Exodus 28
Introduction
Exodus 28 marks a shift in the tabernacle instructions from the structure and furnishings of the sanctuary (chapters 25-27) to the men who will serve within it. God commands Moses to set apart his brother Aaron and Aaron's four sons for the priesthood, and then provides extraordinarily detailed instructions for the priestly garments. These are not ordinary clothes; they are described as בִגְדֵי קֹדֶשׁ ("holy garments") made לְכָבוֹד וּלְתִפְאָרֶת ("for glory and for beauty"). The chapter moves from a general overview of the garments (vv. 1-5) to detailed instructions for each piece: the ephod (vv. 6-14), the breastpiece of judgment (vv. 15-30), the blue robe with bells and pomegranates (vv. 31-35), the golden plate engraved "HOLY TO THE LORD" (vv. 36-38), and finally the remaining garments for Aaron and his sons (vv. 39-43).
The theological weight of this chapter is immense. Aaron is to bear the names of the twelve tribes of Israel on his shoulders and on his heart when he enters God's presence — a vivid picture of priestly mediation. The Urim and Thummim, mysterious instruments of divine guidance, are placed over Aaron's heart so that he carries "the judgment of the sons of Israel" before the LORD continually. The golden bells on the robe's hem sound when Aaron enters and exits the Holy Place "so that he does not die" — a sobering reminder that access to God's presence is no casual matter. And the gold plate on his forehead, engraved with קֹדֶשׁ לַיהוָה ("Holy to the LORD"), enables Aaron to bear the guilt attached to Israel's holy offerings, making them acceptable before God. The New Testament identifies Jesus as the fulfillment of this priestly ministry: he is the great high priest who bears our names, carries our judgment, and makes us acceptable before God (Hebrews 4:14-16, Hebrews 7:26-28, Hebrews 9:11-12).
Aaron and His Sons Set Apart for the Priesthood (vv. 1-5)
1 "Next, have your brother Aaron brought to you from among the Israelites, along with his sons Nadab, Abihu, Eleazar, and Ithamar, to serve Me as priests. 2 Make holy garments for your brother Aaron, to give him glory and splendor. 3 You are to instruct all the skilled craftsmen, whom I have filled with a spirit of wisdom, to make garments for Aaron's consecration, so that he may serve Me as priest. 4 These are the garments that they shall make: a breastpiece, an ephod, a robe, a woven tunic, a turban, and a sash. They are to make these holy garments for your brother Aaron and his sons, so that they may serve Me as priests. 5 They shall use gold, along with blue, purple, and scarlet yarn, and fine linen.
1 "And you — bring near to yourself Aaron your brother, and his sons with him, from the midst of the sons of Israel, to serve as priest to me: Aaron, Nadab and Abihu, Eleazar and Ithamar, the sons of Aaron. 2 And you shall make holy garments for Aaron your brother, for glory and for beauty. 3 And you shall speak to all who are wise of heart, whom I have filled with a spirit of wisdom, and they shall make the garments of Aaron to consecrate him, to serve as priest to me. 4 And these are the garments that they shall make: a breastpiece, an ephod, a robe, a woven tunic, a turban, and a sash. They shall make holy garments for Aaron your brother and for his sons, to serve as priest to me. 5 And they shall take the gold, and the blue, and the purple, and the scarlet yarn, and the fine linen.
Notes
הַקְרֵב אֵלֶיךָ ("bring near to yourself") — The verb קָרַב ("to draw near, approach") is the same root used throughout Leviticus for bringing offerings before the LORD. The use of this verb for Aaron's appointment is deliberate: Aaron himself is being "brought near" to God, set apart from the rest of Israel for a unique mediatorial role. The Hiphil imperative underscores that this is something Moses must actively do — priesthood is not self-appointed but divinely ordained and publicly established.
לְכָבוֹד וּלְתִפְאָרֶת ("for glory and for beauty") — These two words carry enormous theological weight. כָּבוֹד ("glory, honor, weightiness") is the word used for the glory of the LORD that will fill the tabernacle (Exodus 40:34). תִּפְאֶרֶת ("beauty, splendor, adornment") conveys aesthetic magnificence. The priestly garments are not merely functional but are meant to reflect something of God's own glory and beauty. The priest who stands before God on behalf of the people is clothed in a visible representation of divine splendor. The same phrase recurs in v. 40 for the garments of Aaron's sons, showing that this purpose extends to the entire priesthood.
חַכְמֵי לֵב ("wise of heart") — Hebrew does not locate wisdom in the head but in the heart (לֵב). The "wise-hearted" are the skilled craftsmen whom God has filled with רוּחַ חָכְמָה ("a spirit of wisdom"). This is a remarkable theological claim: artistic and technical skill is a gift of God's Spirit. The same language will be used of Bezalel in Exodus 31:3, who is filled with the Spirit of God "in wisdom, in understanding, and in knowledge." Craftsmanship in service of worship is not secular work but Spirit-empowered ministry.
לְקַדְּשׁוֹ ("to consecrate him") — The Piel infinitive of קָדַשׁ ("to be holy, set apart") indicates that the garments themselves play a role in Aaron's consecration. Putting on the holy garments is part of what makes Aaron holy — that is, set apart for sacred service. The garments do not merely symbolize Aaron's status; they effect it. This parallels the broader biblical pattern in which outward signs participate in spiritual realities (cf. circumcision, Genesis 17:10-11; baptism, Romans 6:3-4).
The four sons of Aaron are named: Nadab, Abihu, Eleazar, and Ithamar. Nadab and Abihu will later die before the LORD when they offer "unauthorized fire" (Leviticus 10:1-2), a devastating event that underscores the deadly seriousness of priestly service. After their death, the priestly line will continue through Eleazar (the line of Zadok) and Ithamar (the line of Eli). The mention of all four sons here, before the tragedy, adds poignancy to the chapter's repeated warnings about death in the sanctuary (vv. 35, 43).
The list of garments in v. 4 — חֹשֶׁן (breastpiece), אֵפוֹד (ephod), מְעִיל (robe), כְּתֹנֶת תַּשְׁבֵּץ (woven/checkered tunic), מִצְנֶפֶת (turban), and אַבְנֵט (sash) — provides the chapter's outline. The materials in v. 5 — gold, blue, purple, scarlet yarn, and fine linen — are the same royal materials used in the tabernacle curtains (Exodus 26:1), reinforcing the visual unity between the priest and the sanctuary he serves in.
The Ephod (vv. 6-14)
6 They are to make the ephod of finely spun linen embroidered with gold, and with blue, purple, and scarlet yarn. 7 It shall have two shoulder pieces attached at two of its corners, so it can be fastened. 8 And the skillfully woven waistband of the ephod must be of one piece, of the same workmanship — with gold, with blue, purple, and scarlet yarn, and with finely spun linen. 9 Take two onyx stones and engrave on them the names of the sons of Israel: 10 six of their names on one stone and the remaining six on the other, in the order of their birth. 11 Engrave the names of the sons of Israel on the two stones the way a gem cutter engraves a seal. Then mount the stones in gold filigree settings. 12 Fasten both stones on the shoulder pieces of the ephod as memorial stones for the sons of Israel. Aaron is to bear their names on his two shoulders as a memorial before the LORD. 13 Fashion gold filigree settings 14 and two chains of pure gold, made of braided cord work; and attach these chains to the settings.
6 And they shall make the ephod of gold, of blue and purple and scarlet yarn, and of finely twisted linen, the work of a skilled designer. 7 It shall have two shoulder pieces joined to its two edges, and so it shall be joined together. 8 And the skillfully woven band on it shall be of the same workmanship and of one piece with it: gold, blue and purple and scarlet yarn, and finely twisted linen. 9 And you shall take two onyx stones and engrave on them the names of the sons of Israel — 10 six of their names on one stone and the six remaining names on the other stone, in the order of their birth. 11 With the work of a stone engraver, like the engravings of a seal, you shall engrave the two stones with the names of the sons of Israel. You shall set them in gold filigree mountings. 12 And you shall place the two stones on the shoulder pieces of the ephod as stones of remembrance for the sons of Israel. And Aaron shall bear their names before the LORD on his two shoulders as a remembrance. 13 And you shall make gold filigree settings, 14 and two chains of pure gold — you shall make them of twisted cord work — and you shall attach the corded chains to the settings.
Notes
אֵפוֹד ("ephod") — The ephod is one of the most discussed garments in the Old Testament, partly because the term is used in different ways across Scripture. Here it refers to a richly decorated vestment worn over the robe, likely resembling an apron or vest covering the chest and back, held together at the shoulders and cinched at the waist. Elsewhere the word can refer to a simpler linen garment worn by priests generally (1 Samuel 2:18, where young Samuel wears a linen ephod) or even to an object associated with divination (Judges 8:27, Judges 17:5). The high priest's ephod is distinguished by its lavish materials and its function as the base to which the breastpiece is attached.
מַעֲשֵׂה חֹשֵׁב ("the work of a skilled designer") — The word חֹשֵׁב is a Qal participle of חָשַׁב ("to think, devise, plan"). It refers to a master craftsman who designs and executes complex woven patterns, distinguishing this work from ordinary weaving (אֹרֵג, "weaver," v. 32) or embroidery (רֹקֵם, "embroiderer," v. 39). The ephod is the product of the highest level of textile artistry.
שֵׁשׁ מָשְׁזָר ("finely twisted linen") — The noun שֵׁשׁ refers to fine Egyptian linen, a luxury material. The participle מָשְׁזָר ("twisted, twined") indicates that the linen threads were tightly spun together for strength and beauty. This same material forms the fabric of the tabernacle curtains (Exodus 26:1).
אַבְנֵי שֹׁהַם ("onyx stones") — The identification of שֹׁהַם is debated. Traditionally rendered "onyx," it has also been identified as lapis lazuli, carnelian, or malachite. The Septuagint translates it as smaragdos ("emerald" or "green stone"). What is clear is that two precious stones are engraved with the names of the twelve tribes, six on each, כְּתוֹלְדֹתָם ("in the order of their birth"), meaning according to the birth order of Jacob's sons.
אַבְנֵי זִכָּרֹן ("stones of remembrance/memorial") — The word זִכָּרוֹן ("memorial, remembrance") is from the root זָכַר ("to remember"). These are not decorative accessories but theological instruments: they ensure that when Aaron stands before God, God "remembers" his people. The concept is not that God forgets and needs reminding, but that the stones ritually present Israel before God's face. Aaron physically carries the weight of the nation on his shoulders — a vivid image of priestly intercession and mediation. This foreshadows Christ who bears his people before the Father (Hebrews 7:25).
מִשְׁבְּצוֹת זָהָב ("gold filigree settings") — The noun מִשְׁבְּצָה refers to a woven or interlaced gold setting, like a frame of gold wire worked into an ornamental pattern to hold the stones securely. The same type of setting is used for the breastpiece stones (v. 20).
The Breastpiece of Judgment (vv. 15-30)
15 You are also to make a breastpiece of judgment with the same workmanship as the ephod. Construct it with gold, with blue, purple, and scarlet yarn, and with finely spun linen. 16 It must be square when folded over double, a span long and a span wide. 17 And mount on it a setting of gemstones, four rows of stones: In the first row there shall be a ruby, a topaz, and an emerald; 18 in the second row a turquoise, a sapphire, and a diamond; 19 in the third row a jacinth, an agate, and an amethyst; 20 and in the fourth row a beryl, an onyx, and a jasper. Mount these stones in gold filigree settings. 21 The twelve stones are to correspond to the names of the sons of Israel, each engraved like a seal with the name of one of the twelve tribes. 22 For the breastpiece, make braided chains like cords of pure gold. 23 You are also to make two gold rings and fasten them to the two corners of the breastpiece. 24 Then fasten the two gold chains to the two gold rings at the corners of the breastpiece, 25 and fasten the other ends of the two chains to the two filigree settings, attaching them to the shoulder pieces of the ephod at the front. 26 Make two more gold rings and attach them to the other two corners of the breastpiece, on the inside edge next to the ephod. 27 Make two additional gold rings and attach them to the bottom of the two shoulder pieces of the ephod, on its front, near its seam just above its woven waistband. 28 The rings of the breastpiece shall be tied to the rings of the ephod with a cord of blue yarn, so that the breastpiece is above the waistband of the ephod and does not swing out from the ephod. 29 Whenever Aaron enters the Holy Place, he shall bear the names of the sons of Israel over his heart on the breastpiece of judgment, as a continual reminder before the LORD. 30 And place the Urim and Thummim in the breastpiece of judgment, so that they will also be over Aaron's heart whenever he comes before the LORD. Aaron will continually carry the judgment of the sons of Israel over his heart before the LORD.
15 And you shall make a breastpiece of judgment, the work of a skilled designer. Like the work of the ephod you shall make it: of gold, blue and purple and scarlet yarn, and finely twisted linen you shall make it. 16 It shall be square, folded double — a span its length and a span its width. 17 And you shall set in it a setting of stones, four rows of stones: the first row shall be a ruby, a topaz, and an emerald; 18 and the second row a turquoise, a sapphire, and a diamond; 19 and the third row a jacinth, an agate, and an amethyst; 20 and the fourth row a beryl, an onyx, and a jasper. They shall be set in gold filigree mountings. 21 And the stones shall correspond to the names of the sons of Israel — twelve, according to their names — engraved like a seal, each with its name, for the twelve tribes. 22 And you shall make on the breastpiece chains of twisted cord work, of pure gold. 23 And you shall make on the breastpiece two rings of gold, and you shall put the two rings on the two ends of the breastpiece. 24 And you shall put the two gold cords on the two rings at the ends of the breastpiece, 25 and the other two ends of the two cords you shall attach to the two filigree settings and put them on the shoulder pieces of the ephod, on its front. 26 And you shall make two rings of gold and place them on the two ends of the breastpiece, on its inner edge that faces the ephod. 27 And you shall make two rings of gold and attach them to the two shoulder pieces of the ephod, on the lower front, near the seam, above the skillfully woven band of the ephod. 28 And they shall bind the breastpiece by its rings to the rings of the ephod with a cord of blue, so that it rests on the skillfully woven band of the ephod and the breastpiece does not come loose from the ephod. 29 And Aaron shall bear the names of the sons of Israel on the breastpiece of judgment over his heart when he enters the Holy Place, as a continual remembrance before the LORD. 30 And you shall place in the breastpiece of judgment the Urim and the Thummim, and they shall be over the heart of Aaron when he goes in before the LORD. And Aaron shall bear the judgment of the sons of Israel over his heart before the LORD continually.
Notes
חֹשֶׁן מִשְׁפָּט ("breastpiece of judgment") — The word חֹשֶׁן occurs only in connection with the priestly vestments. Its etymology is uncertain, though some connect it to חֹשֶׁן as related to beauty or ornament. The modifier מִשְׁפָּט ("judgment, justice, decision") indicates that this is not merely decorative but functional — it is the instrument through which divine decisions are communicated to Israel, specifically through the Urim and Thummim it contains.
זֶרֶת ("span") — A span is the distance from the tip of the thumb to the tip of the little finger when the hand is spread, approximately 9 inches (23 cm). The breastpiece is folded double to create a square pouch, roughly 9 inches by 9 inches, which holds the Urim and Thummim inside.
The twelve gemstones have been the subject of much discussion because several of the Hebrew stone names are difficult to identify with certainty. The Hebrew names are: Row 1: אֹדֶם (ruby/carnelian), פִּטְדָה (topaz/peridot), בָרֶקֶת (emerald/beryl); Row 2: נֹפֶךְ (turquoise/carbuncle), סַפִּיר (sapphire/lapis lazuli), יָהֲלֹם (diamond/jasper); Row 3: לֶשֶׁם (jacinth/amber), שְׁבוֹ (agate), אַחְלָמָה (amethyst); Row 4: תַּרְשִׁישׁ (beryl/chrysolite), שֹׁהַם (onyx), יָשְׁפֵה (jasper). The ancient translations (LXX, Vulgate) differ among themselves, and modern mineralogical identifications remain uncertain. What is theologically significant is the number (twelve, one for each tribe), the variety (each stone is distinct, reflecting each tribe's uniqueness), and the unity (all set together in one breastpiece). This imagery reappears in Revelation 21:19-20, where the foundations of the New Jerusalem are adorned with twelve precious stones.
פִּתּוּחֵי חוֹתָם ("engravings of a seal") — Each stone is engraved with the name of one of the twelve tribes, like a signet seal. Seal engraving was a highly specialized craft in the ancient Near East. The comparison to a seal emphasizes permanence and authority — these names are not painted on but cut into the stone itself. Israel's identity before God is indelible.
The elaborate attachment system (vv. 22-28) — chains, rings, cords of blue — ensures that the breastpiece remains securely fastened to the ephod and does not swing loose. The repeated concern for structural integrity reflects the seriousness of the function: the breastpiece must stay in place over Aaron's heart because it carries Israel's names and the instruments of divine judgment. The פְּתִיל תְּכֵלֶת ("cord of blue") used to bind the breastpiece to the ephod is the same blue dye associated with royalty and with the tassels the Israelites are later commanded to wear as reminders of the commandments (Numbers 15:38-39).
עַל לִבּוֹ ("over his heart") — The repetition in vv. 29 and 30 is emphatic: Aaron bears Israel's names "over his heart" and the Urim and Thummim "over the heart of Aaron." In Hebrew thought, the לֵב ("heart") is the seat of will, thought, and intention — not merely emotion. Aaron carries Israel at the center of his being when he enters God's presence. The shoulder stones (v. 12) represent strength and support; the heart stones represent love and intercession. Together they depict the high priest as one who bears Israel with all his strength and all his heart.
הָאוּרִים וְהַתֻּמִּים ("the Urim and the Thummim") — The names likely derive from אוּר ("light") and תֹּם ("completeness, perfection"), hence the traditional rendering "Lights and Perfections." Their exact nature is unknown. They were physical objects placed inside the breastpiece pouch, used to obtain divine guidance — a sacred form of casting lots to determine God's will on specific yes-or-no questions (cf. 1 Samuel 14:41-42, Numbers 27:21). After the destruction of the first temple, the Urim and Thummim disappear from Israel's life; Ezra 2:63 and Nehemiah 7:65 record that certain matters had to wait "until a priest could consult the Urim and Thummim," implying they were no longer available. The text does not describe their manufacture — they are simply "placed" in the breastpiece, suggesting they may have been pre-existing sacred objects.
מִשְׁפַּט בְּנֵי יִשְׂרָאֵל ("the judgment of the sons of Israel") — The word מִשְׁפָּט here refers not to condemnation but to judicial decision, the rendering of verdicts on matters that require divine guidance. Aaron carries Israel's cases, questions, and decisions on his heart before the LORD. He is the mediator through whom God communicates his will to the nation.
Interpretations
The Urim and Thummim have been interpreted in various ways across traditions. Jewish tradition (Talmud, Yoma 73b) held that the letters on the breastpiece stones would light up to spell out God's answer, connecting the Urim to "light" (illumination). Some early Church Fathers (Origen, Gregory of Nyssa) understood them allegorically as "manifestation and truth" (following the LXX rendering delosis kai aletheia), symbolizing the clarity and perfection of divine revelation. Reformation-era commentators generally took a more restrained view, acknowledging that the exact mechanism is unknown but affirming their function as instruments of divine guidance. Some modern scholars compare them to sacred lots used in other ancient Near Eastern divination practices, while others emphasize their distinctiveness as a means by which Israel's God chose to communicate, controlled entirely by his sovereign will rather than by mechanical or magical processes. All traditions agree that whatever the Urim and Thummim were, they became obsolete — replaced in the new covenant by the indwelling Holy Spirit who guides believers into truth (John 16:13) and by the complete revelation of God's will in Christ (Hebrews 1:1-2).
The Robe of the Ephod (vv. 31-35)
31 You are to make the robe of the ephod entirely of blue cloth, 32 with an opening at its top in the center. Around the opening shall be a woven collar with an opening like that of a garment, so that it will not tear. 33 Make pomegranates of blue, purple, and scarlet yarn all the way around the lower hem, with gold bells between them, 34 alternating the gold bells and pomegranates around the lower hem of the robe. 35 Aaron must wear the robe whenever he ministers, and its sound will be heard when he enters or exits the sanctuary before the LORD, so that he will not die.
31 And you shall make the robe of the ephod entirely of blue. 32 And its opening for the head shall be in the center of it. There shall be a woven binding around its opening — like the opening of a coat of mail it shall be — so that it does not tear. 33 And you shall make on its hem pomegranates of blue and purple and scarlet yarn, all around its hem, with golden bells among them all around — 34 a golden bell and a pomegranate, a golden bell and a pomegranate — around the hem of the robe. 35 And it shall be on Aaron when he ministers, and its sound shall be heard when he goes into the Holy Place before the LORD and when he comes out, so that he does not die.
Notes
כְּלִיל תְּכֵלֶת ("entirely of blue") — The robe is made wholly of תְּכֵלֶת, a blue or blue-violet dye extracted from a sea snail (likely the murex trunculus). This dye was extremely expensive in the ancient world, associated with royalty and divinity. The robe worn under the ephod is thus a garment of royal splendor. The color blue in the tabernacle system consistently points upward — toward heaven, toward God's throne. The priest who enters God's presence is clothed in the color of heaven itself.
כְּפִי תַחְרָא ("like the opening of a coat of mail") — The meaning of תַחְרָא is uncertain. It may refer to a coat of mail or leather armor, whose neck opening was reinforced to prevent tearing in battle. The point is that the robe's neck opening must be reinforced with a woven binding (שָׂפָה, "lip, edge, border") so that it does not tear (לֹא יִקָּרֵעַ). The concern about tearing is practical — a damaged priestly garment would be unfit for service — but may also carry symbolic weight. The rending of garments was a sign of mourning and grief; the priest's garments must remain whole and intact as he enters God's presence.
רִמֹּנֵי ("pomegranates") — The pomegranate was a symbol of fruitfulness and abundance in the ancient Near East. Its many seeds made it an emblem of fertility and life. Pomegranates also decorated the capitals of the pillars in Solomon's temple (1 Kings 7:18-20) and appear in the Song of Solomon as images of beauty (Song of Solomon 4:3). The pomegranates on the robe's hem are made of yarn in the three colors (blue, purple, scarlet) but are not real fruit — they are symbolic, woven representations of life and abundance adorning the priest as he moves through the sanctuary.
פַּעֲמֹנֵי זָהָב ("golden bells") — The word פַּעֲמוֹן ("bell") occurs only here in the Old Testament (and in the parallel account in Exodus 39:25-26). The bells alternate with the pomegranates around the hem: bell, pomegranate, bell, pomegranate. Their function is explicitly stated: וְנִשְׁמַע קוֹלוֹ ("its sound shall be heard") when Aaron enters and exits the Holy Place.
וְלֹא יָמוּת ("so that he does not die") — This is one of the most striking phrases in the chapter. The bells are not decorative; they are a matter of life and death. Why would Aaron die without the bells? Several explanations have been offered: (1) The sound announces Aaron's presence so that he does not intrude upon God's holiness unannounced — approaching God without proper protocol is lethal. (2) The sound allows those outside to know the priest is alive and moving; silence would indicate death. (3) The sound serves as a form of reverent "knocking" — the priest does not barge into the divine presence but enters with audible humility. The broader point is clear: the holy God is dangerous to approach, and even the appointed high priest can enter only under the conditions God specifies. Aaron's sons Nadab and Abihu, who disregard these conditions, will die (Leviticus 10:1-2).
Interpretations
The significance of the bells has been interpreted differently across traditions. Some early rabbinical sources (Zevachim 88b) taught that the robe's bells atoned for the sin of evil speech (lashon hara), connecting the sound of the bells to the proper use of the tongue. Patristic writers often saw the bells as representing the proclamation of the gospel — the priest who enters God's presence carries the sound of truth. Reformed commentators have emphasized the christological dimension: Christ, our high priest, enters the heavenly sanctuary not with the sound of bells but with the power of an indestructible life (Hebrews 7:16), and his people know he lives because he ever intercedes for them (Hebrews 7:25).
The Golden Plate on the Turban (vv. 36-38)
36 You are to make a plate of pure gold and engrave on it as on a seal: HOLY TO THE LORD. 37 Fasten to it a blue cord to mount it on the turban; it shall be on the front of the turban. 38 And it will be worn on Aaron's forehead, so that he may bear the iniquity of the holy things that the sons of Israel consecrate with regard to all their holy gifts. It shall always be on his forehead, so that they may be acceptable before the LORD.
36 And you shall make a plate of pure gold, and you shall engrave on it the engravings of a seal: "Holy to the LORD." 37 And you shall place it on a cord of blue, and it shall be on the turban — on the front of the turban it shall be. 38 And it shall be on the forehead of Aaron, and Aaron shall bear the guilt of the holy things that the sons of Israel consecrate as all their holy gifts. And it shall be on his forehead continually, for their acceptance before the LORD.
Notes
צִּיץ ("plate" or "flower/blossom") — The word צִּיץ is fascinating because it primarily means "flower" or "blossom" (cf. Isaiah 40:6-8, "the grass withers, the flower fades"). Its use here for a gold plate worn on the forehead may suggest a floral or rosette shape, or the meaning may have shifted to denote a flat, shining ornamental piece. The Septuagint renders it petalon ("leaf, plate"). Either way, the image is striking: the high priest wears on his forehead a gleaming golden emblem that proclaims his total consecration to God.
קֹדֶשׁ לַיהוָה ("Holy to the LORD") — This inscription, engraved like a seal on the golden plate, is the defining statement of the entire priestly ministry. The words that rest on Aaron's forehead over his mind declare that he — and through him, all of Israel's worship — belongs wholly to the LORD. The plate is the most visible part of the priestly ensemble, placed at the front of the turban for all to see. It is a public declaration: this man, this ministry, this worship is set apart for God alone. In Zechariah 14:20, the same phrase appears on the bells of horses and cooking pots in the eschatological age, suggesting that the holiness once confined to the high priest will one day pervade all of life.
וְנָשָׂא אַהֲרֹן אֶת עֲוֺן הַקֳּדָשִׁים ("Aaron shall bear the guilt of the holy things") — The verb נָשָׂא ("to bear, carry, lift up") is the same verb used in v. 12 for bearing the names of Israel. But here what Aaron bears is עָוֺן ("guilt, iniquity, punishment for iniquity"). Even Israel's holiest offerings — their consecrated gifts — are tainted with imperfection and inadvertent sin. The high priest absorbs this guilt on their behalf, making their offerings לְרָצוֹן ("acceptable, pleasing") before God. This is one of the clearest Old Testament pictures of substitutionary bearing of sin. The New Testament applies this directly to Christ: "He bore our sins in his body on the tree" (1 Peter 2:24); "He always lives to make intercession" (Hebrews 7:25).
תָּמִיד ("continually, always") — This word appears repeatedly in the chapter (vv. 29, 30, 38), emphasizing the unceasing nature of the high priest's mediatorial work. The plate must always be on Aaron's forehead; the names must always be over his heart; the judgment must always be carried before the LORD. There is never a moment when Israel does not need a priest standing between them and God. The writer of Hebrews sees this fulfilled in Christ's permanent, unending priesthood: "He always lives to make intercession for them" (Hebrews 7:25).
The Tunic, Turban, and Sash; Garments for Aaron's Sons (vv. 39-43)
39 You are to weave the tunic with fine linen, make the turban of fine linen, and fashion an embroidered sash. 40 Make tunics, sashes, and headbands for Aaron's sons, to give them glory and splendor. 41 After you put these garments on your brother Aaron and his sons, anoint them, ordain them, and consecrate them so that they may serve Me as priests. 42 Make linen undergarments to cover their bare flesh, extending from waist to thigh. 43 Aaron and his sons must wear them whenever they enter the Tent of Meeting or approach the altar to minister in the Holy Place, so that they will not incur guilt and die. This is to be a permanent statute for Aaron and his descendants.
39 And you shall weave the tunic of fine linen, and you shall make a turban of fine linen, and you shall make a sash, the work of an embroiderer. 40 And for the sons of Aaron you shall make tunics, and you shall make sashes for them, and you shall make caps for them, for glory and for beauty. 41 And you shall clothe them on Aaron your brother and on his sons with him, and you shall anoint them and ordain them and consecrate them, so that they may serve as priests to me. 42 And you shall make for them linen undergarments to cover their naked flesh — from the waist to the thighs they shall extend. 43 And they shall be on Aaron and on his sons when they enter the Tent of Meeting or when they approach the altar to minister in the Holy Place, so that they do not bear guilt and die. It shall be a permanent statute for him and for his offspring after him.
Notes
וְשִׁבַּצְתָּ ("you shall weave") — The verb שָׁבַץ appears only in the Piel here and in Exodus 28:4 (as the noun תַּשְׁבֵּץ). It likely refers to a checkered or textured weaving pattern, producing a fabric with a quilted or diamond-like surface. The KJV renders it "embroider," but the technique is a form of weaving rather than surface embroidery.
מִצְנֶפֶת ("turban") for Aaron versus מִגְבָּעוֹת ("caps" or "headbands") for his sons — The distinction in headgear between the high priest and ordinary priests is marked by different vocabulary. Aaron's turban is grander, serving as the base for the golden plate. His sons' headgear is simpler but still made "for glory and for beauty," the same phrase used of Aaron's garments in v. 2.
וּמָשַׁחְתָּ אֹתָם וּמִלֵּאתָ אֶת יָדָם וְקִדַּשְׁתָּ אֹתָם ("you shall anoint them and ordain them and consecrate them") — Three verbs describe the process of installing the priests. מָשַׁח ("to anoint") involves pouring oil on the head, signifying divine empowerment — the source of the word "Messiah" (מָשִׁיחַ, "anointed one"). מִלֵּא אֶת יָד ("to fill the hand") is the idiomatic Hebrew expression for ordination, possibly referring to placing the sacrificial portions in the priest's hands. קָדַשׁ ("to consecrate, make holy") sets them apart for sacred service. The full ordination ceremony is described in Exodus 29 and carried out in Leviticus 8.
מִכְנְסֵי בָד ("linen undergarments") — These are linen breeches or shorts worn next to the skin, covering "from the waist to the thighs." The purpose is explicitly stated: לְכַסּוֹת בְּשַׂר עֶרְוָה ("to cover naked flesh"). The word עֶרְוָה ("nakedness, indecency") is the same word used in the prohibition against exposed nakedness on altar steps (Exodus 20:26). Modesty in God's presence is a theological imperative, not merely a cultural preference. The priest must be covered when approaching the altar.
וְלֹא יִשְׂאוּ עָוֺן וָמֵתוּ ("so that they do not bear guilt and die") — The chapter ends as it has repeatedly warned: failure to observe the priestly dress code is not a minor infraction but a capital offense. The phrase "bear guilt and die" creates a grim contrast with Aaron's role in v. 38, where he bears guilt on behalf of Israel. When the priest bears the people's guilt in the prescribed way, the people are accepted; when the priest bears his own guilt through disobedience, he dies. The priestly office is simultaneously the highest privilege and the most dangerous vocation in Israel.
חֻקַּת עוֹלָם ("a permanent statute") — The chapter concludes by declaring these instructions a perpetual ordinance for Aaron and his descendants. The word חֻקָּה ("statute, ordinance") denotes a fixed, non-negotiable divine decree. This statute will govern Israel's priesthood until the coming of the priest after the order of Melchizedek, whose priesthood supersedes the Aaronic order entirely (Hebrews 7:11-19).