Shemot (Exodus) Chapter 27

20God told Moses, “You will later command the Israelites to bring you clear olive oil crushed for the luminary, to kindle the lamp regularly.   כוְאַתָּ֞ה תְּצַוֶּ֣ה | אֶת־בְּנֵ֣י יִשְׂרָאֵ֗ל וְיִקְח֨וּ אֵלֶ֜יךָ שֶׁ֣מֶן זַ֥יִת זָ֛ךְ כָּתִ֖ית לַמָּא֑וֹר לְהַֽעֲלֹ֥ת נֵ֖ר תָּמִֽיד:
וְאַתָּה תצוה. זָךְ - You will command…clear [olive oil]. i.e., free of sediment, i.e., it is the oil and not the olive that must be pure, as we have learned in Menachot: 1 “He picks the olives at the top of the tree…,” which have fully ripened and are easier to crush.   וְאַתָּה תצוה. זָךְ.  בְּלִי שְׁמָרִים, כְּמוֹ שֶׁשָּׁנִינוּ בִמְנָחוֹת מְגַרְגְּרוֹ בְרֹאשׁ הַזַּיִת וְכוּ':
כָּתִית - Crushed - i.e., he presses the olives in a mortar but does not grind them in a mill, so that the oil not contain sediment; and after he has drawn out the first drop, he puts them into the millstone and grinds them. The second oil is unfit for lighting the Candelabrum, but is suitable for grain-offerings, as it says: “crushed for illumination” – but it need not be crushed for grain-offerings.   כָּתִית.  הַזֵּיתִים כּוֹתֵשׁ בַּמַּכְתֶּשֶׁת וְאֵינוֹ טוֹחֲנָן בָּרֵחַיִם, כְּדֵי שֶׁלֹּא יִהְיֶה בוֹ שְׁמָרִים, וְאַחַר שֶׁהוֹצִיא טִפָּה רִאשׁוֹנָה מַכְנִיסָן לָרֵחַיִם וְטוֹחֲנָן; וְהַשֶּׁמֶן הַשֵּׁנִי פָּסוּל לַמְּנוֹרָה וְכָשֵׁר לִמְנָחוֹת שֶׁנֶּאֱמַר כָּתִית לַמָּאוֹר – וְלֹא כָתִית לַמְּנָחוֹת (מנחות פ"ו):
להעלות נֵר תָּמִֽיד - To kindle the lamp regularly. The term לְהַעֲלֹת (lit., “to make rise”) is used here to indicate that he must kindle it until the flame rises by itself.   להעלות נֵר תָּמִֽיד.  מַדְלִיק עַד שֶׁתְּהֵא שַׁלְהֶבֶת עוֹלָה מֵאֵלֶיהָ (שבת כ"א):
תָּמִֽיד - (lit.) Continuously. That which is done each and every night is also termed תָּמִיד, as we find: עֹלַת תָּמִיד “a continual ascent-offering,” 2 which was in fact brought only on a twice-daily basis but not continuously. And similarly regarding the pan-fried grain-offering brought daily by the high priest, it says תָּמִיד, 3 and it was only brought half in the morning and half in the afternoon. However, the תָּמִיד stated regarding the showbread 4 means that it stayed on the table continuously, from one Sabbath to the next Sabbath.   תָּמִֽיד.  כָּל לַיְלָה וְלַיְלָה קָרוּי תָּמִיד, כְּמוֹ שֶׁאַתָּה אוֹמֵר עֹלַת תָּמִיד וְאֵינָהּ אֶלָּא מִיּוֹם לְיוֹם; וְכֵן בְּמִנְחַת חֲבִתִּין נֶאֱמַר תָּמִיד וְאֵינָהּ אֶלָּא מַחֲצִיתָהּ בַּבֹּקֶר וּמַחֲצִיתָהּ בָּעֶרֶב, אֲבָל תָּמִיד הָאָמוּר בְּלֶחֶם הַפָּנִים מִשַּׁבָּת לְשַׁבָּת הוּא:
21Aaron and his sons will set up the lighting apparatus in the Tent of Meeting outside the Curtain concealing the Ark of Testimony, before God, ensuring that the lamps burn from later afternoon until morning. This will be an eternal duty of the Israelites throughout their generations.   כאבְּאֹ֣הֶל מוֹעֵד֩ מִח֨וּץ לַפָּרֹ֜כֶת אֲשֶׁ֣ר עַל־הָֽעֵדֻ֗ת יַֽעֲרֹךְ֩ אֹת֨וֹ אַֽהֲרֹ֧ן וּבָנָ֛יו מֵעֶ֥רֶב עַד־בֹּ֖קֶר לִפְנֵ֣י יְהֹוָ֑ה חֻקַּ֤ת עוֹלָם֙ לְדֹ֣רֹתָ֔ם מֵאֵ֖ת בְּנֵ֥י יִשְׂרָאֵֽל:
מֵעֶרֶב עַד־בֹּקֶר - From late afternoon until morning - i.e., provide it with a sufficient amount of oil for it to burn from late afternoon until morning. The sages 5 calculated this amount to be half a log for the long nights of Tevet, and a similar amount was used for all nights, and if there was oil left over it did not matter.   מֵעֶרֶב עַד־בֹּקֶר.  תֵּן לָהּ מִדָּתָהּ שֶׁתְּהֵא דּוֹלֶקֶת מֵעֶרֶב וְעַד בֹּקֶר, וְשִׁעֲרוּ חֲכָמִים חֲצִי לֹג לְלֵילֵי טֵבֵת הָאֲרֻכִּין וְכֵן לְכָל הַלֵּילוֹת, וְאִם יִוָּתֵר אֵין בְּכָךְ כְּלוּם (מנחות פ"ט):

Shemot (Exodus) Chapter 28

1You must draw your brother Aaron to you from among the Israelites, together with his sons, to minister to Me as priests—Aaron, and with him Nadav, Avihu, Eleazar, and Itamar, the sons of Aaron.   אוְאַתָּ֡ה הַקְרֵ֣ב אֵלֶ֩יךָ֩ אֶת־אַֽהֲרֹ֨ן אָחִ֜יךָ וְאֶת־בָּנָ֣יו אִתּ֗וֹ מִתּ֛וֹךְ בְּנֵ֥י יִשְׂרָאֵ֖ל לְכַֽהֲנוֹ־לִ֑י אַֽהֲרֹ֕ן נָדָ֧ב וַֽאֲבִיה֛וּא אֶלְעָזָ֥ר וְאִֽיתָמָ֖ר בְּנֵ֥י אַֽהֲרֹֽן:
וְאַתָּה הַקְרֵב אֵלֶיךָ - You must draw…to you. after you complete the work of the construction of the Tabernacle.   וְאַתָּה הַקְרֵב אֵלֶיךָ.  לְאַחַר שֶׁתִּגָּמֵר מְלֶאכֶת הַמִּשְׁכָּן:
2You must make sacred vestments for your brother Aaron, for dignity and splendor.   בוְעָשִׂ֥יתָ בִגְדֵי־קֹ֖דֶשׁ לְאַֽהֲרֹ֣ן אָחִ֑יךָ לְכָב֖וֹד וּלְתִפְאָֽרֶת:
3You must speak to everyone who is wise of heart, in whom I have invested a spirit of wisdom, and they must make Aaron’s vestments to consecrate him to minister to Me.   גוְאַתָּ֗ה תְּדַבֵּר֙ אֶל־כָּל־חַכְמֵי־לֵ֔ב אֲשֶׁ֥ר מִלֵּאתִ֖יו ר֣וּחַ חָכְמָ֑ה וְעָשׂ֞וּ אֶת־בִּגְדֵ֧י אַֽהֲרֹ֛ן לְקַדְּשׁ֖וֹ לְכַֽהֲנוֹ־לִֽי:
לְקַדְּשׁוֹ לְכַֽהֲנוֹ־לִֽי - To consecrate him to minister to Me. “To consecrate him” means here to initiate him into the priesthood by means of the priestly clothing, so that he may act as a priest for Me. The term כְּהֻנָּה “priesthood” here denotes service, “serjanterie” in Old French, whereas in the previous verse it referred to the priestly status.   לְקַדְּשׁוֹ לְכַֽהֲנוֹ־לִֽי.  לְקַדְּשׁוֹ לְהַכְנִיסוֹ בִּכְהֻנָּה עַל יְדֵי הַבְּגָדִים שֶׁיְּהֵא כֹהֵן לִי, וּלְשׁוֹן כְּהֻנָּה שֵׁרוּת הוּא, שנטרי"אה בְּלַעַז:
4These are the vestments that they must make for the high priest: a Breastplate, an Ephod, a Robe, a Tunic of recessed checkered knit, a Turban, and a Sash. They must make sacred vestments for your brother Aaron and for his sons, so that they may minister to Me.   דוְאֵ֨לֶּה הַבְּגָדִ֜ים אֲשֶׁ֣ר יַֽעֲשׂ֗וּ ח֤שֶׁן וְאֵפוֹד֙ וּמְעִ֔יל וּכְתֹ֥נֶת תַּשְׁבֵּ֖ץ מִצְנֶ֣פֶת וְאַבְנֵ֑ט וְעָשׂ֨וּ בִגְדֵי־קֹ֜דֶשׁ לְאַֽהֲרֹ֥ן אָחִ֛יךָ וּלְבָנָ֖יו לְכַֽהֲנוֹ־לִֽי:
חשֶׁן - is an adornment worn above the heart.   חשֶׁן.  תַּכְשִׁיט כְּנֶגֶד הַלֵּב:
וְאֵפוֹד - An Ephod. 

. I have not heard, nor have I found in a baraita, a description of its form. However, my heart tells me that it was girded on him from behind, its width being as wide as a person’s back, like a type of apron, called “porzent” in Old French, that noblewomen wear when riding on horseback. This was how its lower part was made, as it says: “and David was girded with a linen ephod,” 6 from which we learn that the Ephod is a girded garment.

It is impossible, however, to say that it consisted of a belt alone, for it says: 7 “he placed the Ephod upon him,” and then afterwards: “he girded him בְּחֵשֶׁב הָאֵפֹד,” which Onkelos translates as בְּהֶמְיַן אֵפוֹדָא “with the belt of the Ephod,” indicating that the חֵשֶׁב is the belt, while the Ephod itself is a separate adornment. It is also impossible to say that it is called Ephod on account of its two shoulder straps, for it says: “the two shoulder straps of the Ephod,” 8 indicating that the Ephod is one thing, the shoulder straps another thing, and the belt yet another thing. I therefore say that it is called Ephod on account of the apron-like garment hanging down, because he is bedecked and adorned with it, as it says: וַיֶּאְפֹּד לוֹ בּוֹ “and he adorned him with it”; 9 the חֵשֶׁב is the belt above it; and the shoulder straps are affixed to it.

My heart further tells me that there is proof that it is a type of garment, for Yonatan ben Uziel translates “and David was girded with a linen ephod” as כַּרְדּוּט דְּבוּץ “a linen כַּרְדּוּט,” and similarly he translates the word מְעִילִים as כַּרְדּוּטִין, in the story of Tamar, the sister of Avshalom: “for so would the virgin daughters of the king wear robes (מְעִילִים).” 10

  וְאֵפוֹד.  לֹא שָׁמַעְתִּי וְלֹא מָצָאתִי בַּבָּרַיְתָא פֵּרוּשׁ תַּבְנִיתוֹ, וְלִבִּי אוֹמֵר לִי שֶׁהוּא חֲגוֹרָה לוֹ מֵאֲחוֹרָיו, רָחְבּוֹ כְּרֹחַב גַּב אִישׁ, כְּמִין סִינָר שֶׁקּוֹרִין פורצי"נט בְּלַעַז, שֶׁחוֹגְרוֹת הַשָּׂרוֹת כְּשֶׁרוֹכְבוֹת עַל הַסּוּסִים, כָּךְ מַעֲשֵׂהוּ מִלְּמַטָּה, שֶׁנֶּאֱמַר וְדָוִד חָגוּר אֵפוֹד בָּד, לָמַדְנוּ שֶׁהָאֵפוֹד חֲגוֹרָה הִיא; וְאִי אֶפְשָׁר לוֹמַר שֶׁאֵין בּוֹ אֶלָּא חֲגוֹרָה לְבַדָּהּ, שֶׁהֲרֵי נֶאֱמַר וַיִּתֵּן עָלָיו אֶת הָאֵפֹד וְאֲחַר כַּךְ וַיַּחְגֹּר אוֹתוֹ בְּחֵשֶׁב הָאֵפֹד וְתִרְגֵּם אֻנְקְלוֹס בְּהֶמְיַן אֵפוֹדָא, לָמַדְנוּ שֶׁהַחֵשֶׁב הוּא הֶחָגוֹר וְהָאֵפוֹד שֵׁם תַּכְשִׁיט לְבַדּוֹ; וְאִי אֶפְשָׁר לוֹמַר שֶׁעַל שֵׁם שְׁתֵּי הַכְּתֵפוֹת שֶׁבּוֹ הוּא קָרוּי אֵפוֹד, שֶׁהֲרֵי נֶאֱמַר שְׁתֵּי כִתְפוֹת הָאֵפוֹד, לָמַדְנוּ שֶׁהָאֵפוֹד שֵׁם לְבַד וְהַכְּתֵפוֹת שֵׁם לְבַד וְהַחֵשֶׁב שֵׁם לְבַד, לְכָךְ אֲנִי אוֹמֵר שֶׁעַל שֵׁם הַסִּינָר שֶׁל מַטָּה קָרוּי אֵפוֹד – עַל שֵׁם שֶׁאוֹפְדוֹ וּמְקַשְּׁטוֹ בוֹ – כְּמוֹ שֶׁנֶּ' וַיֶּאְפֹּד לוֹ בּוֹ, וְהַחֵשֶׁב הוּא חָגוּר שֶׁלְּמַעְלָה הֵימֶנּוּ וְהַכְּתֵפוֹת קְבוּעוֹת בּוֹ. וְעוֹד אוֹמֵר לִי לִבִּי שֶׁיֵּשׁ רְאָיָה שֶׁהוּא מִין לְבוּשׁ, שֶׁתִּרְגֵּם יוֹנָתָן וְדָוִד חָגוּר אֵפוֹד בָּד (שמואל ב ו') – כַּרְדּוּט דְּבוּץ, וְתִרְגֵּם כְּמוֹ כֵן מְעִילִים כַּרְדּוּטִין, בְּמַעֲשֵׂה תָּמָר אֲחוֹת אַבְשָׁלוֹם, כִּי כֵן תִּלְבַּשְׁנָה בְנוֹת הַמֶּלֶךְ הַבְּתוּלוֹת מְעִילִים (שם י"ג):
מעיל - This is a type of robe, and so is the כֻּתֹּנֶת, except that the כֻּתֹּנֶת is worn next to the skin, and מְעִיל denotes an outer robe.   מעיל.  הוּא כְּמִין חָלוּק, וְכֵן הַכֻּתֹּנֶת, אֶלָּא שֶׁהַכֻּתֹּנֶת סָמוּךְ לִבְשָׂרוֹ וּמְעִיל קָרוּי חָלוּק הָעֶלְיוֹן:
תַּשְׁבֵּץ - means it was made with מִשְׁבְּצוֹת for decoration, and these מִשְׁבְּצוֹת are like those recesses made in gold jewelry as a place to set precious stones and pearls, as it says regarding the stones of the Ephod: “encased in gold settings (מִשְׁבְּצוֹת),” 11 which in Old French are called “castons.”   תַּשְׁבֵּץ.  עֲשׂוּיִין מִשְׁבְּצוֹת לְנוֹי, וְהַמִּשְׁבְּצוֹת הֵם כְּמִין גֻּמּוֹת הָעֲשׂוּיוֹת בְּתַכְשִׁיטֵי זָהָב לְמוֹשַׁב קְבִיעַת אֲבָנִים טוֹבוֹת וּמַרְגָּלִיּוֹת, כְּמוֹ שֶׁנֶּאֱמַר בְּאַבְנֵי הָאֵפוֹד מֻסַבֹּת מִשְׁבְּצוֹת זָהָב, וּבְלַעַז קוֹרְאִין אוֹתוֹ קשטו"נש:
מִצְנֶפֶת - is a type of dome-shaped hat which is called “coyfe” in Old French, for elsewhere Scripture calls them מִגְבָּעוֹת, 12 which is translated by Onkelos as כּוֹבָעִין “hats.”   מִצְנֶפֶת.  כְּמִין כִּפַּת כּוֹבַע, שֶׁקּוֹרִין קופ"יא בְּלַעַז, שֶׁהֲרֵי בְמָקוֹם אַחֵר קוֹרֵא לָהֶם מִגְבָּעוֹת וּמְתַרְגְּמִינָן כּוֹבָעִין:
וְאַבְנֵט - This is a belt over the Tunic, and the Ephod acted as a belt over the Robe, as we find in the procedure of putting them on: “He placed the Tunic upon him, girded him with the Sash, clothed him in the Robe, and placed the Ephod upon him.” 13   וְאַבְנֵט.  הִיא חֲגוֹרָה עַל הַכֻּתֹּנֶת וְהָאֵפוֹד חֲגוֹרָה עַל הַמְּעִיל, כְּמוֹ שֶׁמָּצִינוּ בְּסֵדֶר לְבִישָׁתָן וַיִּתֵּן עָלָיו אֶת הַכֻּתֹּנֶת וַיַּחְגֹּר אֹתוֹ בָּאַבְנֵט וַיַּלְבֵּשׁ אֹתוֹ אֶת הַמְּעִיל וַיִּתֵּן עָלָיו אֶת הָאֵפֹד:
בִגְדֵי־קֹדֶשׁ - Sacred vestments - i.e., they must make them from the contributions that were dedicated for My sake.   בִגְדֵי־קֹדֶשׁ.  מִתְּרוּמָה הַמְקֻדֶּשֶׁת לִשְׁמִי יַעֲשֶׂה אוֹתָם:
5The artisans must take the gold, the turquoise, purple, and scarlet wool, and the linen.   הוְהֵם֙ יִקְח֣וּ אֶת־הַזָּהָ֔ב וְאֶת־הַתְּכֵ֖לֶת וְאֶת־הָֽאַרְגָּמָ֑ן וְאֶת־תּוֹלַ֥עַת הַשָּׁנִ֖י וְאֶת־הַשֵּֽׁשׁ:
וְהֵם יִקְחוּ - They must take - i.e., those wise-hearted men who are to make the garments will receive the gold and the turquoise wool, etc., from the contributors, so as to make the garments from them.   וְהֵם יִקְחוּ.  אוֹתָם חַכְמֵי לֵב שֶׁיַּעֲשׂוּ הַבְּגָדִים יְקַבְּלוּ מִן הַמִּתְנַדְּבִים אֶת הַזָּהָב וְאֶת הַתְּכֵלֶת לַעֲשׂוֹת מֵהֶן אֶת הַבְּגָדִים:
6The artisans must make the Ephod out of threads composed of gold, turquoise wool, purple wool, scarlet wool, and twined linen, with a woven design.   ווְעָשׂ֖וּ אֶת־הָֽאֵפֹ֑ד זָ֠הָ֠ב תְּכֵ֨לֶת וְאַרְגָּמָ֜ן תּוֹלַ֧עַת שָׁנִ֛י וְשֵׁ֥שׁ מָשְׁזָ֖ר מַֽעֲשֵׂ֥ה חשֵֽׁב:
וְעָשׂוּ אֶת־הָֽאֵפֹד - They must make the Ephod. 

If I were to explain the construction of the Ephod and the Breastplate according to the order of the verses, their description would be fragmented and the reader may err when piecing the details together. I am therefore writing here their construction in full, in order that the reader may be able to read it quickly and easily, and afterwards I will explain it in the order of the verses.

The Ephod’s construction was like the apron worn by women when riding horses, and the priest would gird it from behind, opposite his heart, below his elbows; its width was somewhat wider than a person’s back, and it reached down to his heels. The belt was attached to the Ephod by weaving it to its upper edge, along its entire width, extending on either side of the Ephod so as to go around the priest’s body and to gird him with it.

The shoulder straps were attached to the belt, one to the right and one to the left, set apart from each other the distance between the shoulders, attached behind the priest to the two ends of the width of the apron, so that when he would stand them upright, they lay upon his two shoulders. They were like two straps made of the same material as the Ephod, long enough to draw them up to the level of his neck on either side, and folded over in front of him a little below his shoulders. The onyx stones were attached to them, one on the right shoulder strap and the other on the left shoulder strap, and the gold settings were placed at the ends of the straps in front of his shoulders.

The two gold braided chains were inserted through the two gold rings of the Breastplate that were on the two upper ends of its breadth, one on the right and the other on the left, and the two ends of the right chain were attached to the gold setting on the right, and the two ends of the left chain were likewise attached to the setting on the left shoulder. Consequently, the Breastplate hung from the gold settings of the Ephod upon his heart, in front of him. There were another two rings on the two lower corners of the Breastplate, and facing them were two rings on the two shoulder straps of the Ephod, below, on the lower end that was attached to the belt. The lower rings of the Breastplate were level with the rings on the Ephod, lying one upon the other, and he would link them with a cord of turquoise wool inserted into the rings of the Ephod and the Breastplate so that the bottom of the Breastplate be anchored to the belt of the Ephod and not move about and become separated, swinging back and forth.

   וְעָשׂוּ אֶת־הָֽאֵפֹד.  אִם בָּאתִי לְפָרֵשׁ מַעֲשֵׂה הָאֵפוֹד וְהַחֹשֶׁן עַל סֵדֶר הַמִּקְרָאוֹת, הֲרֵי פֵּרוּשָׁן פְּרָקִים, וְיִשְׁגֶה הַקּוֹרֵא בְּצֵרוּפָן, לְכָךְ אֲנִי כוֹתֵב מַעֲשֵׂיהֶם כְּמוֹת שֶׁהוּא, לְמַעַן יָרוּץ הַקּוֹרֵא בוֹ, וְאַחַר כָּךְ אֲפָרֵשׁ עַל סֵדֶר הַמִּקְרָאוֹת. הָאֵפוֹד עָשׂוּי כְּמִין סִינָר שֶׁל נָשִׁים רוֹכְבוֹת סוּסִים, וְחוֹגֵר אוֹתוֹ מֵאֲחוֹרָיו כְּנֶגֶד לִבּוֹ לְמַטָּה מֵאֲצִילָיו, רָחְבּוֹ כְּמִדַּת רֹחַב גַּבּוֹ שֶׁל אָדָם וְיוֹתֵר, וּמַגִּיעַ עַד עֲקֵבָיו, וְהַחֵשֶׁב מְחֻבָּר בְּרֹאשׁוֹ עַל פְּנֵי רָחְבּוֹ מַעֲשֵׂה אוֹרֵג, וּמַאֲרִיךְ לְכָאן וּלְכָאן כְּדֵי לְהַקִּיף וְלַחְגֹּר בּוֹ, וְהַכְּתֵפוֹת מְחֻבָּרוֹת בַּחֵשֶׁב, אֶחָד לְיָמִין וְאֶחָד לִשְׂמֹאל, מֵאֲחוֹרֵי הַכֹּהֵן, לִשְׁנֵי קְצוֹת רָחְבּוֹ שֶׁל סִינָר, וּכְשֶׁזּוֹקְפָן עוֹמְדוֹת לוֹ עַל שְׁתֵּי כְתֵפָיו, וְהֵן כְּמִין שְׁתֵּי רְצוּעוֹת עֲשׂוּיוֹת מִמִּין הָאֵפוֹד, אֲרֻכּוֹת כְּדֵי שִׁעוּר לְזָקְפָן אֵצֶל צַוָּארוֹ מִכָּאן וּמִכָּאן וְנִקְפָּלוֹת לְפָנָיו לְמַטָּה מִכְּתֵפָיו מְעַט, וְאַבְנֵי הַשֹּׁהַם קְבוּעוֹת בָּהֶם, אַחַת עַל כֶּתֶף יָמִין וְאַחַת עַל כֶּתֶף שְׂמֹאל, וְהַמִּשְׁבְּצוֹת נְתוּנוֹת בְּרָאשֵׁיהֶם לִפְנֵי כְּתֵפָיו, וּשְׁתֵּי עֲבוֹתוֹת הַזָּהָב תְּחוּבוֹת בִּשְׁתֵּי טַבָּעוֹת שֶׁבַּחֹשֶׁן, בִּשְׁנֵי קְצוֹת רָחְבּוֹ הָעֶלְיוֹן, אַחַת לְיָמִין וְאַחַת לִשְׂמֹאל, וּשְׁנֵי רָאשֵׁי הַשַּׁרְשֶׁרֶת תְּקוּעִין בַּמִּשְׁבֶּצֶת לַיָּמִין וְכֵן שְׁנֵי רָאשֵׁי הַשַּׁרְשֶׁרֶת הַשְּׂמָאלִית תְּקוּעִין בַּמִּשְׁבֶּצֶת שֶׁבְּכָתֵף שְׂמֹאל, נִמְצָא הַחֹשֶׁן תָּלוּי בְּמִשְׁבְּצוֹת הָאֵפוֹד עַל לִבּוֹ מִלְּפָנָיו, וְעוֹד שְׁתֵּי טַבָּעוֹת בִּשְׁנֵי קְצוֹת הַחֹשֶׁן בְּתַחְתִּיתוֹ, וּכְנֶגְדָּם שְׁתֵּי טַבָּעוֹת בִּשְׁתֵּי כִּתְפוֹת הָאֵפוֹד מִלְּמַטָּה, בְּרֹאשׁוֹ הַתַּחְתּוֹן הַמְּחֻבָּר בַּחֵשֶׁב; טַבְּעוֹת הַחֹשֶׁן אֶל מוּל טַבְּעוֹת הָאֵפוֹד שׁוֹכְבִים זֶה עַל זֶה, וּמְרַכְּסָן בִּפְתִיל תְּכֵלֶת תָּחוּב בְּטַבְּעוֹת הָאֵפוֹד וְהַחֹשֶׁן, שֶׁיְּהֵא תַּחְתִּית הַחֹשֶׁן דָּבוּק לְחֵשֶׁב הָאֵפוֹד וְלֹא יְהֵא נָד וְנִבְדָּל, הוֹלֵךְ וְחוֹזֵר:
זָהָב תְּכֵלֶת וְאַרְגָּמָן תּוֹלַעַת שָׁנִי וְשֵׁשׁ מָשְׁזָר - Gold, turquoise [wool], purple [wool], scarlet [wool], and twined linen. All these five materials were twined into each thread. They would beat out the gold into thin sheets, cut out threads from them, and then spin them – one gold thread with six strands of turquoise wool, another gold thread with six strands of purple wool, and similarly with the scarlet wool, and similarly with the linen – for the thread of each material was composed of six strands, and a thread of gold was spun with each of them. Afterward, all the threads were twined together into one thread, and thus each thread was twined from 28 strands. So is it stated explicitly in Tractate Yoma, 14 being derived from this following verse: “They hammered out the sheets of gold and he cut them into threads to be intertwined” – the gold threads – “with the turquoise, purple, and scarlet wool…,” 15 from which we learn that a thread of gold was intertwined with each material.   זָהָב תְּכֵלֶת וְאַרְגָּמָן תּוֹלַעַת שָׁנִי וְשֵׁשׁ מָשְׁזָר.  חֲמֵשֶׁת מִינִים הַלָּלוּ שְׁזוּרִין בְּכָל חוּט וָחוּט; הָיוּ מְרַדְּדִין אֶת הַזָּהָב כְּמִין טַסִּין דַּקִּין וְקוֹצְצִין פְּתִילִים מֵהֶם, וְטוֹוִין אוֹתוֹ חוּט שֶׁל זָהָב עִם שִׁשָּׁה חוּטִין שֶׁל תְּכֵלֶת, וְחוּט שֶׁל זָהָב עִם שִׁשָּׁה חוּטִין שֶׁל אַרְגָּמָן, וְכֵן בְּתוֹלַעַת שָׁנִי וְכֵן בַּשֵּׁשׁ – שֶׁכָּל הַמִּינִין חוּטָן כָּפוּל שִׁשָּׁה וְחוּט שֶׁל זָהָב עִם כָּל אֶחָד וְאֶחָד – וְאַחַר כָּךְ שׁוֹזֵר אֶת כֻּלָּם כְּאֶחָד, נִמְצָא חוּטָן כָּפוּל כ"ח, וְכֵן מְפֹרָשׁ בְּמַסֶּכֶת יוֹמָא, וְלָמֵד מִן הַמִּקְרָא הַזֶּה וַיְרַקְּעוּ אֶת פַּחֵי הַזָּהָב וְקִצֵּץ פְּתִילִם לַעֲשׂוֹת – אֶת פְּתִילֵי הַזָּהָב – בְּתוֹךְ הַתְּכֵלֶת וּבְתוֹךְ הָאַרְגָּמָן וְגוֹ', לָמַדְנוּ שֶׁחוּט שֶׁל זָהָב שָׁזוּר עִם כָּל מִין וָמִין:
מַֽעֲשֵׂה חשֵֽׁב - I have already explained 16 that this refers to weaving on two opposite surfaces, where the designs on its two sides do not resemble one another.   מַֽעֲשֵׂה חשֵֽׁב.  כְּבָר פֵּרַשְׁתִּי שֶׁהוּא אֲרִיגַת שְׁתֵּי קִירוֹת, שֶׁאֵין צוּרוֹת שְׁנֵי עֲבָרֶיהָ דּוֹמוֹת זוֹ לָזוֹ:
7It must have two shoulder straps attached to its top at its two visible ends, attached by sewing.   זשְׁתֵּ֧י כְתֵפֹ֣ת חֹֽבְרֹ֗ת יִֽהְיֶה־לּ֛וֹ אֶל־שְׁנֵ֥י קְצוֹתָ֖יו וְחֻבָּֽר:
שְׁתֵּי כְתֵפֹת וגו' - Two shoulder straps… The apron was the lower part of the Ephod and חֵשֶׁב הָאֵפֹד was the belt attached to it above, similar to the apron of women riding on a horse. At the priest’s back were attached to the belt two pieces of material like two wide straps, one for each shoulder, which were raised onto his two shoulders until they folded over in front of him against his chest, and by their being attached to the rings of the Breastplate they were held in front of him, over his heart, so that they did not fall, as is explained in that passage. They were thus stood upright over his shoulders, and the two onyx stones were affixed to them, one on each strap.   שְׁתֵּי כְתֵפֹת וגו'.  הַסִּינָר מִלְּמַטָּה וְחֵשֶׁב הָאֵפוֹד הִיא הַחֲגוֹרָה, וּצְמוּדָה לוֹ מִלְמַעְלָה דֻּגְמַת סִינַר הַנָּשִׁים, וּמִגַּבּוֹ שֶׁל כֹּהֵן הָיוּ מְחֻבָּרוֹת בַּחֵשֶׁב שְׁתֵּי חֲתִיכוֹת כְּמִין שְׁתֵּי רְצוּעוֹת רְחָבוֹת, אַחַת כְּנֶגֶד כָּל כָּתֵף וְכָתֵף, וְזוֹקְפָן עַל שְׁתֵּי כִתְפוֹתָיו עַד שֶׁנִּקְפָּלוֹת לְפָנָיו כְּנֶגֶד הֶחָזֶה, וְעַל יְדֵי חִבּוּרָן לְטַבְּעוֹת הַחֹשֶׁן נֶאֱחָזִין מִלְּפָנָיו כְּנֶגֶד לִבּוֹ שֶׁאֵין נוֹפְלוֹת, כְּמוֹ שֶׁמְּפֹרָשׁ בָּעִנְיָן, וְהָיוּ זְקוּפוֹת וְהוֹלְכוֹת כְּנֶגֶד כְּתֵפָיו וּשְׁתֵּי אַבְנֵי הַשֹׁהַם קְבוּעוֹת בָּהֶן אַחַת בְּכָל אַחַת:
אֶל־שְׁנֵי קְצוֹתָיו - At its two ends - i.e., to the width of the Ephod, for its width was only as wide as the back of the priest; and its height reached until the priest’s elbows, called “codes” in Old French, as it says: לֹא יַחְגְּרוּ בַּיָּזַע, 17 meaning: “they must not gird themselves in a place of sweat (זֵעָה),” i.e., not above their elbows nor below their waist, but at the level of their elbows.   אֶל־שְׁנֵי קְצוֹתָיו.  אֶל רָחְבּוֹ שֶׁל אֵפוֹד, שֶׁלֹּא הָיָה רָחְבּוֹ אֶלָּא כְּנֶגֶד גַּבּוֹ שֶׁל כֹּהֵן וְגָבְהוֹ עַד כְּנֶגֶד הָאֲצִילִים, שֶׁקּוֹרִין קודי"ש בְּלַעַז, שֶׁנֶּ' לֹא יַחְגְּרוּ בַּיָּזַע (יחזקאל מ"ד) – אֵין חוֹגְרִין בִּמְקוֹם זֵיעָה, לֹא לְמַעְלָה מֵאֲצִילֵיהֶם וְלֹא לְמַטָּה מִמָּתְנֵיהֶם אֶלָּא כְּנֶגֶד אֲצִילֵיהֶם:
וְחֻבָּֽר - (lit.) And it will be attached - i.e., the Ephod and these two shoulder straps of the Ephod must be attached below, onto the belt, by sewing. The artisan must not weave them together with the Ephod itself, but must weave them separately and afterwards attach them to the Ephod.   וְחֻבָּֽר.  הָאֵפוֹד עִם אוֹתָן שְׁתֵּי כִתְפוֹת הָאֵפוֹד יְחַבֵּר אוֹתָם בְּמַחַט לְמַטָּה בַּחֵשֶׁב, וְלֹא יֶאֶרְגֵם עִמּוֹ אֶלָּא אוֹרְגָם לְבַד וְאַחַר כָּךְ מְחַבְּרָם:
8The belt that fastens it and that is above it must be made like it, of one piece with it, woven out of threads composed of gold, turquoise wool, purple wool, scarlet wool, and twined linen.   חוְחֵ֤שֶׁב אֲפֻדָּתוֹ֙ אֲשֶׁ֣ר עָלָ֔יו כְּמַֽעֲשֵׂ֖הוּ מִמֶּ֣נּוּ יִֽהְיֶ֑ה זָהָ֗ב תְּכֵ֧לֶת וְאַרְגָּמָ֛ן וְתוֹלַ֥עַת שָׁנִ֖י וְשֵׁ֥שׁ מָשְׁזָֽר:
וְחֵשֶׁב אֲפֻדָּתוֹ - The belt (lit.) of its adornment - means: and the belt by which he beautifies it and prepares it for the priest to wear so that it ornaments him.   וְחֵשֶׁב אֲפֻדָּתוֹ.  וְחָגוֹר שֶׁעַל יָדוֹ הוּא מְאַפְּדוֹ וּמְתַקְּנֵהוּ לַכֹּהֵן וּמְקַשְּׁטוֹ:
אֲשֶׁר עָלָיו - That is above it - i.e., at the top edge of the apron, is the belt.   אֲשֶׁר עָלָיו.  לְמַעְלָה בִּשְׂפַת הַסִּינָר, הִיא הַחֲגוֹרָה:
כְּמַֽעֲשֵׂהוּ - (lit.) Like its making - i.e., just as the apron was woven – with interwoven designs and from the five specified materials, so was the belt woven – with interwoven designs and from these five materials.   כְּמַֽעֲשֵׂהוּ.  כַּאֲרִיגַת הַסִּינָר מַעֲשֵׂה חוֹשֵׁב וּמֵחֲמֵשֶׁת מִינִים, כָּךְ אֲרִיגַת הַחֵשֶׁב מַעֲשֵׂה חוֹשֵׁב וּמֵחֲמֵשֶׁת מִינִין:
מִמֶּנּוּ יִֽהְיֶה - (lit.) It will be from it - i.e., it must be woven with the Ephod, but do not weave it separately and then attach it to the Ephod.   מִמֶּנּוּ יִֽהְיֶה.  עִמּוֹ יִהְיֶה אָרוּג וְלֹא יַאַרְגֶנּוּ לְבַד וִיחַבְּרֶנּוּ:
9You must take the two onyx stones and engrave on them the names of the sons of Israel—   טוְלָ֣קַחְתָּ֔ אֶת־שְׁתֵּ֖י אַבְנֵי־שֹׁ֑הַם וּפִתַּחְתָּ֣ עֲלֵיהֶ֔ם שְׁמ֖וֹת בְּנֵ֥י יִשְׂרָאֵֽל:
10six of their names on one stone, and the remaining six names on the second stone—in the order of their birth.   ישִׁשָּׁה֙ מִשְּׁמֹתָ֔ם עַ֖ל הָאֶ֣בֶן הָֽאֶחָ֑ת וְאֶת־שְׁמ֞וֹת הַשִּׁשָּׁ֧ה הַנּֽוֹתָרִ֛ים עַל־הָאֶ֥בֶן הַשֵּׁנִ֖ית כְּתֽוֹלְדֹתָֽם:
כְּתֽוֹלְדֹתָֽם - (lit.) By their offspring - means here: “according to the order in which they were born,” i.e., Reuben, Simeon, Levi, Judah, Dan, and Naphtali on one stone, and on the other: Gad, Asher, Issachar, Zebulun, Joseph, and Benjamin spelled in full (בִּנְיָמִין with a י following the מ), for so it is spelled in the account of his birth. There were thus 25 letters on each stone.   כְּתֽוֹלְדֹתָֽם.  כַּסֵּדֶר שֶׁנּוֹלְדוּ – רְאוּבֵן, שִׁמְעוֹן, לֵוִי, יְהוּדָה, דָּן, נַפְתָלִי עַל הָאַחַת, וְעַל הַשְּׁנִיָּה גָּד, אָשֵׁר, יִשָּׂשכָר זְבוּלֻן, יוֹסֵף, בִּנְיָמִין מָלֵא, שֶׁכֵּן הוּא כָתוּב בִּמְקוֹם תּוֹלַדְתּוֹ, כ"ה אוֹתִיּוֹת בְּכָל אַחַת וְאַחַת:
11You must engrave the two stones with the names of Israel’s sons like a signet ring is engraved by a jeweler, and you must encase them in gold settings.   יאמַֽעֲשֵׂ֣ה חָרַשׁ֘ אֶ֒בֶן֒ פִּתּוּחֵ֣י חֹתָ֗ם תְּפַתַּח֙ אֶת־שְׁתֵּ֣י הָֽאֲבָנִ֔ים עַל־שְׁמֹ֖ת בְּנֵ֣י יִשְׂרָאֵ֑ל מֻֽסַבֹּ֛ת מִשְׁבְּצ֥וֹת זָהָ֖ב תַּֽעֲשֶׂ֥ה אֹתָֽם:
מַֽעֲשֵׂה חָרַשׁ אֶבֶן - means: “the work of an artisan of precious stones”; i.e., this word חָרַשׁ is directly connected to the following word and is therefore vocalized with a patach at the end. Similarly we find: “an artisan of wood (חָרַשׁ עֵצִים) stretches out a line”; 18 and similarly: “an artisan of iron (חָרַשׁ בַּרְזֶל) uses an ax” 19 – all these instances of חָרַשׁ are construct forms and are therefore vocalized with a patach.   מַֽעֲשֵׂה חָרַשׁ אֶבֶן.  מַעֲשֵׂה אֻמָּן שֶׁל אֲבָנִים, חָרַשׁ זֶה דָּבוּק הוּא לַתֵּבָה שֶׁלְּאַחֲרָיו וּלְפִיכָךְ הוּא נָקוּד פַּתָּח בְּסוֹפוֹ, וְכֵן חָרַשׁ עֵצִים נָטָה קָו (ישעיהו מ"ד) – חָרָשׁ שֶׁל עֵצִים, וְכֵן חָרַשׁ בַּרְזֶל מַעֲצָד, (שם), כָּל אֵלֶּה דְּבוּקִים וּפְתוּחִים:
פִּתּוּחֵי חֹתָם - Its meaning is as Onkelos translates it: כְּתַב מְפָרַשׁ כִּגְלוֹף דְּעִזְקָא “distinct writing like the engraving of a signet ring,” i.e., the letters were etched into the stones just like one etches the seals of rings used to seal letters – a recognizable and distinct inscription.   פִּתּוּחֵי חֹתָם.  כְּתַרְגּוּמוֹ כְּתַב מְפָרַשׁ כִּגְלֹף דְּעִזְקָא, חֲרוּצוֹת הָאוֹתִיּוֹת בְּתוֹכָן כְּמוֹ שֶׁחוֹרְצִין חוֹתְמֵי טַבָּעוֹת שֶׁהֵם לַחְתֹּם אִגְּרוֹת – כְּתָב נִכָּר וּמְפֹרָשׁ:
עַל־שְׁמֹת - is the same as\ בִּשְׁמוֹת – “with the names of.”   עַל־שְׁמֹת.  כְּמוֹ בִּשְׁמֹת:
מֻֽסַבֹּת מִשְׁבְּצוֹת - (lit.) Surrounded by settings - means: the precious stones were encased in gold settings, i.e., that he sets the location of the stone as a recess in the gold the same size as the stone, and he inserts it into the setting, the setting thus surrounding the stone on all sides. He then attaches the settings to the shoulder straps of the Ephod.   מֻֽסַבֹּת מִשְׁבְּצוֹת.  מֻקָּפוֹת הָאֲבָנִים בְּמִשְׁבְּצוֹת זָהָב, שֶׁעוֹשֶׂה מוֹשַׁב הָאֶבֶן בְּזָהָב כְּמִין גֻּמָּא לְמִדַּת הָאֶבֶן וּמְשַׁקְּעָהּ בַּמִּשְׁבֶּצֶת, נִמְצֵאת הַמִּשְׁבֶּצֶת סוֹבֶבֶת אֶת הָאֶבֶן סָבִיב וּמְחַבֵּר הַמִּשְׁבְּצוֹת בְּכִתְפוֹת הָאֵפוֹד:
12You must affix the two stones to the upper ends of the shoulder straps of the Ephod as stones of remembrance of the sons of Israel. Aaron must carry their names on his two shoulders before God as a remembrance.   יבוְשַׂמְתָּ֞ אֶת־שְׁתֵּ֣י הָֽאֲבָנִ֗ים עַ֚ל כִּתְפֹ֣ת הָֽאֵפֹ֔ד אַבְנֵ֥י זִכָּרֹ֖ן לִבְנֵ֣י יִשְׂרָאֵ֑ל וְנָשָׂא֩ אַֽהֲרֹ֨ן אֶת־שְׁמוֹתָ֜ם לִפְנֵ֧י יְהֹוָ֛ה עַל־שְׁתֵּ֥י כְתֵפָ֖יו לְזִכָּרֹֽן:
לְזִכָּרֹֽן - As a remembrance - i.e., so that the Holy One, blessed be He, see the names of the tribes written before Him and remember their righteousness.   לְזִכָּרֹֽן.  שֶׁיְּהֵא רוֹאֶה הַקָּדוֹשׁ בָּרוּךְ הוּא אֶת הַשְּׁבָטִים כְּתוּבִים לְפָנָיו וְיִזְכֹּר צִדְקָתָם: