Expositor's Bible Commentary Commentary Revelation 21:15

"And he that spake with me had for a measure a golden reed to measure the city, and the gates thereof, and the wall thereof." — Revelation 21:15 (ASV)

The angel measures the city with a golden measuring rod . The act of measuring signifies securing something for blessing. Ezekiel’s elaborate description of the future temple and its measuring was to show the glory and holiness of God in Israel’s midst (Ezekiel 43:12). The measuring reveals the perfection, fulfillment, or completion of all God’s purposes for his elect bride. Thus the city is revealed as a perfect cube of twelve thousand stadia (12×1000 [about 1,400 miles]). The wall is 144 cubits (about 200 ft.) thick (12×12). These dimensions should not be interpreted as providing architectural information about the city. Rather, we should think of them as theologically symbolic of the fulfillment of all God’s promises. The New Jerusalem symbolizes the paradox of the completeness of infinity in God. The cube reminds us of the dimensions of the Most Holy Place in the tabernacle (10×10 cubits [15×15 ft.]) and in the temple (20×20 cubits [30×30 ft.]). John adds that the measurement was both human and divine (v.17). In some sense both the human and the divine will intersect in the Holy City.

In vv.18–21, John describes in more detail the priceless materials of the city with its foundations and gates (cf. Isaiah 54:11–15). The symbolism is not meant to give the impression of wealth and luxury but to point to the glory and holiness of God. The wall of jasper points to the glory of God (4:2–3), while the fabric of the city is pure gold—as clear as glass (v.21). Such imagery portrays the purity of the bride and her splendor in mirroring the glory of God (cf. Ephesians 5:27).

The foundation stones are made of twelve precious stones. Here the imagery may reflect three possible sources: (1) the high priest’s breastplate (Exodus 28:17– 20), (2) the jewels on the dress of the king of Tyre (Ezekiel 28:13), or (3) the signs of the zodiac. The second one, though referring to only nine stones, suggests the splendor of ancient royalty and might be appropriate as a symbol for the glorious kingdom reign in the Holy City. Yet there is something inappropriate about taking this pagan king as symbolic of the future kingdom. Others prefer the first option—that of the high priest’s breastplate. But while the twelve stones are perhaps the same, the order of their mention is different. This leaves the third option. According to Philo and Josephus, Israel associated these same stones with the signs of the zodiac, and their tribal standards each bore a sign of the zodiac. If we begin with Judah, the tribe of Christ (7:5), the sign is Aries, the Ram, which has the amethyst as its stone. The last sign is Pisces, the fishes, which has jasper as its stone. So the first zodiacal sign agrees with the twelfth foundation and the last zodiacal sign with the first foundation. In fact, the whole list agrees with John’s, though in reverse order. This may be a significant device to show John’s disapproval of pagan cults.

The gates are twelve great pearls. Though pearls are not mentioned in the OT, some rabbinic texts refer to gates for Jerusalem hewn out of jewels about forty-five feet square. As for the one main street of the Holy City, it is like the fabric of the city itself, of pure gold, clear as glass.