¹ tn The word is “their heads”; technically it would be “their capitals” (so ASV, NAB, NRSV). The bands were bands of metal surrounding these capitals just beneath them. These are not mentioned in Exod 26:37, and it sounds like the posts are to be covered with gold. But the gradation of metals is what is intended: the posts at the entrance to the Most Holy Place are all of gold; the posts at the entrance to the tent are overlaid with gold at the top; and the posts at the entrance to the courtyard are overlaid with silver at the top (S. R. Driver, Exodus, 387, citing Dillmann without reference).

² sn There is no need to think of Nebuchadnezzar’s image as being solid gold. No doubt the sense is that it was overlaid with gold (cf. Isa 40:19; Jer 10:3-4), with the result that it presented a dazzling self-compliment to the greatness of Nebuchadnezzar’s achievements.

⁴ sn The word means a “young bull” and need not be translated as “calf” (although “calf” has become the traditional rendering in English). The word could describe an animal three years old. Aaron probably made an inner structure of wood and then, after melting down the gold, plated it. The verb “molten” does not need to imply that the image was solid gold; the word is used in Isa 30:22 for gold plating. So it was a young bull calf that was overlaid with gold, and the gold was fashioned with the stylus.

² tn The nouns כֶסֶף (kesef, “silver”), זָהָב (zahav, “gold”) and אַרְגָּמָן (ʾargaman, “purple”) function as genitives of material out of which their respective parts of the palanquin were made: the posts, base, and seat. The elaborate and expensive nature of the procession is emphasized in this description. This litter was constructed with the finest and most expensive materials. The litter itself was made from the very best wood: cedar and cypress from Lebanon. These were the same woods which Solomon used in constructing the temple (1 Kgs 4:33-5:14). Silver was overlaid over the “posts,” which were either the legs of the litter or the uprights which supported its canopy, and the “back” of the litter was overlaid with gold. The seat was made out of purple material, which was an emblem of royalty and which was used in the tabernacle (Exod 26:1f; 27:16; 28:5-6) and in the temple (2 Chr 3:14). Thus, the litter was made of the very best which Solomon could offer. Such extravagance reflected his love for his Beloved who rode upon it and would be seen upon it by all the Jerusalemites as she came into the city.

¹ tn Alternatively, “pure [gold] lampstand,” based on Exod 25:31, etc., where the term for “gold” actually appears (see NAB, NASB, NIV, NRSV, NLT, and the remarks in J. E. Hartley, Leviticus [WBC], 395, etc.). However, in Lev 24:4 the adjective “pure” is feminine, corresponding to “lampstand,” not an assumed noun “gold” (contrast Exod 25:31), and the “table” in v. 6 was overlaid with gold, but was not made of pure gold. Therefore, it is probably better to translate “[ceremonially] pure lampstand” (v. 4) and “[ceremonially] pure table” (v. 6); see NEB; cf. KJV, ASV; B. A. Levine, Leviticus [JPSTC], 164-65; and G. J. Wenham, Leviticus [NICOT], 307.

¹ tn Alternately, “the ivory tower.” The noun הַשֵּׁן (hashen, “ivory”) is a genitive of composition, that is, a tower made out of ivory. Solomon had previously compared her neck to a tower (Song 4:4). In both cases the most obvious point of comparison has to do with size and shape, that is, her neck was long and symmetrical. Archaeology has never found a tower overlaid with ivory in the ancient Near East and it is doubtful that there ever was such a tower. The point of comparison might simply be that the shape of her neck looks like a tower, while the color and smoothness of her neck was like ivory. Solomon is mixing metaphors: her neck was long and symmetrical like a tower; but also elegant, smooth, and beautiful as ivory. The beauty, elegance, and smoothness of a woman’s neck is commonly compared to ivory in ancient love literature. For example, in a piece of Greek love literature, Anacron compared the beauty of the neck of his beloved Bathyllus to ivory (Ode xxxix 28-29).