The completion of all the Tabernacle's furnishings and garments in (Exodus 39:1-43) should feel repetitive. The craftsmen were building exactly what God commanded. But the Targum Jonathan adds details to the final inspection that transform it from a checklist into a coronation scene.
The breastplate's four rows of gems are mapped to "the four corners of the world." Each tribe's stone carried its name "engraven, inscribed, and set forth as the engraving of a ring." Reuben, Shimeon, and Levi on the first row. Judah, Dan, and Naphtali on the second. Gad, Asher, and Issachar on the third. Zebulun, Joseph, and Benjamin on the fourth. The high priest wore the entire nation on his chest.
The golden plate bore an inscription that was "written upon it, inscribed, engraven, and set forth: HOLINESS TO THE LORD." The Targum piles up four verbs to describe a single act of writing, as if one word for engraving could not capture what was done to that gold.
The robe's bells are numbered at seventy, a count the Hebrew text never provides. Seventy bells corresponding to the seventy nations. Every step the high priest took rang out a count of the world's peoples.
The candelabrum's seven lamps are described as "ordained to correspond to the seven stars, that rule in their prescribed places in the firmament by day and by night." The menorah was a map of the visible planets, its seven flames mirroring seven heavenly lights. The Tabernacle was a scale model of the cosmos.
When everything was finished, the people brought it all to Moses "at his house of instruction, where sat Moses, and Aaron, and his sons." Moses surveyed every piece, confirmed it matched God's commands, and blessed the workers: "May the Shekinah (the Divine Presence) of the Lord dwell within the work of your hands!" In the Targum, the final inspection is not quality control. It is a prayer that God will agree to move in.