Revelation 4:5,6

a And flashes of lightning and voices and peals of thunder were coming forth from the throne. There were seven torches of fire burning before the throne, and these are the seven Spirits of God. And in front of the throne there was what I can only call a sea of glass like crystal.

John adds more details to his mysterious and awe-inspiring picture of heaven. The voices are the voices of the thunder; and thunder and lightning are often connected with the manifestation of God. In the vision of Ezekiel lightning comes out of the fiery haze around the throne (Ezekiel 1:13). The Psalmist tells how the voice of the thunder of God was heard in the heavens, and the lightnings lightened the world (Psalms 77:18). God sends his lightning to the ends of the earth (Job 37:4). But what is primarily in the mind of John is the description of Mount Sinai as the people waited for the giving of the Law: "There were thunders and lightnings and a thick cloud upon the mountain, and a very loud trumpet blast" (Exodus 19:16). John is using imagery which is regularly connected with the presence of God.

The seven torches are the seven Spirits of God. We have already met the seven Spirits before the throne (Revelation 1:4; Revelation 3:1). There are scholars who see Babylonian influence here also. For the Babylonians the seven planets were also divine and within the presence of God; it would be natural to liken the planets to torches and it has been suggested that this imagery is Babylonian in origin.

The "glassy sea" has exercised a strange fascination over the minds of many people, including hymn-writers. The Greek does not say that there was a sea of glass but "as it were a sea of glass." There was something which was beyond all description, but which could be likened only to a great sea of glass. Where did the seer get this picture?

(i) He may have got it from a conception in the most primitive thought of the Old Testament. We have already seen that the firmament is conceived of as a great solid dome arching over the earth. Beneath it is the earth, and above it the heaven. The creation story speaks of the waters under the firmament and the waters above the firmament (Genesis 1:7). The Psalmist calls upon the waters that are above the heavens to praise the Lord (Psalms 148:4). The belief was that above the firmament, perhaps as the kind of floor of heaven, there was a great sea. Further, it was on that sea that God had set his throne. The Psalmist says of God that he set the beams of his chambers upon the waters (Psalms 104:3).

(ii) It may be that John's time in Patmos gave him the idea of this picture. Swete suggests that he saw a vast surface which flashed back the light, "like the Aegan Sea, when on summer days John looked upon it from the heights of Patmos." John had often seen the sea like a sea of molten glass and maybe his picture was born from that.

(iii) There is a further possibility. According to the Koran (Sura 27) Solomon had in his palace a floor of glass so like a sea that, when the Queen of Sheba came to visit him, she picked up her skirts thinking she had to wade through water. It may be that John is thinking of the throne of God set in a glass-floored palace.

(iv) There is one other remote possibility. John says that the glassy sea was like crystal (krustallon, G2930); but krustallon could mean ice; and then the idea would be an expanse which shimmered like an ice-field. It is a magnificent picture, but it can hardly be the real picture because neither John nor his people would ever have seen such a scene, and it would have meant nothing to them.

There are three things that this sea like shining glass does symbolize.

(i) It symbolizes preciousness. In the ancient world glass was usually dull and semi-opaque, and glass as clear as crystal was as precious as gold. In Job 28:17 gold and glass are mentioned together as examples of precious things.

(ii) It symbolizes dazzling purity. The blinding light reflected from the glassy sea would be too much for the eyes to look upon, like the purity of God.

(iii) It symbolizes immense distance. The throne of God was in the immense distance, as if at the other side of a great sea. Swete writes of "the vast distance which, even in the case of one who stood in the door of heaven, intervened between himself and the throne of God."

One of the greatest characteristics of the writing of the seer is the reverence which, even in the heavenly places, never dares to be familiar with God, but paints its picture in terms of light and distance.

THE FOUR LIVING CREATURES (1) (Revelation 4:6 b-8)

4:6b-8 And, between the throne and the elders, in a circle round the throne, were four living creatures, full of eyes in front and behind. The first living creature was like a lion; the second living creature was like an ox; the third living creature had what appeared to be a man's face; the fourth living creature was like an eagle in flight. The four living creatures had each of them six wings; and around and within they were full of eyes. Night and day they never rested from saying:

Holy, holy, holy is the Lord, the Almighty, who was, and who is, and who is to come.

Here we come to another of the symbolic problems of the Revelation. The four living creatures appear frequently in the heavenly scene: so let us begin by collecting what the Revelation itself says about them. They are always found near the throne and the Lamb (Revelation 4:6; Revelation 5:6; Revelation 14:4). They have six wings and they are full of eyes (Revelation 4:6; Revelation 4:8). They are constantly engaged in praising and in worshipping God (Revelation 4:8; Revelation 5:9; Revelation 5:14; Revelation 7:11; Revelation 19:4). They have certain functions to perform. They invite the dreadful manifestations of the wrath of God to appear upon the scene (Revelation 6:1; Revelation 6:7). One of them hands over the vials of the wrath of God (Revelation 15:7).

Although there are definite differences, there can be little doubt that we find the ancestors of these living creatures in the visions of Ezekiel. In Ezekiel's vision the four living creatures each have four faces--the faces of a man, a lion, an ox and an eagle; and they uphold the firmament (Ezekiel 1:6; Ezekiel 1:10; Ezekiel 1:22; Ezekiel 1:26); the felloes of the wheels are full of eyes (Ezekiel 1:18). In Ezekiel we have all the details of the picture in the Revelation, although the details are differently allocated and arranged. In spite of the differences the family resemblance is clear.

In Ezekiel the four living creatures are definitely identified with the cherubim. (It is to be noted that -im is the Hebrew plural ending; cherubim is simply cherubs and seraphim is simply seraphs.) The identification is made in Ezekiel 10:20; Ezekiel 10:22. The cherubim were part of the decoration of Solomon's Temple, in the place of prayer and on the walls (1 Kings 6:23-30; 2 Chronicles 3:7). They were represented on the hanging veil which shut off the Holy of Holies from the Holy Place (Exodus 26:31). There were two cherubim on the lid of the ark, called the mercy-seat; and they were so placed that they faced each other and their wings swept over to form a kind of canopy over the mercy-seat (Exodus 25:18-21). One of the commonest pictures of God is sitting between the cherubim, and it is thus that he is often addressed in prayer (2 Kings 19:15; Psalms 80:1; Psalms 99:1; Isaiah 37:16). God is represented as flying on the cherubim and on the wings of the wind (Psalms 18:10). It is the cherubim who guard the way to the Garden when Adam and Eve have been banished from it (Genesis 3:24). In the later books written between the Testaments, such as Enoch, the cherubim are the guardians of the throne of God (Enoch 71:7).

From all this one thing emerges clearly--the cherubim are angelic beings who are close to God and the guardians of his throne.

(2) THE FOUR LIVING CREATURES (Revelation 4:6 b-8 continued)

What do these four living creatures symbolize?

(i) They are clearly part of the imagery of heaven; and they are not figures whom the writer of the Revelation did not create, but whom he inherited from previous pictures. They may originally have come from Babylonian sources, and they may have stood for the four principal signs of the Zodiac and for the four winds coming from the four quarters of heaven. But the John who wrote the Revelation was not aware of that, and he used them simply as part of the imagery of heaven in which he had been brought up.

(ii) How did John himself think of the symbolism of these living creatures? We think that Swete offers the right explanation. The four living creatures stand for everything that is noblest, strongest, wisest and swiftest in nature. Each has the preeminence in his own particular sphere. The lion is supreme among beasts; the ox is supreme among cattle; the eagle is supreme among birds; and man is supreme among all creatures. The beasts represent all the greatness and the strength and the beauty of nature; here we see nature praising God. In the verses to follow we see the twenty-four elders praising God; and when we put the two pictures together we get the picture of both nature and man engaged in constant adoration of God. "The ceaseless activity of nature under the hand of God is a ceaseless tribute of praise."

The idea of nature praising God is one which occurs in the Old Testament more than once. "The heavens are telling the glory of God; and the firmament proclaims his handiwork. Day to day pours forth speech and night to night declares knowledge" (Psalms 19:1-2). "Bless the Lord all his works in all places of his dominion" (Psalms 103:22). Psalms 148:1-14 is a magnificent summons to the whole of nature to join in praising God.

There is a tremendous truth here. The basic idea behind this is that anything which is fulfilling the function for which it was created is praising God. One of the basic conceptions of Stoicism was that in everything there was a spark of God, scintilla. "God, said Seneca, "is near you, with you, within you; a holy spirit sits within us." As Gilbert Murray points out, the sceptics laughed at this and sought to make a fool of the whole idea. "What, said the sceptic, "God in worms? God in dung beetles?" "Why not?" demanded the Stoic.

Cannot an earthworm serve God? Do you suppose that it is only a general who is a good soldier? Cannot the lowest private fight his best? Happy are you, if you are serving God and carrying out his purpose as faithfully as an earthworm. Whatever carries out the function for which it was created is thereby worshipping God.

This is a thought which opens out the most magnificent vistas. The humblest and the most unseen activity in the world can be the true worship of God. Work and worship literally become one. Man's chief end is to glorify God and to enjoy him for ever; and man carries out that function when he does what God sent him into the world to do. Work well done rises like a hymn of praise to God.

This means that the doctor on his rounds, the scientist in his laboratory, the teacher in his classroom, the musician at his music, the artist at his canvas, the shop assistant at his counter, the typist at her typewriter, the housewife in her kitchen--all who are doing the work of the world as it should be done are joining in a great act of worship.

THE SYMBOLISM OF THE LIVING CREATURES (Revelation 4:6 b-8 continued)

It was not long before the early church found certain symbolisms in the living creatures, in particular of the four Gospels--a representation which is often to be found in stained-glass windows in churches.

The earliest and the fullest identification was made by Irenaeus about A.D. 170: He held that the four living creatures represented four aspects of the work of Jesus Christ, which in turn are represented in the four Gospels.

The lion symbolizes the powerful and effective working of the Son of God, his leadership and his royal power. The ox signifies the priestly side of his work, for it is the animal of sacrifice. The man symbolizes his incarnation. The eagle represents the gift of the Holy Spirit, hovering with his wings over the Church. John represents "the original, effective and glorious generation of the Son from the Father, and tells how all things were made by him; and is, therefore, symbolized by the lion. Luke begins with the picture of Zacharias the priest, and tells the story of the fatted calf killed for the finding of the younger son; and is, therefore, symbolized by the ox. Matthew begins by giving us the human descent of Jesus and "The character of a humble and meek man is kept up throughout the whole gospel, and is, therefore, symbolized by the man. Mark begins with a reference to the Spirit of prophecy coming down from on high upon men which "points to the winged aspect of the Gospel"; and, therefore, is symbolized by the eagle.

Irenaeus goes on to say that the fourfold form of the beasts represents the four principal covenants which God made with the human race. The first was made with Adam, prior to the flood. The second was made with Noah, after the flood. The third consisted of the giving of the Law to Moses. The fourth is that which renovates man in Christ, "raising and bearing men upon its wings into the heavenly kingdom."

But, as we have said, there was a variety of different identifications.

The scheme of Athanasius was:

Matthew = the man Mark = the ox

Luke = the lion John = the eagle,

The scheme of Victorinus was:

Matthew = the man Mark = the lion

Luke = the ox John = the eagle

The scheme of Augustine was:

Matthew = the lion Mark = the man

Luke = the ox John = the eagle.

It may be said that on the whole Augustine's identifications became the most commonly accepted, because they fit the facts. Matthew is best represented by the lion, because in it Jesus is depicted as the Lion of Judah, the One in whom all the expectations of the prophets came true. Mark. is best represented by the man, because it is the nearest approach to a factual report of the human life of Jesus. Luke is best represented by the ox, because it depicts Jesus as the sacrifice for all classes and conditions of men and women everywhere. John is best represented by the eagle, because of all birds it flies highest and is said to be the only living creature which can look straight into the sun; and John of all the gospels reaches the highest heights of thought.

THE SONG OF PRAISE (Revelation 4:6 b-8 continued)

4:6b-8 Night and day the living creatures never rested from their doxology of praise:

Holy, holy, holy is the Lord, the Almighty, Who was, and Who is, and Who is to come.

Here is set out the sleepless praise of nature. "Man rests on the Sabbath, and in sleep, and in the end in death, but the course of nature is unbroken and unbroken in praise." There is never any time when the world God made is not praising him.

As o'er each continent and island

The dawn leads on another day,

The voice of prayer is never silent,

Nor dies the strain of praise away.

The doxology seizes on three aspects of God.

(i) It praises him for his holiness (compare Isaiah 6:3). Again and again we have seen that the basic idea of holiness is difference. That is supremely true of God. He is different from men. Precisely there is the reason that we are moved to adoration of God. If he were simply a glorified human person, we could not praise. As the poet had it: "How could I praise, if such as I could understand" The very mystery of God moves us to awed admiration in his presence and to amazed love that that greatness should stoop so low for us men and for our salvation.

(ii) It praises his omnipotence. God is the Almighty. The people to whom the Revelation was written are under the threat of the Roman Empire, a power which no person or nation had ever successfully withstood. Think what it must have meant to be sure that behind them stood the Almighty. The very giving of that name to God affirms the certainty of the safety of the Christian; not a safety which meant release from trouble but which made a man secure in life and in death.

(iii) It praises his everlastingness. Empires might come and empires might go; God lasts for ever. Here is the triumphant affirmation that God endures unchanging amidst the enmity and the rebellion of men.

GOD, THE LORD AND CREATOR (Revelation 4:9-11)