this verse alone.
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