I Kings 10:12 · Bible study
1 Kings 10:12 Commentary: Almug Wood
Hebrew · 6 what the commentators say
Meaning in one sentence
What did Solomon make from almug wood? This study examines the Hebrew 'mis'ad' and the significance of this rare wood for temple architecture and worship music.
Research Summary
- Meaning: Solomon used rare almug wood to make supports (mis‘ad) for the temple and palace, and musical instruments for the singers.
- Key words: מִסְעָד (mis‘ad, “support/pillar”); אַלְמֻגִּים (almuggim, a precious imported wood).
- Main debate: Whether mis‘ad refers to pillars, a railing, or a staircase/terrace, given the parallel in 2 Chronicles 9:11.
- Theological theme: The best resources are used for both the house of God and the music of worship, showing the integration of beauty and devotion.
- Best use: Teaching on worship priorities, stewardship of God’s gifts, and the uniqueness of Solomon’s kingdom as a type of Christ’s greater reign.
Translation Comparison
BSB Berean Standard Bible 2020
The king made the almug wood into steps for the house of the LORD and for the king’s palace, and into lyres and harps for the singers. Never before had such almug wood been brought in, nor has such been seen to this day.)
WEB World English Bible 2000
The king made of the almug trees pillars for Yahweh’s house and for the king’s house, harps also and stringed instruments for the singers; no such almug trees came or were seen to this day.
KJV King James Version 1769
And the king made of the almug trees pillars for the house of the Lord, and for the king’s house, harps also and psalteries for singers: there came no such almug trees, nor were seen unto this day.
ASV American Standard Version 1901
And the king made of the almug-trees pillars for the house of Jehovah, and for the king’s house, harps also and psalteries for the singers: there came no such almug-trees, nor were seen, unto this day.
YLT Young's Literal Translation 1898
and the king maketh the almug-trees a support for the house of Jehovah, and for the house of the king, and harps and psalteries for singers; there have not come such almug-trees, nor have there been seen such unto this day.
Darby Darby Bible 1890
And the king made of the sandal-wood a balustrade for the house of Jehovah, and for the king's house, and harps and lutes for the singers. There came no such sandal-wood, nor was there seen to this day.)
Douay-Rheims Douay-Rheims Bible 1899
And the king made of the thyine trees the rails of the house of the Lord, and of the king's house: and citterns and harps for singers: there were no such thyine trees as these brought nor seen unto this day.)
Translations in other languages (10 available)
Y de la madera de brasil hizo el rey balaustres para la casa de Jehová, y para las casas reales, arpas también y salterios para los cantores: nunca vino tanta madera de brasil, ni se ha visto hasta hoy.
E da madeira de sândalo fez o rei balaústres para a casa do SENHOR, e para as casas reais, harpas também e saltérios para os cantores: nunca veio tanta madeira de sândalo, nem se há visto até hoje.
Le roi fit avec le bois de sandal des balustrades pour la maison de l’ Éternel et pour la maison du roi, et des harpes et des luths pour les chantres. Il ne vint plus de ce bois de sandal, et on n’ en a plus vu jusqu’ à ce jour.
Und der König ließ machen von Sandelholz Pfeiler im Hause des HERRN und im Hause des Königs und Harfen und Psalter für die Sänger. Es kam nicht mehr solch Sandelholz, ward auch nicht mehr gesehen bis auf diesen Tag.
En de koning maakte van dit almuggimhout steunselen voor het huis des HEEREN, en voor het huis des konings, mitsgaders harpen en luiten voor de zangers. Het almuggimhout was zo niet gekomen noch gezien geweest, tot op dezen dag.
e di questo legno di sandalo il re fece delle balaustrate per la casa dell’Eterno e per la casa reale, delle cetre e de’ saltèri per i cantori. Di questo legno di sandalo non ne fu più portato, e non se n’è più visto fino al dì d’oggi).
I poczynił król z drzewa almugimowego wschody do domu Pańskiego, i do domu królewskiego, i harfy, i lutnie śpiewakom; a nigdy nie przywożono takiego drzewa almugimowego, ani widziano aż do dnia tego.
И сделал царь из сего красного дерева перила для храма Господня и для дома царского, и гусли и псалтири для певцов; никогда не приходило столько красного дерева и не видано было до сего дня.
王 用 檀香 木 為耶和華 殿 和王 宮 做 欄杆，又為歌唱的人 做琴 瑟。以後再沒有 這樣的 檀香 木 進國來，也沒有 人看見過，直到 如 今。）
And from the sandal-wood the king made pillars for the house of the Lord, and for the king's house, and instruments of music for the makers of melody: never has such sandal-wood been seen to this day.
Verse in Context
Original Language (Biblical Hebrew)
Old Testament · Biblical Hebrew · I Kings 10:12
Source: STEPBible TAGNT/TEHB (CC-BY 4.0). Click or tap a morphology code to see the full parsing.
Scholars' Consensus
Commentators agree that the Hebrew word מִסְעָד (mis'ad) denotes a support or prop, but differ on the exact architectural term. Barnes suggests a railing or balustrade; the Cambridge Bible proposes an ornamental rail for a staircase. Gill notes the parallel in 2 Chronicles 9:11, where Solomon makes 'terraces' (or 'stairs'), and cites Jarchi's view that the word means pavement. The chronicler uses a different Hebrew word, leading most to see an elevated walkway with handrails. There is consensus that the wood, probably sandalwood from Ophir, was exceptionally rare and valuable, used for both structural elements and musical instruments. The verse emphasises that such almug trees were never seen again, highlighting the unique quality and provenance of the material.
How settled is the interpretation?
Interpretive difficulty: Medium
Main views:
- Pillars/Columns: The basic meaning of mis‘ad is 'support'; Barnes and others take it as a structural pillar.
- Balustrade/Railing: The Cambridge Bible suggests a railing for an ascent, harmonising with the Chronicler's 'stairs'.
- Stairs/Terraces: Gill and Jewish tradition (Jarchi) read mis‘ad as pavement or a terraced walkway, connecting to 2 Chronicles 9:11.
What is clear: The wood was exceptionally rare and valuable, and Solomon used it for both architectural elements of the temple and palace and for musical instruments for worship.
What Scholars Agree and Debate
| Topic | Agreed | Debated |
|---|---|---|
| Meaning of mis‘ad | It denotes a support or prop in the structure of the temple and palace. | Some read it as literal pillars (Barnes), others as a railing or balustrade for a staircase (Cambridge Bible), and still others as terraces or a paved walkway (Gill, following Jarchi). The Chronicler’s parallel uses a different word, leading to multiple interpretations. |
| Identity of almug wood | It was a rare, aromatic, extremely valuable wood imported from Ophir. | Most identify it as sandalwood or red sandalwood, but the exact species is unknown. Some suggest juniper or a form of cedar. |
| Significance of the musical instruments | The harps (kinnor) and lyres (nebel) were used in temple worship by the Levitical singers. | Whether the instruments were purely functional or also symbolic (e.g., representing praise and prayer) is not specified; the text focuses on the quality of the wood. |
| Historicity of the claim “never seen to this day” | The verse presents this as a historical statement about the singularity of the event. | Some scholars see it as hyperbolic praise common in ancient Near Eastern royal inscriptions; others accept it literally, suggesting the groves were exhausted or the trade route discontinued. |
Historical & Cultural Context
This verse sits within the account of Solomon's wealth and the visit of the Queen of Sheba (1 Kings 10). Verse 11 notes that the fleet of Hiram brought almug trees from Ophir, a location of unknown but legendary wealth. The wood was likely red sandalwood, prized for its fragrance, colour, and durability. The cultural context is the flourishing of Israel's monarchy: Solomon's building projects for Yahweh's house and his own palace displayed divine blessing and the nation's high status. The musical instruments made from the same wood, harps (כִּנּוֹר, 'kinnor') and lyres (נֶבֶל, 'nebel'), were used in temple worship, as described in 1 Chronicles 23:5 and 25:1. The author notes that such wood had never been brought before and was not seen again, underscoring the singular moment. This detail may also serve to show that Solomon's reign was a unique peak of wisdom, wealth, and worship, never to be repeated in the same way. The surrounding verses emphasise the king's justice and righteousness (v.9) and the astonishment of the queen, making the almug wood a concrete symbol of the splendour that attended Solomon's rule.
Textual Notes
The consulted sources note no significant textual variants for the Hebrew of 1 Kings 10:12. The LXX (Septuagint) adds the words “unto the land” after “almug trees,” perhaps clarifying that the trees were brought to Israel. The main variation is in English translations: some render מִסְעָד (mis‘ad) as “pillars,” others as “supports,” “balustrade,” or “steps.” These differences reflect interpretation of the word’s sense in context, not a difference in the underlying Hebrew consonantal text.
Reception History
Jewish commentators such as Rashi (Jarchi) understood mis‘ad as “pavement,” while David Kimchi related it to the concept of support. Christian exegetes from the Reformation period focused on the historical wealth of Solomon: Matthew Henry saw the verse as evidence of Israel’s prosperity under a wise king. The Geneva Bible notes simply that such trees never reappeared. In the eighteenth century, Gill and later Barnes addressed the lexical puzzle of mis‘ad, linking it to the chronicler’s account. The verse has been cited in discussions of the use of music in worship, with the quality of the materials reflecting the priority given to the temple’s liturgy. In modern pulpits, the passage is often used to teach stewardship and the offering of one’s best to God.
Preaching This Verse
Three-point outline
- Unique resources for God's house: The almug wood was rare and imported, showing that worship of Yahweh deserved the best. Solomon used it for both the temple and his palace, linking royal and divine glory.
- Worship expressed through craftsmanship and music: Instruments made from the same wood that built the temple. This integrates architecture and liturgy, both are forms of praise.
- A fleeting but foreshadowing glory: The note that such trees were never seen again points to the temporary nature of Solomon's kingdom. It points forward to a greater King and a temple not made with hands.
Five-point outline
- God provides abundantly through trade and exploration (v.11).
- Solomon's wisdom included resource stewardship, he used the wood for both sacred and royal structures.
- Music was central to temple worship, the instruments required skill and the best materials.
- The queen's testimony (v.8-9) connects material blessing to God's love for Israel.
- The uniqueness of the moment, “never seen to this day”, calls us to recognise God's special seasons of blessing.
Illustration hooks
- A church that saved for years to buy a rare hardwood for its altar table or pulpit; how does the material shape the sense of reverence?
- A musician who receives a custom-made instrument with superior wood and sound; how does that affect his or her offering of song?
- The feeling of seeing a once-in-a-lifetime event (a solar eclipse, a historic celebration); the author captures that same awe about the almug trees.
Questions your congregation is asking
- Why did Solomon use such precious wood for musical instruments instead of just for building?
- Does this passage mean we should only use the most expensive materials in our church today?
- What does the phrase “to this day” tell us about how the biblical writer viewed Solomon’s era?
Leading a Discussion
This verse shows Solomon using the finest imported wood for both the fabric of the temple and the instruments of worship. It raises questions about how we prioritise quality, beauty, and durability in our service to God. As you read, notice the deliberate pairing of architecture and music, both are offerings.
Discussion questions
- What did Solomon make from the almug wood, and why are those uses significant?
- Why do you think the author emphasizes that no such almug trees were seen again? What does that add to the story?
- In what ways does the quality of materials affect our experience of worship today? Should churches invest in beauty?
- How does this passage connect the Queen of Sheba's visit (v.1-10) to the wealth of Solomon's kingdom?
- What does the mention of “harps” and “lyres” for “the singers” tell us about the place of music in Israel’s worship?
- How can we give our best to God in our own context, whether through time, skill, or resources?
- If Solomon’s glory was temporary, what hope does the New Testament offer that surpasses it? (See Hebrews 3:1-6)
Word Study
The key original-language words in this verse. Select any word for its full lexicon entry — meaning, every occurrence in Scripture, and related words.
Cross-References
Source: Treasury of Scripture Knowledge (TSK, public domain)
| I Chronicles 23:5 | four thousand were doorkeepers, and four thousand praised Yahweh with the instruments which I made for giving praise.” |
| I Chronicles 25:1 | Moreover, David and the captains of the army set apart for the service certain of the sons of Asaph, of Heman, and of Jeduthun, who were to prophesy with harps, with stringed instruments, and with cymbals. The number of those who did the work according to their service was: |
| I Chronicles 25:31 | for the twenty-fourth to Romamti-Ezer, his sons and his brothers, twelve. |
| Psalms 92:1 | A Psalm. A song for the Sabbath day. It is a good thing to give thanks to Yahweh, to sing praises to your name, Most High, |
| Psalms 92:3 | with the ten-stringed lute, with the harp, and with the melody of the lyre. |
| Psalms 150:3 | Praise him with the sounding of the trumpet! Praise him with harp and lyre! |
| Psalms 150:5 | Praise him with loud cymbals! Praise him with resounding cymbals! |
| Revelation of John 14:2 | I heard a sound from heaven like the sound of many waters and like the sound of a great thunder. The sound which I heard was like that of harpists playing on their harps. |
Interlinear and lexical data from STEPBible (CC BY 4.0). Cross-reference data from OpenBible.info (CC BY 4.0). Commentaries are public domain.
For personal reflection
Read the devotional page — prayer, application, and "for families"
What the Commentators Say
5 public-domain commentaries, condensed into plain language.
Barnes' Notes on the Bible Protestant 1832
Barnes identifies "pillars" as likely a railing or balustrade, harmonizing the passage with its parallel in Chronicles. He describes the harp (kinnor) as a triangular ten-string instrument played with a plectrum, and the psaltery (nebel) as a hand-played stringed instrument, possibly a jug-shaped lyre or guitar.
Cambridge Bible for Schools and Colleges Anglican 1880
This commentator suggests that the Hebrew word for "pillars" means a prop, and it likely refers to a railing or handrail added to a staircase, not a structural part of the building. Comparing the accounts in Kings and Chronicles, he proposes a staircase with a balustrade was intended.
Geneva Bible Notes Reformed 1599
The Geneva note highlights the extraordinary rarity of the almug trees used for Solomon's temple and palace. So remarkable was this wood that no more trees of that kind were ever seen or obtained again. The comment draws attention to the singular, unrepeatable nature of this resource.
Gill's Exposition of the Bible Baptist 1748
Gill emphasizes that the almug trees were so rare that no similar trees were ever seen in Israel before or since. He notes Solomon used the wood not only for the famous ascent from the king's house to the temple but also to make a vast number of musical instruments, which Josephus records as 400,000.
Lange's Commentary Reformed 1857
Lange treats the queen of Sheba's visit as a historical prophecy of the Messiah's peaceful kingdom, not a mere courtly episode. He identifies her as a type of the nations who will come to honor Christ, which gives Jesus' later reference to this event its full force of condemnation against His own generation.