What number verse is Exodus 38:2 in the Bible?

Exodus 38:2 is the 2,636th verse of the Bible. Counting straight through the King James canon — all 31,102 verses from Genesis 1:1 to Revelation 22:21 — Exodus 38:2 sits at position 2,636.

Translation

King James Version

And he made the horns thereof on the four corners of it; the horns thereof were of the same: and he overlaid it with brass.

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KJV (with Strong's)

And he made ^H6213 the horns ^H7161 thereof on the four ^H702 corners ^H6438 of it; the horns ^H7161 thereof were of the same: and he overlaid ^H6823 it with brass ^H5178.

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Complete Jewish Bible

He made horns for it on its four corners, the horns were of one piece with it, and he overlaid it with bronze.

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Berean Standard Bible

He made a horn at each of its four corners, so that the horns and altar were of one piece, and he overlaid the altar with bronze.

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American Standard Version

And he made the horns thereof upon the four corners of it; the horns thereof were of one piece with it: and he overlaid it with brass.

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World English Bible Messianic

He made its horns on its four corners. Its horns were of one piece with it, and he overlaid it with brass.

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Geneva Bible (1599)

And hee made vnto it hornes in the foure corners thereof: the hornes thereof were of the same, and he ouerlayd it with brasse.

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Young's Literal Translation

and he maketh its horns on its four corners; its horns have been of the same; and he overlayeth it with brass;

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Study This Verse

SUMMARY

Exodus 38:2 provides a precise description of the construction of the altar of burnt offering, specifically detailing the formation of its four horns at each corner and its complete overlay with brass (bronze). This verse, embedded within the meticulous narrative of the Tabernacle's construction, underscores the divine blueprint for sacred worship, emphasizing the altar's integral components—the horns symbolizing strength, refuge, and the far-reaching nature of atonement, and the brass signifying divine judgment and enduring strength—all foundational to Israel's system of sacrifice and their approach to a holy God.

CONTEXT

Literary Context: Exodus 38:2 is situated within the latter portion of the Book of Exodus, which meticulously records the fulfillment of God's commands regarding the construction of the Tabernacle and its furnishings. Chapters 35-40 describe the actual building process, carried out by Bezalel, Oholiab, and other skilled craftsmen, following the divine blueprint given to Moses on Mount Sinai (Exodus 25-31). Specifically, this verse is part of the description of the altar of burnt offering, whose initial design specifications were laid out in Exodus 27:1-8. The repetition of details from the instructions to the execution emphasizes the faithfulness of the builders and the sanctity of every component, ensuring that the Tabernacle was precisely as God commanded, serving as His dwelling place among His people and the focal point of their worship.
Historical & Cultural Context: The altar of burnt offering was the central feature of the Tabernacle's outer court, serving as the primary site for animal sacrifices. In ancient Israelite culture, sacrifice was the divinely ordained means for atonement, reconciliation with God, and the expression of worship and thanksgiving. The concept of "horns" on an altar was common in the ancient Near East, often symbolizing strength, power, or even deity. In Israel, they also served as a place of refuge for those seeking asylum (though not for intentional murderers, as seen in 1 Kings 2:28-34). The application of blood to these horns during specific sin offerings (Leviticus 4:7) underscored the comprehensive nature of atonement. "Brass" (more accurately, bronze) was a durable metal, capable of withstanding intense heat, making it suitable for an altar where perpetual fires burned. Symbolically, bronze was often associated with divine judgment and endurance, fitting for the place where the fiery wrath of God against sin was met through substitutionary sacrifice.
Key Themes: This verse contributes significantly to several major theological and narrative themes found throughout Exodus and the Pentateuch. It reinforces the theme of Divine Prescription and Human Obedience, as the meticulous construction directly follows God's detailed instructions given to Moses on Mount Sinai (e.g., Exodus 25:9). The altar itself is central to the theme of Atonement and Reconciliation, providing the means for sinful Israel to approach a holy God. The materials and design elements, like the horns and brass, contribute to the theme of Divine Holiness and Judgment, emphasizing the severity of sin and the necessity of a substitutionary offering. Furthermore, the altar's placement and function highlight the theme of God's Presence Among His People, as it was the primary point of access for Israel to commune with their covenant Lord.

EXPOSITION AND ANALYSIS

Key Word Analysis

Horns (Hebrew, qeren', H7161): This term (H7161) refers to the four projections extending from the corners of the altar. As derived from the root meaning of "projecting," "horn" frequently symbolizes power, strength, dignity, and refuge in the Old Testament. On the altar, these horns were not merely decorative but functional (perhaps for binding sacrificial animals) and profoundly symbolic. They represented the altar's potent capacity to mediate between God and humanity through sacrifice, and their role in the application of blood underscored the far-reaching efficacy of atonement.
Overlaid (Hebrew, tsâphâh', H6823): This verb (H6823) means "to sheet over" or "to cover," especially with metal. It implies a complete encasement, ensuring that the underlying acacia wood was fully protected and the altar presented a unified, metallic appearance. The act of overlaying signifies the transformation and consecration of the object, making it suitable for sacred use and imbuing it with the symbolic properties of the covering material.
Brass (Hebrew, nᵉchôsheth', H5178): This noun (H5178), more accurately translated as "bronze" (an alloy of copper and tin), is known for its exceptional durability, resistance to heat, and ability to withstand corrosive elements. Its use for overlaying the altar of burnt offering is highly significant. Symbolically, bronze is often associated with divine judgment, strength, and endurance in biblical contexts. Its presence on the altar emphasized the intense, consuming fire of God's holy judgment against sin, which the sacrifices on the altar bore on behalf of the people.

Verse Breakdown

"And he made the horns thereof on the four corners of it;": This initial clause describes a specific, divinely mandated design feature of the altar: four horn-like protrusions, one at each of its four corners. The verb "made" (H6213, ʻâsâh) indicates the skilled craftsmanship involved in bringing God's design into physical reality. These horns were integral to the altar's structure and function, not merely an add-on. Their placement at the corners suggests a comprehensive reach, symbolizing that the altar's power and the atonement it facilitated extended in all directions, covering all aspects of the people's sin and the entire community.
"the horns thereof were of the same:": This phrase clarifies that the horns were not separate attachments but were continuous with, or made from the same material as, the main structure of the altar itself. This implies a unified construction, likely meaning the horns were carved directly from the acacia wood frame before the entire structure was overlaid. This unity reinforces the idea that the horns were an intrinsic and essential part of the altar's identity and purpose, embodying its inherent power and function.
"and he overlaid it with brass.": This final clause specifies the material used to cover the entire altar, including its horns. The act of "overlaying" (H6823, tsâphâh) with brass (H5178, nᵉchôsheth, bronze) served crucial practical purposes, making the altar durable and resistant to the constant fire, blood, and ashes. More significantly, it conveyed profound symbolic meaning, associating the altar with the unyielding nature of divine judgment and the strength required to bear the consequences of sin, which was met by the sacrificial offering. The bronze provided a visual and theological statement about the seriousness of sin and the holiness of God.

Literary Devices

Exodus 38:2, like much of the Tabernacle's description, employs Symbolism extensively. The altar itself is a potent symbol of sacrifice, atonement, and humanity's approach to a holy God. The horns symbolize power, strength, and refuge, embodying the altar's mediating authority and the comprehensive reach of the sacrificial blood. The brass (bronze) overlay symbolizes divine judgment, durability, and the enduring nature of God's holiness, which necessitates a perfect sacrifice. The precise and repetitive nature of the construction details throughout Exodus also functions as Emphasis, highlighting the paramount importance of obedience to divine instruction and the sacredness of every element in God's dwelling. This meticulous description creates a sense of awe and reverence, impressing upon the reader the gravity and divine origin of Israelite worship. The use of Merism can also be observed in the "four corners," indicating the entirety or comprehensiveness of the altar's reach and function.

THEOLOGICAL AND THEMATIC CONNECTIONS

Exodus 38:2, though a detail of ancient construction, unveils profound theological truths concerning God's holiness, the nature of sin, and the necessity of atonement. The altar, with its horns and bronze overlay, stands as a stark reminder that sin incurs God's righteous judgment, a judgment so severe that it requires the shedding of innocent blood. Yet, it also reveals God's gracious provision for reconciliation, offering a divinely appointed means for sinful humanity to approach Him. The horns, serving as a place of refuge and a receptacle for atoning blood, point to the comprehensive power of sacrifice to cover sin and offer a way back to fellowship with God. This entire system, with its meticulous design and symbolic elements, foreshadows the ultimate, perfect sacrifice that would fully satisfy God's justice and provide eternal redemption.

REFLECTION AND APPLICATION

The meticulous detail in Exodus 38:2, describing the altar's horns and brass overlay, invites us to reflect on the profound seriousness of sin and the equally profound depth of God's provision for salvation. This ancient altar, a place of death and cleansing, reminds us that our approach to God is never casual but always through a divinely appointed means of atonement. It challenges us to consider the immense cost of our redemption and to live lives that honor the ultimate sacrifice. Just as the horns offered a desperate refuge, so too do we find our true and eternal refuge in Christ alone. The brass, signifying judgment, compels us to appreciate that the full weight of God's wrath against sin was borne by another, allowing us to stand forgiven and free. Our response to such boundless grace should be one of humble gratitude, wholehearted devotion, and a life offered as a "spiritual sacrifice," acceptable to God through Jesus Christ (Romans 12:1). This verse calls us to a deeper understanding of God's holiness and His gracious provision for our reconciliation.

Questions for Reflection

How does the divine precision in the construction of the Tabernacle's altar challenge our own approach to worship and obedience today?
In what ways do we seek "refuge" in our lives, and how does Christ fulfill the ultimate refuge symbolized by the altar's horns?
How does the "judgment" signified by the brass overlay deepen our appreciation for Christ's sacrifice on the cross and the extent of His love?

FAQ

What was the purpose of the horns on the altar of burnt offering?

Answer: The horns on the altar served multiple purposes, both functional and symbolic. Functionally, they may have been used to bind the sacrificial animals before slaughter. Symbolically, they represented strength, power, and the comprehensive reach of the altar's atoning work. In ritual practice, the blood of certain sin offerings was applied to these horns (Leviticus 4:7), signifying that the atonement covered the entire community and reached all aspects of sin. They also served as a place of temporary refuge for those seeking asylum, though this refuge was not absolute, especially for intentional murderers (1 Kings 2:28-34).

Why was the altar overlaid with brass (bronze)?

Answer: The overlay of brass, or more accurately bronze, served both practical and symbolic functions. Practically, bronze is a durable metal, resistant to heat and corrosion, making it ideal for an altar where a perpetual fire burned and blood was shed. Symbolically, bronze in biblical contexts is often associated with divine judgment, strength, and endurance. Its use on the altar signified that this was the place where the fiery judgment of God against sin was met and absorbed by the substitute sacrifice. It underscored the severity of sin and the unyielding holiness of God, which demands a perfect offering.

How does this ancient altar relate to Christian worship today?

Answer: The altar of burnt offering, with its horns and bronze overlay, serves as a powerful type and shadow pointing to the ultimate sacrifice of Jesus Christ. For Christians, the need for animal sacrifices has ceased because Christ's death on the cross was the "once for all" perfect atonement for sin (Hebrews 10:10). We no longer approach God through a physical altar with animal blood, but through the spiritual "altar" of Christ's finished work (Hebrews 13:10). Our worship today involves offering spiritual sacrifices of praise, thanksgiving, and our lives as living sacrifices (Romans 12:1), all made acceptable through Christ.

CHRIST-CENTERED FULFILLMENT

Exodus 38:2, detailing the construction of the altar of burnt offering with its horns and brass overlay, profoundly prefigures the person and work of Jesus Christ. The altar itself, the central place of sacrifice and atonement, finds its ultimate fulfillment in Christ, who is both the High Priest and the perfect Lamb of God. The horns, symbolizing power, strength, and refuge, point directly to Christ as our ultimate source of strength and our secure refuge from the wrath of God. Just as the desperate could cling to the altar's horns for temporary safety, so believers find eternal safety and salvation by clinging to Christ, our true Rock and Fortress. The brass (bronze) overlay, signifying divine judgment and enduring strength, powerfully foreshadows the fact that Jesus, the spotless Lamb of God who takes away the sin of the world, fully absorbed the fiery judgment of God for humanity's sin on the cross. He endured the full wrath that we deserved, offering Himself as the perfect, once-for-all sacrifice (Hebrews 9:26). Through His finished work, we are reconciled to God, no longer needing animal sacrifices, but able to draw near with confidence to the throne of grace because of the blood of Christ.

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Commentary on Exodus 38 verses 1–8

1 ¶ And he made the altar of burnt offering of shittim wood: five cubits was the length thereof, and five cubits the breadth thereof; it was foursquare; and three cubits the height thereof.

2 And he made the horns thereof on the four corners of it; the horns thereof were of the same: and he overlaid it with brass.

3 And he made all the vessels of the altar, the pots, and the shovels, and the basons, and the fleshhooks, and the firepans: all the vessels thereof made he of brass.

4 And he made for the altar a brasen grate of network under the compass thereof beneath unto the midst of it.

5 And he cast four rings for the four ends of the grate of brass, to be places for the staves.

6 And he made the staves of shittim wood, and overlaid them with brass.

7 And he put the staves into the rings on the sides of the altar, to bear it withal; he made the altar hollow with boards.

8 And he made the laver of brass, and the foot of it of brass, of the lookingglasses of the women assembling, which assembled at the door of the tabernacle of the congregation.

I. II. Main points1. 2. Sub-points

Bezaleel having finished the gold-work, which, though the richest, yet was ordered to lie most out of sight, in the tabernacle itself, here goes on to prepare the court, which lay open to the view of all. Two things the court was furnished with, and both made of brass: -

I. An altar of burnt-offering, Exo 38:1-7. On this all their sacrifices were offered, and it was this which, being sanctified itself for this purpose by the divine appointment, sanctified the gift that was in faith offered on it. Christ was himself the altar to his own sacrifice of atonement, and so he is to all our sacrifices of acknowledgment. We must have an eye to him in offering them, as God has in accepting them.

II. A laver, to hold water for the priests to wash in when they went in to minister, Exo 38:8. This signified the provision that is made in the gospel of Christ for the cleansing of our souls from the moral pollution of sin by the merit and grace of Christ, that we may be fit to serve the holy God in holy duties. This is here said to be made of the looking-glasses (or mirrors) of the women that assembled at the door of the tabernacle.

1.It should seem these women were eminent and exemplary for devotion, attending more frequently and seriously at the place of public worship than others did; and notice is here taken of it to their honour. Anna was such a one long afterwards, who departed not from the temple, but served God with fastings and prayers night and day, Luk 2:37. It seems in every age of the church there have been some who have thus distinguished themselves by their serious zealous piety, and they have thereby distinguished themselves; for devout women are really honourable women (Act 13:50), and not the less so for their being called, by the scoffers of the latter days, silly women. Probably these women were such as showed their zeal upon this occasion, by assisting in the work that was now going on for the service of the tabernacle. They assembled by troops, so the word is; a blessed sight, to see so many, and those so zealous and so unanimous, in this good work.

2.These women parted with their mirrors (which were of the finest brass, burnished for that purpose) for the use of the tabernacle. Those women that admire their own beauty, are in love with their own shadow, and make the putting on of apparel their chief adorning by which they value and recommend themselves, can but ill spare their looking-glasses; yet these women offered them to God, either, (1.) In token of their repentance for the former abuse of them, to the support of their pride and vanity; now that they were convinced of their folly, and had devoted themselves to the service of God at the door of the tabernacle, they thus threw away that which, though lawful and useful in itself, yet had been an occasion of sin to them. Thus Mary Magdalene, who had been a sinner, when she became a penitent wiped Christ's feet with her hair. Or, (2.) In token of their great zeal for the work of the tabernacle; rather than the workmen should want brass, or not have of the best, they would part with their mirrors, though they could not do well without them. God's service and glory must always be preferred by us before any satisfactions or accommodations of our own. Let us never complain of the want of that which we may honour God by parting with.

3.These mirrors were used for the making of the laver. Either they were artfully joined together, or else molten down and cast anew; but it is probable that the laver was so brightly burnished that the sides of it still served for mirrors, that the priests, when they came to wash, might there see their faces, and so discover the spots, to wash them clean. Note, In the washing of repentance, there is need of the looking-glass of self-examination. The word of God is a glass, in which we may see our own faces (see Jam 1:23); and with it we must compare our own hearts and lives, that, finding out our blemishes, we may wash with particular sorrow, and application of the blood of Christ to our souls. Usually the more particular we are in the confession of sin the more comfort we have in the sense of the pardon.

Matthew Henry (1662–1714) — Commentary on the Whole Bible. This section covers verses 1–8. 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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