Earlier today I discovered on The Blue Letter Bible H A Ironside’s The Revelation of Jesus Christ Chart.
Whereas Ironside’s original Revelation chart depicted only the first seal on front of the scroll and the six remaining seals sequentially along the side edge edge of the scroll.
Power was given to the superhuman, terrible horsemen, so that they can execute righteous vengeance on the earth.
Three horsemen appear urged on by a mighty impulse to fulfil God's judgments on mankind, while the fourth, the Death, riding the pale horse, seems driven only by horrifying demoniac rage.
This third mighty rider appears less calm than the other two on the right, but it is because he desires to swiftly execute the sentence against a wicked and perverse world, and not because he feels any exultation at human misery.
There are not too many figures in the composition, only eleven, out of which six represent the condemned human beings, trampled under the feet of Deatha€™s horse. Less figures mean less mechanical woodcutting work, especially when compared with later woodcuts of the artist.
However, the cut is bold, and the genius of DA?rer is revealed by each and every stroke, producing an overwhelming effect, using simpler elements than later works.
We may say that the effect of "The Four Horsemen of the Apocalypse" is more striking, more powerful than in other more elaborate compositions belonging to the cycle of Apocalypse. He who sat on it had a bow; and a crown was given him, and he went out conquering and to conquer.
After the Destruction of Jerusalem in AD 70, the Book of Revelation shows us that Jerusalem is no longer the sacramental center of God’s economy of salvation. If the audio player does not show up in your email or browser, please click here to listen.
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I believe the depiction of the seven seals on the refurbished chart is incorrect— all seven seals are depicted on the front.
The ancient books of Israel were generally sheepskin rolls; and when we are told that this book was sealed with seven seals, we are to understand that the book was rolled up to a certain point, and there a seal was put upon the edge, so that it could not be opened until that seal was broken. By looking at DA?rera€™s work, you can tell that nothing can resist their no-earthly might.
Hell follows closely behind, in the form of a monster with wide-opened jaws, into which a crowned head is sinking.
The horseman with the bow, and the one with the sword as well, appear to have no other thought but the accomplishment of their terrible mission. And the artistic genius which prevails against the mechanical work might very well indicate that this is one of the woodcuts Albrecht DA?rer executed himself from start to finish.


And power was given to them over a fourth of the earth, to kill with sword, with hunger, with death, and by the beasts of the earth.
But, up in Heaven, John sees them under the altar, which speaks of the fact that God views them as sacrifices. Please rate this podcast by clicking here. From there you can leave a review. I appreciate you for this! This is a quick and easy way to learn the basic philosophy and theology of Saint Thomas Aquinas.
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If your comment contains a hyperlink to another site, your comment automatically goes into "Comments Purgatory" where it waits for release by way of moderation. It was rolled up a little farther and another seal put on, and so on, until there were six seals on the edge of the book and one seal closing the entire scroll.
Even the horse betrays a feeling of devilish spite, in contrast with the somehow noble anger of the animal beside, ridden by the horseman who swings the balance aloft with his powerful outstretched arm.
I also show you how the imagery of Christ on a white horse with a sword issuing from His mouth relates to events in the sky from the destruction of Jerusalem in AD 66-70.



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