Albert Barnes Commentary Revelation 4

CHAPTER IV

ANALYSIS OF THE CHAPTER

This chapter properly commences the series of visions concerning future events, and introduces those remarkable symbolical descriptions which were designed to cheer the hearts of those to whom the book was first sent, in their trials, and the hearts of all believers in all ages, with the assurance of the final triumph of the gospel. See the Introduction.

In regard to the nature of these visions, or the state of mind of the writer, there have been different opinions. Some have supposed that all that is described was made only to pass before the mind, with no visible representation; others, that there were visible representations so made to him that he could copy them; others, that all that is said or seen was only the production of the author's imagination. The latter is the view principally entertained by German writers on the book. All that would seem to be apparent on the face of the book—and that is all that we can judge by—is, that the following things occurred:

1. The writer was in a devout frame of mind—a state of holy contemplation—when the scenes were represented to him (Revelation 1:1–10).

2. The representations were supernatural; that is, they were something which was disclosed to him, in that state of mind, beyond any natural reach of his faculties.

3. These things were so made to pass before him that they had the aspect of reality, and he could copy and describe them as real.

   It is not necessary to suppose that there was any representation to the bodily eye; but they had, to his mind, such a reality that he could describe them as pictures or symbols—and his office was limited to that.

   He does not attempt to explain them—nor does he intimate that he understood them; but his office pertains to an accurate record—a fair transcript—of what passed before his mind.

   For anything that appears, he may have been as ignorant of their signification as any of his readers, and may have subsequently studied them with the same kind of attention which we now give to them (see the notes on 1 Peter 1:11 and 1 Peter 1:12), and may have, perhaps, remained ignorant of their signification to the day of his death.

   It is no more necessary to suppose that he understood all that was implied in these symbols, than it is that one who can describe a beautiful landscape understands all the laws of the plants and flowers in the landscape; or, that one who copies all the designs and devices of armorial bearings in heraldry should understand all that is meant by the symbols that are used; or, that one who should copy the cuneiform inscriptions of Persepolis, or the hieroglyphics of Thebes, should understand the meaning of the symbols.

   All that is demanded or expected, in such a case, is, that the copy should be accurately made; and, when made, this copy may be as much an object of study to him who made it as to any one else.

4. Yet there was a sense in which these symbols were real; that is, they were a real and proper delineation of future events. They were not the mere workings of the imagination. He who saw them in vision, though there may have been no representation to the eye, had before him what was a real and appropriate representation of coming events. If not, the visions are as worthless as dreams are.

The visions open (Revelation 4) with a Theophany, or a representation of God. John is permitted to look into heaven, and to have a view of the throne of God, and of the worship celebrated there. A door (yura or opening) is made into heaven, so that he, as it were, looks through the concave above, and sees what is beyond. He sees the throne of God, and him who sits on the throne, and the worshippers there; he sees the lightnings play around the throne, and hears the thunder's roar; he sees the rainbow that encompasses the throne, and hears the songs of the worshippers. In reference to this vision, at the commencement of the series of symbols which he was about to describe, and the reason why this was granted to him, the following remarks may be suggested:

1. There is, in some respects, a striking resemblance between this and the visions of Isaiah (Isaiah 6 and Ezekiel 1). As those prophets, when about to enter on their office, were solemnly inaugurated by being permitted to have a vision of the Almighty, so John was inaugurated to the office of making known future things—the last prophet of the world—by a similar vision.

   We shall see, indeed, that the representation made to John was not precisely the same as that which was made to Isaiah, or that which was made to Ezekiel; but the most striking symbols are retained, and that of John is as much adapted to impress the mind as either of the others.

   Each of them describes the throne, and the attending circumstances of sublimity and majesty; each of them speaks of one on the throne, but neither of them has attempted any description of the Almighty. There is no delineation of an image, or a figure representing God, but everything respecting him is veiled in such obscurity as to fill the mind with awe.

2. The representation is such as to produce deep solemnity on the mind of the writer and the reader. Nothing could have been better adapted to prepare the mind of John for the important communications which he was about to make than to be permitted to look, as it were, directly into heaven, and to see the throne of God. And nothing is better fitted to impress the mind of the reader than the view which is furnished, in the opening vision, of the majesty and glory of God. Brought, as it were, into his very presence; permitted to look upon his burning throne; seeing the reverent and profound worship of the inhabitants of heaven, we feel our minds awed, and our souls subdued, as we hear the God of heaven speak, and as we see seal after seal opened, and hear trumpet after trumpet utter its voice.

3. The form of the manifestation—the opening vision—is eminently fitted to show us that the communications in this book proceed from heaven. Looking into heaven, and seeing the vision of the Almighty, we are prepared to feel that what follows has a higher than any human origin; that it has come direct from the throne of God.

4. There was a propriety that the visions should open with a manifestation of the throne of God in heaven, or with a vision of heaven, because that also is the termination of the whole; it is that to which all the visions in the book tend. It begins in heaven, as seen by the exile in Patmos; it terminates in heaven, when all enemies of the church are subdued, and the redeemed reign triumphant in glory.

The substance of the introductory vision in this chapter can be stated in few words:

1. A door is opened, and John is permitted to look into heaven, and to see what is passing there (Revelation 4:1–2).

2. The first thing that strikes him is a throne, with one sitting on the throne (Revelation 4:2).

3. The appearance of him who sits upon the throne is described (Revelation 4:3). He is like a jasper and a sardine stone. There is no attempt to portray his form; there is no description from which an image could be formed that could become an object of idolatrous worship—for who would undertake to chisel anything so indefinite as that which is merely like a jasper or a sardine stone? And yet the description is distinct enough to fill the mind with emotions of awe and sublimity, and to leave the impression that he who sat on the throne was a pure and holy God.

4. Round about the throne there was a bright rainbow, a symbol of peace (Revelation 4:3).

5. Around the throne are gathered the elders of the church, having on their heads crowns of gold: symbols of the ultimate triumph of the church (Revelation 4:4).

6. Thunder and lightning, as at Sinai, announce the presence of God, and seven burning lamps before the throne represent the Spirit of God, in his diversified operations, as going forth through the world to enlighten, sanctify, and save (Revelation 4:5).

7. Before the throne there is a pellucid pavement, as of crystal, spread out like a sea: emblem of calmness, majesty, peace, and wide dominion (Revelation 4:6).

8. The throne is supported by four living creatures, full of eyes: emblems of the all-seeing power of Him that sits upon the throne, and of his ever-watchful providence (Revelation 4:6).

9. To each one of these living creatures there is a peculiar symbolic face: respectively emblematic of the authority, the power, the wisdom of God, and of the rapidity with which the purposes of Providence are executed (Revelation 4:7). All are furnished with wings; emblematic of their readiness to do the will of God (Revelation 4:8), but each one individually with a peculiar form.

10. All these creatures pay ceaseless homage to God, whose throne they are represented as supporting: emblematic of the fact that all the operations of the Divine government do, in fact, promote his glory, and, as it were, render him praise (Revelation 4:8–9).

11. To this the elders, the representatives of the church, respond: representing the fact that the church acquiesces in all the arrangements of Providence, and in the execution of all the Divine purposes, and finds in them all ground for adoration and thanksgiving (Revelation 4:10–11).

After this. Greek, "after these things;" that is, after what he had seen, and after what he had been directed to record in the preceding chapters. How long after these things this occurred, he does not say—whether on the same day, or at some subsequent time; and conjecture would be useless. The scene, however, is changed. Instead of seeing the Savior standing before him (chapter 1), the scene is transferred to heaven, and he is permitted to look in upon the throne of God, and upon the worshippers there.

I looked. Greek, I saw—eidon. Our word look would rather indicate purpose or intention, as if he had designedly directed his attention to heaven, to see what could be discovered there. The meaning, however, is simply that he saw a new vision, without intimating whether there was any design on his part, and without saying how his thoughts came to be directed to heaven.

A door was opened. That is, there was apparently an opening in the sky, like a door, so that he could look into heaven.

In heaven. Or, rather, in the expanse above—in the visible heavens as they appear to spread out over the earth. So Ezekiel 1:1, The heavens were opened, and I saw visions of God. The Hebrews spoke of the sky above as a solid expanse; or as a curtain stretched out; or as an extended arch above the earth—describing it as it appears to the eye. In that expanse, or arch, the stars are set as gems (see the notes on Isaiah 34:4); through apertures or windows in that expanse the rain comes down (Genesis 7:11); and that is opened when a heavenly messenger comes down to the earth (Matthew 3:16). Compare Luke 3:21; Acts 7:56; Acts 10:11.

Of course, all this is figurative, but it is such language as all men naturally use. The simple meaning here is, that John had a vision of what is in heaven as if there had been such an opening made through the sky, and he had been permitted to look into the world above.

And the first voice which I heard. That is, the first sound which he heard was a command to come up and see the glories of that world. He afterwards heard other sounds—the sounds of praise; but the first notes that fell on his ear were a direction to come up there and to receive a revelation concerning future things. This does not seem to me to mean, as Professor Stuart, Lord, and others suppose, that he now recognized the voice which had first, or formerly spoken to him (Revelation 1:10), but that this was the first in contradistinction from other voices which he afterwards heard. It resembled the former voice in this that it was like the sound of a trumpet, but besides that there does not seem to have been anything that would suggest to him that it came from the same source. It is certainly possible that the Greek would admit of that interpretation, but it is not the most obvious or probable.

Was as it were of a trumpet. It resembled the sound of a trumpet (Revelation 1:10).

Talking with me. As of a trumpet that seemed to speak directly to me.

Which said. That is, the voice said.

Come up hither. To the place from where the voice seemed to proceed—heaven.

And I will shew thee things which must be hereafter. Greek, "after these things." The reference is to future events; and the meaning is, that there would be disclosed to him events that were to occur at some future period. There is no intimation here when they would occur, or what would be embraced in the period referred to. All that the words would properly convey would be, that there would be a disclosure of things that were to occur in some future time.

And immediately I was in the Spirit. (See the comments on Revelation 1:10).

He does not affirm that he was caught up into heaven, nor does he say what impression was on his own mind, if any, as to the place where he was; but he was at once absorbed in the contemplation of the visions before him. He was doubtless still in Patmos, and these things were made to pass before his mind as a reality; that is, they appeared as real to him as if he saw them, and they were in fact a real symbolical representation of things occurring in heaven.

And, behold, a throne was set in heaven. That is, a throne was placed there. The first thing that arrested his attention was a throne. This was "in heaven"—an expression which proves that the scene of the vision was not the temple in Jerusalem, as some have supposed. There is no allusion to the temple, and no imagery drawn from the temple. Isaiah had his vision (Isaiah 6) in the Holy of Holies of the temple; Ezekiel (Ezekiel 1:1), by the river Chebar; but John looked directly into heaven and saw the throne of God and the encircling worshippers there.

And one sat on the throne. It is remarkable that John gives no description of him who sat on the throne, nor does he indicate who he was by name. Neither do Isaiah nor Ezekiel attempt to describe the appearance of the Deity, nor are there any intimations of that appearance given from which a picture or an image could be formed. So much do their representations accord with what is demanded by correct taste; and so diligently have they guarded against any encouragement of idolatry.

For "throne," see Isaiah 6:1; Jeremiah 17:12; Ezekiel 1:26, 28.

For "sat," see Daniel 7:9; Hebrews 8:1.

And he that sat was to look upon. He was in appearance; or, as I looked upon him, this seemed to be his appearance. He does not describe his form, but his splendour.

Like a jasper—iaspidi. The jasper, properly, is "an opaque, impure variety of quartz, of red, yellow, and also of some dull colours, breaking with a smooth surface. It admits of a high polish, and is used for vases, seals, snuff-boxes, etc. When the colours are in stripes or bands, it is called striped jasper."—Dana, in Webster's Dictionary. The colour here is not designated, whether red or yellow. As the red was, however, the common colour worn by princes, it is probable that that was the colour that appeared, and that John means to say that he appeared like a prince in his royal robes. Compare Isaiah 6:1.

And a sardine stone—sardiw. This denotes a precious stone of a blood-red, or sometimes of a flesh-colour, more commonly known by the name of carnelian.—Robinson's Lexicon. Thus it corresponds with the jasper, and this is only an additional circumstance to convey the exact idea in the mind of John, that the appearance of him who sat on the throne was that of a prince in his scarlet robes. This is all the description which he gives of his appearance; and this is:

1. entirely appropriate, as it suggests the idea of a prince or a monarch; and
2. well adapted to impress the mind with a sense of the majesty of Him who cannot be described, and of whom no image should be attempted. Compare Deuteronomy 4:12: Ye heard the voice of the words, but saw no similitude.

And there was a rainbow round about the throne. This is a beautiful image, and was probably designed to be emblematical as well as beautiful. The previous representation is that of majesty and splendour; this is adapted to temper the majesty of the representation. The rainbow has always, from its own nature, and from its associations, been an emblem of peace.

It appears on the cloud as the storm passes away. It contrasts beautifully with the tempest that has just been raging. It is seen as the rays of the sun again appear clothing all things with beauty—the more beautiful from the fact that the storm has come, and that the rain has fallen.

If the rain has been gentle, nature smiles serenely, and the leaves and flowers refreshed appear clothed with new beauty. If the storm has raged violently, the appearance of the rainbow is a pledge that the war of the elements has ceased, and that God smiles again upon the earth.

It reminds us, too, of the covenant when God did set his bow in the cloud, and solemnly promised that the earth should no more be destroyed by a flood (Genesis 9:9–16). The appearance of the rainbow, therefore, around the throne, was a beautiful emblem of the mercy of God, and of the peace that was to pervade the world as the result of the events that were to be disclosed to the vision of John. True, there were lightnings and thunderings and voices, but there the bow remained calmly above them all, assuring him that there was to be mercy and peace.

In sight like unto an emerald. The emerald is green, and this colour so predominated in the bow that it seemed to be made of this species of precious stone. The modified and mild colour of green appears to every one to predominate in the rainbow. Ezekiel (Ezekiel 1:28) has introduced the image of the rainbow also in his description of the vision that appeared to him, though not as calmly encircling the throne, but as descriptive of the general appearance of the scene: As is the appearance of the bow that is on the cloud in the day of rain, so was the appearance of the brightness round about. Milton also has introduced it, but it is also as a part of the colouring of the throne:

"Over their heads a crystal firmament,
Whereon a sapphire throne, inlaid with pure
Amber, and colours of the showery arch."
Paradise Lost, Book VII

And round about the throne were twenty-four seats. Or rather, thrones—yronoi—the same word being used as that which is translated throne—yronov.

Indeed, the word properly denotes a seat, but it came to be used particularly to denote the seat on which a monarch sat, and is properly translated this way in Revelation 4:2-3. So it is translated in Matthew 5:34; 19:28; 23:22; 25:31; Luke 1:32; and consistently elsewhere in the New Testament (fifty-three places in all), except in Luke 1:52; Revelation 2:13; 4:4; 11:16; 16:10, where it is translated seat and seats.

It should have been translated thrones here, and is translated this way by Professor Stuart. Coverdale and Tyndale translate the word seat in each place in verses 2-5. Undoubtedly, the writer’s design was to represent those who sat on those seats as, in some sense, kings—for they have on their heads crowns of gold—and that idea should have been kept in the translation of this word.

And upon the seats I saw four and twenty elders sitting. Many different opinions have been held regarding those who thus appeared sitting around the throne, and concerning the question why the number twenty-four is mentioned. Instead of examining those opinions at length, it is better to present concisely what seems probable about the intended reference. The following points, then, seem to cover all that can be known on this subject:

1. These elders have a regal character, or are of a kingly order. This is clear:

   • Because they are represented as sitting on "thrones."
   • Because they have on their heads crowns of gold.

2. They are emblematic. They are designed to symbolize or represent some class of persons. This is clear:

   • Because it cannot be assumed that such a small number would make up all of those who are actually around God's throne.
   • Because there are other symbols there designed to represent something related to the homage given to God, such as the four living creatures and the angels, and this assumption is necessary to complete the symmetry and harmony of the depiction.

3. They are human beings and are designed to relate in some way to humanity and to connect the human race with the worship of heaven. The four living creatures have another design; the angels (chapter 5) have another; but these are manifestly of our race—persons from this world before the throne.

4. They are designed in some way to symbolize the church as redeemed. Thus they say (Revelation 5:9), You have redeemed us to God by your blood.

5. They are designed to represent the whole church in every land and every age of the world. Thus they say (Revelation 5:9), You have redeemed us to God by your blood, out of every kindred, and tongue, and people, and nation. This further shows that the whole depiction is symbolic; otherwise, with such a small number—twenty-four—there could not be a representation from every nation.

6. They represent the church triumphant; the church victorious. Thus they have crowns on their heads; they have harps in their hands (Revelation 5:8); they say that they are kings and priests, and that they will reign on the earth (Revelation 5:10).

7. Therefore, the design is to represent the church triumphant—redeemed, saved—as giving praise and honor to God, uniting with the hosts of heaven in adoring Him for His perfections and for the wonders of His grace. As representatives of the church, they are admitted near to Him; they encircle His throne; they appear victorious over every enemy; and they come, in unison with the living creatures, the angels, and the whole universe (Revelation 5:13), to ascribe power and dominion to God.

8. As for the reason why the number "twenty-four" is mentioned, perhaps nothing certain can be determined. Ezekiel, in his vision (Ezekiel 8:16; Ezekiel 11:1), saw twenty-five men between the porch and the altar, with their backs toward the temple and their faces toward the earth. These are supposed to be representations of the twenty-four "courses" into which the body of priests was divided (1 Chronicles 24:3–19), with the high priest among them, making up the number twenty-five.

   It is possible that John in this vision may have intended to refer to the church considered as a priesthood (1 Peter 2:9) and to have alluded to the fact that the priesthood under the Jewish economy was divided into twenty-four courses. Each course had a presiding officer, who was a representative of that portion of the priesthood over which he presided.

   If so, then the ideas that enter into the representation are these:

   1. That the whole church may be represented as a priesthood, or a community of priests—an idea that frequently occurs in the New Testament.

   2. That the church, as such a community of priests, is engaged in the praise and worship of God—an idea also that finds abundant support in the New Testament.

   3. That, in a series of visions intentionally referring to the church, it was natural to introduce some symbol or emblem representing the church and the fact that this is its office and employment.

   4. And that this would be well expressed by an allusion derived from the ancient dispensation—the division of the priesthood into classes, over each of which an individual presided who might be considered the representative of his class.

   Indeed, it is to be observed that in one respect they are represented as "kings," but this still does not forbid the supposition that another idea might also have been intermingled: that they were also "priests." Thus, these same elders blend the two ideas in Revelation 5:10: And has made us to our God kings and priests.

   Thus understood, the vision is designed to denote that the representatives of the church, ultimately to be triumphant, are properly engaged in ascribing praise to God. The word elders here seems to be used in the sense of aged and venerable men, rather than denoting office. They were such as by their age were qualified to preside over the different divisions of the priesthood.

Clothed in white raiment. This is an emblem of purity and therefore appropriate for the representatives of the sanctified church. Compare Revelation 3:4; 6:11; 7:9.

And they had on their heads crowns of gold. This is emblematic of the fact that they sustained a kingly office. The representation blended the idea that they were both "kings and priests." Thus Peter expresses the idea (1 Peter 2:9): a royal priesthood—basileion ierateuma.

And out of the throne proceeded lightnings and thunderings and voices. This is expressive of the majesty and glory of Him who sat upon it. We are at once reminded by this representation of the sublime scene that occurred at Sinai (Exodus 19:6), where there were thunders and lightnings, and a thick cloud upon the mount, and the voice of the trumpet exceeding loud. (Compare to Ezekiel 1:13, 24). So Milton:

"Forth rushed with whirlwind sound
The chariot of Paternal Deity,
Flashing thick flames."

"And from about him fierce effusion rolled
Of smoke, and lightning flame, and sparkles dire."

Paradise Lost, Book VI.

The word "voices" here, connected with "thunders," perhaps means "voices, even thunders"—referring to the sound made by the thunder. The meaning is that these were echoing and re-echoing sounds, as if they were a multitude of voices that seemed to speak on every side.

And there were seven lamps of fire burning before the throne. These were seven burning lamps that constantly shone there, illuminating the whole scene. These steadily burning lamps would add much to the beauty of the vision.

Which are the seven Spirits of God. These represent, or are emblematic of, the seven Spirits of God. On the meaning of the phrase "the seven Spirits of God," see the notes on Revelation 1:4.

If these lamps are designed to be symbols of the Holy Spirit, according to the interpretation proposed in Revelation 1:4, it may be, perhaps, in the following respects:

1. They may represent the manifold influences of that Spirit in the world—such as imparting light, giving consolation, creating the heart anew, sanctifying the soul, etc. They may denote that all the operations of that Spirit are of the nature of light, dissipating darkness, and vivifying and animating all things.

2. Perhaps their being placed here before the throne, in the midst of thunder and lightning, may be designed to represent the idea that amidst all the scenes of magnificence and grandeur, all the storms, agitations, and tempests on the earth, all the political changes, all the convulsions of empire under the providence of God, and all the commotions in the soul of man, produced by the thunders of the law, the Spirit of God beams calmly and serenely—shedding a steady influence over all—like lamps burning in the very midst of lightnings, thunderings, and voices. In all the scenes of majesty and commotion that occur on the earth, the Spirit of God is present, shedding a constant light, and is undisturbed in his influence by all the agitations that are taking place.

(Compare to Revelation 1:4, concerning seven spirits.)