Revelation 1:13

13. In the midst The candlesticks were so arranged that this One could be, and (Revelation 2:1) could walk, in their midst. That would seem to imply that they stood in two rows, of three and of four, as the seven cities somewhat irregularly did, as seen upon our map.

Like… man So Daniel 7:13, with which compare John 5:27. John recognises, even in this his glorification, his identity with the man of his humiliation. So our own resurrection bodies, in all their glorified changes, will manifest their identity with our present selves. See note, 1 Corinthians 15:44. In the sublime description of the Christophanic person that follows, Hengstenberg, and still more Trench, are extreme in finding out symbols of wrath and destruction. Their points we shall notice in the progress of our notes. But surely there was no reason why the Lord, in his interview with the beloved apostle and visitation of his circle of Churches, should put on the tokens of vengeance. Nor is such St. John’s idea. His description presents the intense dazzling glory of the Lord’s celestial body, too transcendent for mortal eye to bear; but that glory, though dread, is serene and merciful.

Trench, also, acutely draws a contrast between the Grecian representations and the Oriental; to the latter of which this and other of St. John’s pictures belong. The former is predominantly aesthetic; presenting beautiful models for the artist. The latter are deeply significant, often a collection of expressive but crudely adjusted symbols, incapable of being wrought into agreeable picture. The many-breasted Diana was a personation made of symbols, and so, disagreeable to sight. And so this present figure, wrought into painting, would be unsightly. There is great truth in Trench’s distinction; but not, we think, in its application to the present description. The personation could not be painted, for the very object is to image forth a supernatural splendour and glory. The splendour consists largely of an intensity of colouring to which the materials of art are inadequate. An artist could form a distinct and splendid conception of the figure, but would at once say that it was beyond and above reducing to picture. But we hold that, viewed as a work of descriptive art, this piece is congruous and aesthetically magnificent.

Clothed… to the foot John first discerns the main person, almost completely enveloped in a priestly-royal robe flowing to the feet.

A golden girdle Again implying highest nobility, binding not the loins, as if engaged in a task of labour but the breasts, uniting the robe in a composed dignity, as he walked or stood.