Exo 32:4 | KD | STEP | He took (the golden ear-rings) from their hands, and formed it ( the gold ) with the graving-tool, or chisel, and made it a molten calf. ” Out of the many attempts that have been made at interpreting the words בּחרט אתו ויּצר, there are only two that deserve any notice, viz., the one adopted by Bochart and Schroeder , “he bound it up in a bag,” and the one given by the earlier translators, “he fashioned (יצר, as in 1Ki 7:15) the gold with the chisel.” No doubt ויּצר (from צוּר = צרר) does occur in the sense of binding in 2Ki 5:23, and חרט may certainly be used for חריט a bag; but why should Aaron first tie up the golden ear-rings in a bag? And if he did so, why this superfluous and incongruous allusion to the fact? We give in our adhesion to the second, which is adopted by the lxx, Onkelos , the Syriac , and even Jonathan , though the other rendering is also interpolated into the text. Such objections, as that the calf is expressly spoken of as molten work, or that files are used, and not chisels, for giving a finer finish to casts, have no force whatever. The latter is not even correct. A graving-knife is quite as necessary as a file for chiselling, and giving a finer finish to things cast in a mould; and cheret does not necessarily mean a chisel, but may signify any tool employed for carving, engraving, and shaping hard metals. The other objection rests upon the supposition that massecah means an image made entirely of metal (e.g., gold). But this cannot be sustained. Apart from the fact, that most of the larger idols worshipped by the ancients had a wooden centre, and were merely covered with gold plate, such passages as and prove, not only that the casting of gold for idols consisted merely in casting the metal into a flat sheet, which the goldsmith hammered out and spread into a coating of gold plate, but also that a wooden image, when covered in this way with a coating of gold, was actually called massecah . And Aaron’s molten calf was also made in this way: it was first of all formed of wood, and then covered with gold plate. This is evident from the way in which it was destroyed: the image was first of all burnt, and then beaten or crushed to pieces, and pounded or ground to powder ( ); i.e., the wooden centre was first burnt into charcoal, and then the golden covering beaten or rubbed to pieces ( compared with ). The “golden calf” (עגל a young bull) was copied from the Egyptian Apis (vid., Hengstenberg, Dissertations ); but for all that, it was not the image of an Egyptian deity-it was no symbol of the generative or bearing power of nature, but an image of Jehovah. For when it was finished, those who had made the image, and handed it over to the people, said, “This is thy God ( pluralis majest .), O Israel, who brought thee out of Egypt.” This is the explanation adopted in -20.

‏ Exodus 32:4

Exo 32:4 He took (the golden ear-rings) from their hands, and formed it (the gold)with the graving-tool, or chisel, and made it a molten calf.” Out of the many attempts that have been made at interpreting the words בּחרט אתו ויּצר, there are only two that deserve any notice, viz., the one adopted by Bochart and Schroeder, “he bound it up in a bag,” and the one given by the earlier translators, “he fashioned (יצר, as in 1Ki 7:15) the gold with the chisel.” No doubt ויּצר (from צוּר = צרר) does occur in the sense of binding in 2Ki 5:23, and חרט may certainly be used for חריט a bag; but why should Aaron first tie up the golden ear-rings in a bag? And if he did so, why this superfluous and incongruous allusion to the fact? We give in our adhesion to the second, which is adopted by the lxx, Onkelos, the Syriac, and even Jonathan, though the other rendering is also interpolated into the text. Such objections, as that the calf is expressly spoken of as molten work, or that files are used, and not chisels, for giving a finer finish to casts, have no force whatever. The latter is not even correct. A graving-knife is quite as necessary as a file for chiselling, and giving a finer finish to things cast in a mould; and cheret does not necessarily mean a chisel, but may signify any tool employed for carving, engraving, and shaping hard metals. The other objection rests upon the supposition that massecah means an image made entirely of metal (e.g., gold). But this cannot be sustained. Apart from the fact, that most of the larger idols worshipped by the ancients had a wooden centre, and were merely covered with gold plate, such passages as Isa 40:19 and Isa 30:22 prove, not only that the casting of gold for idols consisted merely in casting the metal into a flat sheet, which the goldsmith hammered out and spread into a coating of gold plate, but also that a wooden image, when covered in this way with a coating of gold, was actually called massecah. And Aaron’s molten calf was also made in this way: it was first of all formed of wood, and then covered with gold plate. This is evident from the way in which it was destroyed: the image was first of all burnt, and then beaten or crushed to pieces, and pounded or ground to powder (Deu 9:21); i.e., the wooden centre was first burnt into charcoal, and then the golden covering beaten or rubbed to pieces (Exo 32:20 compared with Deu 9:21).

The “golden calf” (עגל a young bull) was copied from the Egyptian Apis (vid., Hengstenberg, Dissertations); but for all that, it was not the image of an Egyptian deity-it was no symbol of the generative or bearing power of nature, but an image of Jehovah. For when it was finished, those who had made the image, and handed it over to the people, said, “This is thy God (pluralis majest.), O Israel, who brought thee out of Egypt.” This is the explanation adopted in Psa 106:19-20.