EXPOSITION
THE APPOINTMENT OF BEZALEEL AND AHOLIAB TO SUPERINTEND THE WORK. Though, in some real sense, "learned in all the wisdom of the Egyptians," still Moses was probably devoid of the technical knowledge requisite for a "superintendent of the works" on the present occasion. At any rate, his other duties imperatively required that he should decline to undertake, in addition to them, so onerous an office. And God had told him whom it would be best for him to set over the work (Exodus 31:1-2). Accordingly, he now made known to the people that the construction of the tabernacle and its appurtenances would be committed to two men—Bezaleel, the son of Uri, as principal, and Aholiab, the son of Ahisamach, as his assist-ant—who would "teach" those under them what they were to do (Exodus 35:34).
The Lord hath called, etc See Exodus 31:2 :—"I have called by name Bezaleel," etc. Of the tribe of Judah. The descent of Bezaleel from Judah has been already traced. (See the comment on Exodus 31:2.)
Correspond almost word for word with Exodus 35:3-2 of Exodus 31:1-2; q. vide.
And he hath put in his heart that he may teach. Rather, "And he hath put it into his heart to teach." He (God) has given him the gift of being able to teach others, and so has enabled him to form a body of workmen competent to carry out his conceptions. Both he and Aholiab. God has given the same gift to Aholiab. On the special talent of Aholiab, see the comment upon Exodus 31:6.
Them hath he filled with wisdom of heart—i.e; "with talent or genius." Of the engraver. Rather, "of the artificer," a general term, under which working in metal, Gem-engraving, and wood-carving are included. And of the cunning workman. Rather, "and of the skilful weaver." This clause seems to apply to Aholiab (Exodus 38:23), the preceding one to Bezaleel. And of the embroiderer. This also applies to Aholiab (1.s.c.). And of the weaver—i.e; "the ordinary, weaver," who wove a cloth all of one colour. The "skilful weaver" produced a patterned fabric. (See Exodus 26:1.) The methods of working here spoken of are, all of them, such as were well known in Egypt at the time, and which, consequently, it would have been quite natural for some of the Israelites to have learnt. We are not to suppose that God supernaturally communicated to Bezaleel and Aholiab the technical knowledge required in their occupations, but only that he gave them genius and artistic skill, so that both their designs, and their execution of them, were of unusual excellence.
HOMILETICS
Master-Craftsmen.
The qualities needed for a master-craftsman are fourfold. These are here enumerated (Exodus 35:31) as—
I. WISDOM (Hebrews khakam; LXX. σοφία; Vulg. sapientia), the highest gift of all—the power of original conception, which, if he combines with it the other necessary qualities, makes the true artist, the master-workman, in whatsoever branch of art his work may lie. This is appropriately placed first as the most necessary quality for those who are to direct a great construction of an artistic character.
II. UNDERSTANDING (Hebrews taban; LXX. σύνεσις; Vulg. intelligentia), a desirable, but very inferior quality, consisting in the power of appreciating the work of others, and estimating it aright. This power is needed in master-craftsmen, to qualify them for passing judgment on the work produced by those under their direction.
III. KNOWLEDGE (Hebrews yada; LXX. ἐπιστήμη; Vulg. scientia), or acquaintance with the laws and facts of science bearing on their art. In the present case, acquaintance with such things as elementary mechanics, the method of cutting hard stones, the process of dyeing, the best mode of working different metals, and the like. An inferior quality this, which the master-craftsman should not lack, but which will avail him little without the higher excellences.
IV. WORKMANSHIP (Hebrews m'lakah; LXX. ἀρχιτεκτονία; Vulg. doctrina), or power of execution, next to genius the most necessary quality of the artist, and accepted to a large extent in lieu of genius, as placing a man high in the artistic scale. This excellence does not consist in mere dexterity of hand, but in a happy way of working out designed effects, producing the feeling of complete mastery over the materials. It is by their wonderful execution that the genuine works of great masters are known from copies. Note, that all these qualities were possessed by both of the master-craftsmen in an eminent degree, and that all of them were the gift of "the Spirit of God" (Exodus 35:31), from whom comes down "every good gift and every perfect gift" (James 1:17). Artists should bear this in mind, and sanctify their art by directing it to holy, or at any rate to good ends. What a sad spectacle is genius prostituted to the service of Satan!
HOMILIES BY D. YOUNG
Bezaleel and Aholiab. Note—
I. THE FACT THAT THE LORD CHOSE MEN TO DO THE WORK. It might have been otherwise. As the people were requested of their free-will to provide the materials, so they might have been requested to provide the necessary artificers. But it is easy to see what differences and jealousies might have resulted, all to end in some unsatisfactory compromise. There was no difficulty as long as each one gave of his own decision; and what further difficulty then threatened to come, God immediately removed by himself selecting the men who were to carry out his designs. It is very likely that Bezaleel and Aholiab were not the men whom the people themselves would have chosen. So far as pure artistic originality was concerned they may have been excelled; for the possession in Israel of so much material for artistic and precious work seems to show that there must have been many with the ability requisite for such work. But God had his own principles of choice, his own purposes to serve; and it would appear in due time how wise God was in indicating certain men and not others for what needed to be done.
II. THE QUALIFICATIONS WITH WHICH GOD ENDOWED THEM. God, we may be sure, to some extent took them for what they were by nature. He always looks at the natural basis on which he proposes to build up some Divine work. But he did not leave them to their natural strength to carry out his designs. He did not leave them to toil onward to impressive results through many attempts which had to be forsaken as failures. Great works of art, which only too many spectators regard with but a glance, are to the artist memorials of weary and tantalising hours. Sir Joshua Reynolds said of one of his completed paintings, "there are ten under it, some better, some worse." Bezaleel and Aholiab were spared all such disappointments, all vain hunts after the unattainable ideal. A variety of words are used with respect to them, as if to signify how eminently and abundantly God had endowed them with all that was necessary for the task. Thus it was to be made plain to the then living generation and their successors that the tabernacle and its contents were in a very important sense the work of God. These things were to be sacred in every way: they were not to be criticised and compared, as if they were the outcome of art and man's device. Perhaps criticism did come, for fault-finders are numerous in every age; but the two chosen artificers needed not to trouble themselves about any complaining. And should we not all find it better if, instead of straining to do work for God in our own strength and wisdom—which must ever be a saddening failure as to spiritual results—we sought to be as tools directed by the wisdom of God? We have no right to complain if keen eyes discover the weak points in what is fashioned by our own skill; but if we are sure that God's Spirit is ruling in all we do for him, then we may meet complaints with a meek indifference.—Y.
HOMILIES BY J. ORR
Bezaleel and Aholiab.
See Homily on Exodus 31:1-2.—J.O.