### Core Meaning & Semantic Range
The Hebrew word milluʼâh (מִלֻּאָה, `{{H4396}}`) is a feminine noun derived from the verbal root mālaʼ (מָלֵא, `{{H4390}}`), meaning "to be full" or "to fill." The core meaning of milluʼâh therefore relates to the act or result of "filling." Specifically, its biblical usage narrows this semantic range to denote "a filling" in the context of "setting (of gems)" or "enclosing." It describes the precise and secure placement of something valuable within a designated space, thereby completing or adorning that space. The term implies not just a simple insertion, but a fitting, a completion, and often an enhancement through the act of filling.
### Biblical Occurrences & Contextual Analysis
The term milluʼâh occurs exclusively in the book of Exodus, always in the context of the high priest's breastpiece (choshen mishpat). Its usage is highly technical, referring to the intricate craftsmanship involved in creating this sacred garment.
* **Exodus 25:7**: This verse mentions "stones to be set" (אַבְנֵי שֹׁהַם וְאַבְנֵי מִלֻּאִים) for the ephod and breastpiece. Here, the plural form milluʼim (מִלֻּאִים) refers to the stones themselves as "fillings" or "stones for setting," highlighting their destined place within the garment.
* **Exodus 28:17-20**: These verses provide the most detailed description. The twelve precious stones, each representing a tribe of Israel, are specified to be "set in settings of gold" (מֻסַבֹּת מִלֻּאֹת זָהָב). The plural milluʼot (מִלֻּאֹת) here clearly denotes the gold settings or mountings that securely enclose each stone. The meticulous instruction for each stone to be "in its setting" (בְּמִלֻּאָתוֹ) emphasizes the precision and individual importance of each element.
* **Exodus 35:9, 27**: These verses reiterate the call for contributions of "stones for setting" (אַבְנֵי שֹׁהַם וְאַבְנֵי מִלֻּאִים) for the ephod and breastpiece, reinforcing the concept of these stones as intended "fillings" for the sacred vestments.
* **Exodus 39:10-13**: In the account of the breastpiece's actual construction, the text states, "they set in it settings of stones" (וַיְמַלְאוּ בֹו מִלֻּאת אֶבֶן) or "they set four rows of stones" (וַיְמַלְאוּ בוֹ אַרְבַּע טוּרֵי אֶבֶן). This confirms milluʼâh as the technical term for the secure and decorative enclosures of the precious gems, integral to the breastpiece's design.
The consistent contextual usage establishes milluʼâh as a specific term for the secure, often ornate, enclosures designed to hold valuable stones, particularly in the context of sacred garments.
### Related Words & Concepts
The primary related word is the root mālaʼ (מָלֵא, `{{H4390}}`), meaning "to be full" or "to fill," from which milluʼâh is derived. This root's semantic field includes concepts of completion, abundance, and consecration.
* **milluʼim (מִלֻּאִים)**: This plural form of milluʼâh is used interchangeably in some contexts for the "stones for setting" (e.g., [[Exodus 25:7]]) or the "settings" themselves (e.g., [[Exodus 28:17]]). It also carries a broader theological meaning as "consecration offerings" or "ordination offerings" (e.g., [[Exodus 29:22]], [[Leviticus 7:37]]). In this sense, "filling the hand" (מִלּוּא יָד) signifies the act of consecrating priests by placing offerings in their hands, thereby "filling" them for service. This broader usage of the root highlights a connection between physical "filling" (of settings with gems) and spiritual "filling" (of priests for service).
* **mishbetzot zahav (מִשְׁבְּצוֹת זָהָב)**: This phrase, meaning "settings of gold" or "filigree settings of gold" (e.g., [[Exodus 28:13]], [[Exodus 28:25]]), describes the *type* of setting. While mishbetzot might refer more to the woven or filigree work, milluʼâh emphasizes the act of *filling* or *enclosing* the stone within that setting. The two terms work in conjunction to describe the elaborate gold work that held the stones.
* **choshen mishpat (חֹשֶׁן מִשְׁפָּט, `{{H2833}}`)**: The "breastpiece of judgment" is the central object to which milluʼâh refers. The secure settings for the stones were integral to its design and symbolic function as a representation of the tribes before God.
### Theological Significance
The meticulous attention given to the milluʼâh for the high priest's breastpiece carries profound theological weight.
1. **Divine Order and Perfection**: The detailed instructions for the settings underscore God's demand for precision, beauty, and perfection in all things related to His worship. The secure and ornate milluʼâh reflect the divine attribute of order and the glory that is due to God.
2. **Divine Care and Preservation**: The twelve stones, each firmly set within its milluʼâh, represented the twelve tribes of Israel. Their secure placement on the high priest's heart, before the Lord, symbolizes God's steadfast care, preservation, and remembrance of His people. Each tribe, distinct yet united, is held securely in its place by divine design.
3. **Completeness and Adornment**: The "filling" of the breastpiece with these precious stones, held in their milluʼâh, signifies the completion and adornment of the priestly garment. This, in turn, reflects the glory and holiness of God, whose presence is characterized by beauty and fullness. The breastpiece was not merely functional but a visual testament to God's covenant and His dwelling among Israel.
4. **Symbolism of Judgment**: As the "breastpiece of judgment," the securely set stones (and perhaps the Urim and Thummim associated with it) suggest that divine judgments and pronouncements were firmly established, perfectly "set," and unchangeable, emanating from God's holy presence.
### Summary
The Hebrew word milluʼâh (מִלֻּאָה, `{{H4396}}`) is a specialized feminine noun derived from the root mālaʼ ("to fill"). Its exclusive biblical usage refers to the "settings" or "enclosures" for the precious stones on the high priest's breastpiece. Found predominantly in Exodus, milluʼâh describes the meticulous craftsmanship involved in securely and beautifully holding the twelve stones, each representing a tribe of Israel. This term highlights the precision, completeness, and aesthetic perfection required in sacred objects for divine worship. Theologically, milluʼâh profoundly symbolizes God's meticulous care, secure preservation, and constant remembrance of His people. The concept of "filling" in this context extends beyond mere physical containment to encompass the completion and adornment of a sacred object, reflecting the fullness of God's glory and His unwavering covenant with Israel.
TRV