Rev 1:12-16 | JFB | STEP | 12. see the voice —that is, ascertain whence the voice came; to see who was it from whom the voice proceeded. that — Greek, "of what kind it was which. " The voice is that of God the Father, as at Christ's baptism and transfiguration, so here in presenting Christ as our High Priest. spake —The oldest manuscripts, versions, and Fathers read, "was speaking." being —"having turned." seven . . . candlesticks —"lamp-stands" [KELLY ]. The stand holding the lamp. In , the seven are united in ONE candlestick or lamp-stand, that is, six arms and a central shaft; so . Here the seven are separate candlesticks, typifying, as that one, the entire Church, but now no longer as the Jewish Church (represented by the one sevenfold candlestick) restricted to one outward unity and one place; the several churches are mutually independent as to external ceremonies and government (provided all things are done to edification, and schisms or needless separations are avoided), yet one in the unity of the Spirit and the Headship of Christ. The candlestick is not light, but the bearer of light, holding it forth to give light around. The light is the Lord's, not the Church's; from Him she receives it. She is to be a light-bearer to His glory. The candlestick stood in the holy place, the type of the Church on earth, as the holiest place was type of the Church in heaven. The holy place's only light was derived from the candlestick, daylight being excluded; so the Lord God is the Church's only light; hers is the light of grace, not nature. "Golden" symbolizes at once the greatest preciousness and sacredness; so that in the Zend Avesta, "golden" is synonymous with heavenly or divine [TRENCH ].

Revelation of John 1:12-16

12. see the voice—that is, ascertain whence the voice came; to see who was it from whom the voice proceeded.

that—Greek, "of what kind it was which." The voice is that of God the Father, as at Christ's baptism and transfiguration, so here in presenting Christ as our High Priest.

spake—The oldest manuscripts, versions, and Fathers read, "was speaking."

being—"having turned."

seven . . . candlesticks—"lamp-stands" [KELLY]. The stand holding the lamp. In Ex 25:31, 32, the seven are united in ONE candlestick or lamp-stand, that is, six arms and a central shaft; so Zec 4:2, 11. Here the seven are separate candlesticks, typifying, as that one, the entire Church, but now no longer as the Jewish Church (represented by the one sevenfold candlestick) restricted to one outward unity and one place; the several churches are mutually independent as to external ceremonies and government (provided all things are done to edification, and schisms or needless separations are avoided), yet one in the unity of the Spirit and the Headship of Christ. The candlestick is not light, but the bearer of light, holding it forth to give light around. The light is the Lord's, not the Church's; from Him she receives it. She is to be a light-bearer to His glory. The candlestick stood in the holy place, the type of the Church on earth, as the holiest place was type of the Church in heaven. The holy place's only light was derived from the candlestick, daylight being excluded; so the Lord God is the Church's only light; hers is the light of grace, not nature. "Golden" symbolizes at once the greatest preciousness and sacredness; so that in the Zend Avesta, "golden" is synonymous with heavenly or divine [TRENCH].

13. His glorified form as man could be recognized by John, who had seen it at the Transfiguration.

in the midst—implying Christ's continual presence and ceaseless activity in the midst of His people on earth. In Re 4:1-3, when He appears in heaven, His insignia undergo a corresponding change yet even there the rainbow reminds us of His everlasting covenant with them.

seven—omitted in two of the oldest manuscripts, but supported by one.

Son of man—The form which John had seen enduring the agony of Gethsemane, and the shame and anguish of Calvary, he now sees glorified. His glory (as Son of man, not merely Son of God) is the result of His humiliation as Son of man.

down to the foot—a mark of high rank. The garment and girdle seem to be emblems of His priesthood. Compare Ex 28:2, 4, 31; Septuagint. Aaron's robe and girdle were "for glory and beauty," and combined the insignia of royalty and priesthood, the characteristics of Christ's antitypical priesthood "after the order of Melchisedec." His being in the midst of the candlesticks (only seen in the temple), shows that it is as a king-priest He is so attired. This priesthood He has exercised ever since His ascension; and, therefore He here wears its emblems. As Aaron wore these insignia when He came forth from the sanctuary to bless the people (Le 16:4, 23, 24, the chetoneth, or holy linen coat), so when Christ shall come again, He shall appear in the similar attire of "beauty and glory" (Isa 4:2, Margin). The angels are attired somewhat like their Lord (Re 15:6). The ordinary girding for one actively engaged, was at the loins; but JOSEPHUS [Antiquities,3.7.2], expressly tells us that the Levitical priests were girt higher up, about the breasts or paps, appropriate to calm, majestic movement. The girdle bracing the frame together, symbolizes collected powers. Righteousness and faithfulness are Christ's girdle. The high priest's girdle was only interwoven with gold, but Christ's is all of gold; the antitype exceeds the type.

14.—Greek, "But," or "And."

like wool—Greek, "like white wool." The color is the point of comparison; signifying purity and glory. (So in Isa 1:18). Not age, for hoary hairs are the sign of decay.

eyes . . . as . . . flame—all-searching and penetrating like fire: at the same time, also, implying consuming indignation against sin, especially at His coming "in flaming fire, taking vengeance" on all the ungodly, which is confirmed as the meaning here, by Re 19:11, 12.

15. fine brass—Greek, "chalcolibanus," derived by some from two Greek words, "brass" and "frankincense"; derived by BOCHART from Greek, "chalcos," "brass," and Hebrew, "libbeen," "to whiten"; hence, "brass," which in the furnace has reached a white heat. Thus it answers to "burnished (flashing, or glowing) brass," Eze 1:7; Re 10:1, "His feet as pillars of fire." Translate, "Glowing brass, as if they had been made fiery (red-hot) in a furnace." The feet of the priests were bare in ministering in the sanctuary. So our great High Priest here.

voice as . . . many waters— (Eze 43:2); in Da 10:6, it is "like the voice of a multitude." As the Bridegroom's voice, so the bride's, Re 14:2; 19:6; Eze 1:24, the cherubim, or redeemed creation. His voice, however, is here regarded in its terribleness to His foes. Contrast So 2:8; 5:2, with which compare Re 3:20.

16. he had—Greek, "having." John takes up the description from time to time, irrespective of the construction, with separate strokes of the pencil [ALFORD].

in . . . right hand seven stars— (Re 1:20; Re 2:1; 3:1). He holds them as a star-studded "crown of glory," or "royal diadem," in His hand: so Isa 62:3. He is their Possessor and Upholder.

out of . . . mouth went—Greek, "going forth"; not wielded in the hand. His WORD is omnipotent in executing His will in punishing sinners. It is the sword of His Spirit. Reproof and punishment, rather than its converting winning power, is the prominent point. Still, as He encourages the churches, as well as threatens, the former quality of the Word is not excluded. Its two edges (back and front) may allude to its double efficacy, condemning some, converting others. TERTULLIAN [Epistle against Judaizers], takes them of the Old and the New Testaments. RICHARD OF ST. VICTOR, "the Old Testament cutting externally our carnal, the New Testament internally, our spiritual sins."

sword—Greek, "romphaia," the Thracian long and heavy broad sword: six times in Revelation, once only elsewhere in New Testament, namely, Lu 2:35.

sun . . . in his strength—in unclouded power. So shall the righteous shine, reflecting the image of the Sun of righteousness. TRENCH notices that this description, sublime as a purely mental conception, would be intolerable if we were to give it an outward form. With the Greeks, æsthecial taste was the first consideration, to which all others must give way. With the Hebrews, truth and the full representation ideally of the religious reality were the paramount consideration, that representation being designed not to be outwardly embodied, but to remain a purely mental conception. This exalting of the essence above the form marks their deeper religious earnestness.