1 Kings 7 4

1 Kings 7:4 kjv

And there were windows in three rows, and light was against light in three ranks.

1 Kings 7:4 nkjv

There were windows with beveled frames in three rows, and window was opposite window in three tiers.

1 Kings 7:4 niv

Its windows were placed high in sets of three, facing each other.

1 Kings 7:4 esv

There were window frames in three rows, and window opposite window in three tiers.

1 Kings 7:4 nlt

On each end of the long hall were three rows of windows facing each other.

1 Kings 7 verses

1 Kings 7 4 Meaning

This verse describes a specific architectural feature of the "House of the Forest of Lebanon," part of King Solomon's sprawling palace complex. It details an innovative and comprehensive system of illumination: windows were arranged in three distinct rows or tiers, positioned such that they faced each other across the expansive structure. This deliberate design, poetically described as "light against light," ensured that ample natural light flooded the building's interior, showcasing the grandeur and sophisticated craftsmanship of Solomon's construction projects.

1 Kings 7 4 Context

1 Kings Chapter 7 is a detailed account of King Solomon's extensive building projects beyond the Temple, focusing on his own royal palace, the "House of the Forest of Lebanon," which took thirteen years to construct—almost twice as long as the Temple itself. This house was notable for its sheer scale, grandeur, and distinctive architectural elements, including large cedar pillars and beams. Verse 4 specifically describes the advanced and intricate window system within this palatial structure. It emphasizes Solomon's prosperity, the availability of skilled craftsmen like Hiram of Tyre, and the innovative building techniques employed during his reign, all made possible by God's blessings and the relative peace experienced by Israel.

1 Kings 7 4 Word analysis

• And there were (וּשְׁקֻפִּים, ūshqūppîm): The conjunction "and" connects this detail to the preceding architectural descriptions. The Hebrew noun shqūppîm literally means "window frames" or "openings," setting the immediate subject as windows.
• three (שְׁלֹשָׁה, shělōshâ): This cardinal number signifies not just a quantity but also completeness, stability, and intensity in this context. It indicates a significant and purposeful arrangement, not just a few scattered windows.
• rows (צְלָעֹות, tselā‘ôt): From the singular tsela‘ (rib, side). While used for "side chambers" in the Temple context (1 Ki 6), here, applied to windows, it denotes systematic structural divisions or layers—like stories, tiers, or compartments—specifically designed for the windows. It suggests an ordered, multi-layered installation rather than a flat arrangement.
• of windows (implied from shqūppîm): The very presence of dedicated structures for "windows" highlights a design priority: maximum light.
• and light was against light (וּמֶחֱזֶה אֶל־מֶחֱזֶה, ūmehăzěh ’el-mehăzěh): This is a poetic and powerful phrase.
  • מֶחֱזֶה (mehăzěh): Literally "sight," "vision," or "view." The repetition and preposition ’el ("to" or "against") signify that these windows were directly facing each other. This created a profound cross-illumination effect.
  • The phrase describes a precise and symmetrical alignment of windows that allowed light to enter from multiple points and potentially pass entirely through the structure, effectively eliminating dark corners.
• in three (שָׁלֹשׁ, shālōsh): Another repetition of "three," re-emphasizing the structured, triple-layered or tripartite nature of the window arrangement, reinforcing the design's consistency.
• ranks (פְּעָמִים, pě‘āmîm): Meaning "times," "occurrences," or in architectural terms, "tiers" or "stories." This confirms the multi-level aspect of the window installation, emphasizing a full and complete system for lighting.

Words-Group by Words-Group Analysis

• "three rows of windows": This grouping points to a meticulously planned architectural design rather than haphazard window placement. The multiple "rows" or "layers" indicate a sophisticated system to incorporate a large number of light-gathering apertures, underscoring the scale and grandeur of Solomon's construction.
• "light was against light": This vivid expression reveals the core intent of the window placement. It's not just about light entering, but about light interacting, where one source of light directly corresponds to another across a significant space. This arrangement implies not only abundant illumination but also possibly a dynamic interplay of light and shadow, creating a visually impressive interior. It speaks to a refined understanding of natural lighting for aesthetic and practical purposes within large structures.
• "in three ranks": This phrase echoes and reinforces the initial mention of "three rows," cementing the understanding that the entire sophisticated window system was replicated or manifested across three distinct tiers or dimensions. It emphasizes consistency and thoroughness in the design, highlighting the advanced nature of the craftsmanship and the abundance of resources at Solomon's disposal for such intricate details.

1 Kings 7 4 Bonus section

• The design described for Solomon's palace contrasts with the Temple's windows (1 Ki 6:4), which were "narrowing outward" (recessed frames), implying a design meant to bring light in but perhaps limit outward view, possibly for sacred enclosure. The palace's "light against light" suggests a more open, spacious feel for a royal dwelling.
• The grand scale of the House of the Forest of Lebanon (100 cubits long, 50 cubits wide, 30 cubits high—approximately 150x75x45 feet) meant natural light was crucial. Such a meticulous window arrangement was an architectural feat for its time, suggesting engineering wisdom that rivaled that of other ancient Near Eastern empires.
• The detail of lighting underscores a practical aspect of the king's dwelling, differentiating it from the enclosed, veiled sanctity of the Temple. The palace, though grand, was a place of human habitation, requiring practical elements like ample natural light for daily life, administration, and feasting.
• The collaboration with Hiram, King of Tyre, mentioned in other verses, implies that sophisticated Phoenician architectural expertise contributed to these designs, merging it with Israelite resources and Solomon's vision inspired by divine wisdom.

1 Kings 7 4 Commentary

1 Kings 7:4 vividly portrays the advanced architectural techniques employed in King Solomon's palace, particularly the "House of the Forest of Lebanon." Far from a mere utility, the design of the windows suggests an intentional engineering marvel to illuminate a massive ancient building. The repeated emphasis on "three" (three rows, three ranks) denotes a complete, systematic, and comprehensive approach to lighting. The windows were not just randomly placed openings but were specifically aligned "light against light," implying they directly faced one another. This arrangement ensured maximized penetration of natural light, bathing the grand halls in brightness and potentially contributing to an open, awe-inspiring atmosphere. This detail, alongside others, subtly points to Solomon's God-given wisdom and the abundant blessings of his reign, which enabled such unprecedented royal magnificence and skilled craftsmanship in Israel. While often overlooked in favor of the Temple's description, the intricate details of the palace illuminate the extraordinary prosperity and administrative capability under Solomon, mirroring the divine favor on his kingdom.