Exodus 27

Sugya Map

• Issue: The construction and dimensions of the Copper Altar (Mizbeach HaNechoshet) in the Mishkan, specifically its materials, form, and structural elements.
• Nafka Mina:
  • Understanding the theological significance of the altar's physical attributes (e.g., wood vs. copper, hollow vs. solid, horns).
  • Clarifying the precise architectural specifications for building the altar, influencing its function and symbolic representation.
  • Determining the basis for certain halachic interpretations related to the altar and its relationship to sin and atonement.
  • Establishing precedents for similar constructions or symbolic interpretations in later Jewish practice.
• Primary Sources:
  • Exodus 27:1-8 (Parshat Tetzaveh)
  • Rashi on Exodus 27:1
  • Ibn Ezra on Exodus 27:1
  • Rashbam on Exodus 27:1
  • Kli Yakar on Exodus 27:1-2
  • Or HaChaim on Exodus 27:1
  • Haamek Davar on Exodus 27:1-3
  • Mishnah Zevachim 52b
  • Talmud Eruvin 13b
  • Talmud Sotah 3a
  • Tanḥuma Tetzaveh 11

Text Snapshot

Exodus 27:1-3

וְעָשִׂיתָ אֶת־הַמִּזְבֵּחַ עֲצֵי שִׁטִּים חָמֵשׁ אַמֹּת אֹרֶךְ וְחָמֵשׁ אַמֹּת רֹחַב רָבוּעַ יִהְיֶה הַמִּזְבֵּחַ וְשָׁלֹשׁ אַמֹּת קֹמָתוֹ׃ וְעָשִׂיתָ קַרְנֹתָיו עַל־אַרְבַּע פִּנֹּתָיו מִמֶּנּוּ תִּהְיֶיןָ קַרְנֹתָיו וְצִפִּיתָ אֹתוֹ נְחֹשֶׁת׃ וְעָשִׂיתָ אֶת־כְּלֵי מְשָׁרְתוֹ אֶת־הַסִּירֹת וְאֶת־הַיָּעִים וְאֶת־הַמִּזְרָקֹת אֶת־הַמְּזַלְגֹת וְאֶת־הַמַּחְתֹּת כֹּל כְּלָיו תַּעֲשֶׂה נְחֹשֶׁת׃

Analysis of Nuances:

• וְעָשִׂיתָ אֶת־הַמִּזְבֵּחַ (Ve'asita et ha'mizbeach): The definite article "et" (ה) before "mizbeach" is noteworthy. As noted by Or HaChaim and Haamek Davar, this suggests reference to a previously established concept or blueprint of the altar, likely the one divinely shown to Moshe on the mount (Exodus 25:9). It's not just a Mizbeach, but the Mizbeach.
• חָמֵשׁ אַמֹּת אֹרֶךְ וְחָמֵשׁ אַמֹּת רֹחַב רָבוּעַ יִהְיֶה הַמִּזְבֵּחַ (Chamesh amot oreich, ve'chamesh amot rochav, ravua yih'yeh ha'mizbeach): The repetition of "five cubits" for both length and width, followed by "it shall be square," raises questions. Ibn Ezra grapples with the definition of "square" here, suggesting it refers to a shape where length and width are equal, but acknowledging that "square" can have broader geometric meanings. Haamek Davar further clarifies that "ravua" here emphasizes the four corners and the avoidance of a rounded shape, not necessarily strict geometric equality in all contexts (referencing Tefillin).
• וְשָׁלֹשׁ אַמֹּת קֹמָתוֹ (Ve'shalosh amot komato): The height of three cubits contrasts with the five-cubit square base.
• וְעָשִׂיתָ קַרְנֹתָיו עַל־אַרְבַּע פִּנֹּתָיו מִמֶּנּוּ תִּהְיֶיןָ (Ve'asita karnotav al arba pinotav mimenu tihyenah): The horns are to be an integral part of the altar ("mimenu tihyenah" - "from it they shall be"). This emphasizes their essential, unified nature, not merely attached additions. Kli Yakar connects the horns to atonement for sin, likening the sinner to a goring ram.
• וְצִפִּיתָ אֹתוֹ נְחֹשֶׁת (Ve'tzipita oto nechoshet): The overlay of copper is a crucial material detail. Kli Yakar links this to atonement for "chutzpah" (brazenness), citing Isaiah 48:4 ("And your brow of bronze").
• וְעָשִׂיתָ אֶת־כְּלֵי מְשָׁרְתוֹ... כֹּל כְּלָיו תַּעֲשֶׂה נְחֹשֶׁת (Ve'asita et kley meshar'to... Kol kelav ta'aseh nechoshet): All the utensils for its service are also to be made of copper, reinforcing the material's significance for the altar's function.

Readings

Or HaChaim on Exodus 27:1:1

The Or HaChaim, in his commentary on "וְעָשִׂיתָ אֶת־הַמִּזְבֵּחַ", posits a subtle but significant point regarding the use of the definite article "et" (ה) before "mizbeach." He argues that its inclusion, instead of a simple "וְעָשִׂיתָ מִזְבֵּחַ" (and you shall make an altar), signifies that this is not a novel creation but a reference to an altar already revealed to Moshe. This aligns with the earlier commandment in Exodus 25:9, where God instructs Moshe to make the Tabernacle and its vessels, stating, "According to all that I show you, the pattern of the mishkan and the pattern of all its vessels, so shall you make it." Or HaChaim suggests that God had shown Moshe a "blueprint" or a vision of the finished altar, which was likely depicted as covered in copper. Therefore, when Moshe is now instructed to build it, the Torah emphasizes that it is that specific altar, the one previously shown, that is to be constructed.

Furthermore, Or HaChaim clarifies the material aspect. God had shown Moshe a vision of the altar likely in its completed, functional state, which would have appeared as a copper structure. However, the commandment to build it reveals a deeper layer: that the core of the altar is to be made of "acacia wood" (עֲצֵי שִׁטִּים), which is then overlaid with copper. This distinction is crucial, as it highlights that the altar is not merely a solid block of copper but a composite structure. The acacia wood, a seemingly humble and common material, forms the underlying essence, while the copper overlay signifies its divine purpose and the sacrificial function it serves. This interpretation underscores the Torah's tendency to reveal both the superficial appearance and the underlying reality of divine commandments.

Kli Yakar on Exodus 27:1:1-2

The Kli Yakar, Rabbi Shlomo Ephraim Luntschitz, delves deeply into the symbolic and theological implications of the altar's construction, particularly its materials and form. Regarding the acacia wood (עֲצֵי שִׁטִּים), he draws a connection from the Midrash Tanchuma (Parshat Tetzaveh 11), which states that the acacia wood itself serves as a form of atonement. The Midrash explains that the people sinned with "shitut" (שטות - foolishness/folly), specifically referencing the sin of the Golden Calf. Thus, the acacia wood, which sounds similar to "shitut," comes to atone for their foolish sins. This etymological and symbolic link highlights the altar as a locus of rectification and atonement for human failings.

The Kli Yakar further expounds on the concept of the altar being "hollow" (נבוב) and made of boards. He connects this to the idea of a person lacking wisdom and understanding, referring to Job 11:12: "For a hollow man will get understanding, when a man is born with a wild ass’s colt." Rashi there explains that a "hollow" person, devoid of knowledge and understanding, needs to acquire a heart to repent. The altar, therefore, being hollow, symbolically represents the need for internal emptiness and receptivity to divine wisdom and repentance. It is through this spiritual hollowness, this emptying of self, that one can become receptive to true understanding and atonement.

The dimensions of the altar – five cubits by five cubits – are also interpreted by the Kli Yakar. He relates the ten cubits (5+5) to the ten things that come from father and mother (as listed in Niddah 31a), which are the fundamental components of human existence and are inherently linked to sin and transgression. The altar, with its dimensions, serves as a counterpoint and atonement for these inherent human frailties and the sins that arise from them.

Finally, the horns of the altar (קַרְנֹתָיו) are connected to atonement for the sinner, who is likened to a ram with horns, "goring upwards." The Kli Yakar references Psalms 75:5-6: "Lift not up your horn on high; Speak not with a stiff neck. For promotion cometh neither from the east, nor from the west, nor from the south." This suggests that the horns of the altar are meant to draw the sinner's "goring" towards atonement, rather than towards pride or defiance. The overlay of copper (נְחֹשֶׁת) is then explained as atonement for "chutzpah" (עזות מצח), brazenness, citing Isaiah 48:4: "And your brow of bronze." Since the horns are situated on the brow, the copper overlaying them serves this specific purpose of atoning for the brazenness that often accompanies sin.

Haamek Davar on Exodus 27:1-3

The Netziv, Rabbi Naftali Zvi Yehuda Berlin, in his Haamek Davar, offers a precise and functional analysis of the altar's construction, often clarifying seemingly redundant or unusual phrasing in the Torah.

On the phrase "וְעָשִׂיתָ אֶת־הַמִּזְבֵּחַ" (And you shall make the altar), the Netziv notes that "mizbeach" (altar) is already mentioned in Exodus 20:24 ("An altar of earth you shall make for Me"). Therefore, the use of the definite article "et" here signifies that the Torah is elaborating on that specific altar, the one commanded earlier. This clarifies why the Torah doesn't simply say "and you shall make an altar" but refers to "the altar." He further addresses the omission of the instruction to fill the altar with earth, which was commanded for the "altar of earth" in Exodus 20:24. The Netziv explains that this omission is because it's understood from the earlier commandment; it's not a new detail to be added.

Regarding the dimensions and the term "ravua" (square), the Netziv provides a detailed explanation. He clarifies that "חָמֵשׁ אַמֹּת אֹרֶךְ וְחָמֵשׁ אַמֹּת רֹחַב רָבוּעַ יִהְיֶה הַמִּזְבֵּחַ" does not simply mean it will be square, as five cubits by five cubits inherently implies a square shape. Instead, he argues that the word "ravua" here is to teach that the altar is to be "squared" in its corners, meaning it should have distinct, sharp angles and not be rounded. He supports this by referencing the Gemara in Eruvin 13b, which discusses the shape of tefillin. While the Gemara there elaborates on the geometric precision of tefillin being "square" (מרובעות), the Netziv argues that the primary meaning of "ravua" in the context of the altar is to ensure it has defined corners, preventing it from being circular or amorphous. This is crucial for the altar's function as a defined space for sacrifice.

Furthermore, the Netziv explains the repetition of "five cubits" for length and width. He suggests that if the Torah had simply said "five cubits square," one might assume that only one dimension (either length or width) was five cubits, and the other dimension was inferred. By explicitly stating "five cubits long and five cubits wide," the Torah leaves no room for ambiguity. This explicit detail is particularly important because, as the Netziv notes, the specific five-cubit dimension was not necessarily maintained for all altars throughout history; it was the principle of being "ravua" (square-cornered) that was meant to be taught for future generations. He contrasts this with the inner altar (Mizbeach HaPnimi) where the dimensions were one cubit by one cubit, and the term "ravua" there served to emphasize that it should not be imperfect or flawed in its squareness, as a flawed altar is invalid.

Ibn Ezra on Exodus 27:1:1

Ibn Ezra, a master of linguistic and rational interpretation, focuses on the geometric description of the altar. He addresses the phrase "חָמֵשׁ אַמֹּת אֹרֶךְ וְחָמֵשׁ אַמֹּת רֹחַב רָבוּעַ יִהְיֶה הַמִּזְבֵּחַ" (five cubits long and five cubits wide, the altar shall be square). He notes that "square" (רבוע) typically implies equal length and width. However, he acknowledges that the term can be applied more broadly to quadrilaterals.

Ibn Ezra brings a textual variant into play, noting that some manuscripts and printed editions read "בֶּאֱמֶת" (be'emet - truly) instead of "בְּאַמָּה" (ba'amah - by cubit). If read as "truly," it would emphasize the perfect squareness. However, he leans towards the reading "by cubit," meaning it was square in terms of cubits, i.e., five cubits in length and five cubits in width. This is a subtle distinction between a geometrically perfect square and a square formed by specific measurements.

He further touches upon the geometric understanding of squares, stating, "squares come in five shapes." This likely refers to the different types of quadrilaterals (squares, rectangles, parallelograms, rhombuses, and trapezoids). By mentioning this, Ibn Ezra is highlighting that the term "square" in common parlance might not always denote a perfect Euclidean square. However, in the context of the altar, the intention is clear: a shape with equal length and width, specifically five cubits each. His commentary emphasizes precision and a careful consideration of textual variations and their potential implications for understanding.

Friction

Kushya 1: The Materiality of Atonement – Wood vs. Copper

The text presents a fascinating tension between the underlying material of the altar, acacia wood, and its outward covering, copper. The Kli Yakar explains the acacia wood's significance in atoning for "shitut" (foolishness) and the copper's role in atoning for "chutzpah" (brazenness). However, this raises a fundamental question: if the altar is primarily a tool for atonement, and its constituent materials carry specific atoning properties, why is the more humble material (wood) the core, and the more significant, symbolic material (copper) merely an overlay? Shouldn't the primary material for atonement be the one with the most potent spiritual significance?

Terutz 1 (Kli Yakar's Implication): The Kli Yakar's explanation, while highlighting the atoning properties, implicitly suggests a hierarchy of spiritual function. The acacia wood, as the base, represents the foundational human state, the flawed essence that requires atonement. Its connection to "shitut" points to the inherent foolishness and sinfulness that marks humanity. The copper, on the other hand, is the outward manifestation of divine grace and the mechanism of atonement itself. It is the copper that is directly exposed to the sacrificial fire and the offerings, thereby facilitating the process. The "chutzpah" it atones for is the brazenness in sinning, a sin that requires a robust, enduring covering of divine forgiveness, symbolized by the durable copper. Thus, the wood represents the sin, and the copper represents the remedy.

Terutz 2 (Or HaChaim's Insight): Alternatively, one can draw from Or HaChaim's observation about the divine blueprint. God showed Moshe a vision of the completed altar, likely appearing as copper. The instruction to use acacia wood underneath reveals that the divine plan incorporates both the visible, functional aspect (copper) and the underlying structure (wood). This can be understood as a testament to God's compassion and wisdom. He doesn't demand perfection from the outset but provides a means for atonement from a flawed foundation. The wood is a reminder of our earthly origins and our inherent limitations, while the copper signifies the divine intervention that elevates and purifies our offerings and our very beings. The altar is thus a bridge between the earthly and the divine, with both materials playing essential roles in its function as a conduit for spiritual connection.

Kushya 2: The Geometric Nuance of "Ravua"

The Torah specifies the altar as "five cubits long and five cubits wide—the altar is to be square" (חָמֵשׁ אַמֹּת אֹרֶךְ וְחָמֵשׁ אַמֹּת רֹחַב רָבוּעַ יִהְיֶה הַמִּזְבֵּחַ). Given that the length and width are explicitly stated as equal, the word "ravua" (square) appears redundant. If something is five cubits by five cubits, it is inherently square. This redundancy prompts a deeper inquiry into the meaning of "ravua" in this context.

Terutz 1 (Haamek Davar's Functional Interpretation): The Netziv (Haamek Davar) offers a practical explanation. He argues that "ravua" here is not merely stating the obvious geometric property but is instructing that the altar must have distinct, sharp corners. It should be "squared" in its angles, preventing it from being rounded or circular. He contrasts this with the general term "square" which might, in some contexts, be less precise. For the altar, a defined, angular structure was paramount for its function as a specific locus for offerings. This interpretation aligns with the emphasis on precise measurements and forms in the construction of the Mishkan, where every detail served a purpose.

Terutz 2 (Ibn Ezra's Linguistic Precision): Ibn Ezra, with his focus on language and geometry, suggests that the term "ravua" might be used to emphasize the ideal form, even if there are subtle geometric interpretations of "square." He entertains the textual variant "be'emet" (truly) suggesting a perfect square. Even with the reading "ba'amah" (by cubit), the explicit mention of "ravua" reinforces the intention of a well-defined, symmetrical shape. This redundancy, from this perspective, serves to underscore the importance of the altar's form, leaving no room for ambiguity or deviation from the divinely prescribed dimensions and shape. It's a reinforcement of the ideal, ensuring the altar's perfect representation of divine order.

Terutz 3 (Mishnah Zevachim's Halachic Implication): The Mishnah in Zevachim (52b) states that a Mizbeach that is not "ravua" is invalid. This halachic principle reinforces the idea that "ravua" is not merely descriptive but prescriptive. The Gemara there discusses what constitutes "ravua," suggesting it's not just about equal sides but also about the absence of any "flaw" or imperfection in its squareness. This implies that the instruction in Exodus is not just about the external appearance but about an internal integrity of form that is halachically significant. Therefore, the redundancy of "ravua" serves to highlight this critical halachic requirement, ensuring the altar's validity for its sacred purpose.

Intertext

Tanḥuma, Parshat Tetzaveh 11: The Acacia Wood and "Shitut"

The Kli Yakar directly quotes the Midrash Tanchuma: "They committed 'shitut' (foolishness) and angered Me with the calf; let the acacia wood come and atone for their foolishness." This Midrashic statement is a prime example of Hebrew wordplay and thematic resonance. The Hebrew word for acacia is "shittah" (שיטה), phonetically similar to "shitut" (שטות), meaning foolishness or folly. This linguistic connection is not accidental; it serves as a mnemonic device and a theological statement. The Midrash asserts that the very material chosen for the altar, the acacia wood, is intrinsically linked to the sin it is meant to atone for. This highlights a core principle of divine justice and mercy: the remedy is often found in a form that directly confronts and transforms the nature of the transgression. The altar, made of wood that sounds like folly, becomes the instrument for cleansing that folly.

Psalms 75:5-6: The Horns and the Stiff Neck

The Kli Yakar also connects the altar's horns to Psalms 75:5-6: "Lift not up your horn on high; Speak not with a stiff neck." The Psalmist is cautioning against pride and arrogance, which are often associated with defying divine authority. The Kli Yakar interprets the altar's horns as a means to redirect this potentially arrogant "goring" towards atonement. Instead of defiantly lifting one's horn, the horns of the altar serve as a focal point where such defiance can be transformed into a plea for forgiveness. This intertextual connection elevates the altar from a mere sacrificial platform to a symbol of spiritual redirection, where human pride is humbled and channeled towards divine reconciliation.

Mishnah Zevachim 52b: The Halachic Imperative of "Ravua"

The Mishnah in Zevachim delves into the halachic requirements for a valid altar. It states, "An altar that is not square is unfit" (מזבח שאינו מרובע פסול). This directly informs our understanding of the "ravua" in Exodus. While the Torah's description might seem redundant, the Mishnah reveals that the squareness is not merely aesthetic but a fundamental halachic requirement for the altar's validity. The Gemara further elaborates on what constitutes "ravua," emphasizing the absence of flaws and imperfections. This indicates that the precise geometric form of the altar is integral to its function as a sacred vessel, a concept that resonates throughout the Torah's meticulous descriptions of the Mishkan's construction.

Leviticus 6:5: The Perpetual Fire and the Altar's Resilience

The Kli Yakar's discussion of the altar's resilience to the elements – fire, water, and wind – connects to the perpetual fire commanded in Leviticus 6:5: "The fire on the altar shall be kept burning on it; it shall not be put out." The Midrashic understanding that the altar's fire burned without consuming the wood or melting the copper, and that rain did not extinguish it, speaks to the miraculous nature of the Mishkan. This resilience, the Kli Yakar argues, symbolizes the sinner's own potential for spiritual survival and redemption. Just as the altar withstands the elements, so too can the sinner, through the altar's intercession, be saved from spiritual destruction, whether from the "fires" of divine judgment, the "waters" of overwhelming sin, or the "winds" of spiritual turmoil. This links the physical attributes of the altar to profound spiritual metaphors for divine protection.

Isaiah 48:4: The Bronze Brow and "Chutzpah"

The Kli Yakar's interpretation of the copper overlay as atonement for "chutzpah" (brazenness), citing Isaiah 48:4, "And your brow of bronze," is a powerful example of thematic coherence. The "chutzpah" of the sinner is likened to a hardened, unyielding brow, like bronze. The copper overlay on the altar, a material known for its durability and resistance, serves as a symbolic counterpoint to this hardened spiritual state. It represents the divine capacity to break through human stubbornness and offer forgiveness. The horns, situated on the "brow" of the altar, are then covered in copper, directly linking the act of atonement for brazenness to the very place where the sinner's defiance might be expressed.

Psak/Practice

The meticulous construction details of the Copper Altar, as outlined in Exodus 27, while specific to the Mishkan, carry significant implications for halachic thought and practice, even in the absence of the Temple.

Firstly, the emphasis on the altar's precise dimensions and form ("ravua") highlights the principle that form follows function in sacred space. The exact measurements and squareness were not arbitrary but were essential for the altar's role as a divinely ordained interface for sacrificial offerings. This principle informs the halachot concerning the construction of synagogues and other sacred spaces; even in their absence, the ideal form and functionality are considered. While we no longer build physical altars, the concept of maintaining the integrity and proper form of sacred objects and spaces remains a guiding principle.

Secondly, the materials used – acacia wood and copper – and their interpreted symbolic meanings (atonement for folly and brazenness) underscore the theological depth of ritual objects. Even if the specific rituals are no longer practiced, the underlying spiritual intent remains relevant. The altar served as a constant reminder of humanity's flawed nature and the necessity of divine intervention for atonement. This meta-halachic heuristic reminds us to look beyond the superficial act of ritual and to seek the deeper spiritual meaning and the ethical transformation it is meant to effect.

Thirdly, the very existence of the altar as a "copper altar" for the outer court, distinct from the gold of the inner sanctum, teaches about gradations of holiness and accessibility. The outer altar, made of copper, was for the general populace and the primary means of approaching God through sacrifice. The inner sanctum, with its gold vessels, was for the high priest on Yom Kippur. This distinction reflects a principle of approaching the divine in stages, with appropriate reverence and preparation. In modern practice, this might translate to the concept of kedushah (holiness) in different layers of religious observance, or the idea of progressively deeper levels of engagement with God.

Finally, the concept of the altar as a source of divine protection and atonement continues to resonate. While the physical altar is gone, the prayers and supplications offered in its stead are understood to carry the same weight of seeking forgiveness and divine favor. The concept that "the altar atones" (המזבח מכפר) is internalized. Our prayers, our acts of teshuvah (repentance), and our acts of chesed (kindness) become our metaphorical altars, offering a means of spiritual repair and connection to the Divine. The durability of the copper, symbolizing enduring mercy, serves as a constant reminder that God's forgiveness is steadfast.

Takeaway

The detailed specifications for the Copper Altar reveal that even mundane materials and precise dimensions are imbued with profound theological meaning, serving as tangible links between the earthly and the divine. The altar's very construction, from acacia wood to copper overlay, signifies a divinely ordained pathway for human atonement, transforming our inherent flaws into opportunities for spiritual ascent.