Rashi on TanakhExodus 28

And take unto you — after the work of the mishkon is completed.

To sanctify him to serve Me. לְקַדְּשׁוֹ means: to bring him into the service by means of the garments [לְכַהֲנוֹ לִי means:] so that he shall be a כֹּהֵן unto Me, the term כְּהוּנָה denoting “service,” serjentrie in Old French.

A breastplate. An ornament worn against the heart.

An eiphod. I have not heard, nor have I found in the Beraisa, any explanation of its form. But my heart tells me that it was something tied behind him, its width being the same as the width of the back of a man, like a sort of apron, called porceint in Old French, which the ladies of the nobility tie on when riding horses. It is thus made for the lower [part of the body]. [An indication that the eiphod was tied around is that] which is said: “Dovid was tied around with a linen eiphod” We learn from this that the eiphod is a kind of belt. It cannot be said that it consisted of a belt alone, for it says: “And he put the eiphod on it” and afterwards: “And he tied it on him with the חֵשֶׁב הָאֵפוֹד,” which Onkelos translates: “the belt of the eiphod.” We learn from this that the חֵשֶׁב is the belt and the eiphod is the name of an ornament itself. It [also] cannot be said that it is on account of its two shoulder straps that it is called eiphod for it says: “the two shoulder-straps of the eiphod.” [From this] we learn that the eiphod is a separate name and the כְּתֵפוֹת are a separate name and the חֵשֶׁב is a separate name. Therefore I say that it is on account of the apron on the lower [part of the body] that it is called eiphod (see page 433 for illustration) because it adorns him (אוֹפְדוֹ) and ornaments him as it is said: “and he adorned (וַיֶּאְפֹּד) him with it.” The חֵשֶׁב is a belt which is the upper part of it (i.e., the eiphod) and the shoulder-straps were fastened to it (the חֵשֶׁב). My heart also tells me that there is supporting evidence that it (the eiphod) is a kind of garment, for Yonasan translated [the words]: “And David tied on a linen eiphod” as “a כַּרְדּוּט made of linen” while he likewise translated מְעִילִים (robes) as כַּרְדּוּטִין in the narrative of Tamar, the sister of Avshalom [where it says]: “for thus were the virgin princesses dressed in מְעִילִים (robes).

A robe. This was a type of shirt as was the כֻּתּוֹנֶת, but, [the difference being] that the כֻּתֹּנֶת was worn on the flesh while מְעִיל refers to the outer shirt.

Checkered. Made in the form of מִשְׁבְּצוֹת for beauty. The מִשְׁבְּצוֹת are a sort of indentations that are made in golden ornaments as settings for precious stones and pearls as it says of the stones of the eiphod: “they were surrounded by (מִשְׁבְּצוֹת) settings of gold.” In Old French they are called chastons.

A turban. — a kind of a domed hat called coife in Old French, for elsewhere they are called מִגְבָּעוֹת which Onkelos translates for us as “hats.”

And a sash-belt. This is a belt worn on the inner-shirt, whereas the eiphod is worn over the outer-shirt, as we find at [the relating] of the order of their being put on: “He put the inner shirt on him and tied the sash-belt around him and dressed him with the outer-shirt and then he put the eiphod on him.”

Sacred garments. From the terumah “that was sanctified for My Name must they be made.”

They shall take. Those “wise at heart” (v.3) who will make the garments shall receive from the donors the gold and the greenish-blue wool from which to make the garments.

They shall make the eiphod. If I attempt to explain the making of the eiphod and the breastplate in the order of the verses their explanation will be fragmented and the reader will make mistakes in putting the various parts together. Therefore I will [first] write how they were made so that the reader will easily run through it, and afterwards I will explain [it] in detail in the order of the verses. The eiphod was made as a kind of apron for women who ride horses.A (See illustrations on page 204.) He girds himself from behind, level with his heart, beneath his elbows. Its width is the same measurement as the width of the back of a man and somewhat more, reaching to his heels. The חֵשֶׁב (belt)B was attached at its (the eiphod’s) top along the entire width by the work of a weaver. It is extended [horizontally] beyond the eiphod in both directions so as to surround and gird [him] with it. The shoulder-strapsC were attached to the belt — one on the right and one on the left behind the kohein at the two ends of the width of the apron. When they were upright they stood (i.e., lay) on his two shoulders. They were like two straps made of the same material as the eiphod, long enough to place them near his neck, on both sides. They folded over in front of him slightly below his shoulders. The shoham-stonesD were set in them, one on the right shoulder and one on the left shoulder. The settingsE were put in their ends in front of his shoulders. The two golden braided chainsF were inserted into the two rings of the breastplate at the two ends along the upper width,G one on the right and one on the left. The two ends of the chain on the right are attached to the setting on the right.H Similarly the two ends of the chain on the left are attached to the setting on the left shoulder-strap. Consequently the breastplate hung from the settings of the eiphod over his heart in front. There were two additional ringsI at the two ends of the breastplate at its bottom and opposite them, two ringsJ [attached] to the two shoulder-straps of the eiphod at the bottom, at its lower end [in the back] where it is attached to the belt. The rings of the breastplate were opposite the rings of the eiphod lying on each other. He then joins them (the rings) with a thread of greenish-blue wool that is inserted through the rings of the eiphod and the breastplate, so that the bottom of the breastplate should lie against the belt of the eiphod and not move about and separate [from it] [thereby] moving to and fro.

Gold, greenish-blue wool, dark red wool. crimson wool, and fine twined linen. These five kinds were twined into every thread. They hammered out the gold into thin trays and cut threads from them (i.e., the trays) and then spun them — one gold thread with 6 threads of greenish-blue wool and one gold thread with 6 threads of dark red wool, and similarly with the crimson wool and similarly with the fine linen. For each kind was braided six-fold and there was a golden thread with each one. Then he would twine them all into one. Consequently the strands were twenty-eight fold. It is thus explained in Tractate Yoma and learned from the following verse: “They hammered out thin trays of gold and cut it into threads to work the golden threads into the greenish-blue wool and into the dark red wool, etc.” From this we derive that a gold thread was twined together with all the other kinds.

The work of a craftsman. I have already explained earlier that this refers to weaving on two sides whereby the images on both sides are not similar to each other.

Two shoulder-straps etc. The apron was underneath [them]. The חֵשֶׁב of the eiphod is the belt, and it was attached to it at the top in the likeness of the apron of the women. On the back of the kohein there were attached to the belt two straps similar to two wide straps, one opposite each shoulder which he lifted onto both of his shoulders until they folded over in his front. By attaching them to the rings of the breast plate they were held in front of him over his heart so that they would not fall, as is explained where Scripture discusses them. They continued vertically over his shoulders where two shoham-stones were set one in each.

At its two corners — on the width of the eiphod for its width was equal only to his back. Its height [reached] till the elbows, called codes in Old French, for it states: לֹא יַחְגְּרוּ בַּיָּזַע [which means:] “They shall not be tied around in a place where one perspires,” i.e., not above their elbows and not below their loins, but opposite their elbows.

They shall be attached — the eiphod with those two shoulder-straps of the eiphod. He shall attach [sew] their bottoms to the belt with a needle, and not by weaving them together but, rather, they are woven separately and joined together afterwards.

The eiphod’s belt. [I.e.,] the belt by means of which it (the eiphod) enwraps him, and makes it fit the kohein properly and adorns him.

Which is on it — on top at the edge of the apron. This refers to the belt.

Shall be made in the same manner — like the weaving of the apron, the work of a craftsman and of five kinds [of material] — so too the weaving of the belt [was] the work of a craftsman and of the five kinds [of material].

It shall be woven with it. [I.e.] it shall be woven together with it and not woven separately and then attached.

In the order of their birth. [Meaning:] in the order that they were born: Reuvein, Shimon, Levi, Yehudah, Dan, Naftali on the one; and on the other one: Gad, Asher, Yissachar, Zevulun, Yoseif, Binyamin — [בִּנְיָמִין written] “full,” for that is the way it is written in the place where his birth is recorded [making it a total of] 25 letters in each one.

The work of a skilled stone engraver. [Meaning:] the work of one skilled with stones. The word חָרַשׁ here is in the construct with the word that follows it and is therefore vocalized with a patach at its end (i.e., the letter ר). Similarly “(חָרַשׁ עֵצִים) the woodworker stretched a line” meaning “the worker of wood.” Similarly “(חָרַשׁ בַּרְזֶל) the iron worker makes an axe.” These are [examples] of words in the construct and vocalized with a patach.

Like the engraving of a signet. As Onkelos translates it: “Explicit writing like the engraving of a signet.” The letters were engraved into them as signet-rings are engraved since they are used to seal letters with writing which is obvious and explicit.

With the names. [עַל שְׁמֹ֖ת is the] same here as בִּשְׁמוֹת .

In gold settings. The stones were surrounded by gold settings. They should make as a setting of gold for each stone a sort of cavity the size of the stone, and then sink [place] it into the setting. Consequently the setting surrounds the stone. He then joined the settings to the shoulder-straps of the eiphod.

As remembrance. So that God will see the tribes’ [names] written before Him and remember their righteousness.

Make settings. The minimum of [the plural] מִשְׁבְּצוֹת is two. Only part of their purpose is explained in this section. In the section dealing with the breastplate it completes their explanation for you.

Two chains. [שַׁרְשְׁרוֹת has the same meaning as] שַׁלְשְׁלָאוֹת — “chains.”

The ends. Make them for the end border of the breastplate.

A braided work. A work of braided threads and not a worked of linked rings like those made for [drawing water from] wells, but, rather, like those made for for incense receptacles called encensiers in Old French].

And you will fasten the chains — of braids; those made of braided work — to these settings. This is not the place of the command for making the chains nor the command to affix them. And the word תַּעֲשֶׂה that is used here is not an expression of command, nor is word וְנָתַתָּה that is used here an expression of command but, rather, the future tense, for in the section dealing with the breastplate He returns [to this subject] and commands him regarding their making and their being affixed. It is written here only to let you know some of the need for the settings which He commanded to make with the eiphod. He wrote this here to tell you [in effect]: “These settings will be needed by you — when you will make chains for the ends of the breastplate you will put them onto these settings.”

A breastplate of judgment. [so-called] because it atones for the perversion of justice. An alternate explanation: [it is called] מִשְׁפָּט because it makes its words clear and its promise is true, dereisnement in Old French. For מִשְׁפָּט is used in three senses: [1.] the arguments of the disputants, and [2.] the handing down of the verdict, and [3.] the pronouncing of the sentence — whether punishment of death, whether punishment by flogging, whether a monetary punishment. Here it is used in the sense of making its words clear for it explains and makes its words clear.

The same manner as you made the eiphod. [I.e.] the work of a craftsman and [made] of the five kinds [of material].

A span in its length and a span in its width — doubled. It is placed on him in front over his heart, as it is said: “And they will be over Aharon’s heart.” It is hung from the shoulder-straps of the eiphod which come from behind him over his shoulders and fold over and come down slightly in the front and the breastplate hangs from them by means of chains and rings as is explained where they are discussed.

Fill it. Because the stones filled the cavities of the settings which were prepared for them they are referred to by the term מִלּוּאִים (fillers).

Placed in gold settings — shall the rows shall be בְּמִלּוּאֹתָם — “in their settings” — surrounded by gold settings to a depth sufficient to be filled by the thickness of the stone. This is the meaning of the term בְּמִלּוּאֹתָם: the amount needed to be filled by the thickness of the stones shall be the depth of the settings, neither less nor more.

Each one’s name. As was the order of their birth so was the order of the stones — the ruby for Reuvain, topaz for Shimon, and so on for all of them.

For the breastplate. [Meaning:] “for the breastplate” to fasten them by means of its rings as is explained below when it is discussed.

שַׁרְשֹׁת . From the same root as שָׁרְשֵׁי (roots) of a tree which hold fast to the tree so that it is held and fixed in the ground. These, too, shall hold the breastplate firm for from them will it hang from the eiphod. These are the two (שַׁרְשְׁרוֹת) chains mentioned above where the subject was the settings. Actually, the word שַׁרְשְׁרוֹת is also interpreted by Menachem ben Saruk as having a common root with שָׁרָשִׁים (roots) and he claims that the [second] ר' is superfluous just as the מ' of שִׁלְשׁוֹם (above 21, 36) and the מ' of רֵיקָם (Bereishis 31, 42). But I do not see his point-of-view. Rather, שַׁרְשֶׁרֶת, in Hebrew, is the same as שַׁלְשֶׁלֶת — “chain,” in Mishnaic Hebrew.

End. This is the מִגְבָּלוֹת mentioned above, [meaning:] that you shall insert them in the rings that will be at the edge of the breastplate. Wherever גְבוּל appears it means the end, asomeil in Old French.

Braided work. [Means:] braided work.

For the breastplate. [Meaning:] for the breastplate, i.e., in order to affix them to it. It is not correct to suggest that from their inception they should be made on it, for if this were so, why would it repeat: [later in the verse] “and set the two rings...,” were they not already set in it?! Rather, we should have written at the beginning of the verse: “Make at the ends of the breastplate two gold rings.” You must also interpret it this way regarding the chains.

On the two [upper] corners of the breastplate — the two ends that are towards the neck, on the right and on the left which come opposite the shoulder-straps of the eiphod.

Place the two gold-braided chains. These are the very same end-chainsA (see illustration on page 204) which are mentioned above. But [there] He did not explain at which place on the breastplate to set them. So now He explains to you that they should be inserted in the rings.B You may use as evidence that these are the same as the first ones [mentioned], for in parshas Pikkudei (39, 15-19) they are not mentioned twice.

The two ends — of the two braided chains; [i.e.] the two ends of each one.

You shall attach to the two settings.C These are the very same ones (i.e., settings) mentioned above between the section dealing with the breastplate and the section dealing with the eiphod. But there it did not explain their purpose or their place, whereas, now it explains that there should be inserted in them the ends of the braided chains which were inserted in the rings of the breastplateB on the right and on the left near the neck. The two ends of the right chain he attaches to the right setting and the same for the left [setting] [he attaches to it] the two ends of the left chain.

And place — the settings — on the shoulder-straps of the eiphodD — one [setting] in one [shoulder-strap] and the other [setting] in the other [shoulder-strap]. Consequently the shoulder-straps of the eiphod held the breastplate so that it not fall and it hangs from them. However, the lower end of the breastplate still swings back and forth against his stomach and is not attached well to him. Therefore two additional rings were necessary for its lower partE as it goes on to explain.

Toward its face — of the eiphod, [meaning:] that he should not place the settings on the side of the shoulder-straps that is turned toward the robe, but rather on the upper side that is turned toward the outside. This [side] is called: “toward the front of the eiphod” because that side which is not visible is not called “the front.”

On the two [lower] corners of the breast-plate.E These are its two lower corners on the right and on the left.

On its edge that is on the inner side of the eiphod. So you have two indications [as to the placement of the rings]. One: that he should place them on the two corners of its lower part which is against the eiphod, for its upper part is not against the eiphod because it is near the neck, whereas the eiphod is [slightly] above the loins.F And it gives another indication: [viz.] that he should not set them (the lower rings) on the side of the breastplate which faces the outside but on the side that faces inward, for it says: בָּיְתָה — “on the inside.” That is the side that is towards the eiphod, since the belt of the eiphod girds the kohein and the apron (eiphod) folds around towards the front of the kohein upon his loins and part of stomach from both sidesG as high up as the [lower] corners of the breastplate, with its corners resting upon it (the eiphod).

On the two shoulder-straps of the eiphod on the bottom. Because the settings are put at the upper ends of the eiphod’s shoulder-straps which come up on his shoulders opposite his throat where they fold over and come down in front. He thus commanded to place the rings at their other end where it is attached to the eiphod. This is what is meant when it said: “against where they are joined,” [i.e.,] near the place where they are joined to the eiphod, slightly above the belt, [for the place] where they are joined is up against the belt. These [rings] were thus placed slightly above where the shoulder-straps [begin] to go up. This is what is meant when it said: “above the eiphod’s belt.” They (these rings in the back) were aligned opposite the [lower] end of the breastplate [in the front]. He inserted a thread of greenish-blue wool in these rings and in the rings of the breastplate and fastens them (the rings) with this thread on the right and on the left so that the bottom of the breastplate would not swing forward and back and hit against his stomach and as a result it lay well against the “robe.”

Toward the front — on the outside.

They shall bind. [וְיִרְכְּסוּ is a term] meaning attaching. Similarly: מֵרֻכְסֵי אִישׁ — “from the bands of men,” [meaning:] groups of wicked bands. So, too,: “וְהָרְכָסִים shall become a valley.” [וְהָרְכָסִים means:] mountains next to each other where it is impossible to descend to the valley between them except with great difficulty, because, as a result of their proximity, the valley is sheer and deep. These shall turn into a level plain where it will be easy to travel.

So that it remains against the eiphod’s belt. I.e., so that the breastplate remains attached to the eiphod’s belt.

So that it does not move. יִזַּח has the meaning of “breaking free.” It is an Arabic word according to the opinion of Dunash ben Labrat.

The Urim and Tumim. This is the inscription of the Explicit Name, which he placed into the folds of the breastplate, by means of which its words would (מֵאִיר) light up (וּמְתַמֵּם) and make its words clear. During the era of the second Beis Hamikdosh there was a breastplate, for a kohein godol cannot lack any of the garments, but that Name was not within it. It was on account of this inscription [that the breastplate] was called “judgment,” as it is said: “And he shall ask for him the judgment of the Urim.”

The judgment of the B’nei Yisrael. Anything for which they required to be judged or admonished, whether or not to do a particular thing. According to the midrashic explanation that the breastplate atones for miscarriages of justice, it is called מִשְׁפָּט — “judgment” on account of its pardoning [sins dealing with] judgment.

The robe of the eiphod. [So-called] because the eiphod was put on over it as a wrap around.

כְּלִיל תְּכֵלֶת . [Meaning:] completely of greenish-blue wool, with no other kind [of material] mixed into it.

Its opening at the top. [Meaning:] the opening of the robe at the top. which is the opening for the neck —

[shall be] turned inward. As Onkelos translates it: כְּפִיל לְגַוֵהּ, [which means:] “folded inward” so that its fold shall form a hem. It was done by a weaving process and not by needle (i.e., not sewn).

Like the opening in a coat of armor. We learn from this that their coats of armor had their openings folded inward.

So that it will not be torn. Meaning: so that it will not be torn. If one tears it, he transgresses a negative precept, for this is one of the [365] negative precepts in the Torah. Similarly: “so that the breastplate does not move.” So, too: “they shall not be removed from them” which was said regarding the poles of the ark.

Pomegranates. They were round and hollow-like pomegranates which are shaped like a hen’s egg.

Gold bells. Bells with the clappers inside of them.

Between them all around. [Meaning:] between them all around. Between two pomegranates, one bell was attached and hung at the bottom of the robe.

A gold bell and a pomegranate, etc. A gold bell and next to it a pomegranate.

So that he will not die. From the negative you may infer the positive: if they will be on him he will not be subject to the death penalty, but if he enters while lacking one of these garments he will be subject to the death penalty at the hands of Heaven.

A diadem. It was a sort of golden plate, having a width of two finger breadths, going around the forehead from ear to ear.A (See illustration on page 205.)

Set it on a greenish-blue cord. But elsewhere it states: “Put over it (the צִיץ) a greenish-blue cord.” Furthermore, here it is written: “So that it will be on the turban” but further on it states: “It shall be on Aharon’s forehead”! [To solve this dilemma we must refer to the gemara:] In the Tractate Shechitas Kodoshim we learned: his hair was visible between the diadem and the turban for it was there that he donned his tefillin. We learn from this that the turban was high up on the head and it was not deep enough for the entire head to fit into it [all the way down] to the forehead. The diadem was beneath [leaving a space between it and the turban]. The threads were [inserted] into holes hanging from it at both endsB and at its middle.C Six [threads] at these three places: a thread at the top, one on the outside [of the plate] and one on the inside opposite it. He tied the ends of the thread, all three of them at back of the neck.D Consequently between the length of the plate and the threads at its ends, his skull was surrounded. The middle thread which was on its top was tied with the ends of the [other] two and passed over the width (i.e., the crown) of his head. The result was that it was made like a hat. It is in reference to the middle thread that it says: “so that it will be on the turban.” He placed the diadem on his head as a sort of hat, over the turbanE with the middle thread holding it so that it should not fall. The plate hung against his forehead. All the verses have now been set right: a thread on the diadem and the diadem on the thread and a thread on top of the turban.

Aharon will carry. A term meaning “atonement.” Nevertheless, it does not lose its plain meaning: Aharon carried the load of sin thereby removing sin from the holy things.

The iniquity of the sacred offerings. [I.e.] to make acceptable [to God] the blood and the fat [of the sacrifices] that were sacrificed in a state of uncleanliness, as we have learned: For what sin does it (the צִיץ) atone? If it is the sin of pigul, [concerning this] it has already stated: “It shall not be accepted.” And if it is the sin of nosar (leftover), it has stated: “It shall not be considered [a valid sacrifice].” It also cannot be said that it atones for the sin of a kohein who sacrificed while he was unclean, for it states: “the sin of the holy things,” and not: “the sin of those who sacrifice,” thereby indicating that it only atones for the purpose of making a korbon valid.

It shall be on his forehead always. It cannot be said that it should actually always be on his forehead, for it was on him only during the service but “always to make them acceptable,” even when it is not on his forehead i.e., if the kohein godol was not performing the Service at that time. According to the opinion that [only] when it is on his forehead does it atone and make the sacrifices acceptable but, if not, it cannot make the sacrifices acceptable, then it is expounded as עַל מִצְחוֹ תָּמִיד, and it teaches that he must [constantly] touch it while it is on his forehead so as not to take his mind off it.

Checkered. [Meaning:] make it checkered throughout and it should entirely be of linen.

For Aharon’s sons make undershirts. [Meaning:] these four garments and no more: an undershirt, a sash-belt, hats identical to the turban, and pants, which are mentioned later in this section.

Clothe your brother, Aharon, with these. [I.e.] those that are mentioned regarding Aharon, the breastplate, the eiphod, the robe, the checkered undershirt, the turban, the sash-belt, the diadem, and the pants that are mentioned later concerning all of them (i.e., Aharon and sons).

And his sons along with him — those [garments] that are mentioned in connection with them.

Anoint them — Aharon and his sons with the anointing oil.

And install them. Wherever the expression מִלּוּי יָדַיִם is used it is a term for installation. When one embarks on something (i.e., a position) that he will occupy from that day on, [it is referred to as מִלּוּי — “filling.”] In Old French, when a person is appointed to any position [in government], the ruler puts in his hand a leather glove called gant, in Old French and by that means he establishes him in that position. This transmission is called [in Old French] rewestir. And that is the expression of מִלּוּי יָדַיִם (filling the hand).

Make for them — for Aharon and his sons.

Linen pants. Thus you have eight garments for the kohein godol and four for the common kohein.

These [garments] must be worn by Aharon. I.e., all these garments on Aharon: those that apply to him —

and on his sons — those that are mentioned in connection with them —

whenever they come into the Tent of Meeting — into the Sanctuary as well as into the mishkon.

And die. Thus you learn that one who performs a korbon service lacking any of the garments [is liable to] the death penalty.

An everlasting statute for him. Wherever חֻקַּת עוֹלָם is said it is a decree for the immediate present and for [future] generations [and if the statute is ignored] it will render [the mitzvah] invalid.