Charles Ellicott Commentary Exodus 31

The instructions needed for the making of the tabernacle, its furniture, and the priests’ vestments, were now complete. Moses was sufficiently informed, by what he had heard and seen, both about the “Tent of Meeting” itself and all its accessories and equipment. But Moses was not himself an artist. His Egyptian education had not included the skill of artistic construction. (See Excursus B. at the end of the Book.)

It was therefore necessary that the manual work of carrying out the instructions given to him should be entrusted to others. We might have expected that it would have been left to Moses to select the individuals from among the thousands of artisans who had accompanied him out of Egypt.

But God saw fit to mark the importance of the work by taking upon Himself the direct appointment of the persons to be employed. He knew what was in man. He knew to whom he had given the highest artistic power, and who, while possessing it, would work in the most religious spirit. He accordingly named two persons, Bezaleel and Aholiab, as those to whom the supervision of the entire work should be given.

Bezaleel was to be leader and chief, Aholiab his assistant. Bezaleel’s task was to be general; Aholiab’s, apparently, special (Exodus 38:23). Both, however, were to receive the special assistance of God’s Holy Spirit for the due execution of their respective tasks (Exodus 31:3–6), and both, as chosen instruments of God, and faithful workers in His service, had their names equally commemorated in His Holy Book, and were thus held up as examples for future generations.

I have called by name. —It is a high honour to be called by God by name. He thus calls only those whom He appoints to some great work, as Moses (Exodus 3:4; Exodus 33:12), Samuel (1 Samuel 3:10), and Cyrus (Isaiah 45:3–4).

Bezaleel the son of Uri, the son of Hur. —Hur, the grandfather of Bezaleel, is generally supposed to be identical with the Hur who supported Moses’s hands (Exodus 17:12), and was left joint regent with Aaron when Moses went up into Mount Sinai (Exodus 24:14). There is, however, no evidence of this beyond the identity of the name.

Of the tribe of Judah. —Descended from Judah through Pharez, Hezron, and Caleb (1 Chronicles 2:5; 1 Chronicles 2:18–20).

I have filled him with the spirit of God ... to devise cunning works. —Every good gift and every perfect gift (intellectual power no less than others) is from above, and comes down from the Father of lights (James 1:17). Artistic ability is a Divine gift, a very precious gift, best employed in God’s direct service, and always to be employed in subordination to His will, as an improving, elevating, and refining—not as a corrupting—influence.

In wisdom, and in understanding, and in knowledge. —By “wisdom” is probably meant the power to invent and originate artistic forms; by “understanding,” the ability to appreciate artistic suggestions received from others; by “knowledge,” acquaintance with the methods and processes of art. Bezaleel was to possess all these gifts.

In all manner of workmanship. —He was also to possess that wonderful dexterity of hand on which the power of artistic execution mainly depends.

Cunning works ... in gold, and in silver, and in brass, and in cutting of stones

...—It is a characteristic of early art that it avoids specialism, and it is as nearly universal as possible. Theodore of Samos (about B.C. 600-560) was an architect, a worker in bronze, and an engraver of hard stones. Michael Angelo was an architect, painter, and sculptor. Giotto was the same, and also a worker in mosaic. It is some time before, in each particular people or country, the imitative arts become separated, and each artist aspires to eminence in one branch only. (Compare the multiform artistic powers ascribed to Hiram of Tyre in chapter 214.)

In cutting of stones, to set them — that is, in gem-engraving. This branch of art was needed for engraving the names of the tribes upon the two onyxes of the ephod (Exodus 28:9), and upon the twelve precious stones of the breastplate (Exodus 28:17–18). It was an art very early practised both in Chaldea and in Egypt. (See Note 2 on Exodus 28:8.)

In carving of timber. —Rather, cutting of timber. The woodwork of the sanctuary was not “carved,” but plain.

Aholiab, the son of Ahisamach. —It has been observed above (see the first Note on the chapter) that Bezaleel’s work was general, Aholiab’s, special. Our version, indeed, styles the latter an engraver, and a cunning workman, and an embroiderer (Exodus 38:23), from which it might be supposed that, like Bezaleel, he cultivated various branches of art. In the original, however, nothing is said of engraving, and the true meaning seems to be that Aholiab had the charge of the textile fabrics needed for the sanctuary, and directed both the weaving and the embroidery, but did not concern himself with other matters. (See Note on Exodus 38:23).

Of the tribe of Dan. —The tribe of Dan is among the most undistinguished; but it produced two great artists—Aholiab, the skilful maker of the textile fabrics of the tabernacle, and Hiram, the master workman employed in the ornamentation of Solomon’s temple (2 Chronicles 2:14).

All that are wise hearted. —On the expression wise hearted, see Note 1 on Exodus 28:3.