1 Kings 7 31

1 Kings 7:31 kjv

And the mouth of it within the chapiter and above was a cubit: but the mouth thereof was round after the work of the base, a cubit and an half: and also upon the mouth of it were gravings with their borders, foursquare, not round.

1 Kings 7:31 nkjv

Its opening inside the crown at the top was one cubit in diameter; and the opening was round, shaped like a pedestal, one and a half cubits in outside diameter; and also on the opening were engravings, but the panels were square, not round.

1 Kings 7:31 niv

On the inside of the stand there was an opening that had a circular frame one cubit deep. This opening was round, and with its basework it measured a cubit and a half. Around its opening there was engraving. The panels of the stands were square, not round.

1 Kings 7:31 esv

Its opening was within a crown that projected upward one cubit. Its opening was round, as a pedestal is made, a cubit and a half deep. At its opening there were carvings, and its panels were square, not round.

1 Kings 7:31 nlt

The top of each cart had a rounded frame for the basin. It projected 1 1?2 feet above the cart's top like a round pedestal, and its opening was 2 1?4 feet across; it was decorated on the outside with carvings of wreaths. The panels of the carts were square, not round.

1 Kings 7 verses

1 Kings 7 31 Meaning

The verse describes the intricate design of the bronze stands for the ten lavers within Solomon's Temple. It specifically details the upper part of these stands: the opening where the laver rested, located within a decorative crown or capital. Above this were panels or frames adorned with intricate ornamentation. The most unique detail highlights the sophisticated craftsmanship by noting that the decorative squares on these stands somehow incorporated circular elements, possibly square frames with circular inlays, rounded corners, or circular designs within square borders, showcasing a complex geometric and artistic design.

1 Kings 7 31 Context

1 Kings chapter 7 primarily describes Solomon's grand construction projects following the completion of the Temple itself (detailed in chapter 6). It specifically focuses on his palace complex, followed by an elaborate description of the furnishings for the Temple, highlighting the extensive bronze work crafted by Hiram of Tyre. Hiram was a master craftsman, especially skilled in working with bronze, brought from Tyre specifically for these sacred constructions. Verses 23-47 detail these magnificent objects, including the immense Molten Sea and the ten ornate bronze stands for the lavers. Verse 31 specifically describes the topmost part of these highly decorative and mobile stands, emphasizing the meticulous detail and advanced artistry involved in creating objects for divine service. This elaborate artistry not only served a functional purpose for purification rituals but also communicated the glory, majesty, and sanctity of God's presence in the Temple.

1 Kings 7 31 Word analysis

• Its mouth (פִּיהָ, pîhā): Lit. "her mouth," referring to the opening or orifice of the stand. It denotes the aperture or hollow on top of the stand where the laver (basin) would sit. The use of "mouth" personifies the stand, making the opening seem like a specific portal.
• within the crown (בְּתוֹךְ הַכֹּתֶרֶת, bəṯōḵ ha-kōṯereṯ):
  • Crown/Capital (kōṯereṯ): This Hebrew term can refer to a capital (of a column), a coping, or a circular rim. Here, it likely means a decorative rim or crowning structure on top of the stand, into which the laver was inserted or secured. It signifies an ornamental, crowning element, consistent with the intricate design of the Temple furnishings.
  • Significance: Placing the laver "within the crown" suggests a precise and fitted arrangement, ensuring stability and integration of the basin into the overall artistic design of the stand. It implies a sense of regal and elevated status for the laver itself.
• and above it were moldings (מִמַּעַל, mimmaʿal): Lit. "from above." This indicates the decorative features were situated on the upper part of the crown/rim or on the structure directly above where the laver rested. This emphasizes that ornamentation was a key element even on the supporting structures.
• each with its own ornamentation (לֻמּוֹת מִסְגֶּרֶת, lummôṯ misggereṯ):
  • Moldings (lummôṯ)/Frames (misgereṯ): Lummot is a unique and challenging term, often translated as panels, frames, or decorated plates. It refers to a structural component that also bore decoration. Misgeret means "framework," "border," or "ornamentation." The phrase describes bordered or framed decorative sections.
  • Significance: The use of two distinct but related terms (lummot and misgeret) points to sophisticated, layered decoration. This indicates not merely flat surfaces but perhaps recessed or raised panels within the frames, each exquisitely detailed. This level of specific architectural detail highlights the exceptional skill of the craftsmen, particularly Hiram.
• and its squares were circular (וְכִכָּרֹתֵיהֶם עֲגֻלָּה, wəḵikkārōṯêhem ʿăḡullâ):
  • Squares (kikkārōṯêhem): This Hebrew word (kikkār) generally means "circle," "disc," "loaf," "talent (of weight)," or "round object/area." However, in architectural descriptions (e.g., Ex 27:5, Ex 38:5 for the bronze altar grill), it is also used for a "grill" or "network." The pairing with "circular" suggests a design where geometric forms intersect. Interpreted variously as: square frames containing circular inserts, square bases with rounded upper portions, circular objects within square frames, or networks of round pieces forming a square. Some scholars propose it denotes square panels having circular or rounded designs within them.
  • Circular (ʿăḡullâ): Meaning round, circular. This word unequivocally refers to a circular shape.
  • Significance: This phrase is pivotal for understanding the extraordinary craftsmanship. It implies a fusion of geometric shapes (square and circle) that would require exceptional skill to execute, creating a visually complex and harmonious design. In ancient Near Eastern art, such geometric precision and combination often carried symbolic weight, possibly representing divine order, perfection, or the reconciliation of seemingly disparate elements within a sacred context. It also points to a level of artistic sophistication perhaps borrowed from Phoenician art where such geometric complexity was valued.

1 Kings 7 31 Bonus section

• Hiram's Expertise: The text consistently attributes the superior bronze work to Hiram of Tyre, a non-Israelite. This highlights Solomon's readiness to import the best available skills for God's house, acknowledging that God uses various individuals for His purposes. Hiram's unique background likely provided him with advanced metallurgical and artistic techniques prevalent in Phoenicia, surpassing local Israelite capabilities at the time.
• Purpose of Lavers: While not directly in the verse, the context (1 Kgs 7:38, 2 Chr 4:6) clarifies these ten lavers were specifically for washing things related to the burnt offerings. This daily purification underscored the need for holiness and cleanliness in approaching God, a principle consistently upheld throughout Israelite worship.
• Bronze as a Material: Bronze was a significant and costly metal, widely used for sacred implements. Its durability and reflective quality might also hold symbolic weight. The process of casting large and intricately detailed bronze pieces (like the Sea and these stands) indicates sophisticated furnace technology and engineering knowledge available during Solomon's era.
• Geometric Symbolism: The combination of squares and circles, while architecturally challenging, may have carried symbolic weight. In ancient symbolism, the square often represented the earthly, stability, and order, while the circle often represented the heavenly, eternity, and perfection. Their deliberate integration might thus symbolize the meeting of the divine and the human, or the perfection of God infused into earthly structures, a common theme in temple architecture throughout the ancient Near East.

1 Kings 7 31 Commentary

1 Kings 7:31 offers a glimpse into the profound artistry invested in the sacred furnishings of Solomon's Temple, particularly the elaborate bronze stands for the lavers. The meticulous description of the "mouth within the crown" and "moldings with ornamentation" underscores the dedication to both functional excellence and aesthetic beauty in worship. The enigmatic "squares were circular" highlights the supreme craftsmanship of Hiram, who executed designs that fused geometric shapes, symbolizing divine order and completeness, bringing together what appears contradictory into a unified whole. This detail speaks volumes about the Temple as a place where human skill, divinely inspired, reached its zenith, reflecting God's own desire for excellence in His dwelling. These magnificent objects, though serving practical purposes for purification, stood as enduring testaments to the glory of the God they honored and were an integral part of Israel's ritual worship.