Tag Archives: Last Judgement

Sea of Glass

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Russian icon depicting the victory of the Archangel Michael over the dragon, the beast, and Babylon the Great; Christ in the upper corner invites the faithful to the banquet of the heavenly Eucharist.

Then I saw another portent in heaven, great and astonishing: seven angels with seven plagues…. and I saw, as it were, a sea of glass mingled with fire and, standing beside the sea of glass and holding harps of God, were those who had been victorious against the beast and its image and the number of its name. (Apocalypse 15:1-2)

St. John sees another seven angels ready to unleash another seven plagues on the earth and then he sees the victorious martyrs standing beside a sea of glass and fire, holding harps and singing “the song of Moses, the servant of God, and the song of the Lamb.” (Apoc. 15:3)

We have encountered the sea of glass in Apoc. 4 — here it is described as a molten mix of glass and fire. This sea is an allusion to the Red Sea which was deliverance for the Israelites and doom for the Egyptians. Here, the victorious sing “the song of Moses” which is no vindictive triumph over enemies but solely a song of praise to the Lord and King.

St. Andrew of Caesarea thinks

The sea of glass is both the multitude of those being saved and the future condition–the brilliance of the saints-, who will shine by means of their sparkling virtue…. the fire will both burn the sinners and illuminate the righteous. Fire is both divine knowledge and the life-giving Spirit–for in fire God was seen by Moses and the Spirit descended upon the apostles as tongues of fire–and the harps indicate the mortification of members (Col. 3:5), the harmonious life of a symphony of virtues plucked by the musical pick (plectrum) of the divine Spirit. (Chapter 45, “Commentary on the Apocalypse”)

The sea is both salvation and condemnation, just as the incense in the bowls held by the angels:

We are the sweet fragrance of Christ among those who are being saved and among those who are perishing: indeed, to some the fragrance of life and to others the stench of death. (2 Cor. 2:15-16)

Tyconius, in his classic commentary on the Apocalypse, points out that the prayers of the saints–the incense offered by the angels, an allusion to the liturgical intercessions of the Church on earth–lead to both the salvation of the world and the condemnation of the fallen order.

As with so much in the Apocalypse–as in life–the same events or experiences can lead to either salvation or damnation. How do we choose to react to these events?

The choice is ours.

A Little Scroll

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This fresco on Mt. Athos from the 17th century depicts the opening of chapter 10 of the Apocalypse: St. John sees the massive angel, standing with a foot in the sea and a foot on land, who gives him a little scroll to eat.

Then I saw another mighty angel coming down from heaven, wrapped in a cloud, with a rainbow over his head: his face was like the sun and his legs like pillars of fire. He held in his hand a little scroll which was open…. He said to me, “take it and eat it.” (Apocalypse 10:1-2, 9)

St. John takes the small, open scroll and eats it although the angel warns that it will taste sweet in his mouth and then turn his stomach sour. “You must prophesy over many peoples and nations and tongues and kings,” St. John is told after eating the scroll.

Eating a scroll is often the first thing a prophet is told to do (Ezekiel 3). The prophet ingests the message he is to deliver and integrates it into himself. It becomes his message as well as the message of God. (The scroll that Ezekiel eats is also sweet to taste but produces “laments and words of woe.” Both Ezekiel and the Apocalypse are associated with the liturgical season of Eastertide; the Death and Resurrection of Christ are simultaneously blessing and judgement which are described in terms of the Last Days by the prophet and the apostle.)

Given that the Apocalypse is a liturgical commentary, what does this episode correspond to in the Eucharist? Consuming the little scroll can also correspond with receiving Holy Communion, as does Isaiah’s lips being touched by a heavenly coal. Each communicant is called to the same vocation as the seer although details of how that vocation is exercised may differ.

Although this scroll is small, unlike the others mentioned in the Apocalypse, its most important distinguishing feature is that it is open rather than closed. An open message is one that will be fulfilled shortly after it is proclaimed; a closed message is about an event that will happen long after the proclamation is made. The message that will be accomplished soon is the preaching of the Gospel to “many peoples and nations and tongues and kings.” Prophets like Ezekiel were sent only to the Israelites; John–and the Church as a whole–are sent to the whole world. The ingathering of the nations to join Israel in receiving the blessings of God was proclaimed by the prophets as one of the signs that the Last Days had finally come; the nations responding to the preaching of the Gospel is a sign that the Last Days have now arrived.

The Apocalypse is, in many ways, the proclamation of the same message that the prophets proclaimed but that message has now been fulfilled-accomplished. The Last Judgement–while still a distant event in linear time–has begun and is already present in the spiritual-liturgical life of the Church. Eternity has begun to erupt into the world of space-time. The Apocalypse is not a blueprint or a timeline for something to happen in the future; it describes the life of the Church now.

The fancy theological way to refer to this is “realized eschatology.” Eschatology is the Greek word for “last things.” The last things have been realized/accomplished in the life-ministry-Passion of Christ and are now playing out in the life of the Church. Sometimes “realized eschatology” is contrasted with consistent eschatology, which insists that the Last Days are still entirely in the future. The two concepts are combined by some modern authors in inaugurated eschatology.

Medieval Ivory in the Victoria & Albert Museum

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There is a stunning collection of medieval ivories in the Victoria and Albert Museum. Medieval ivories were extremely valuable and high status items; the ivory itself generally came from elephants in India or North Africa although walrus tusks could be obtained by trading with the Vikings. I was privileged to see the collection during our recent trip to London. Here are four of the pieces I was privileged to see.

This ivory depicts the women coming to the Tomb of Christ early on the morning of Sunday. They discover that the stone is rolled away from the tomb’s entrance, revealing that the tomb itself is empty. The empty burial cloths of Jesus are shown, as is the angel who tells them, “He is not here–he is risen! Go and tell his disciples!” The sleeping guards are also seen here, oblivious to what is happening. The tomb itself looks like the tomb within the Church of the Holy Sepulcher in Jerusalem. This ivory was probably carved at the Benedictine abbey of St Gallen, an important center of manuscript and ivory production and was probably carved AD 900-950. (photo by S. Morris)

This ivory shows Christ enthroned in glory as Judge of the living and the dead at the Last Day. The dead of all generations are rising from their graves as angels blow trumpets above, calling them to judgement. The damned are shown being consumed by the monster that is Hell (lower right) as Christ welcomes the righteous into the heavenly Jerusalem (lower left). The Hell monster is shown outside the city walls of the heavenly Jerusalem, just as the valley used as a burning trash heap that gave birth to the stories of Hell is outside the walls of the earthly Jerusalem. (photo by S. Morris)

The top scene depicts the arrival of the Magi bringing gifts–gold, frankincense, and myrrh–to the Mother of God and the Christ Child as St. Joseph stands behind them. The bottom scene depicts the Mother of God presenting Jesus in the Temple when he was 40 days old (celebrated on February 2). Simeon the elder, prepared to wrap Jesus with a cloth, promises Mary that “a sword will pierce [her] heart also.”

An angel blesses a person as they sleep, probably giving them a dream-message from God or protecting them from nightmares. The building in the background might be the Church of the Holy Sepulcher in Jerusalem which might indicate that the person is sleeping in the church in hopes of being healed of an illness and the angel is there to heal them.