Exodus 26:36 · Bible study
Exodus 26:36 Commentary: The Tabernacle Door Screen
Hebrew · 8 what the commentators say
Meaning in one sentence
Exodus 26:36 describes the screen for the tabernacle entrance. This study explores its materials, workmanship, and typological significance.
Research Summary
- Meaning: The screen for the tabernacle entrance, made of costly materials and embroidered, separated the holy place from the outer court.
- Key words: masak (screen/covering), roqem (embroiderer/variegator), techelet (violet/blue).
- Main debate: Whether roqem indicates needlework (Gill, Rabbis) or woven mixed-color fabric (Keil & Delitzsch).
- Theological theme: Mediated access to God; the holy space requires a designated entrance.
- Best use: Teaching the progression of holiness and Christ as the door to the Father.
Translation Comparison
BSB Berean Standard Bible 2020
For the entrance to the tent, you are to make a curtain embroidered with blue, purple, and scarlet yarn, and finely spun linen.
WEB World English Bible 2000
“You shall make a screen for the door of the Tent, of blue, and purple, and scarlet, and fine twined linen, the work of the embroiderer.
KJV King James Version 1769
And thou shalt make an hanging for the door of the tent, of blue, and purple, and scarlet, and fine twined linen, wrought with needlework.
ASV American Standard Version 1901
And thou shalt make a screen for the door of the Tent, of blue, and purple, and scarlet, and fine twined linen, the work of the embroiderer.
YLT Young's Literal Translation 1898
`And thou hast made a covering for the opening of the tent, blue, and purple, and scarlet, and twined linen, work of an embroiderer;
Darby Darby Bible 1890
And thou shalt make for the entrance of the tent a curtain of blue, and purple, and scarlet, and twined byssus, of embroidery.
Douay-Rheims Douay-Rheims Bible 1899
Thou shalt make also a hanging in the entrance of the tabernacle of violet, and purple, and scarlet twice dyed, and fine twisted linen with embroidered work.
Translations in other languages (10 available)
Y harás á la puerta del tabernáculo una cortina de cárdeno, y púrpura, y carmesí, y lino torcido, obra de bordador.
E farás à porta do tabernáculo uma cortina de azul, e púrpura, e carmesim, e linho torcido, obra de bordador.
Tu feras pour l’ entrée de la tente un rideau bleu, pourpre et cramoisi, et de fin lin retors; ce sera un ouvrage de broderie.
Und sollst ein Tuch machen in die Tür der Hütte, gewirkt von blauem und rotem Purpur, Scharlach und gezwirnter weißer Leinwand.
Gij zult ook aan de deur der tent een deksel maken, van hemelsblauw, en purper, en scharlaken, en fijn getweernd linnen, geborduurd werk.
Farai pure per l’ingresso della tenda una portiera di filo violaceo, porporino, scarlatto, e di lino fino ritorto, in lavoro di ricamo.
Uczynisz też zasłonę do drzwi przybytku z hijacyntu, i z szarłatu, i z karmazynu dwa kroć farbowanego, i z jedwabiu białego kręconego, robotą haftarską.
И сделай завесу для входа в скинию из голубой и пурпуровой и червленой шерсти и из крученого виссона узорчатой работы;
「你要拿藍色、紫色、朱紅色線，和撚的 細麻，用繡花的 手工 織 帳幕 的門 簾。
And you are to make a curtain for the doorway of the Tent, of the best linen with needlework of blue and purple and red.
Verse in Context
Original Language (Biblical Hebrew)
Old Testament · Biblical Hebrew · Exodus 26:36
Source: STEPBible TAGNT/TEHB (CC-BY 4.0). Click or tap a morphology code to see the full parsing.
Scholars' Consensus
Commentators across traditions agree that the screen at the tent entrance is made of the same expensive materials as the inner veil (blue, purple, scarlet, fine twined linen) but of less elaborate workmanship and without cherubim. Matthew Henry observes that both veils together taught the inaccessibility of God's presence under the old covenant, later opened through Christ. The Cambridge Bible and Keil & Delitzsch underscore the difference in Hebrew terms: the outer screen is 'the work of the variegator' (roqem), likely stripes or checks, while the inner veil was patterned with cherubim (chosheb). Adam Clarke calls this the 'first veil' (Heb 9:3), granting priests access to the holy place but not the most holy. All agree: the screen marked a boundary, protecting the sanctity of the tent while providing a single entrance for those who ministered.
How settled is the interpretation?
Interpretive difficulty: Low
What is clear: The screen was a covering for the tent entrance, made of blue, purple, scarlet, and fine twined linen, embroidered, and hung on five pillars, separating the holy place from the outer court.
What Scholars Agree and Debate
| Topic | Agreed | Debated |
|---|---|---|
| Workmanship of the screen | Screen is less elaborate than inner veil; made of same materials. | Whether it was made by embroidery (needlework) or woven with stripes/checks (variegator work). Gill and Rabbis favor needlework; Keil & Delitzsch argue for weaving. |
| Number of pillars | Five pillars for the screen, four for the inner veil. | Whether the extra pillar suggests a wider entrance or a structural difference. Most accept it indicates the entrance was wider; no deep theological significance is agreed upon. |
| Typological significance | The screen represents a barrier that allows access; it points forward to Christ. | Some traditions see the screen specifically as Christ's flesh or the door to salvation (Matthew Henry, Clarke); others are more cautious, viewing it as part of the overall tabernacle typology of God's presence. |
| Bronze vs silver sockets | Bronze sockets for the screen pillars; silver sockets for the inner veil pillars. | Interpretations vary: some see bronze as representing judgment or lesser value (Keil), others as a practical choice for the outer entrance (Gill). |
Historical & Cultural Context
The tabernacle stood as the visible dwelling of Yahweh among Israel during the wilderness journey. Its entrance faced east, a deliberate orientation to turn the Israelites from sun worship (Jamieson-Fausset-Brown, citing Hewlett). The screen hung on five pillars of acacia wood overlaid with gold, with bronze sockets (Ex 26:37). Bronze, less precious than the silver used for the inner veil's sockets, suggests a gradation of holiness from outer to inner.
The materials were costly and imported: blue (techelet) from the murex shellfish, purple (argaman) from similar mollusks, scarlet (shani) from the dried bodies of kermes insects, and fine twisted linen (shesh mashzar) from Egypt. The work of the embroiderer (roqem) likely involved stitching colored threads into a patterned fabric, though Keil & Delitzsch argue for a woven striped fabric based on the Arabic cognate meaning 'to make points, stripes, or lines.'
Josephus (Antiquities 3.6.4) mentions an additional outer linen curtain to protect the embroidered screen. This screen was the first barrier the priest encountered when entering the holy place. It separated the courtyard (where all Israelites could gather) from the sacred space where only priests served. The five pillars (versus four for the inner veil) may indicate a wider entrance, perhaps one of the few unguarded points of the tabernacle.
Textual Notes
The consulted sources note no significant textual variants for this verse. The minor translation differences between 'hanging' (KJV), 'screen' (WEB, ASV), and 'curtain' (BSB) reflect English choices for the Hebrew word masak, not any manuscript variation.
Reception History
The writer of Hebrews directly connects the tabernacle veil to Christ's flesh (Heb 10:20), and early Christian commentators extended this typology to the outer screen as the entrance to the faith. Medieval and Reformation interpreters often used the two veils to illustrate the progress from law to gospel. Adam Clarke (Methodist) sees the screen as the 'first veil,' now opened through the gospel. Jewish tradition (Jarchi, as cited by Gill) identified it simply as the entrance covering, while Josephus described an additional protective linen curtain. The screen thus serves as a rich symbol of access to God throughout church history, reminding readers that the way into God's presence has been opened through Christ.
Preaching This Verse
Three-point outline
- The Screen as a Gateway: God provides a specific entrance into his presence. (Ex 26:36; John 10:9)
- The Screen as a Divider: It separates the common from the holy, teaching the seriousness of approaching God.
- The Screen's Materials: Blue, purple, scarlet, and linen point to the royalty, sacrifice, and purity of Christ, the true door.
Five-point outline
- Intentional design, every detail mattered.
- Costly materials, access to God came at a price.
- Skilled craftsmanship, God uses human skill to express divine truth.
- Position of the screen, at the entrance, the point of transition.
- Contrast with inner veil, moving from outer to inner sanctuary mirrors the journey of faith.
Illustration hooks
- A doorman or receptionist who controls access to a secure building.
- The flap of a Bedouin tent, which separates the family from the desert, yet is always open to guests.
- The careful embroidery of a wedding gown or ceremonial robe, showing that what we bring before God should be our best.
Questions your congregation is asking
- Why does God make access to him so complicated?
- How does the tabernacle's screen relate to Jesus saying 'I am the door' (John 10:9)?
- What can these ancient details teach us about worship today?
Leading a Discussion
This verse seems unremarkable, another set of instructions for the tabernacle. But when we slow down, we discover that God cares about how his people approach him. The screen is both a barrier and an invitation. The same materials as the inner veil connect the two; the different workmanship sets them apart. This is not arbitrary; it's teaching.
Discussion questions
- What do you notice about the materials used in the screen? (Observation)
- Compare this screen with the inner veil described in verses 31-33. What differences do you see, and why might they matter? (Interpretation)
- The Hebrew word for 'screen' (masak) can also mean covering or shelter. How does that shape your understanding? (Lexical)
- Why do you think God gave such specific instructions for the entrance of the tabernacle? (Interpretation)
- The screen was visible to all Israelites. What message did it send about holiness and access? (Application)
- In the New Testament, Jesus calls himself the door (John 10:9) and the writer of Hebrews says we enter the sanctuary through his flesh (Heb 10:19-20). How does the tabernacle screen prepare us for that truth? (Connection)
- How does knowing that God provided a way to enter his presence affect your worship today? (Personal)
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)
| Exodus 26:31 | “You shall make a veil of blue, and purple, and scarlet, and fine twined linen, with cherubim. It shall be the work of a skillful workman. |
| Exodus 35:11 | the tabernacle, its outer covering, its roof, its clasps, its boards, its bars, its pillars, and its sockets; |
| Exodus 36:37 | He made a screen for the door of the tent, of blue, purple, scarlet, and fine twined linen, the work of an embroiderer; |
| Exodus 39:33 | They brought the tabernacle to Moses: the tent, with all its furniture, its clasps, its boards, its bars, its pillars, its sockets, |
| Exodus 40:28 | He put up the screen of the door to the tabernacle. |
| Exodus 40:29 | He set the altar of burnt offering at the door of the tabernacle of the Tent of Meeting, and offered on it the burnt offering and the meal offering, as Yahweh commanded Moses. |
| Numbers 3:25 | The duty of the sons of Gershon in the Tent of Meeting shall be the tabernacle, the tent, its covering, the screen for the door of the Tent of Meeting, |
| Numbers 9:15 | On the day that the tabernacle was raised up, the cloud covered the tabernacle, even the Tent of the Testimony. At evening it was over the tabernacle, as it were the appearance of fire, until morning. |
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
7 public-domain commentaries, condensed into plain language.
Adam Clarke's Commentary Methodist/Wesleyan 1826
Clarke draws a sharp contrast between the old covenant tabernacle, where almost everything was hidden from the people, and the Gospel, where all is laid open. For him the veil that once concealed God's presence is now torn through Christ's flesh, giving every believer direct access to the holiest place.
Cambridge Bible for Schools and Colleges Anglican 1880
The screen covering the Dwelling's entrance shared the same materials as the inner veil but was plainer. Its workmanship was done by an embroiderer rather than a pattern-weaver, and it lacked cherubim, being intentionally less elaborate since it stood farther from the holy shrine.
Geneva Bible Notes Reformed 1599
The Geneva note draws attention to the specific materials and needlework commanded for the Tabernacle's door hanging: blue, purple, and scarlet yarn, along with fine twined linen, all worked together with embroidery.
Gill's Exposition of the Bible Baptist 1748
Gill highlights that the hanging for the tabernacle's east entrance was made of the same materials as the inner veil but crafted with needlework rather than woven work. This means its pattern appeared on only one side, unlike the veil's two-sided design. He notes this hanging served as a door dividing the holy place from the courtyard where the people stood.
Jamieson-Fausset-Brown Commentary Protestant 1871
JFB notes that the tabernacle's entrance faced east, so worshippers turned their backs to the rising sun. This was a deliberate lesson: instead of bowing to the sun, a common idol of surrounding nations, Israel faced westward toward the ark and mercy seat, adoring the God who made both the sun and them.
Keil & Delitzsch OT Commentary Protestant 1876
Keil and Delitzsch see deep symbolic meaning in the tabernacle's dimensions. The oblong shape of the whole building represents the present incompleteness of God's kingdom, while the perfect cube of the Most Holy Place points to its ultimate perfection. This geometry foreshadows the heavenly Jerusalem, a cube in Revelation.
Matthew Henry's Commentary Reformed/Presbyterian 1710
Matthew Henry sees the inner veil as a deliberate barrier that kept the old covenant worshiper at a distance, concealing divine grace. Its tearing at Christ's death marked the end of that hiddenness, opening the way into God's presence that the law's ceremonies could never accomplish.