A door is opened in heaven that the seer may look in, and the trumpet voice of ch. 1:10 is heard again, saying, “Come up hither, and I will show thee the things which must come to pass hereafter”, the further announcement of a prophetic vision, the sign not only that eternal verities are to be revealed, but that earthly things are to be seen from the heavenly point of view. And we are told that straightway John “was in the Spirit”, i. e. he became conscious of an additional impulse of divine rapture, for he was already in the Spirit (ch. 1:10); and then the throne of God, the seat of the divine government, is seen in the eternal splendor of repose, the reflection of the divine sovereignty, surrounded by a rainbow of emerald green arching above it, the emblem of God's covenant mercy (Gen. 9:13), and sending forth lightnings, thunders, and voices, the tokens of divine power, majesty, and judgment. The divine Person is presented as enthroned, but is not named, and is described only by comparison, [pg 115] a touch of reverent reserve as consonant with religion as it is true to art. His appearance is glorious like jasper and sardius, the last and first of the precious stones on the breastplate of the highpriest, and part of the foundation stones of the heavenly city.366 The pure jasper and the red sardius are the apparent symbols of purity and justice (cf. Ezek. 1:26, and 10:1; Dan. 7:9; Bk of Enoch 14:18f.). Before the throne, we are told, there is “as it were, a sea of glass367 like unto crystal”, the symbol of the calm and fulness of life in God's completed kingdom in contrast with the stormy sea of earthly nations, the calm of the heavenly life in antithesis with the turmoil of the earthly. This seems to be the more natural interpretation of the passage, yet the symbolism of the sea in the Revelation has been interpreted with a good deal of freedom, and there is wide difference of opinion concerning its meaning. It is regarded by many as the symbol of purification the antitype of the laver before the tabernacle, while others find in it a type of the eternal fulness of joy in the presence of God. Some think the sea is placed before the throne as a symbol of the former trial and conflict of the earthly life through which the saints have passed to reach the presence of God, and that it has now become a perpetual memorial of victory, for the sea is glassy and quiet as the sign that the conflict is over.368 Other late writers connect the sea with early Hebrew ideas of the waters before the firmament (Gen. 1:7), traces of which continue to appear in Apocalyptic literature, and hold that this conception underlies the symbolism of the molten sea in Solomon's temple and forms the basis of the present description.369 With figures so flexible as these it is quite possible that different thoughts have been included, for the sea was closely interwoven with the early stage of Israel's history, and may have become a symbol covering a wide range of correlative ideas. But however we may interpret the meaning of the symbolism, the presence of the sea in the vision undoubtedly serves to enhance the [pg 116] majesty and splendor of the scene, and may have been introduced partly for that purpose, though the sea undoubtedly had a permanent place in Hebrew thought.

The vision presents the worship of heaven in the forms of earth for our apprehension. The elders (Gr. “presbyters”) are the ideal representatives of the redeemed church,370 who are clothed in white raiment and placed round about the throne wearing golden crowns and sitting on lesser thrones reigning with Christ, the fitting tokens of royal dignity and authority, and of their triumphant victory through him who is their Saviour. They are ever active in service, casting their crowns before the throne and him that sitteth thereon as they worship, and joining in every chorus of adoration.371 Their number is that of the twelve patriarchs and apostles combined, indicating that they represent the church of both dispensations, the saints of the Old and New Testaments. They are not, however, the twelve patriarchs and apostles themselves enthroned, as suggested by some, but ideal beings who have a representative character. Their number, twice twelve, i. e. twice the national number of Israel, aptly symbolizes the glorified church of all the ages.372 Some find in these elders a group of angelic beings who are attendants of the divine glory and whose presence in the heavenly temple was a part of ancient Jewish tradition, as in the Judgment of Peter, where it is said, “For there are four and twenty elders, twelve upon the right hand and twelve upon the left.”373 There is no reason to infer, however, that the Greek term “presbyters”, or “elders”, with its definite meaning in the New Testament church, is otherwise used in the Apocalypse, even though the elders are here the representatives of a class. It is quite possible that the earlier use of the four and twenty elders in Apocalyptic literature may have been the occasion of their introduction here, but there was nothing in the usage of the past to prevent its modified application in a Christian sense so natural as this in the first century; on the contrary it is quite in accord with the [pg 117] gradually progressive method of Apocalyptic thought that they should be introduced here to represent the church enlarged by New Testament accessions. It is certainly quite beside the mark to affirm that this idea of the church as a combination of the Old and New Testament saints is “medieval”;374 when it is found so clearly in the Epistles of Paul.

The four living creatures (cf. Ezek. 1:5f.),—which are not to be thought of as “beasts” even in a good sense, as in the Authorized Version, but rather as in the Greek, “the living ones”, which gives a better idea,—are seen “in the midst of the throne and round about the throne”, evidently indicating their function in the heavenly court, to wait upon the divine Person, though their exact arrangement [pg 118] in the vision is not so clear.375 These are composite creature-forms that are manifestly to be identified with the cherubim of the Old Testament. Each creature consists of four representative forms of animal life combined in one, viz. that of the lion, the ox, the eagle, and man, together producing a strange, anomalous figure which is generally thought to personify wild animals, domestic animals, birds, and man, as possessing a common physical life, or created life in its entirety represented by its higher and more notable forms. In the Revelation each has a different face, according to the animal form which is made prominent, and not four faces as in Ezekiel (Ezek. 1:5-14), the individual life being thereby made more manifest. These living ones are ideal symbols of the physical creation, especially of all created life, and represent in the vision the entire earthly creation as sharing in the benefits of redemption,376 manifesting the divine glory, and waiting upon God. They are used in the Old Testament as impressive symbols of the divine presence, and Jehovah is known as “he that dwelleth between the cherubim”, (Am. R. V. “sitteth above”—marg. “is enthroned”, i. e. upon the cherubim),377 a reflection of the thought embodied in the arrangement of the ark of the covenant, where the mercy seat with the shekinah flame was placed between the cherubim. In John's vision the living creatures are seen in closest proximity to the throne, and they lead the heavenly choir in an unceasing song of praise (the Creation Chorus, v. 8-11), the closing verse of the song indicating their function in the heavenly court to glorify God, as also the part they subsequently have in the song of the redeemed (the Redemption Chorus, ch. 5:13) reflects the nature of their worship. They are full of eyes, the sign of their all-seeing watchfulness; they have three pairs of wings, the symbol of their spiritual ministry, for three is the sign of the spiritual as the wings are of activity; and they are four in number while each is fourfold to indicate their relation to the organic world, for four is always the earth number. Also, they rest not day and night, showing the characteristic of life in its fullest energy and ceaseless activity, [pg 119] saying “Holy, holy, holy,” i. e. “holy” thrice repeated,—three a symbol of the divine,—corresponding to the Trisagion of Isaiah's prophecy (ch. 6:3), declaring the holiness of God, the All-Ruler, as especially revealed in creation, all created beings ministering to the manifestation of the divine glory. The identity of the living creatures with the cherubim of the Old Testament is generally recognized, but the origin of the idea of the cherubim in connection with the worship of Jehovah is as obscure as the actual form is indefinite, though probably derived from a primitive stage of religious thought among the Semitic people, and early incorporated as a symbol in the religion of Israel. Apparently the form and conception varied somewhat through time, as will be seen by comparing Ezekiel's description with that which is given here, though the general idea remained the same. Some think the cherubim to have been originally the storm-clouds personified, regarded as supporting the divine throne and surrounding the divine Person, while the seraphim represented the lightning-flash revealing God to men. Others regard them as unidentified nature-forces idealized in forms of life, and traditionally associated with the throne of God. But whatever their origin, their meaning in Scripture is plain, viz. the physical creation waiting upon God.378

A new phase of the vision now begins with chapter five, indicated by the words “And I saw”, setting forth the glory and honor of the exalted Redeemer, and indicating the divine purpose through him to throw light upon the plan of God for the ages. A sealed book or scroll, the sign that its contents are hidden, and written within and without, i. e. upon both sides, or within and also on the back,—filled to its very margins like the roll in Ezekiel (ch. 2:9-10),—indicating the exceeding fulness of its contents and the completeness of the divine plan, is seen lying “in [or upon] the right hand of him that sat on the throne”. This book, which at first no one can be found to [pg 120] open, apparently contains God's multitudinous and unrevealed purposes concerning the future course of the church in the world,—as is afterward more fully indicated by the nature of the things portrayed when the seals are broken,—for it evidently pertains to the mysteries of the kingdom of God on earth, part of which are about to be disclosed to John.379 The book is closed by seven seals, a perfect number, the symbol implying that it is perfectly sealed or fully closed,380 a roll apparently sealed in sections, perhaps with the end of the parchment fastened down by the seals to its staff so that it cannot be opened except by one having authority to break the seals.381 The book itself, it should be noted, is never read at any period of the vision, showing that what it contains is not fully disclosed, but as the seals are broken the general nature of the contents of each section is symbolically portrayed in the form set forth in the succeeding vision of the seals.

At this point in the vision the divine Redeemer, Jesus Christ, appears in order to open the seals, portrayed as the Lamb of God, the recognized atoner for sin, a symbol of striking power to every one familiar with the Old Testament system of sacrifices. The importance of opening the seals had been already indicated in the vision (ch. 5:2f.) by the appearance of a strong or mighty angel, the sign of high rank and great power, proclaiming with a great voice, “Who is worthy to open the book and to loose the seals thereof?” And when no one was found “in the heaven, or on the earth, or under the earth”, i. e. in the place of the spirits of the dead—a phrase equivalent to saying that no one could be found in all the universe—the prophet wept much, showing his deep interest and bitter disappointment when his expectation seemed [pg 121] about to fail. But one of the elders, a representative of the redeemed church, points out to John him who is able to open the book because he “hath overcome”, indicating the glorified Redeemer as the source of help.382 He is described by the elder as “the Lion that is of the tribe of Judah” (Gen. 49:9), and “the Root of David” (Isa. 11:1), indicating his kingly383 and prophetic relations to Israel; but when he appears to John's wondering view it is in sacrificial form as the Lamb of God,384 the sign of his priestly relation to his people, bearing marks as though he had been slain, but now standing in living power in the midst of the throne, the center of all attention and the glorified object of all worship, alike the agent of redemption and the consummation of sacrifice. The words “in the midst of the throne” may mean in the center of the throne and encircled by it, or between the throne and those surrounding it. Some regard the throne as a semi-circle in the open side of which the Lamb stands, and within which are placed two of the living creatures, with the other two at the back, while the elders surround the throne, and the many angels form the outer circle,385 a view that is helpful to those who wish detail in such matters, for the chief thought in the symbolism is sufficiently plain. It may also be worth while to note how clearly this symbolism implies that the redeemed church, represented by the elders, stands nearer to the throne of God than even the angels.386 The seven horns of the Lamb symbolize the fulness of his power, for the horn is the Hebrew emblem of power as seven is of fulness or completeness of quality; and his seven eyes represent the perfection of his vision and knowledge, seeing with the omniscient eyes of the Holy Spirit (Zech. 4:10) who proceedeth alike from the Father [pg 122] and the Son.387 He takes the book out of the right hand of God as a token of his rightful authority, an act full of meaning, for he alone has prevailed and has power to open the book and to reveal God's purposes because he has redeemed the church and himself directs the path of her history. In this sublime vision of the Lamb in the midst of the throne we may be truly said to have reached “the point of highest dramatic interest in the whole book”.

The taking of the book is followed by an act of profound worship; the four living creatures and the four and twenty elders fall down before the Lamb, having each one a harp, the instrument of praise, and a golden bowl full of incense, representing the prayers of the saints, which they offer before God. Then they voice their thought in a new song, the song of the redeemed (the Redemption Chorus), which is rendered unto him that sitteth upon the throne, and unto the Lamb, declaring him worthy that hath been slain to take the book and to open the seals, and “to receive the power, and riches, and wisdom, and might, and honor, and glory, and blessing”,—a sevenfold or complete ascription of praise—who hath redeemed his people with his blood out “of every tribe, and tongue, and people, and nation”,—a fourfold or world-wide redemption for all peoples388—“and madest them to be unto our God a kingdom and priests; and they reign upon the earth”, even now in the midst of trials, in a spiritual sense which though imperfect foreshadows and assures their complete spiritual reign in the new world wherein dwelleth righteousness. This song is sung by the four living creatures as the representatives of the whole creation who unitedly rejoice in the work of redemption together with man, and by the four and twenty elders who represent [pg 123] the church of all time, the personal subjects of redemption; and it is chorused by an innumerable company of angels, God's sinless creation, who are described as consisting of “ten thousand times ten thousand”, i. e. the square of a myriad, a hundred millions in number (or, as the words may mean, “myriads of myriads” i. e. hundreds of millions), and in addition “thousand of thousands”, i. e. millions more,—a symbolical expression for a numberless host; and it is echoed by “every created thing which is in the heaven and on the earth and under the earth and on the sea”, i. e. it is re-echoed from every created being throughout the universe. Thus the Chorus of Creation, wonderful as it was, is surpassed by the Chorus of Redemption: and the four living creatures who represent creation said in full accord, “Amen”, while the four and twenty elders “fell down and worshipped” him that liveth forever and ever. The opening of the seals then follows, and because of its widely different bearing from that which precedes, is usually considered as forming a separate vision, though the transition is not otherwise marked than by a change of action and progress of thought.

The Lamb as the ruler and revealer of destiny opens the seals. At the call of one of the four living creatures, “come”,390 a white horse and his rider, who bears a bow, the sign of warfare, and receives a crown, the token of victory, appear in view, representing Christ going forth conquering and to conquer,391 a vision depicting the beginning and trend of the gospel age: the symbol of the victory of Christ's cause attained through conflict, Christianity triumphing in the earth,—for the progress of the life of the church is viewed like that of the national life of Israel as marked by constant conflict. The assurance of victory is made to precede the revelation of trial as a ground of comfort and confidence throughout the succeeding seals. We may properly regard the contents of this seal as a present view of the onward course of the [pg 126] church, the details of which are to be imagined rather than described, a suggestive picture which stamps itself upon the mind, for the figure of the crowned and conquering Christ once distinctly seen can never be effaced but marks all our after-thought of him. This vision was realized in some measure in the splendid growth of the church in the first and following centuries, but the full realization of its promise lies in the fulness of the ages (ch. 19:11-21)—Christ is ever moving on through the years to final victory.

Many historical interpreters find in this rider the symbol of conquest, especially of judgment on the Roman Empire by the Parthians, indicated by the bow, their usual weapon, and premonitory of the end.392 In that case the first seal, like the succeeding ones, would indicate a form of trial to the church. Others see in the rider the sign of Roman conquest, and in the subsequent seals precursors of the destruction of Jerusalem, assuming the earlier date of the book. These views, however, fail to recognize the close similarity and apparent identity of the rider in this vision with the one on the white horse in chapter nineteen (v. 11) who is evidently divine;393 nor do they agree with the above view as to the scope of the seals, but limit them to the first century, while in the interpretation given in this work they reach forward throughout the history of the church to the end of time. We must be duly careful, according to the symbolic view, not to limit the prophecy to too narrow a scope in its complete fulfilment, and especially not to exclude the world-wide and universal reference, even though it be regarded as the secondary meaning, since to many minds this is the essential and larger thought in the vision. For we should not forget that while the visions of the Apocalypse, like the voices of prophecy and the parables and teachings of our Lord, had their immediate occasion and purpose, yet this becomes in turn the ground and instrument of a wider and permanent divine message to all mankind, and that this is the message which is our chief concern.

At the call of the second living creature, “Come”, a red horse and his rider appear, to whom is given a great sword, and power to take peace from the earth: the symbol of war, and of consequent trial to the church. The blood-red horse with his armed rider betokens the carnage of battle, and suggests all the horrors of bloodshed with its accompanying train of suffering. It is a prediction not of any particular war or wars, but of war in general, as the “wars and rumors of wars” in our Saviour's discourse (Mt. 24:6). And it was only as it was “given unto him” (v. 4), we are told, that the rider could accomplish his mission, thereby indicating the divine authority, limitation, and restraint. The sword is the same as the sacrificial knife, and the term used for slaying in the passage is the Greek term for killing the sacrificial victim, which may be intended to imply that the slaughter of the saints is to be included with others.394 The contents of this seal were realized to some extent in the Jewish war connected with the fall of Jerusalem, and in the subsequent wars of the Roman Empire which entailed great suffering upon the church as well as upon the world. The form of the prophecy, however, does not preclude reference to the then past as well as to present and to future events; it points to the experience of God's children in every age, to the Jewish as well as the Christian church, though doubtless with the future specially in view. These sorrows have been repeated again and again in the numberless wars of history, and may be repeated afresh in the future, for war is a constant trial of the church throughout the centuries. The symbol of the armed rider on the blood-red horse presents a vivid picture of the horrors of war. It was a figure which spoke to the imaginative Eastern mind with a power superior to words, especially to those who had known in their own experience the destructive ravages of war; but the details were left to be supplied by individual thought.

At the call of the third living creature, “Come”, a black horse and his rider appear, weighing out grain with a balance: the symbol of famine, want, and consequent [pg 128] suffering by the church. This expressive figure of the black horse and his rider with a balance foretold in a form that surpassed the power of language to describe, the prevailing gloom and distress of famine. Grain is sold by weight instead of measure, thereby indicating its scarcity (Ezek. 4:16), and the price is from eight to twelve times its usual cost, the food of a working man requiring his entire wages, and leaving those dependent on him without support.395 The famine indicated is not, however, any special season of want, but recurrent famine as a condition of trial, and is limited in its extent, as indicated by preserving the oil and the wine which may be regarded as typical articles of food, or the best of the things of common life396—a famine affecting the poor rather than the rich, the multitude rather than the few. The contents of this seal were realized in prevailing famines such as that under Claudius, that at the siege of Jerusalem, and many other seasons of want which have occurred at different times throughout the ages, but especially in the ancient world and in the Far East. The emaciation and terror produced by hunger and want was a form of suffering too well known among the inhabitants of those lands to need any further emphasis—it spoke a language of its own to all those who had felt its power.

At the call of the fourth living creature, “Come”, a pale, ashen colored, or green horse, and his rider Death appear, with Hades following after, i. e. the world of departed spirits accompanying death as his after-part to swallow up his victims, both personified, and with power given them to kill with the sword and with famine and with death in all its forms: the symbol of mortality in the church, destroying the forces of the kingdom. The pale green or livid horse, the color of a corpse, reflects the ghastliness of a dead body bordering on dissolution, and points to the ruin wrought by death. Death is here considered as in itself a trial, and some of the more terrible [pg 129] and widespread agencies by which it is brought about are mentioned in order to make its ravages more impressive. Among other forms death by sword and famine are included, evils already introduced under the two former seals as the occasion of suffering, but here regarded as leading to death and constituting a separate trial. The trial of this seal is also limited, and affects only one fourth of men, i. e. a fractional part, not an actual fourth, the fourth being perhaps suggested by the four horsemen. The contents of this seal were realized in the fearful mortality of Roman times by means of the fourfold scourge of sword, famine, pestilence, and wild beasts, the crown of all sorrows to the Jewish mind; but they have also been realized in a similar way, though different form, through the many dread visitations of death in later days.

It will be noticed that almost every part of the symbolism in these visions has a meaning of its own. The horse in motion seems to indicate the swift progress and triumphal march through the earth of the things represented in the first four seals, viz. of Christianity the conquering religion, and also of war, famine, and death, the widespread terrors which are impersonated by the riders as treading the path of the centuries. The color of the different horses, too, is not without significance; white is the sign of victory (white horses were not uncommonly ridden by Roman conquerors)397 and it is also the symbol of purity, while red is the symbol of bloodshed, black of want, and pale or ashen green of death, each of the latter betokening something of the nature of the scourge which they bring to men. The whole content of the seals presents a bare outline of various forms of suffering, and is intended to typify a multitude of sorrows that are unnamed. It should be noted, too, that at the close of the fourth seal a division of the seals is apparent into two groups with four and three in each. The first four relate to the sphere of the natural world, as the number four indicates, and the fact also that they are ushered in by the four living creatures who represent creation. These seals are chiefly designed to show that during the period in which Christ is carrying forward his conquest unto [pg 130] victory, both trial and suffering in this world form part of the divine purpose of discipline for his people which cannot be escaped from but should be endured with patience and hope. The last three seals relate to the things of the spiritual life, of which three is the symbol, and point forward to the future and great reward in the world to come which is about to be realized by those who are faithful. The same division into four and three, pertaining to the natural and the spiritual, though with a distinctive application, is found in the visions of the trumpets and vials (see App'x. D).

At the opening of the fifth seal a vision of the souls of the martyrs appears, viz. of those “that had been slain for the word of God, and for the testimony which they held” (cf. ch. 19:10), who are now seen underneath the altar (i. e. the equivalent of the great brazen altar of sacrifice in the Jewish service, at the foot of which the blood of the sacrificial victims was poured) as the sign of their having sacrificed their lives for the truth. The altar is in the heavenly temple, which to the Jewish mind was the archetype of the earthly, where they are found crying to God as their master398 to judge and avenge them, i. e. calling for vindication, not for vengeance in the earthly sense; and they receive each a white robe, the recognized symbol of purity and victory, and are bidden to rest until the roll of martyrs is complete:399 the symbol of martyrdom so often experienced by the church throughout the ages. These saints of God have not been delivered from death, but they have been delivered through death. The limit of this trial is the “little time” of the church's further conflict, a period looked upon as relatively short in the whole course of the centuries, though not in itself necessarily short or definitely limited, for the “little time” is practically the whole period of this and the preceding seals. The contents of this seal [pg 131] were partly realized in the ten persecutions of the early church, especially those under Nero, and under Domitian, belonging to the period of the Apocalypse; but they have also been realized in every subsequent persecution that has followed the planting of the gospel in heathen lands. The martyrs belong to all ages and all nations, and include every man who has given his life as a testimony for the truth; and this seal looks along the whole line and comprehends every martyr of every age.

At the opening of the sixth seal a vision of an earthquake appears, in which the sun became black as sackcloth of hair, the whole moon as blood, and the stars of heaven fell, while even the heaven itself was removed as a scroll when it is rolled up, and every mountain and island were moved out of their places, for we are told that the day, the great day, of divine wrath is come: the symbol of judgment and retribution, especially of the last judgment, and of the destruction of the world. The terrors of the judgment thus described are sevenfold, affecting the earth, the sun, the moon, the stars, the heavens, the mountains, and the islands; and seven classes of men are mentioned, who call to the rocks and the mountains to fall upon them and to hide them from the wrath of the Lamb, viz. the kings of the earth, the princes, the chief captains, the rich, the strong, and every bondman, and every freeman,—additional signs of universality and completeness. The contents of this seal have been realized in one way in the crises of history and the fall of empires, which we may regard as described here after the analogy of Jewish Apocalyptic, under the form of a great catastrophe of nature bringing to an end the existing order of things—the fortunes of the people of God, though not their fate, being conceived of as inseparably interwoven with the world of nature; but this is only a temporary and passing fulfilment which foreshadows and points to the final day of wrath (called in Greek (v. 17), “the day, the great [day] of their wrath”, i. e. of the wrath of God and of the Lamb), or the day of the Lord,400 [pg 132] and the end of the world. The End is a constant element in all Apocalyptic writings, as it is the recurrent point of interest with John in the Apocalypse; and it was undoubtedly due to the influence of Jewish Apocalyptic conceptions that an expectation commonly prevailed in the primitive church that the End was close at hand, and that it would come not through development but through crises of judgment.401 The important part which the End has in the Apocalypse may be regarded as owing in some degree to the place it must necessarily occupy in any exhaustive scheme of the course of the world; but it is perhaps more largely due to the peculiar view-point of Apocalyptic, which exalted the End out of proportion to the present in order to impress more deeply its lessons.402

All the visions of the six seals had a particular application and an undoubted though partial fulfilment in the first age in which they were given; but they have a wider and more perfect fulfilment in all subsequent time, and perhaps will have an especially complete fulfilment in the last time, such as we know that the sixth seal will surely have. To seek constantly, however, for a merely literal fulfilment is surely to emphasize the least important part of their meaning, and to limit them narrowly to a definite historical event is to rob them of their larger purpose, for they are wide-flung types that speak as with a thousand tongues to the open ear and ready mind.

[In the order of the Revelation the connection is at this point interrupted and the climax suspended by introducing the Episode of the Sealed Ones (ch. 7:1-17), which will be found under IIb. The episodes are given separately in this outline, and outside of their proper position in the text, for the sake of clearness and emphasis].

At the opening of the seventh seal a vision of heaven wrapped in perfect silence appears: the symbol of mystery, the unrevealed, the unspoken, the ineffable bliss of heaven which cannot be told in human words or portrayed in physical form, the great sabbath of the church's history,—a significant sign of the deep, unbroken rest [pg 133] from conflict and toil into which the people of God shall enter at the end of the earthly trial, and of the fulness of joy to be realized in the future life of the redeemed when the conflict and judgment of this world are over, all of which now lies beyond the power of words or vision to describe or display. The form of the vision is remarkably suggestive; the silence indicates that which cannot be spoken; it gives time for thought that is beyond expression, deepens “the sense of trembling suspense”, and serves to quicken anticipation of the revelation to follow.403 The contents of this seal are to be realized in the future life of the redeemed after the conflict and judgment of this world are over, and they cannot now be revealed except in symbol; they lie beyond the sphere of earthly thought. The half-hour is a broken, fractional number, implying a limited period, and is here the sign of the relatively brief time during which John beheld the vision,—for the period covered by the thought of the vision is the whole period of eternity, the future endless life with God, and only a glimpse of it is given at this point in order to reassure the hearts of God's children in the midst of conflict,—thus affording an impressive break between the seals and the trumpets, which, though short in itself, must have seemed relatively long to the beholder in the midst of such stirring scenes. The silence may have been suggested to John's mind by that which the people kept during the time when the priest offered incense in the temple, for we find that the offering of incense by an angel immediately follows (v. 2-5),404 and the solemnity of that time in John's own experience of the ritual worship may well have left its impress upon his mind. In closing the series it remains to be said that the last seal, notwithstanding that its contents are incompletely developed, yet joins with the first, and serves to mark out the whole course of the church's history through all the dread and storm of the other seals, as ever advancing from opening conquest to final peace, all the trials of the seals leading on to deep quiet in the end, the symbol of the great and enduring peace of God.