that is, in conjunction with the vision of the seals, another was opened to me, of collateral bearing, but parallel and connected in testimony with the former. Again, the number seven, implies entireness or completion; the seals, therefore, being distributed into seven portions, symbolize a perfect history, without the possibility of addition from a fresh series of prophetic delineation: the line of church history is completed-we must take up another thread of narrative in elucidating the next series of symbols. It might further be asked, in viewing the seals and trumpets as giving a continuous detail, either of ecclesiastical or civil history, or of both combined, Why is the symbol changed from a seal to a trumpet? or from a trumpet to a vial? And also, Why are the seals placed in the hands of the Lamb, and the trumpets and vials delegated to ministering angels? It must further be observed, that the opening of the seven-sealed book, which we understand to involve the whole prophecy, is scenic, and figurative of an important truth, viz. that the history of the church contained under the seven seals, is the basis and origin of the whole prophecy. The secular history of the trumpets, and the judgment of the vials, form each a series arising out of the circumstances. of the church: they are the effects of causes narrated under the seals. OF THE SEALS. THE Seven Seals represent symbolically the main features exhibited by the VISIBLE church during the Gospel dispensation, whereby she manifests her dereliction from God, and becomes finally exposed to the wrath of the Lamb. The four first are uniform, and exhibit four successive changes in the general aspect of Christendom. The three last are miscellaneous, and open under the duration of the fourth. The opening of each of the four first seals marks some obvious change in the prevailing features of Christendom, imparting to the bulk of her members an aspect differing as from white to red, from red to black, and from black to livid. The aspect of the prophetic earth has thus varied in its universal character FOUR TIMES; and it is extraordinary that only four so great universal changes can be pointed out in the records of history, all others being of a partial or limited character. We are, as it were, in the present day placed on an eminence, whence we can look backward and forward through the vista of time, and discern the line of development, with respect to this prophecy, from the beginning to the end of the dispensation. We are able to command the page of history in illustration of the four hostile movements, symbolically represented; and we are arrived at such a stage of elucidation of prophecy, as enables us to look to the end, and to pronounce that no further change of a distinct universal nature shall take place, until that great and important one, appointed to supersede all others" when the knowledge of the Lord shall cover the earth as the waters cover the sea." Of The Horse and his Rider. A horse and his rider are emblematical of hostile movement under systematic government. We conceive the figure to have allusion to the body of the visible church, and the spirit by which it is influenced. Our eye, in the interpretation, must be fixed upon the religious character exhibited by the rulers of the ecclesiastical state, and majority of its members, as affecting the universal features of Christendom. The white horse and his rider are emblems of an apostolic church under divine influence. This we infer from a comparison of the emblem with Rev. XIX. 11-14. The color of the second horse which is " red," and whose rider is hostile to peace, demonstrates a visible deviation from apostolic purity, and the introduction of antichristian rule. The third,"black," with the vyòs, or yoke, represents dark, designing practices, and spiritual bondage. The fourth horse, livid or pale, with its rider death, and hell in train, represents the prevalence and direful effects of pestilential, disorganizing, deadly principles. The symbols of the first four seals may be thus defined: The horse, denotes hostile movement." The rider influential, operative principle. - The colour of the horse the character of the principle. White Gospel holiness. Black-nefarious, dark, designing practices. - 9 Job, xxxix. 19-25; Prov. xxi. 31; Jer. vIII. 6. The collateral emblems relate to the means used in effecting the respective changes. The four first seals, as we have already observed, are marked by the uniform figure of a horse and rider, distinguished in character by color and instruments of aggression, showing that one and the same object is represented under four distinct aspects: these we refer to the four changes which have taken place in the characteristic features of Christendom, as regards her religious state. The fourth, represents the last-appointed innovation of a universal nature, and with this the vision of the horses closes. Other circumstances connected with the ecclesiastical state, furnish materials for the remaining seals. A Protestant community has been redeemed from the overwhelming apostacy, and it is the cry of this little company, hasting unto the coming of the day of God," which breaks forth under the manifestation of the pale horse, and forms the subject of the fifth seal. The sixth seal represents the breaking up of all ecclesiastical power; the seventh, the suspension of hierarchy, UNTIL THE TABERNACLE OF GOD SHALL BE WITH MEN. 66 Opening of the Seals. OF THE SIXTH CHAPTER. 1. "And I saw when the Lamb opened one of the seals; and I heard, as it were the noise of thunder, one of the four beasts, saying, Come and see." The Christian church passes onward through the Gospel dispensation, divided, as it were, into four companies, each under the cherubic bearing and annunciatory cry of its respective seal. The exclamation is from one of the four beasts, and is therefore |