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2 Chronicles 4

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1 Moreover he made a bronze altar: twenty cubits was its length, twenty cubits its width, and ten cubits its height.

2 Then he made the Sea of cast [bronze,] ten cubits from one brim to the other; [it was] completely round. Its height [was] five cubits, and a line of thirty cubits measured its circumference.

3 And under it [was] the likeness of oxen encircling it all around, ten to a cubit, all the way around the Sea. The oxen [were] cast in two rows, when it was cast.

4 It stood on twelve oxen: three looking toward the north, three looking toward the west, three looking toward the south, and three looking toward the east; the Sea [was set] upon them, and all their back parts [pointed] inward.

5 It [was] a handbreadth thick; and its brim was shaped like the brim of a cup, [like] a lily blossom. It contained three thousand baths.

6 He also made ten lavers, and put five on the right side and five on the left, to wash in them; such things as they offered for the burnt offering they would wash in them, but the Sea [was] for the priests to wash in.

7 And he made ten lampstands of gold according to their design, and set [them] in the temple, five on the right side and five on the left.

8 He also made ten tables, and placed [them] in the temple, five on the right side and five on the left. And he made one hundred bowls of gold.

9 Furthermore he made the court of the priests, and the great court and doors for the court; and he overlaid these doors with bronze.

10 He set the Sea on the right side, toward the southeast.

11 Then Huram made the pots and the shovels and the bowls. So Huram finished doing the work that he was to do for King Solomon for the house of God:

12 the two pillars and the bowl-shaped capitals [that were] on top of the two pillars; the two networks covering the two bowl-shaped capitals which [were] on top of the pillars;

13 four hundred pomegranates for the two networks (two rows of pomegranates for each network, to cover the two bowl-shaped capitals that [were] on the pillars);

14 he also made carts and the lavers on the carts;

15 one Sea and twelve oxen under it;

16 also the pots, the shovels, the forks -- and all their articles Huram his master [craftsman] made of burnished bronze for King Solomon for the house of the LORD.

17 In the plain of Jordan the king had them cast in clay molds, between Succoth and Zeredah.

18 And Solomon had all these articles made in such great abundance that the weight of the bronze was not determined.

19 Thus Solomon had all the furnishings made for the house of God: the altar of gold and the tables on which [was] the showbread;

20 the lampstands with their lamps of pure gold, to burn in the prescribed manner in front of the inner sanctuary,

21 with the flowers and the lamps and the wick-trimmers of gold, of purest gold;

22 the trimmers, the bowls, the ladles, and the censers of pure gold. As for the entry of the sanctuary, its inner doors to the Most Holy [Place,] and the doors of the main hall of the temple, [were] gold.

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The New King James Version (NKJV)

The New King James Version (NKJV) is a modern translation of the Bible that seeks to preserve the stylistic and literary beauty of the original King James Version (KJV) while making it more accessible to contemporary readers. The project to create the NKJV began in 1975, spearheaded by Arthur Farstad and a team of over 130 scholars, theologians, and pastors. They aimed to maintain the traditional language and rhythm of the KJV while updating archaic terms and expressions to be more understandable for modern audiences. The translation was completed and published in 1982, offering a blend of reverence for the past and clarity for the present.

One of the defining features of the NKJV is its commitment to the Textus Receptus, the same Greek text underlying the New Testament of the KJV. This ensures a high degree of continuity between the two versions, making the NKJV familiar to those who have long cherished the KJV. However, the NKJV also considers findings from more recent scholarship and textual criticism, incorporating insights from the latest manuscripts and research. This approach helps to balance respect for the historical text with a recognition of the advancements in biblical studies.

The NKJV has been praised for its readability and poetic qualities, which make it suitable for both private study and public worship. Its translators worked diligently to preserve the lyrical and memorable phrasing of the KJV, which has deeply influenced English literature and religious practice. By modernizing the language without compromising the text’s inherent dignity and solemnity, the NKJV has become a popular choice among those who value both accuracy and elegance in their Bible reading.

Despite its strengths, the NKJV has faced criticism from some quarters. Critics argue that by adhering too closely to the Textus Receptus, it may not fully reflect the breadth of available manuscript evidence. Others feel that it may still be too archaic for some readers, especially those who are new to the Bible or who come from different linguistic backgrounds. Nonetheless, the NKJV remains a significant and respected translation, offering a bridge between the venerable tradition of the KJV and the needs of modern readers.