The Lamb and the 144,000

Page from a famous illuminated manuscript painted by an unknown artist, depicting the 144,000 from Revelation 7, from a copy of the Commentary on the Apocalypse by Saint Beatus of Liébana

Then I looked, and there before me was the Lamb, standing on Mount Zion, and with him 144,000 who had his name and his Father’s name written on their foreheads. And I heard a sound from heaven like the roar of rushing waters and like a loud peal of thunder. The sound I heard was like that of harpists playing their harps. And they sang a new song before the throne and before the four living creatures and the elders. No one could learn the song except the 144,000 who had been redeemed from the earth. (Apocalypse 14:1-3)

SO much to say about such a brief passage! Modern commentaries often claim that the 144,000 are the Messianic Jews who accept that Jesus is the Messiah but in the early Church there was no such distinction between ethnic Jews and Gentile Christians. Classic commentaries by church Fathers interpret the 144,000 as emblematic of the perfected Church–12x12x1000 being the 12 apostles x 12 tribes of Israel x 1000 (perfection). That is also why the 1,000 year reign of Christ is an emblem of history perfected, not a literal 1,000 years as we know the cycle of 365 days x 1000.

The new song of the new day of salvation grows out of the song of deliverance sung by Israel on the shore of the Red Sea after the Exodus. (Have I told y’all about this already? I think I have.) The new song is also the Sanctus (“Holy! Holy! Holy!”) sung by the angels as they stand around the Throne of God and which we join them singing during the celebration of the Eucharist. During the Eucharist, we stand with the 144,000 before the Throne–together with the elders (presbyters) and four living creatures; together, we sing the Sanctus and give thanks for all that the Holy Trinity have done for us.

The saved are marked with the name of the Lamb and his Father, just as the followers of the Beast are marked by the diabolic number. But the classic commentary on the Apocalypse by Tyconius has something very different to say: according to Tyconius, the diabolic mark of the Beast is not described in Chapter 13. Rather, the number at the end of Chapter 13 is “616” and is “the number of a [certain] man,” i.e. the Son of Man, the Lamb of God. The number 616 is the total of alpha and omega, the first and last letters of the Greek alphabet and refer to Christ. It is also the total of the letters XIS, the first and last letters of “Christ Jesus.” Therefore, Tyconius understands the numbers 616 to indicate the famous Chi Rho emblem of Christianity. It is this emblem which is described as marked on the 144,000 at the beginning of Chapter 14.

Other early commentators say that the sign marked on the 144,000 is the cross drawn in chrism-oil by the bishop with his thumb when converts were baptized.

How’s that for a totally unexpected set of ideas about the 666 that we discussed last week?!

St. Michael and the Dragon: Victory in Heaven

The war in heaven depicted in “Las Huelgas Apocalypse,” Spain AD 1220; the commentary of Beatus of Liebana.

Then war broke out in heaven. Michael and his angels fought against the dragon. The dragon and his angels fought back and he did not prevail…. The great dragon was thrown down, that ancient serpent who is called Devil and Satan, the deceiver of the whole world…. (Apocalypse 12:7-9)

The Archangel Michael (Jude 9) is the captain of God’s armies and the champion of the Chosen People (Daniel 10:21, 12:1); in the Old Testament, he is the most powerful figure, second only to God. Although Satan does occasionally appear in heaven (Job 1), he is definitively cast down and overthrown here.

The dragon is identified both with the serpent who tempted Eve and with the adversary, the accuser who demanded that God allow him to test the sincerity of both Job and the Apostle Peter (Luke 22:31). Satan wanted to ruin them both but did not succeed. Satan, the dragon, wants to ruin the human race. He wants to ruin the entire creation. His jealousy goads him to want to destroy everything (Wisdom 1-2) but in the end, his jealousy destroys only himself.

Often the spear that St. Michael uses to fight the dragon with is a wooden lance; it is by the wood of the Cross that the dragon is overthrown. The archangel Michael’s victory is the heavenly and symbolic counterpart of Jesus hanging-dying on the Cross. The martyrs, as members of the Body of Christ, who testify-witness about the victory of the Cross, share in this victory but the victory is demonstrated by their dying as Christ died on the Cross. The events described in chapter 12 of the Apocalypse—the woman clothed with the sun, the dragon, the war in heaven—are the central events of the Apocalypse, around which everything else revolves, because they are the representation of the central events of earthly history.

“I saw Satan fall like lightning from heaven,” says Jesus (Luke 10:18); therefore the apostles are able to cast out devils who possess humans. The Lamb, “who was slain from the foundation of the world,” is both eternally the victor and the one who wins the victory at a particular time-place in the world. Both the eternal victory and the victory in time are true; neither victory cancels or outweighs the other.

The dragon is not simply THE Devil, a single angelic personality. The dragon is all the enemies of God at once; in Ezekiel 29:3 and 32:2-3, we read that the Pharaoh of the Exodus is “like a dragon in the sea,” a great water monster who attempts to devour the Chosen People. The dragon is the Roman system which attempts to eradicate the Church. The dragon is everything and everyone who attempts to deny the victory of the Cross.

Sant’Apollinare in Ravenna & the Magi

Magi leading the Empress Theodora and the wise virgin-martyrs in procession to the Mother of God and Christ in the church of San Apollinaire in Ravenna.

St. Apollinaire was a Syrian, elected to be the first bishop of Ravenna (which was later the Byzantine capital of Italy). As the first bishop of Ravenna, he faced nearly constant persecution. He and his flock were exiled from Ravenna during the persecutions of Emperor Vespasian (or Nero, depending on the source). On his way out of the city he was identified, arrested as being the bishop, tortured and martyred by being run through with a sword. 

The church of San Apollinaire in Ravenna is a masterpiece, a jewel of Byzantine iconography and mosaics. It was erected by the Ostrogothic king Theodoric the Great during the first quarter of the 6th century. It was re-consecrated in AD 561, under the rule of the Byzantine emperor Justinian I, Justinian and his wife, the empress Theodora, appear in the mosaics of the church, each leading a segment of the offertory procession towards the altar during the celebration of the Eucharist.

The mosaics also depict a procession of the wise virgin-martyrs, led by the Three Magi, moving towards the group of the Madonna and Child surrounded by four angels. (The Magi in this mosaic are named Balthasar, Melchior and Gaspar; this is thought to be the earliest example of these three names being assigned to the Magi in Christian art.)  The Magi are wearing trousers and Phrygian caps as a sign of their foreign origin. The gifts which the Magi and the wise virgins bring are reflections of the gifts which the congregation are bringing to present: bread, wine, water for the celebration of the Eucharist and food or clothes to be distributed among the poor and needy during the week.

The celebration of the Eucharist was often seen as a procession or pilgrimage in which the parish journeyed from earth to the Kingdom of God and then returned to earth to minister during the week what they had received on Sunday. During the celebration, the parish stepped outside time to stand alongside the Magi, the priest-king Melchizedek, Abraham and Isaac—all of whom also appear in the mosaics of this church—with the saints and martyrs of all times and places to worship God in eternity (as described in the Epistle to the Hebrews and the Book of Revelation, which are the first liturgical commentaries). The offertory procession is a visual shorthand to refer to the entire celebration.


The Magi were consistently venerated as the first non-Jews to come and worship Christ so they were considered the patron saints of all Christians of Gentile backgrounds. A shrine of the Three Kings at Cologne Cathedral, according to tradition, contains the bones of the Magi. Reputedly they were first discovered by Saint Helena on her famous pilgrimage to Palestine and the Holy Lands. The remains were first kept in the church of Hagia Sophia in Constantinople; they were later moved to Milan before being sent to their current resting place by the Holy Roman Emperor Frederick I in 1164.

What prompts these thoughts about Ravenna, St. Apollinaire, and the Magi? The martyrdom of the saint and the translation of the relics of the Magi to Cologne are both commemorated on the same day (July 23).

Read more about the Magi in previous posts here and here and here.