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From: Revelation 4:1-11
God in Majesty
And round the throne, on each side of the throne, are four living creatures, full of
eyes in front and behind: [7] the first living creature like a lion, the second living
creature like an ox, the third living creature with the face of a man, and the fourth
living creature like a flying eagle. [8] And the four living creatures, each of them
with six wings, are full of eyes all round and within, and day and night they never
cease to sing, “Holy, holy, holy, is the Lord God Almighty, who was and is and
is to come!”
[9] And whenever the living creatures give glory and honor and thanks to him who
is seated on the throne, who lives for ever and ever, [10] the twenty-four elders fall
down before him who is seated on the throne and worship him who lives for ever
and ever; they cast their crowns before the throne, singing, [11] “Worthy art thou,
our Lord and God, to receive glory and honor and power, for thou didst create all
things, and by thy will they existed and were created.”
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Commentary:
1. The second part of the Apocalypse begins at this point and extends to the
start of the Epilogue. The author describes visions concerning the future of man-
kind, particularly the ultimate outcome of history when our Lord Jesus Christ will
obtain the final victory, at his second coming. It begins with a formal introduction
(chaps. 4-5); this is followed by a first section as it were (6:11-11:14) covering the
visions of the seven seals and the first six trumpets, which describes the event
prior to the final battle. The war begins with the sound of the seventh trumpet and
it goes on (this is the second section 11:15-22:5) until the beast is completely
routed and the Kingdom of God is definitively established in the heavenly Jerusa-
lem.
This introductory vision (chaps 4-5) begins with God in heaven in all his glory be-
ing worshipped and celebrated by all creation (chap. 4). He alone controls the
destiny of the world and the Church.
Only Jesus knows God’s salvific plans, and he, through his death and resurrec-
tion, reveals them to us. All this is expressed in chapter 4 by the image of the
Lamb who is able to open the scroll and its seven seals.
1-3. The risen and glorified Christ, who spoke to St John previously (cf. 1:10-13),
now invites him, in a new vision, to go up into heaven to be told God’s plan for
the world. “I looked,” “I was in the Spirit,” “I went up to heaven” all describe the
same phenomenon — God revealing something to the writer. Because the things
he is being told are things man could not possibly discover for himself, the writer
speaks about going up to heaven: this enables him to contemplate heavenly
things, that is, God. Going up to heaven is the same as being in ecstasy, “being
in the Spirit”, being taken over by the Holy Spirit so as to be able to understand
what God wants to reveal to him (cf. note on 1:10).
He is going to be shown “what must take place after this”; it is something which
has already begun to happen in the writer’s own time but it will not reach its cli-
max until the end of the world. The revelation he is given shows him the ultimate
meaning of contemporary events, the outcome of which is guaranteed by the au-
thority of the revealer, Jesus Christ.
The description given here of heaven stresses the majesty and power of God.
Heaven is depicted with a throne at its center, an image taken from Isaiah (cf.
Is 6:1) and Ezekiel (cf. Ezek 1:26-28; 10:1). God’s appearance is described in
terms of the vivid coloring of precious stones; this avoids the danger of defining
God in human terms (an inversion of values). The rainbow round the throne fur-
ther emphasizes the sublimity of God and is also a reminder (cf. Gen 9:12-17)
of God’s merciful promise never to destroy mankind.
4. God’s sovereignty over the world — as symbolized by the throne — is shared in
by others whom the vision also portrays as seated on thrones. They are symbo-
lically described as twenty-four elders who act as a kind of heavenly council or
senate. These elders appear frequently in the course of the book, always posi-
tioned beside God, rendering him tribute of glory and worship (cf. 4:10; 5:9; 19:
4), offering him the prayers of the faithful (cf. 5:8) or explaining events to the seer
(cf. 5:5; 7:13). It is not clear whether they stand for angels or saints; the Fathers
and recent commentators offer both interpretations.
The symbolic number (twenty-four) and the way they are described suggest that
they stand for saints in the glory of heaven. They are twenty-four — twelve plus
twelve, that is, the number of the tribes of Israel plus that of the Apostles. Our
Lord in fact promised the latter that they would sit on thrones (cf. Mt 19:28). The
twenty-four elders, then, would represent the heavenly Church, which includes
the old and the new Israel and which, in heaven, renders God the tribute of per-
fect praise and intercedes for the Church on earth. The number twenty-four has
also been seen as reflecting the twenty-four priestly classes of Judaism, there-
by emphasizing the liturgical dimension of heaven (cf. 1 Chron 24: 7-18; 25:1, 9-
13). Whichever is the case, the white garments indicate that they have achieved
everlasting salvation (cf. 3:5); and the golden crowns stand for the reward they
have earned (cf. 2:10), or the prominence among Christians, who have been pro-
mised that, if they come out victorious, they will sit on Christ’s throne (cf. 3:21).
Through these visions laden with symbolism the Apocalypse shows the solida-
rity that exists between the Church triumphant and the Church militant — specifi-
cally, the connection between the praise that is rendered God in heaven and that
which we offer him on earth, in the liturgy. The Second Vatican Council refers to
this: “In the earthly liturgy we take part in the foretaste of that heavenly liturgy
which is celebrated in the Holy City of Jerusalem toward which we journey as pil-
grims, where Christ is sitting at the right hand of God [...]. With all the warriors of
the heavenly army we sing a hymn of glory to the Lord; venerating the memory of
the saints, we hope for some part and fellowship with them; we eagerly await the
Savior, our Lord Jesus Christ, until he our life shall appear and we too will appear
with him in glory” (”Sancrosanctum Concilium”, 8).
5. This vision is similar to the Old Testament theophanies, especially that of Si-
nai. There too the Lord’s presence was revealed with thunder and lightning (cf.
Ex 19:16). Storms are frequently used to symbolize the salvific power and majes-
ty of God at the moment of revelation (cf. Ps 18:14; 50:3; etc.). Further on, the
author will again describe, in more detail, the signs accompanying God’s self-re-
vealing; this gives the book a sense of on-going revelation with an increasing tem-
po (cf. Rev 8:5; 11:19; 16:18; etc.). It is generally accepted Church tradition to in-
terpret fire as a manifestation of the Spirit of God. On the seven spirits, see the
note on 1:4.
6-7. To describe the majesty of God, St John uses symbols which are some-
times quite difficult to interpret. This is the case with the sea as transparent as
glass, and the four living creatures round the throne and on each side of it. The
scene may be a kind of heavenly replica of the arrangements in Solomon’s tem-
ple where there stood in front of the Holy of Holies a huge water container called
the “molten sea” supported by figures of oxen, twelve in number (cf. 1 Kings 7:
23-26; 2 Chron 4:2-5). This similarity between heaven and the temple would be
a way of expressing the connection between liturgy on earth and worship of God
in heaven.
The crystal sea may also be an allusion to God’s absolute dominion over all
forms of authority on earth. In biblical tradition the sea is often used as a symbol
for the powers of darkness (cf. Rev 13:1; 21:1). To God, however, the sea is crys-
tal-clear, that is, he is its master; cf. the way the spirit of God moved over the
surface of the waters in Genesis 1:2.
Elsewhere in the Apocalypse (15:2) it speaks of the sea of glass supporting the
blessed while they praise God: just as the Israelites passed through the Red
Sea, so those who have conquered the beast will cross this solid sea to make
their way to God.
The author of the Book of Revelation avails of images used by the prophets to de-
scribe the glory of Yahweh. The four living creatures are very like those in the pro-
phet Ezekiel’s vision of the chariot of the Lord drawn by four angels representing
intelligence, nobility, strength and agility (cf. Ezek 1:10; 10:12; Is 6:2).
Christian tradition going back as far as St Irenaeus has interpreted these four
creatures as standing for the four evangelists because they “carry” Jesus Christ
to men. The one with the face of a man is St Matthew, who starts his book with
the human genealogy of Christ; the lion stands for St Mark: his Gospel begins
with the voice crying in the wilderness (which is where the lion’s roar can be
heard); the ox is a reference to the sacrifices in the temple of Jerusalem, which
is where St Luke begins his account of Christ’s life, and the eagle represents St
John, who soars to the heights to contemplate the divinity of the Word.
8-11. The chant of the four living creatures is virtually the same as that which the
prophet Isaiah heard the six-winged seraphim sing in his vision of God in the tem-
ple of Jerusalem (cf. Is 6: 1-3). St John changes the ending by bringing in the
new name of God which is an elaboration of the name “Yahweh” (cf. note on Rev
1:4). The four creatures (who, because there are four of them stand for govern-
ment of the entire universe) take the lead in worshipping and praising God; but
they are joined by all the people of God, as represented by the twenty-four elders,
that is, the Church victorious in heaven. They throw down their crowns to show
that they realize their victory is due to God, and that all power belongs to him.
Essentially what they are praising here is God as creator. By reporting this vi-
sion the author of the Apocalypse is inviting the pilgrim Church on earth to asso-
ciate with the worship and praise offered God the creator in heaven.
The Church uses these words of praise in its eucharistic liturgy: at the end of the
Preface, it chants the angelic Sanctus in preparation for the Canon. This angelic
chant, performed as it is in heaven and on earth, reminds us of the sublimity of
the Mass, where the worship of God crosses the frontiers of time and space and
has a positive influence on the entire world, for, “through the communion of the
saints, all Christians receive grace from every Mass that is celebrated, regard-
less of whether there is an attendance of thousands or whether it is only a boy
with his mind on other things who is there to serve. In either case, heaven and
earth join with the angels of the Lord to sing: “Sanctus, Sanctus, Sanctus ...”
(St. J. Escriva, “Christ Is Passing By”, 88). The saintly Cure of Ars refers to this
intercommunion of praise and thanksgiving, of grace and forgiveness: “The Holy
Mass is a source of joy to all the heavenly court; it alleviates the poor souls in
purgatory; it draws down to earth all kinds of blessings; and it gives more glory
to God than all the sufferings of all the martyrs taken together, than all the penan-
ces of all the hermits, than all the tears shed for them [the holy souls] since time
began and all that will be shed from now till the end of time” (”Selected Sermons”,
second Sunday after Pentecost).
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Source: “The Navarre Bible: Text and Commentaries”. Biblical text from the
Revised Standard Version and New Vulgate. Commentaries by members of
the Faculty of Theology, University of Navarre, Spain.
Published by Four Courts Press, Kill Lane, Blackrock, Co. Dublin, Ireland, and
by Scepter Publishers in the United States.