Revelation 8

ormwood falls from heaven, Rev 8:10 , Rev 8:11 . The fourth sounds, and the sun, moon, and stars are smitten; and a threefold wo is denounced against the inhabitants of the earth, because of the three angels who are yet to sound, Rev 8:12 , Rev 8:13 . Verse 1 The seventh seal - This is ushered in and opened only by the Lamb. Silence in heaven - This must be a mere metaphor, silence being put here for the deep and solemn expectation of the stupendous things about to take place, which the opening of this seal had produced. When any thing prodigious or surprising is expected, all is silence, and even the breath is scarcely heard to be drawn. Half an hour - As heaven may signify the place in which all these representations were made to St. John, the half hour may be considered as the time during which no representation was made to him, the time in which God was preparing the august exhibition which follows. There is here, and in the following verses, a strong allusion to different parts of the temple worship; a presumption that the temple was still standing, and the regular service of God carried on. The silence here refers to this fact - while the priest went in to burn incense in the holy place, all the people continued in silent mental prayer without till the priest returned. See Luk 1:10 . The angel mentioned here appears to execute the office of priest, as we shall by and by see. Verse 2 The seven angels which stood before God - Probably the same as those called the seven Spirits which are before his throne, Rev 1:4 (note). There is still an allusion here to the seven ministers of the Persian monarchs. See Tobit 12:15. Verse 3 Another angel - About to perform the office of priest. Having a golden censer - This was a preparation peculiar to the day of expiation. "On other days it was the custom of the priest to take fire from the great altar in a silver censer, but on the day of expiation the high priest took the fire from the great altar in a golden censer; and when he was come down from the great altar, he took incense from one of the priests, who brought it to him, and went with it to the golden altar; and while he offered the incense the people prayed without in silence, which is the silence in heaven for half an hour." See Sir Isaac Newton. Much incense, that he should offer it - Judgments of God are now about to be executed; the saints - the genuine Christians, pray much to God for protection. The angelic priest comes with much incense, standing between the living and those consigned to death, and offers his incense to God With the prayers of the saints. Verse 4 The smoke of the incense - with the prayers - Though incense itself be an emblem of the prayers of the saints, Psa 141:2 ; yet here they are said to ascend before God, as well as the incense. It is not said that the angel presents these prayers. He presents the incense, and the prayers ascend With it. The ascending of the incense shows that the prayers and offering were accepted. Verse 5 Cast it into the earth - That is, upon the land of Judea; intimating the judgments and desolations which were now coming upon it, and which appear to be farther opened in the sounding of the seven trumpets. There were voices - All these seem to point out the confusion, commotions, distresses, and miseries, which were coming upon these people in the wars which were at hand. Verse 6 Prepared themselves to sound - Each took up his trumpet, and stood prepared to blow his blast. Wars are here indicated; the trumpet was the emblem of war. Verse 7 Hail and fire mingled with blood - This was something like the ninth plague of Egypt. See Exo 9:18-24 : "The Lord sent thunder and hail - and fire mingled with the hail - and the fire ran along upon the ground." In the hail and fire mingled with blood, some fruitful imaginations might find gunpowder and cannon balls, and canister shot and bombs. They were cast upon the earth - Εις την γην· Into that land; viz., Judea, thus often designated. And the third part of trees - Before this clause the Codex Alexandrinus, thirty-five others, the Syriac, Arabic, Ethiopic, Armenian, Slavonic, Vulgate, Andreas, Arethas, and some others, have και το τριτον της γης κατεκαη· And the third part of the land was burnt up. This reading, which is undoubtedly genuine, is found also in the Complutensian Polyglot. Griesbach has received it into the text. The land was wasted; the trees - the chiefs of the nation, were destroyed; and the grass - the common people, slain, or carried into captivity. High and low, rich and poor, were overwhelmed with one general destruction. This seems to be the meaning of these figures. Many eminent men suppose that the irruption of the barbarous nations on the Roman empire is here intended. It is easy to find coincidences when fancy runs riot. Later writers might find here the irruption of the Austrians and British, and Prussians, Russians, and Cossacks, on the French empire! Verse 8 A great mountain burning with fire - Supposed to signify the powerful nations which invaded the Roman empire. Mountain, in prophetic language, signifies a kingdom; Jer 51:25 , Jer 51:27 , Jer 51:30 , Jer 51:58 . Great disorders, especially when kingdoms are moved by hostile invasions, are represented by mountains being cast into the midst of the sea, Psa 46:2 . Seas and collections of waters mean peoples, as is shown in this book, Rev 17:15 . Therefore, great commotions in kingdoms and among their inhabitants may be here intended, but to whom, where, and when these happened, or are to happen, we know not. The third part of the sea became blood - Another allusion to the Egyptian plagues, Exo 7:20 , Exo 7:21 . Third part is a rabbinism, expressing a considerable number. "When Rabbi Akiba prayed, wept, rent his garments, put of his shoes, and sat in the dust, the world was struck with a curse; and then the third part of the olives, the third part of the wheat, and the third part of the barley, was smitten "Rab. Mardochaeus, in Notitia Karaeorum, p. 102. Verse 9 The third part of the ships were destroyed - These judgments seem to be poured out upon some maritime nation, destroying much of its population, and much of its traffic. Verse 10 There fell a great star from heaven - This has given rise to various conjectures. Some say the star means Attila and his Huns, others, Genseric with his Vandals falling on the city of Rome; others, Eleazer, the son of Annus, spurning the emperor's victims, and exciting the fury of the Zealots; others, Arius; infecting the pure Christian doctrine with his heresy, etc., etc. It certainly cannot mean all these; and probably none of them. Let the reader judge. Verse 11 The star is called Wormwood - So called from the bitter or distressing effects produced by its influence. Verse 12 The third part of the sun - moon - stars, was smitten - Supposed to mean Rome, with her senates, consuls, etc., eclipsed by Odoacer, king of the Heruli, and Theodoric, king of the Ostrogoths, in the fifth century. But all this is uncertain. Verse 13 I - heard an angel flying - Instead of αγγελου πετωμενου, an angel flying, almost every MS. and version of note has αετου πετωμενον, an eagle flying. The eagle was the symbol of the Romans, and was always on their ensigns. The three woes which are here expressed were probably to be executed by this people, and upon the Jews and their commonwealth. Taken in this sense the symbols appear consistent and appropriate; and the reading eagle instead of angel is undoubtedly genuine, and Griesbach has received it into the text. Introduction The fifth angel sounds, and a star falls from heaven to earth, Rev 9:1 . The bottomless pit is opened, and locusts come out upon the earth, Rev 9:2 , Rev 9:3 . Their commission, Rev 9:4-6 . Their form, Rev 9:7-10 . Their government, Rev 9:11

CHAPTER VIII ANALYSIS OF THE CHAPTER ONE seal of the mysterious roll Rev 5:1 remains to be broken --six having already disclosed the contents of the volume relating to the future. It was natural that the opening of the seventh, and the last, should be attended with circumstances of peculiar solemnity, as being all that remained in this volume to be unfolded, and as the events thus far had been evidently preparatory to some great catastrophe. It would have been natural to expect that, like the six former, this seal would have been opened at once, and would have disclosed all that was to happen at one view. But, instead of that, the opening of this seal is followed by a series of events, seven also in number, which succeed each other, represented by new symbols--the blowing of as many successive trumpets. These circumstances retard the course of the action, and fix the mind on a new order of events-- events which could be appropriately grouped together, and which, for some reason, might be thus more appropriately represented than they could be in so many successive seals. What was the reason of this arrangement will be more readily seen on an examination of the particular events referred to in the successive trumpet-blasts. The points in the chapter are the following: (1.) The opening of the seventh seal, Rev 8:1. This is attended, not with an immediate exhibition of the events which are to occur, as in the case of the former seals, but with a solemn silence in heaven for the space of half an hour. The reason of this silence, apparently, is found in the solemn nature of the events which are anticipated. At the opening of the sixth seal ( Rev 6:12, seq.) the grand catastrophe of the world's history seemed about to occur. This had been suspended for a time as if by the power of angels holding the winds and the storm, ( Re 7 ) and now it was natural to expect that there would be a series of overwhelming calamities. In view of these apprehended terrors, the inhabitants of heaven are represented as standing in awful silence, as if anticipating and apprehending what was to occur. This circumstance adds much to the interest of the scene, and is a forcible illustration of the position which the mind naturally assumes in the anticipation of dreaded events. Silence--solemn and awful silence --is the natural state of the mind under such circumstances. In accordance with this expectation of what was to come, a series of new representations is introduced, adapted to prepare the mind for the fearful disclosures which are yet to be made. (2.) Seven angels appear, on the opening of the seal, to whom are given seven trumpets, as if they were appointed to perform an important part in introducing the series of events which was to follow, Rev 8:2. (3.) As a still farther preparation, another angel is introduced, standing at the altar with a golden censer, Rev 8:3-5. He is represented as engaged in a solemn act of worship, offering incense and the prayers of the saints before the throne. This unusual representation seems to be designed to denote that some extraordinary events were to occur, making it proper that incense should ascend, and prayer be offered to deprecate the wrath of God. After the offering of the incense, and the prayers, the angel takes the censer and casts it to the earth; and the effect is that there are voices, and thunderings, and lightnings, and an earthquake. All these would seem to be symbolical of the fearful events which are to follow. The silence; the incense-offering; the prayers; the fearful agitations produced by the casting of the censer upon the earth, as if the prayer was not heard, and as if the offering of the incense did not avail to turn away the impending wrath,--all are appropriate symbols to introduce the series of fearful calamities which were coming upon the world on the sounding of the trumpets. (4.) The first angel sounds, Rev 8:7. Hail and fire follow, mingled with blood. The third part of the trees and of the green grass--that is, of the vegetable world--is consumed. (5.) The second angel sounds, Rev 8:8,9. A great burning mountain is cast into the sea, and the third part of the sea becomes blood, and a third part of all that is in the sea--fishes and ships--is destroyed. (6.) The third angel sounds, Rev 8:10,11. A great star, burning like a lamp, falls from heaven upon a third part of the rivers, and upon the fountains of waters, and the waters become bitter, and multitudes of people die from drinking the waters. (7.) The fourth angel sounds, Rev 8:12. The calamity falls on the sources of light--the sun, the moon, and the stars--and the third part of the light is extinguished, and for the third part of the day there is no light, and for the third part of the night also there is no light. (8.) At this stage of things, after the sounding of the four trumpets, there is a pause, and an angel flies through the midst of heaven, thrice crying woe, by reason of the remaining trumpets which are to sound, Rev 8:13. Here would seem to be some natural interval, or something which would separate the events which had occurred from those which were to follow. These four, from some cause, are grouped together, and are distinguished from those which are to follow--as if the latter appertained to a new class of events, though under the same general group introduced by the opening of the seventh seal. A few general remarks are naturally suggested by the analysis of the chapter, which may aid us in its exposition and application. (a) These events, in their order, undoubtedly succeed those which are referred to under the opening of the first six seals. They are a continuation of the series which is to occur in the history of the world. It has been supposed by some that the events here symbolized are substantially the same as those already referred to under the first six seals, or that, at the opening of the sixth seal, there is a catastrophe; and, one series being there concluded, the writer, by a new set of symbols, goes back to the same point of time, and passes over the same period by a new and parallel set of symbols. But this is manifestly contrary to the whole design. At the first, ( Rev 5:1,) a volume was exhibited sealed with seven seals, the unrolling of which would manifestly develope successive events, and the whole of which would embrace all the events which were to be disclosed. When all these seven seals were broken, and the contents of that volume were disclosed, there might indeed be another set of symbols going over the same ground with another design, or giving a representation of future events in some other point of view; but Clearly the series should not be broken until the whole seven seals are opened, nor should it be supposed that there is, in the opening of the same volume, an arresting of the course of events, in order to go back again to the same beginning. The representation in this series of symbols is like drawing out a telescope. A telescope might be divided into seven parts, as well as into the usual number, and the drawing out of the seventh part, for example, might be regarded as a representation of the opening of the seventh seal. But the seventh part, instead of being one unbroken piece like the other six, might be so constructed as to be subdivided into seven minor parts, each representing a smaller portion of the seventh part. In such a case, the drawing out of the seventh division would succeed that of the others, and would be designed to represent a subsequent order of events. (b) There was some reason, manifestly, why these seven last events, or the series represented by the seven trumpets, should be grouped together as coming under the same general classification. They were sufficiently distinct to make it proper to represent them by different symbols, and yet they had so much of the same general character as to make it proper to group them together. If this had not been so, it would have been proper to represent them by a succession of seals extending to thirteen in number, instead of representing six seals in succession, and then, under the seventh, a new series extending also to the number seven, In the fulfilment, it will be proper to look for some events which have some such natural connexion and bearing that, for some reason, they can be classed together, and yet so distinct that, under the same general symbol of the seal, they can be represented under the particular symbol of the trumpets. (c) For some reason, there was a further distinction between the events represented by the first four trumpets, and those which were to follow. There was some reason why they should be more particularly grouped together, and placed in close connexion, and why there should be an interval ( Rev 8:13 ) before the other trumpet should sound. In the fulfilment of this, we should naturally look for such an order of events as would be designated by four successive symbols, and then for such a change, in some respects, as to make an interval proper, and a proclamation of woe, before the sounding of the other three, Rev 8:13. Then it would be natural to look for such events as could properly be grouped under the three remaining symbols--the three succeeding trumpets. (d) It is natural, as already intimated, to suppose that the entire group would extend, in some general manner at least, to the consummation of all things; or that there would be, under the last One, a reference to the consummation of all things--the end of the world. The reason for this has already been given, that the apostle saw a volume Rev 5:1 which contained a sealed account of the future, and it is natural to suppose that there would be a reference to the great leading events which were to occur in the history of the church and of the world. This natural anticipation is confirmed by the events disclosed under the sounding of the seventh trumpet, Rev 11:15, seq. "And the seventh angel sounded; and there were great voices in heaven, saying, The kingdoms of this world are becoming the kingdoms of our Lord, and of his Christ, and he shall reign for ever and ever. And the four and twenty elders, which sat before God on their seats, fell upon their faces, and worshipped God, saying, We give thee thanks, O Lord God Almighty, which art, and wast, and art to come; because thou hast taken thy great power, and hast reigned," etc. At all events, this would lead us on to the final triumph of Christianity---to the introduction of the millennium of glory--to the period when the Son of God should reign on the earth, After that, ( Rev 11:19, seq.,) a new series of visions commences, disclosing, through the same periods of history, a new view of the church to the time also of its final triumph:--the church internally; the rise of Antichrist, and the effect of the rise of this formidable power, See the Analysis of the Book, part fifth. Verse 1. And when he had opened the seventh seal. Rev 5:1. There was silence in heaven. The whole scene of the vision is laid in heaven, (chapter 4) and John represents things as they seem to be passing there. The meaning here is, that on the opening of this seal, instead of voices, thunderings, tempests, as perhaps was expected from the character of the sixth seal, ( Rev 6:12, seq.,) and which seemed only to have been suspended for a time, (chapter 7) there was an awful stillness, as if all heaven was reverently waiting for the development. Of course, this is a symbolical representation, and is designed not to represent a pause in the events themselves, but only the impressive and fearful nature of the events which are now to be disclosed. About the space of half an hour. He did not profess to designate the time exactly. It was a brief period--yet a period which in such circumstances would appear to be long-- about half an hour. The word here used--ημιωριον--does not occur elsewhere in the New Testament. It is correctly rendered half an hour; and as the day was divided into twelve parts from the rising to the setting of the sun, the time designated would not vary much from half an hour with us. Of course, therefore, this denotes a brief period. In a state, however, of anxious suspense, the moments would seem to move slowly; and to see the exact force of this, we are to reflect on the scenes represented--the successive opening of seals disclosing most important events--increasing in interest as each new one was opened; the course of events which seemed to be leading to the consummation of all things, arrested after the opening of the sixth seal; and now the last in the series to be opened, disclosing what the affairs of the world would be at the consummation of all things. John looks on this; and in this state of suspense, the half hour may have seemed an age--We are not, of course, to suppose that the silence in heaven is produced by the character of the events which are now to follow for they are as yet unknown. It is caused by what, from the nature of the previous disclosures, was naturally apprehended, and by the fact that this is the last of the series--the finishing of the mysterious volume. This seems to me to be the obvious interpretation of this passage, though there has been here, as in other parts of the book of Revelation, a great variety of opinion as to the meaning. Those who suppose that the whole book consists of a triple series of visions designed to prefigure future events, parallel with each other, and each leading to the consummation of all things--the series embracing the seals, the trumpets, and the vials, each seven in number--regard this as the proper ending of the first of this series, and suppose that we have on the opening of the seventh seal the beginning of a new symbolical representation, going, over the same ground, under the representations of the trumpets in a new aspect or point of view. Eichhorn and Rosenmuller suppose that the silence introduced by the apostle is merely for effect, and that, therefore, it is without any special signification. Grotius applies the whole representation to the destruction of Jerusalem, and supposes that the silence in heaven refers to the restraining of the winds referred to in Rev 7:1 --the wrath in respect to the city, which was now suspended for a short time. Professor Stuart also refers it to the destruction of Jerusalem, and supposes that the seven trumpets refer to seven gradations in the series of judgments that were coming upon the persecutors of the church. Mr. Daubuz regards the silence here referred to as a symbol of the liberty granted to the church in the time of Constantine; Vitringa interprets it of the peace of the millennium which is to succeed the overthrow of the beast and the false prophet; Dean Woodhouse and Mr. Cunninghame regard it as the termination of the series of events which the former seals denote, and the commencement of a new train of revelations; Mr. Elliott, as the suspension of the winds during the sealing of the servants of God; Mr. Lord, as the period of repose which intervened between the close of the persecution by Diocletian and Galerius, in 311, and the commencement, near the close of that year, of the civil wars by which Constantine the Great was elevated to the imperial throne. It will be seen at once how arbitrary and unsatisfactory most of those interpretations are, and how far from harmony expositors have been as to the meaning of this symbol. The most simple and obvious interpretation is likely to be the true one; and that is, as above suggested, that it refers to silence in heaven as expressive of the fearful anticipation felt on opening the last seal that was to close the series, and to wind up the affairs of the church and the world. Nothing would be more natural than such a state of solemn awe on such an occasion; nothing would introduce the opening of the seal in a more impressive manner; nothing would more naturally express the anxiety of the church, the probable feelings of the pious on the opening of these successive seals, than the representation that incense, accompanied with their prayers, was continually offered in heaven. (a) "seal" re 5:1 Verse 2.

And when he had opened the seventh seal, there was silence in heaven - Such a silence is mentioned but in this one place. It was uncommon, and highly observable: for praise is sounding in heaven day and night. In particular, immediately before this silence, all the angels, and before them the innumerable multitude, had been crying with a loud voice; and now all is still at once: there is an universal pause. Hereby the seventh seal is very remarkably distinguished from the six preceding. This silence before God shows that those who were round about him were expecting, with the deepest reverence, the great things which the Divine Majesty would farther open and order. Immediately after, the seven trumpets are heard, and a sound more august than ever. Silence is only a preparation: the grand point is, the sounding the trumpets to the praise of God. About half an hour - To St. John, in the vision, it might seem a common half hour.

Seven Trumpets. ( a. d. 95.) 1 And when he had opened the seventh seal, there was silence in heaven about the space of half a hour. 2 And I saw the seven angels which stood before God; and to them were given seven trumpets. 3 And another angel came and stood at the altar, having a golden censer; and there was given unto him much incense, that he should offer it with the prayers of all saints upon the golden altar which was before the throne. 4 And the smoke of the incense, which came with the prayers of the saints, ascended up before God out of the angel's hand. 5 And the angel took the censer, and filled it with fire of the altar, and cast it into the earth: and there were voices, and thunderings, and lightnings, and an earthquake. 6 And the seven angels which had the seven trumpets prepared themselves to sound. In these verses we have the prelude to the sounding of the trumpets in several parts. I. The opening of the last seal. This was to introduce a new set of prophetical iconisms and events; there is a continued chain of providence, one part linked to another (where one ends another begins), and, though they may differ in nature and in time, they all make up one wise, well-connected, uniform design in the hand of God. II. A profound silence in heaven for the space of half an hour, which may be understood either, 1. Of the silence of peace, that for this time no complaints were sent up to the ear of the Lord God of sabaoth; all was quiet and well in the church, and therefore all silent in heaven, for whenever the church on earth cries, through oppression, that cry comes up to heaven and resounds there; or, 2. A silence of expectation; great things were upon the wheel of providence, and the church of God, both in heaven and earth, stood silent, as became them, to see what God was doing, according to that of Zech. ii. 13 , Be silent, O all flesh, before the Lord, for he has risen up out of his holy habitation. And elsewhere, Be still, and know that I am God. III. The trumpets were delivered to the angels who were to sound them. Still the angels are employed as the wise and willing instruments of divine Providence, and they are furnished with all their materials and instructions from God our Saviour. As the angels of the churches are to sound the trumpet of the gospel, the angels of heaven are to sound the trumpet of Providence, and every one has his part given him. IV. To prepare for this, another angel must first offer incense, v. 3 . It is very probable that this other angel is the Lord Jesus, the high priest of the church, who is here described in his sacerdotal office, having a golden censer and much incense, a fulness of merit in his own glorious person, and this incense he was to offer up, with the prayers of all the saints, upon the golden altar of his divine nature. Observe, 1. All the saints are a praying people; none of the children of God are born dumb, a Spirit of grace is always a Spirit of adoption and supplication, teaching us to cry, Abba, Father. Ps. xxxii. 6 , For this shall every one that is godly pray unto thee. 2. Times of danger should be praying times, and so should times of great expectation; both our fears and our hopes should put us upon prayer, and, where the interest of the church of God is deeply concerned, the hearts of the people of God in prayer should be greatly enlarged. 3. The prayers of the saints themselves stand in need of the incense and intercession of Christ to make them acceptable and effectual, and there is provision made by Christ for that purpose; he has his incense, his censer, and his altar; he is all himself to his people. 4. The prayers of the saints come up before God in a cloud of incense; no prayer, thus recommended, was ever denied audience or acceptance. 5. These prayers that were thus accepted in heaven produced great changes upon earth in return to them; the same angel that in his censer offered up the prayers of the saints in the same censer took of the fire of the altar, and cast it into the earth, and this presently caused strange commotions, voices, and thunderings, and lightnings, and an earthquake; these were the answers God gave to the prayers of the saints, and tokens of his anger against the world and that he would do great things to avenge himself and his people of their enemies; and now, all things being thus prepared, the angels discharge their duty. The Seven Trumpets. ( a.

And I saw the seven angels which stood before God. Professor Stuart supposes that by these angels are meant the "presence-angels" which he understands to be referred to, in Rev 1:4, by the "seven spirits which are before the throne." If, however, the interpretation of that passage above proposed, that it refers to the Holy Spirit, with reference to his multiplied agency and operations, be correct, then we must seek for another application of the phrase here. The only difficulty in applying it arises from the use of the article--" the seven angels"--τους--as if they were angels already referred to; and as there has been no previous mention of " seven angels," unless it be in the phrase "the seven spirits which are before the throne," in Rev 1:4, it is argued that this must have been such a reference. But this interpretation is not absolutely necessary. John might use this language either because the angels had been spoken of before; or because it would be sufficiently understood, from the common use of language, who would be referred to--as we now might speak of " the seven members of the cabinet of the United States?" or " the thirty-one governors of the states of the Union," though they had not been particularly mentioned; or he might speak of them as just then disclosed to his view, and because his meaning would be sufficiently definite by the circumstances which were to follow--their agency in blowing the trumpets. It would be entirely in accordance with the usage of the article for one to say that he saw an army, and the commander-in-chief, and the four staff-officers, and the five bands of music, and the six companies of sappers and miners, etc. It is not absolutely necessary, therefore, to suppose that these angels had been before referred to. There is, indeed, in the use of the phrase "which stood before God," the idea that they are to be regarded as permanently standing there, or that that is their proper place--as if they were angels who were particularly designated to this high service, Compare Lk 1:19: "I am Gabriel, that stand in the presence of God." If this idea is involved in the phrase, then there is a sufficient reason why the article is used, though they had not before been mentioned. And to them were given seven trumpets. One to each. By whom the trumpets were given is not said. It may be supposed to have been done by Him who sat on the throne. Trumpets were used then, as now, for various purposes; to summon an assembly; to muster the hosts of battle; to inspirit and animate troops in conflict. Here they are given to announce a series of important events producing great changes in the world--as if God summoned and led on his hosts to accomplish his designs. (a) "stood" Lk 1:19 (b) "trumpets" 2Chr 29:25-28 Verse 3.

And I saw - The seven trumpets belong to the seventh seal, as do the seven phials to the seventh trumpet. This should be carefully remembered, that we may not confound together the times which follow each other. And yet it may be observed, in general, concerning the times of the incidents mentioned in this book, it is not a certain rule, that every part of the text is fully accomplished before the completion of the following part begins. All things mentioned in the epistles are not full accomplished before the seals are opened; neither are all things mentioned under the seals fulfilled before the trumpets begin; nor yet is the seventh trumpet wholly past before the phials are poured out. Only the beginning of each part goes before the beginning of the following. Thus the epistles begin before the seals, the seals before the trumpets, the trumpets before the phials. One epistle begins before another, one seal before another, one trumpet especially before another, one phial before another. Yet, sometimes, what begins later than another thing ends sooner; and what begins earlier than another thing ends later: so the seventh trumpet begins earlier than the phials, and yet extends beyond them all. The seven angels which stood before God - A character of the highest eminence. And seven trumpets were given them. - When men desire to make known openly a thing of public concern, they give a token that may be seen or heard far and wide; and, among such, none are more ancient than trumpets, Lev 25:9 ; Num 10:2; Amos 3:6. The Israelites, in particular, used them, both in the worship of God and in war; therewith openly praising the power of God before, after, and in, the battle, Jos 6:4 ; 2Ch 13:14, &c. And the angels here made known by these trumpets the wonderful works of God, whereby all opposing powers are successively shaken, till the kingdom of the world becomes the kingdom of God and his Anointed. These trumpets reach nearly from the time of St. John to the end of the world; and they are distinguished by manifest tokens. The place of the four first is specified; namely, east, west, south, and north successively: in the three last, immediately after the time of each, the place likewise is pointed out. The seventh angel did not begin to sound, till after the going forth of the second woe: but the trumpets were given to him and the other six together; (as were afterward the phials to the seven angels;) and it is accordingly said of all the seven together, that "they prepared themselves to sound." These, therefore, were not men, as some have thought, but angels, properly so called.

And another angel came. Who this angel was is not mentioned, nor have we any means of determining. Of course, a great variety of opinion has been entertained on the subject (see Poole's Synopsis)-- some referring it to angels in general; others to the ministry of the church; others to Constantine; others to Michael; and many others to the Lord Jesus. All that we know is, that it was an angel who thus appeared, and there is nothing inconsistent in the supposition that any one of the angels in heaven may have been appointed to perform what is here represented. The design seems to be, to represent the prayers of the saints as ascending in the anticipation of the approaching series of wonders in the world--and there would be a beautiful propriety in representing them as offered by an angel, feeling a deep interest in the church, and ministering in behalf of the saints. And stood at the altar. In heaven--represented as a temple, with an altar, and with the usual array of things employed in the worship of God. The altar was the appropriate place for him to stand when about to offer the prayers of the saints--for that is the place where the worshipper stood under the ancient dispensation. Compare Mt 5:23-24; Lk 1:11. In the latter place, an angel is represented as appearing to Zacharias "on the right side of the altar of incense." Having a golden censer. The fire-pan, made for the purpose of carrying fire, on which to burn incense in time of worship. See it described and illustrated in Barnes on "Heb 9:4". There seems reason to suppose that the incense that was offered in the ancient worship was designed to be emblematic of the prayers of saints, for it was the custom for worshippers to be engaged in prayer at the time the incense was offered by the priest. See Lk 1:10. And there was given unto him much incense. Lk 1:9. A large quantity was here given to him, because the occasion was one on which many prayers might be expected to be offered. That he should offer it with the prayers. Marg., " add it to." Gr., "that he should give it with"--δωση. The idea is plain, that, when the prayers of the saints ascended, he would also burn the incense, that it might go up at the same moment, and be emblematic of them. Compare Rev 5:8. Of all saints. Of all who are holy; of all who are the children of God. The idea seems to be, that, at this time, all the saints would unite in calling on God, and in deprecating his wrath. As the events which were about to occur were a matter of common interest to the people of God, it was to be supposed that they would unite in common supplication. Upon the golden altar. The altar of incense. This in the tabernacle and in the temple was overlaid with gold. Which was before the throne. This is represented as a temple-service, and the altar of incense is, with propriety, placed before his seat or throne, as it was in the tabernacle and temple. In the temple, God is represented as occupying the mercy-seat in the holy of holies, and the altar of incense is in the holy place before that. See the description of the temple in Mt 21:12. (1) "offer" "add it to" (c) "prayers" Rev 5:8 (d) "golden altar" Rev 6:9 Verse 4. And

And - In the second verse, Rev 7:2 the "trumpets were given" to the seven angels; and in the sixth, Rev 7:6 they "prepared to sound." But between these, the incense of this angel and the prayers of the saints are mentioned; the interposing of which shows, that the prayers of the saints and the trumpets of the angels go together: and these prayers, with the effects of them, may well be supposed to extend through all the seven. Another angel - Another created angel. Such are all that are here spoken of. In this part of the Revelation, Christ is never termed an angel; but, "the Lamb." Came and stood at the altar - Of burnt - offerings. And there was given him a golden censer - A censer was a cup on a plate or saucer. This was the token and the business of the office. And much incense was given - Incense generally signifies prayer: here it signifies the longing desires of the angels, that the holy counsel of God might be fulfilled. And there was much incense; for as the prayers of all the saints in heaven and earth are here joined together: so are the desires of all the angels which are brought by this angel. That he might place it - It is not said, offer it; for he was discharging the office of an angel, not a priest. With the prayers of all the saints - At the same time; but not for the saints. The angels are fellowservants with the saints, not mediators for them.

And the smoke of the incense came up before God, with the prayers of the saints - A token that both were accepted.

the smoke of the incense, etc. The smoke caused by the burning incense. John, as he saw this, naturally interpreted it of the prayers of the saints. The meaning of the whole symbol, thus explained, is that, at the time referred to, the anxiety of the church in regard to the events which were about to occur would naturally lead to much prayer. It is not necessary to attempt to verify this by any distinct historical facts, for no one can doubt that, in a time of such impending calamities, the church would be earnestly engaged in devotion. Such has always been the case in times of danger; and it may always be assumed to be true, that when danger threatens, whether it be to the church at large or to an individual Christian, there will be a resort to the throne of grace. (e) "incense" Ex 30:1 Verse 5. And

the angel took the censer. Rev 8:3, This is a new symbol, designed to furnish a new representation of future events. By the former it had been shown that there would be much prayer offered; by this it is designed to show that, notwithstanding the prayer that would be offered, great and fearful calamities would come upon the earth. This is symbolized by casting the censer upon the earth, as if the prayers were not heard any longer, or as if prayer were now in vain. And filled it with fire of the altar. An image similar to this occurs in Eze 10:2, where the man clothed in linen is commanded to go between the wheels under the cherub, and fill his hands with coals of fire from between the cherubims, and to scatter them over the city as a symbol of its destruction. Here the coals are taken, evidently, from the altar of sacrifice. Isa 61:1. On these coals no incense was placed, but they were thrown at once to the earth. The new emblem, therefore, is the taking of coals, and scattering them abroad as a symbol of the destruction that was about to ensue. And cast it into the earth. Marg., upon. The margin expresses undoubtedly the meaning. The symbol, therefore, properly denoted that fearful calamities were about to come upon the earth. Even the prayers of saints did not prevail to turn them away, and now the symbol of the scattered coals indicated that terrible judgments were about to come upon the world. And there were voices. Sounds, noises. Rev 4:5. The order is not the same here as there, but lightnings, thunderings, and voices are mentioned in both. And an earthquake. Rev 6:12. This is a symbol of commotion. It is not necessary to look for a literal fulfilment of it, any more than it is for literal "voices," "lightnings," or "thunderings." (1) "it" "upon" (a) "voices" Rev 16:18 (b) "earthquake" 2Sam 22:8 Verse 6. And

And there were thunderings, and lightnings, and voices, and an earthquake - These, especially when attended with fire, are emblems of God's dreadful judgments, which are immediately to follow.

the seven angels which had the seven trumpets prepared themselves to sound. See also Rev 8:7. Evidently in succession, perhaps by arranging themselves in the order in which they were to sound. The way is now prepared for the sounding of the trumpets, and for the fearful commotions and changes which would be indicated by that. The last seal is opened; heaven stands in suspense to know what is to be disclosed; the saints, filled with solicitude, have offered their prayers; the censer of coals has been cast to the earth, as if these judgments could be no longer stayed by prayer; and the angels prepare to sound the trumpets indicative of what is to occur.Verse 7. The

And the seven angels prepared themselves to sound - That each, when it should come to his turn, might sound without delay. But while they do sound, they still stand before God.

And the first sounded - And every angel continued to sound, till all which his trumpet brought was fulfilled and till the next began. There are intervals between the three woes, but not between the four first trumpets. And there was hail and fire mingled with blood, and there were cast upon the earth - The earth seems to mean Asia; Palestine, in particular. Quickly after the Revelation was given, the Jewish calamities under Adrian began: yea, before the reign of Trajan was ended. And here the trumpets begin. Even under Trajan, in the year 114, the Jews made an insurrection with a most dreadful fury; and in the parts about Cyrene, in Egypt, and in Cyprus, destroyed four hundred and sixty thousand persons. But they were repressed by the victorious power of Trajan, and afterward slaughtered themselves in vast multitudes. The alarm spread itself also into Mesopotamia, where Lucius Quintius slew a great number of them. They rose in Judea again in the second year of Adrian; but were presently quelled. Yet in 133 they broke out more violently than ever, under their false messiah Barcochab; and the war continued till the year 135, when almost all Judea was desolated. In the Egyptian plague also hail and fire were together. But here hail is to be taken figuratively, as also blood, for a vehement, sudden, powerful, hurtful invasion; and fire betokens the revenge of an enraged enemy, with the desolation therefrom. And they were cast upon the earth - That is, the fire and hail and blood. But they existed before they were cast upon the earth. The storm fell, the blood flowed, and the flames raged round Cyrene, and in Egypt, and Cyprus, before they reached Mesopotamia and Judea. And the third part of the earth was burnt up - Fifty well - fortified cities, and nine hundred and eighty - five well - inhabited towns of the Jews, were wholly destroyed in this war. Vast tracts of land were likewise left desolate and without inhabitant. And the third part of the trees was burned up, and all the green grass was burned up - Some understand by the trees, men of eminence among the Jews; by the grass, the common people. The Romans spared many of the former: the latter were almost all destroyed. Thus vengeance began at the Jewish enemies of Christ's kingdom; though even then the Romans did not quite escape. But afterwards it came upon them more and more violently: the second trumpet affects the Roman heathens in particular; the third, the dead, unholy Christians; the fourth, the empire itself.

first angel sounded. The first in order, and indicating the first in the series of events that were to follow. And there followed hail. Hail is usually a symbol of the Divine vengeance, as it has often been employed to accomplish the Divine purposes of punishment. Thus in Ex 9:23, "And the Lord sent thunder and hail, and the fire ran along the ground; and the Lord rained hail upon the land of Egypt." So in Ps 105:32, referring to the plagues upon Egypt, it is said, "He gave them hail for rain, and flaming fire in their land." So again, Ps 78:48, "He gave up their cattle also to the hail, and their flocks to hot thunderbolts." As early as the time of Job, hail was understood to be an emblem of the Divine displeasure, and an instrument in inflicting punishment: "Hast thou entered into the treasures of the snow, Or hast thou seen the treasure of the hail? Which I have reserved against the time of trouble, Against the days of battle and war?-- Job 38:22-23 So also the same image is used in Ps 18:13: "The Lord also thundered in the heaven, And the Most High gave forth his voice, Hailstones and coals of fire." Compare Hag 2:17. The destruction of the Assyrian army, it is said, would be accomplished in the same way, Isa 30:30. Compare Eze 13:11, 38:22. And fire. Lightning. This also is an instrument and an emblem of destruction. Mingled with blood. By blood, "we must naturally understand," says Professor Stuart, "in this case, a shower of coloured rain; that is, rain of a rubidinous aspect, an occurrence which is known sometimes to take place, and which, like falling stars, eclipses, etc., was viewed with terror by the ancients, because it was supposed to be indicative of blood that was to be shed." The appearance, doubtless, was that of a red shower, apparently of hail or snow--for rain is not mentioned. It is not a rain storm, it is a hail storm that is the image here; and the image is that of a driving hail storm, where the lightnings flashed, and where there was the intermingling of a reddish substance that resembled blood, and that was an undoubted symbol of blood that was to be shed. I do not know that there is red rain, or red hail, but red snow is not very uncommon; and the image here would be complete if we suppose that there was an intermingling of red snow in the driving tempest. This species of snow was found by Captain Ross at Baffin's Bay on the 17th of August, 1819. The mountains that were dyed with the snow were about eight miles long, and six hundred feet high. The red colour reached to the ground in many places ten or twelve feet deep, and continued for a great length of time. Although red snow had not until this attracted much notice, yet it had been long before observed in Alpine countries. Saussure discovered it on mount St. Bernard in 1778. Ramond found it on the Pyrenees; and Summerfield discovered it in Norway. "In 1818, red snow fell on the Italian Alps and Apennines. In March, 1808, the whole country about Cadore, Belluno, and Peltri, was covered with a red-coloured snow, to the depth of six and a half feet; but a white snow had fallen both before and after it, the red formed a stratum in the middle of the white. At the same time a similar fall took place in the mountains of the Valteline, Brescia, Carinthia, and Tyrol."-- Edin. Encyclo. Art. Snow. These facts show that what is referred to here in the symbol might possibly occur. Such a symbol would be properly expressive of blood and carnage. And they were cast upon the earth. The hail, the fire, and the blood--denoting that the fulfilment of this was to be on the earth. And the third part of trees was burnt up. By the fire that came down with the hail and the blood. And all green grass was burnt up. Wherever this lighted on the earth. The meaning would seem to be, that, wherever this tempest beat, the effect was to destroy a third part--that is, a large portion of the trees, and to consume all the grass. A portion of the tree--strong and mighty--would stand against it; but that which was so tender, as grass is, would be consumed. The sense does not seem to be that the tempest would be confined to a third part of the world, and destroy all the trees and the grass there; but that it would be a sweeping and general tempest, and that wherever it spread it would prostrate a third part of the trees and consume all the grass. Thus understood, it would seem to mean that, in reference to those things in the world which were firm and established like trees, it would not sweep them wholly away, though it would make great desolation; but in reference to those which were delicate and feeble--like grass--it would sweep them wholly away.-- This would not be an inapt description of the ordinary effects of invasion in time of war. A few of those things which seem most firm and established in society--like trees in a forest--weather out the storm; while the gentle virtues, the domestic enjoyments, the arts of peace, like tender grass, are wholly destroyed. The fulfilment of this we are undoubtedly to expect to find in the terrors of invasion; the evils of war; the effusion of blood; the march of armies. So far as the language is concerned, the symbol would apply to any hostile invasion; but, in pursuing the exposition on the principles on which we have thus far conducted it, we are to look for the fulfilment in one or more of those invasions of the Northern hordes that preceded the downfall of the Roman empire and that contributed to it.--In the "Analysis" of the chapter, some reasons were given why these four trumpet signals were placed together, as pertaining to a series of events of the same general character, and as distinguished from those which were to follow. The natural place which they occupy, or the events which we should suppose, from the views taken above of the first six seals, would be represented, would be the successive invasions of the Northern hordes which ultimately accomplished the overthrow of the Roman empire. There are four of these "trumpets," and it would be a matter of inquiry whether there were four events of sufficient distinctness that would mark these invasions, or that would constitute periods or epochs in the destruction of the Roman power. At this point in writing, I looked on a chart of history, composed with no reference to this prophecy, and found a singular and unexpected prominence given to four such events extending from the first invasion of the Goths and Vandals at the beginning of the fifth century, to the fall of the Western empire, A.D. 476. The first was the invasion of Alaric, king of the Goths, A.D. 410; the second was the invasion of Attila, king of the Huns, "scourge of God," A. D. 447; a third was the sack of Rome by Genseric, king of the Vandals, A. D. 455; and the fourth, resulting in the final conquest of Rome, was that of Odoacer, king of the Heruli, who assumed the title of King of Italy, A.D. 476. We shall see, however, on a closer examination, that although two of these--Attila and Genseric--were, during a part of their career, contemporary, yet the most prominent place is due to Genseric in the events that attended the downfall of the empire, and that the second trumpet probably related to him; the third to Attila. These were, beyond doubt, four great periods or events attending the fall of the Roman empire, which synchronize with the period before us. If, therefore, we regard the opening of the sixth seal as denoting the threatening aspect of these invading powers --the gathering of the dark cloud that hovered over the borders of the empire, and the consternation produced by that approaching storm; and if we regard the transactions in the seventh chapter--the holding of the winds in check, and the sealing of the chosen of God-- as denoting the suspension of the impending judgments in order that a work might be done to save the church, and as referring to the Divine interposition in behalf of the church; then the appropriate place of these four trumpets, under the seventh seal, will be when that delayed and restrained storm burst in successive blasts upon different parts of the empire--the successive invasions which were so prominent in the overthrow of that vast power. History marks four of these events-- four heavy blows--four sweepings of the tempest and the storm--under Alaric, Genseric, Attila, and Odoacer, whose movements could not be better symbolized than by these successive blasts of the trumpet. The first of these is the invasion of Alaric; and the inquiry now is, whether his invasion is such as would be properly symbolized by the first trumpet. In illustrating this, it will be proper to notice some of the movements of Alaric, and the alarm consequent on his invasion of the empire; and then to inquire how far this corresponds with the images employed in the description of the first trumpet. For these illustrations, I shall be indebted mainly to Mr. Gibbon. Alaric, the Goth, was at first employed in the service of the emperor Theodosius, in his attempt to oppose the usurper Arbogastes, after the murder of Valentinian, emperor of the West. Theodosius, in order to oppose the usurper, employed, among others, numerous barbarians--Iberians, Arabs, and Goths. One of them was Alaric, who, to use the language of Mr. Gibbon, (ii. 179,) "acquired in the school of Theodosius the knowledge of the art of war, which he afterwards so fatally exerted in the destruction of Rome," A.D. 392-394. After the death of Theodosius, (A. D. 395,) the Goths revolted from the Roman power, and Alaric, who had been disappointed in his expectations of being raised to the command of the Roman armies, became their leader.-- Dec. and Fall, ii. 213. "That renowned leader was descended from the noble race of the Balti; which yielded only to the royal dignity of the Omali; he had solicited the command of the Roman armies; and the imperial court provoked him to demonstrate the folly of their refusal, and the importance of their loss. In the midst of a divided court and a discontented people, the emperor Arcadius was terrified by the aspect of the Gothic arms," etc. Alaric then invaded and conquered Greece, laying it waste in his progress, until he reached Athens, ii. 214, 215. "The fertile fields of Phocis and Boeotia were instantly covered by a deluge of barbarians, who massacred the males of age to bear arms, and drove away the beautiful females, with the spoil and cattle of the flaming villages." Alaric then concluded a treaty with Theodosius, the emperor of the East, (ii. 216;) was made master-general of Eastern Illyricum, and created a magistrate, (ii. 217;) soon united under his command the barbarous nations that had made the invasion, and was solemnly declared to be the king of the Visigoths, ii. 217. "Armed with this double power, seated on the verge of two empires, he alternately sold his deceitful promises to the courts of Arcadius and Honorius, till he declared and executed his purpose of invading the dominion of the West. The provinces of Europe which belonged to the Eastern empire were already exhausted; those of Asia were inaccessible; and the strength of Constantinople had resisted his attack. But he was tempted by the beauty, the wealth, and the fame of Italy, which he had twice visited; and he secretly aspired to plant the Gothic standard on the walls of Rome, and to enrich his army with the accumulated spoils of three hundred triumphs," ii. 217-218. In describing his march to the Danube, and his progress towards Italy, having increased his army with a large number of barbarians, Mr. Gibbon uses the remarkable language expressive of the general consternation, already quoted, in the description of the sixth seal. Alaric approached rapidly towards the imperial city, resolved to "conquer or die before the gates of Rome." But he was checked by Stilicho, and compelled to make peace, and retired, ( Dec. and Fall, ii. 222,) and the threatening storm was for a time suspended. Rev 7:1, seq. So great was the consternation, however, that the Roman court, which then had its seat at Milan, thought it necessary to remove to a safer place, and became fixed at Ravenna, ii. 224. This calm, secured by the retreat of Alaric, was, however, of short continuance. In A.D. 408, he again invaded Italy, in a more successful manner, attacked the capital, and more than once pillaged Rome. The following facts, for which I am indebted to Mr. Gibbon, will illustrate the progress of the events, and the effects of this blast of the "first trumpet" in the series that announced the destruction of the Western empire. (a) The effect, on the destiny of the empire, of removing the Roman court to Ravenna from the dread of the Goths. As early as A. D. 303, the court of the emperor of the West was, for the most part, established at Milan. For some time before, the "sovereignty of the capital was gradually annihilated by the extent of conquest," and the emperors were required to be long absent from Rome on the frontiers, until, in the time of Diocletian and Maximin, the seat of government was fixed at Milan, "whose situation on the foot of the Alps appeared far more convenient than that of Rome, for the important purpose of watching the motions of the barbarians of Germany."--Gibbon, i. 213. "The life of Diocletian and Maximin was a life of action, and a considerable portion of it was spent in camps, or in those long and frequent marches; but whenever the public business allowed them any relaxation, they seem to have retired with pleasure to their favourite residences of Nicomedia and Milan. Till Diocletian, in the twentieth year of his reign, celebrated his Roman triumph, it is extremely doubtful whether he ever visited the ancient capital of the empire."-- Gibbon, i. 214. From this place the court was driven away, by the dread of the Northern barbarians, to Ravenna, a safer place, which thenceforward became the seat of government; while Italy was ravaged by the Northern hordes, and while Rome was besieged and pillaged. Mr. Gibbon, under date of A.D. 404, says, "The recent danger to which the person of the emperor had been exposed in the defenceless palace of Milan [from Alaric and the Goths] urged him to seek a retreat in some inaccessible fortress in Italy, where he might securely remain, while the open country was covered by a deluge of barbarians."-- Vol, ii. p. 224. He then proceeds to describe the situation of Ravenna, and the removal of the court thither, and then adds, (p. 225,) "The fears of Honorius were not without foundation, nor were his precautions without effect. While Italy rejoiced in her deliverance from the Goths, a furious tempest was excited among the nations of Germany, who yielded to the irresistible impulse that appears to have been generally communicated from the eastern extremity of the continent of Asia." That mighty movement of the Huns is then described, as the storm was preparing to burst upon the Roman empire, ii. 225. The agitation, and the removal of the Roman government, were events not inappropriate to be described by symbols relating to the fall of that mighty power. (b) The particulars of that invasion, the consternation, the siege of Rome, and the capture and pillage of the imperial city, would confirm the propriety of this application to the symbol of the first trumpet. It would be too long to copy the account--for it extends through many pages of the History of the Decline and Fall of the Empire; but a few selected sentences may show the general character of the events, and the propriety of the symbols, on the supposition that they referred to these things. Thus Mr. Gibbon (ii. 226, 227) says, "The correspondence of the nations was, in that age, so imperfect and precarious, that the revolutions of the North might escape the knowledge of the court of Ravenna; till the dark cloud which was collected along the coast of the Baltic burst in thunder upon the banks of the Upper Danube. The king of the confederate Germans passed, without resistance, the Alps, the Po, and the Apennine; leaving on the one hand the inaccessible palace of Honorius securely buried among the marshes of Ravenna; and on the other the camp of Stilicho, who had fixed his head quarters at Ticinium, or Pavia, but who seems to have avoided a decisive battle till he had assembled his distant forces. Many cities of Italy were pillaged, or destroyed. The senate and people trembled at their approach within a hundred and eighty miles of Rome; and anxiously compared the danger which they had escaped, with the new perils to which they were exposed," etc. Rome was besieged for the first time by the Goths, A. D. 408. Of this siege, Mr. Gibbon (ii. 252-254) has given a graphic description. Among other things he says, "That unfortunate city gradually experienced the distress of scarcity, and at length the horrid calamity of famine." "A dark suspicion was entertained, that some desperate wretches fed on the bodies of their fellow-creatures whom they had secretly murdered; and even mothers--such were the horrid conflicts of the two most powerful instincts implanted by nature in the human breast-- even mothers are said to have tasted the flesh of their slaughtered infants. Many thousands of the inhabitants of Rome expired in their houses, or in the streets, for want of sustenance; and, as the public sepulchres without the walls were in the power of the enemy, the stench, which arose from so many putrid and unburied carcases, infected the air; and the miseries of famine were succeeded and aggravated by a pestilential disease." The first siege was raised by the payment of an enormous ransom.--Gibbon, ii. 254. The second siege of Rome by the Goths occurred A.D. 409. This siege was carried on by preventing the supply of provisions, Alaric having seized upon Ostia, the Roman port, where the provisions for the capital were deposited. The Romans finally consented to receive a new emperor at the hand of Alaric, and Attalus was appointed in the place of the feeble Honorius, who was then at Ravenna, and who had abandoned the capital. Attalus, an inefficient prince, was soon publicly stripped of the robes of office, and Alaric, enraged at the conduct of the court at Ravenna towards him, turned his wrath a third time on Rome, and laid siege to the city. This occurred A. D, 410. "The king of the Goths, who no longer dissembled his appetite for plunder and revenge, appeared in arms under the walls of the capital; and the trembling senate, without any hope of relief, prepared, by a desperate effort, to delay the ruin of their country. But they were unable to guard against the conspiracy of their slaves and domestics; who, either from birth or interest, were attached to the cause of the enemy. At the hour of midnight, the Salarian gate was silently opened, and the inhabitants were awakened by the tremendous sound of the Gothic trumpet. Eleven hundred and sixty-three years after the foundation of Rome, the imperial city, which had subdued and civilized so considerable a part of mankind, was delivered to the licentious fury of the tribes of Germany and Scythia."--Gibbon, ii. 26O. (e) It is, perhaps, only necessary to add that the invasion of Alaric was in fact but one of the great events that led to the fall of the empire, and that, in announcing that fall, where a succession of events was to occur, it would properly be represented by the blast of one of the trumpets. The expressions employed in the symbol are, indeed, such as might be applied to any invasion of hostile armies, but they are such as would be used if the design were admitted to be to describe the invasion of the Gothic conqueror. For (1) that invasion, as we have seen, would be well represented by the storm of hail and lightning that was seen in vision; (2) by the red colour mingled in that storm--indicative of blood; (3) by the fact that it consumed the trees and the grass. This, as we saw in the exposition, would properly denote the desolation produced by war-- applicable, indeed, to all war, but as applicable to the invasion of Alaric as any war that has occurred, and it is such an emblem as would be used if it were admitted that it was the design to represent his invasion. The sweeping storm, prostrating the trees of the forest, is an apt emblem of the evils of war, and, as was remarked in the exposition, no more striking illustration of the consequences of a hostile invasion could be employed than the destruction of the "green grass." What is here represented in the symbol cannot, perhaps, be better expressed than in the language of Mr. Gibbon, when describing the invasion of the Roman empire under Alaric. Speaking of that invasion, he says: "While the peace of Germany was secured by the attachment of the Franks and the neutrality of the Alemanni, the subjects of Rome unconscious of their approaching calamities, enjoyed the state of quiet and prosperity which had seldom blessed the frontiers of Gaul. Their flocks and herds were permitted to graze in the pastures of the barbarians; their huntsmen penetrated, without fear or danger, into the darkest recesses of the Hyrcanian wood. The banks of the Rhine were crowned, like those of the Tiber, with houses and well-cultivated farms; and if a poet descended the river, he might express his doubt on which side was situated the territory of the Romans. This scene of peace and plenty was suddenly changed into a desert; and the prospect of the smoking ruins could alone distinguish the solitude of nature from the desolation of man. The flourishing city of Mentz was surprised and destroyed; and many thousand Christians were inhumanly massacred in the church. Worms perished after a long and obstinate siege; Strasburg, Spires, Rheims, Tournay, Arras, Amiens, experienced the cruel oppression of the German yoke; and the consuming flames of war spread from the banks of the Rhine over the greatest part of the seventeen provinces of Gaul. That rich and extensive country, as far as the ocean, the Alps, and the Pyrenees, was delivered to the barbarians, who drove before them, in a Promiscuous crowd, the bishop, the senator, and the virgin, laden with the spoils of their houses and altars," ii. 230. In reference, also, to the invasion of Alaric, and the particular nature of the desolation depicted under the first trumpet, a remarkable passage which Mr. Gibbon has quoted from Claudian, as describing the effects of the invasion of Alaric, may be here introduced. "The old man" says he, speaking of Claudian," who had passed his simple and innocent life in the neighbourhood of Verona, was a stranger to the quarrels both of kings and of bishops; his pleasures, his desires, his knowledge, were confined within the circle of his paternal farm; and a staff supported his aged steps on the same ground where he had sported in infancy. Yet even this humble and rustic felicity (which Claudinn describes with so much truth and feeling) was still exposed to the undistinguishing rage of war. His trees, his old contemporary * trees, must blaze in the conflagration of the whole country; a detachment of Gothic cavalry must sweep away his cottage and his family; and the power of Alaric could destroy this happiness which he was not able either to taste or to bestow. 'Fame,' says the poet, 'encircling with terror or gloomy wings, proclaimed the march of the barbarian army, and filled Italy with consternation,'" ii. 218. And (4) as to the extent of the calamity, there is also a striking propriety in the language of the symbol as applicable to the invasion of Alaric. I do not suppose, indeed, that it is necessary, in order to find a proper fulfilment of the symbol, to be able to show that exactly one third part of the empire was made desolate in this way, but it is a sufficient fulfilment of desolation spread over a considerable portion of the Roman world-- as if a third part had been destroyed. No one who reads the account of the invasion of Alaric can doubt that it would be an apt description of the ravages of his arms to say that a third part was laid waste. That the desolations produced by Alaric were such as would be properly represented by this symbol, may be fully seen by consulting the whole account of that invasion in Gibbon, ii. 213-266. Ingentem meminit parvo qui germine quercum AEquaevumque videt consenuisse nemus. A neighbouring wood born with himself he sees, And loves his old contemporary trees.-- Cowley (c) "there followed" Eze 38:22 (d) "trees" Isa 2:13 Verse 8. And

d. 95.) 7 The first angel sounded, and there followed hail and fire mingled with blood, and they were cast upon the earth: and the third part of trees was burnt up, and all green grass was burnt up. 8 And the second angel sounded, and as it were a great mountain burning with fire was cast into the sea: and the third part of the sea became blood; 9 And the third part of the creatures which were in the sea, and had life, died; and the third part of the ships were destroyed. 10 And the third angel sounded, and there fell a great star from heaven, burning as it were a lamp, and it fell upon the third part of the rivers, and upon the fountains of waters; 11 And the name of the star is called Wormwood: and the third part of the waters became wormwood; and many men died of the waters, because they were made bitter. 12 And the fourth angel sounded, and the third part of the sun was smitten, and the third part of the moon, and the third part of the stars; so as the third part of them was darkened, and the day shone not for a third part of it, and the night likewise. 13 And I beheld, and heard an angel flying through the midst of heaven, saying with a loud voice, Woe, woe, woe, to the inhabiters of the earth by reason of the other voices of the trumpet of the three angels, which are yet to sound! Observe, I. The first angel sounded the first trumpet, and the events which followed were very dismal: There followed hail and fire mingled with blood, &c., v. 7 . There was a terrible storm; but whether it is to be understood of a storm of heresies, a mixture of monstrous errors falling on the church (for in that age Arianism prevailed), or a storm or tempest of war falling on the civil state, expositors are not agreed. Mr. Mede takes it to be meant of the Gothic inundation that broke in upon the empire in the year 395, the same year that Theodosius died, when the northern nations, under Alaricus, king of the Goths, broke in upon the western parts of the empire. However, here we observe, 1. It was a very terrible storm-fire, and hail, and blood: a strange mixture! 2. The limitation of it: it fell on the third part of the trees, and on the third part of the grass, and blasted and burnt it up; that is, say some, upon the third part of the clergy and the third part of the laity; or, as others who take it to fall upon the civil state, upon the third part of the great men, and upon the third part of the common people, either upon the Roman empire itself, which was a third part of the then known world, or upon a third part of that empire. The most severe calamities have their bounds and limits set them by the great God. II. The second angel sounded, and the alarm was followed, as in the first, with terrible events: A great mountain burning with fire was cast into the sea; and the third part of the sea became blood, v. 8 . By this mountain some understand the leader or leaders of the heretics; others, as Mr. Mede, the city of Rome, which was five times sacked by the Goths and Vandals, within the compass of 137 years; first by Alaricus, in the year 410, with great slaughter and cruelty. In these calamities, a third part of the people (called here the sea or collection of waters) were destroyed: here was still a limitation to the third part, for in the midst of judgment God remembers mercy. This storm fell heavy upon the maritime and merchandizing cities and countries of the Roman empire. III. The third angel sounded, and the alarm had the like effects as before: There fell a great star from heaven, &c., v. 10 . Some take this to be a political star, some eminent governor, and they apply it to Augustulus, who was forced to resign the empire to Odoacer, in the year 480. Others take it to be an ecclesiastical star, some eminent person in the church, compared to a burning lamp, and they fix it upon Pelagius, who proved about this time a falling star, and greatly corrupted the churches of Christ. Observe, 1. Where this star fell: Upon a third part of the rivers, and upon the fountains of waters. 2. What effect it had upon them; it turned those springs and streams into wormwood, made them very bitter, that men were poisoned by them; either the laws, which are springs of civil liberty, and property, and safety, were poisoned by arbitrary power, or the doctrines of the gospel, the springs of spiritual life, refreshment, and vigour to the souls of men, were so corrupted and embittered by a mixture of dangerous errors that the souls of men found their ruin where they sought for their refreshment. IV. The fourth angel sounded, and the alarm was followed with further calamities. Observe, 1. The nature of this calamity; it was darkness; it fell therefore upon the great luminaries of the heaven, that give light to the world— the sun, and the moon, and the stars, either the guides and governors of the church, or of the state, who are placed in higher orbs than the people, and are to dispense light and benign influences to them. 2. The limitation: it was confined to a third part of these luminaries; there was some light both of the sun by day, and of the moon and stars by night, but it was only a third part of what they had before. Without determining what is matter of controversy in these points among learned men, we rather choose to make these plain and practical remarks:—(1.) Where the gospel comes to a people, and is but coldly received, and has not its proper effects upon their hearts and lives, it is usually followed with dreadful judgments. (2.) God gives warning to men of his judgments before he sends them; he sounds an alarm by the written word, by ministers, by men's own consciences, and by the signs of the times; so that, if a people be surprised, it is their own fault. (3.) The anger of God against a people makes dreadful work among them; it embitters all their comforts, and makes even life itself bitter and burdensome. (4.) God does not in this world stir up all his wrath, but sets bounds to the most terrible judgments. (5.) Corruptions of doctrine and worship in the church are themselves great judgments, and the usual causes and tokens of other judgments coming on a people. V. Before the other three trumpets are sounded here is solemn warning given to the world how terrible the calamities would be that should follow them, and how miserable those times and places would be on which they fell, v. 13 . 1. The messenger was an angel flying in the midst of heaven, as in haste, and coming on an awful errand. 2. The message was a denunciation of further and greater woe and misery than the world had hitherto endured. Here are three woes, to show how much the calamities coming should exceed those that had been already, or to hint how every one of the three succeeding trumpets should introduce its particular and distinct calamity. If less judgments do not take effect, but the church and the world grow worse under them, they must expect greater. God will be known by the judgments that he executes; and he expects, when he comes to punish the world, the inhabitants thereof should tremble before him.

And the second angel sounded, and as it were a great mountain burning with fire was cast into the sea - By the sea, particularly as it is here opposed to the earth, we may understand the west, or Europe; and chiefly the middle parts of it, the vast Roman empire. A mountain here seems to signify a great force and multitude of people. Jer 51:25 ; so this may point at the irruption of the barbarous nations into the Roman empire. The warlike Goths broke in upon it about the year 250: and from that time the irruption of one nation after another never ceased till the very form of the Roman empire, and all but the name, was lost. The fire may mean the fire of war, and the rage of those savage nations. And the third part of the sea became blood - This need not imply, that just a third part of the Romans was slain; but it is certain an inconceivable deal of blood was shed in all these invasions.

the second angel sounded. Compare Rev 8:2,7. This, according to the interpretation proposed above, refers to the second of the four great events which contributed to the downfall of the Roman empire. It will be proper in this case, as in the former, to inquire into the literal meaning of the symbol, and then whether there was any event that corresponded with it. And as it were a great mountain. A mountain is a natural symbol of strength, and hence becomes a symbol of a strong and powerful kingdom; for mountains are not only places of strength in themselves, but they anciently answered the purposes of fortified places, and were the seats of power. Hence they are properly symbols of strong nations. "The stone that smote the image became a great mountain, and filled the whole earth," Dan 2:35. Compare Zech 4:7, Jer 51:25. We naturally, then, apply this part of the symbol to some strong and mighty nation--not a nation, necessarily, that issued from a mountainous region, but a nation that in strength resembled a mountain. Burning with fire. A mountain in a blaze; that is, with all its woods on fire, or, more probably, a volcanic mountain. There would perhaps be no more sublime image than such a mountain, lifted suddenly from its base and thrown into the sea. One of the sublimest parts of the Paradise Lost is that where the poet represents the angels in the great battle in heaven as lifting the mountains--tearing them from their base-- and hurling them on the foe:-- "From their foundations heaving to and fro, They plucked the seated hills, with all their load, Rocks, waters, woods, and by the shaggy tops Uplifting, bore them in their hands," etc.--Book vi The poet, however, has not, as John has, represented a volcano borne along and east into the sea. The symbol employed here would denote some fiery, impetuous, destructive power. If used to denote a nation, it would be a nation that was, as it were, burning with the desire of conquest--impetuous and fierce and fiery in its assaults--and consuming all in its way. Cast into the sea. The image is very sublime; the scene, should such an event occur, would be awfully grand. As to the fulfilment of this, or the thing that was intended to be represented by it, there cannot be any material doubt. It is not to be understood literally, of course; and the natural application is to some nation, or army, that has a resemblance in some respects to such a blazing mountain, and the effect of whose march would be like casting such a mountain into the ocean. We naturally look for agitation and commotion, and particularly in reference to the sea, or to some maritime coasts. It is undoubtedly required in the application of this, that we should find its fulfilment in some country lying beyond the sea, or in some sea-coast or maritime country, or in reference to commerce. And the third part of the sea became blood. Resembled blood; became as red as blood. The figure here is, that as such a blazing mountain cast into the sea would, by its reflection on the waters, seem to tinge them with red, so there would be something corresponding with this in what was referred to by the symbol. It would be fulfilled if there was a fierce maritime warfare, and if in some desperate naval engagement the sea should be tinged with blood. (a) "burning" Jer 51:25 (b) "sea" Amos 7:4 (c) "blood" Rev 16:3, Ex 7:19-21 Verse 9. And

And the third part of the creatures that were in the sea - That is, of all sorts of men, of every station and degree. Died - By those merciless invaders. And the third part of the ships were destroyed - It is a frequent thing to resemble a state or republic to a ship, wherein many people are embarked together, and share in the same dangers. And how many states were utterly destroyed by those inhuman conquerors! Much likewise of this was literally fulfilled. How often was the sea tinged with blood! How many of those who dwelt mostly upon it were killed! And what number of ships destroyed!

the third part of the creatures which were in the sea, and had life, died. The effect was as if one third of all the fish in the sea were cut off. Of course, this is not to be taken literally. It is designed to describe an effect, pertaining to the maritime portion of the world, as if a third portion of all that was in the sea should perish. The natural interpretation would be to apply it to some invasion or calamity pertaining to the sea--to the islands, to the maritime regions, or to commerce. If the whole description pertains to the Roman empire, then this might be supposed to have particular reference to something that would have a bearing on the maritime parts of that empire. And the third part of the ships were destroyed. This also pertains to the same general calamity, affecting the commerce of the empire. The destruction of the "ships" was produced, in some way, by casting the mountain into the sea--either by their being consumed by the contact with the burning mass, or by being sunk by the agitation of the waters. The essential idea is, that the calamity would be of such a nature as would produce the destruction of vessels at sea--either naval armaments, or ships of commerce. In looking now for the application or fulfilment of this, it is necessary (a) to find some event or events which would have a particular bearing on the maritime or commercial part of the world; and (b) some such event or events that, on the supposition that they were the things referred to, would be properly symbolized by the image here employed. (1.) If the first trumpet had reference to the invasion of Alaric and the Goths, then in this we naturally look for the next succeeding act of invasion which shook the Roman empire, and contributed to its fall. (2.) The next invasion was that under Genseric at the head of the Vandals.--Gibbon, ii. 306, seq. This occurred A.D. 428-468. (3.) The symbol of a blazing or burning mountain, torn from its foundation, and precipitated into the ocean, would well represent this mighty nation moved from its ancient seat, and borne along towards the maritime parts of the empire, and its desolations there-- as will be shown in the following remarks. (4.) The acts of the Vandals, under Genseric, corresponded with the ideas expressed by the symbol. In illustrating this, I shall be indebted, as heretofore, principally to Mr. Gibbon. (a) His general account of the Vandals is this: they are supposed (i. 138) to have been originally the same people with the Goths, the Goths and Vandals constituting one great nation living on the shores of the Baltic. They passed in connexion with them over the Baltic; emigrated to Prussia and the Ukraine; invaded the Roman provinces; received tribute from the Romans; subdued the countries about the Bosphorus; plundered the cities of Bithynia; ravaged Greece and Illyrium, and were at last settled in Thrace under the emperor Theodosius.--Gibbon, i. 136-166; ii. 110-150. They were then driven forward by the Huns, and having passed through France and Spain into Africa, conquered the Carthaginian territory, established an independent government, and thence through a long period harassed the neighbouring islands, and the coasts of the Mediterranean by their predatory incursions, destroying the ships and the commerce of the Romans, and were distinguished in the downfall of the empire by their ravages on the islands and the sea. Thus they were moved along from place to place until the scene of their desolations became more distinctly the maritime parts of the empire; and the effect of their devastations might be well compared with a burning mountain moved from its ancient base and then thrown into the sea. (b) This will be apparent from the statements of Mr. Gibbon in regard to their ravages under their leader Genseric. "Seville and Carthagena became the reward, or rather the prey of the ferocious conquerors," [after they had defeated the Roman Castinus,] "and the vessels which they found in the harbour of Carthagena might easily transport them to the isles of Majorca and Minorca, where the Spanish fugitives, as in a secure recess, had vainly concealed their families and fortunes. The experience of navigation, and perhaps the prospect of Africa, encouraged the Vandals to accept the invitation which they received from Count Boniface," [to aid him in his apprehended difficulties with Rome, and to enter into an alliance with him by settling permanently in Africa.--Gibbon, ii. 305, 306;] "and the death of Genseric" [the Vandal king] "served only to forward and animate the bold enterprise. In the room of a prince, not conspicuous for any superior powers of the mind or body, they acquired his bastard brother, the terrible Genseric-- a name which, in the destruction of the Roman empire, has deserved an equal rank with the names of Alaric and Attila. "The ambition of Genseric was almost, without bounds, and without scruples; and the warrior would dexterously employ the dark engines of policy to solicit the allies who might be useful to his success, or to scatter among his enemies the seeds of enmity and contention. Almost in the moment of his departure, he was informed that Hermantic, king of the Suevi, had presumed to ravage the Spanish territories, which he was resolved to abandon. Impatient of the insult, Genseric pursued the hasty retreat of the Suevi as far as Merida; precipitated the king and his army into the river Anas, and calmly returned to the sea-shore to embark his troops. The vessels which transported the Vandals over the modern straits of Gibraltar, a channel only twelve miles in breadth, were furnished by the Spaniards, who anxiously wished for their departure; and by the African general who had implored their formidable assistance."-- Gibbon, ii. 306. Genseric, in the accomplishment of his purposes, soon took possession of the northern coast of Africa, defeating the armies of Boniface, and "Carthage, Cirta, and Hippo Regius were the only cities that appeared to rise above the general inundation."-- Gibbon, ii. 308. "On a sudden," says Mr. Gibbon, (ii. 309,) "the seven fruitful provinces, from Tangier to Tripoli, were overwhelmed by the invasion of the Vandals; whose destructive rage has perhaps been exaggerated by popular animosity, religious zeal, and extravagant declamation. War, in its fairest form, implies a perpetual violation of humanity and justice; and the hostilities of barbarians are inflamed by the fierce and lawless spirit which perpetually disturbs their peaceful and domestic society. The Vandals, where they found resistance, seldom gave quarter; and the deaths of their valiant countrymen were expiated by the ruin of the cities under whose walls they had fallen," etc. The result of the invasion was the conquest of all Northern Africa; the reduction of Hippo and Carthage, and the establishment of a government under Genseric in Africa that waged a long war with Rome.--Gibbon, ii. 310, 311. The symbol before us has particular reference to maritime or naval operations and desolations, and the following extracts from Mr. Gibbon will show with what propriety, if this symbol was designed to refer to him, these images were employed. "The discovery and conquest of the Black nations, [in Africa,] that might dwell beneath the torrid zone, could not tempt the rational ambition of Genseric; but he cast his eyes towards the sea; he resolved to create a naval power, and his bold resolution was executed with steady and active perseverance. The woods of Mount Atlas afforded an inexhaustible supply of timber; his new subjects were skilled in the arts of navigation and shipbuilding; he animated his daring Vandals to embrace a mode of warfare which would render any maritime country accessible to their arms; the Moors and Africans were allured by the hope of plunder; and after an interval of six centuries, the fleets that issued from the port of Carthage again claimed the empire of the Mediterranean. The success of the Vandals, the conquest of Sicily, the sack of Palermo, and the frequent descents on the coasts of Lucania, awakened and alarmed the mother of Valentinian, and the sister of Theodosius. Alliances were formed; and armaments, expensive and ineffectual, were prepared for the destruction of the common enemy, who reserved his courage to encounter those dangers which his policy could not prevent or elude. The revolutions of the palace, which left the Western empire without a defender, and without a lawful prince, dispelled the apprehension, and stimulated the avarice of Genseric. He immediately equipped a numerous fleet of Vandals and Moors, and cast anchor at the mouth of the Tiber," etc.--Gibbon, ii. 352. "On the third day after the tumult [A. D. 455, on the death of Maximus] Genseric boldly advanced from the port of Ostia to the gates of the defenceless city. Instead of a sally of the Roman youth, there issued from the gates an unarmed and venerable procession of the bishop at the head of the clergy. But Rome and its inhabitants were delivered to the licentiousness of the Vandals and the Moors, whose blind passions revenged the injuries of Carthage. The pillage lasted fourteen days and nights; and all that yet remained of public or private wealth, of sacred or profane treasure, was diligently transported to the vessels of Genseric," etc. See the account of this pillage in Gibbon, ii. 355-366. The emperor Majorian (A.D. 457) endeavoured to "restore the happiness of the Romans," but he encountered the arms of Genseric, from his character and situation, their most formidable enemy. A fleet of Vandals and Moors landed at the mouth of the Liris, or Garigliano; but the imperial troops surprised and attacked the disorderly barbarians, who were encumbered with the spoils of Campania; they were chased with slaughter to their ships; and their leader, the king's brother-in-law, was found in the number of the slain. Such vigilance might announce the character of the new reign; but the strictest vigilance, and the most numerous forces, were insufficient to protect the long-extended coast of Italy from the depredations of a naval war."--Gibbon, ii. 363. "The emperor had foreseen that it was impossible, without a maritime power, to achieve the conquest of Africa. In the first Punic war, the republic had exerted such incredible diligence, that within sixty days after the first stroke of the axe had been given in the forest, a fleet of one hundred and sixty galleys proudly rode at anchor in the sea. Under circumstances much less favourable, Majorian equalled the spirit and perseverance of the ancient Romans. The woods of the Apennines were felled; the arsenals and manufactures of Ravenna and Misenium were restored; Italy and Gaul vied with each other in liberal contributions to the public service; and the imperial navy of three hundred large galleys, with an adequate proportion of transports and smaller vessels, was collected in the secure and capacious harbour of Carthagena in Spain."--Gibbon, ii. 363, 364. The fate of this large navy is thus described by Mr. Gibbon: "Genseric was saved from impending and inevitable ruin by the treachery of some powerful subjects, envious or apprehensive of their master's success. Guided by their secret intelligence, he surprised the unguarded fleet in the bay of Carthagena; many of the ships were sunk, or taken, or burnt; and the preparations of three years were destroyed in a single day," ii. 364. The farther naval operations and maritime depredations of the Vandals, under Genseric, are thus stated by Mr. Gibbon: "The kingdom of Italy, a name to which the Western empire was gradually reduced, was afflicted, under the reign of Ricimer, by the incessant depredations of Vandal pirates. In the spring of each year, they equipped a formidable navy in the port of Carthage; and Genseric himself, though in very advanced age, still commanded in person the most important expeditions. His designs were concealed with impenetrable secrecy, till the moment that he hoisted sail. When he was asked by the pilot what course he should steer--'Leave the determination to the winds,' replied the barbarian, with pious arrogance; ' they will transport us to the guilty coast whose inhabitants have provoked the Divine justice: but Genseric himself deigned to issue more precise orders; he judged the most wealthy to be the most criminal. The Vandals repeatedly visited the coasts of Spain, Liguria, Tuscany, Campanic, Lucania, Bruttium, Apulia, Calabria, Venetia, Dalmatia, Epirus, Greece, and Sicily; they were tempted to subdue the island of Sardinia, so advantageously placed in the centre of the Mediterranean; and their arms spread desolation, or terror, from the columns of Hercules to the mouth of the Nile. As they were more ambitious of spoil than of glory, they seldom attacked any fortified cities or engaged any regular troops in the open field. But the celerity of their motions enabled them, almost at the same time, to threaten and to attack the most distant objects which attracted their desires; and as they always embarked a sufficient number of horses, they had no sooner landed than they swept the dismayed country with a body of light cavalry," ii. 366. How far this description agrees with the symbol in the passage before us--"a great mountain burning with fire cast into the sea;" "the third part of the ships were destroyed"--must be left to the reader to judge. It may be asked, however, with at least some show of reason, whether, if it be admitted that it was the design of the author of the book of Revelation to refer to the movements of the Vandals under Genseric as one of the important and immediate causes of the ruin of the Roman empire, he could have found a more expressive symbol than this? Indeed, is there now any symbol that would be more striking and appropriate? If one should now undertake to represent this as one of the causes of the downfall of, the empire by a symbol, could he easily find one that would be more expressive? It is a matter that is in itself perhaps of no importance, but it may serve to show that the interpretation respecting the second trumpet was not forced, to remark that I had gone through with the interpretation of the language of the symbol, before I looked into Mr. Gibbon with any reference to the application.Verse 10. And

the third angel sounded. Indicating, according to the interpretation above proposed, some important event in the downfall of the Roman empire. And there fell a great star from heaven. A star is a natural emblem of a prince, of a ruler, of one distinguished by rank or by talent. Compare Rev 2:28. See Nu 24:17. Isa 14:12. A star failing from heaven would be a natural symbol of one who had left a higher station, or of one whose character and course would be like a meteor shooting through the sky. Burning as it were a lamp. Or, as a torch. The language here is such as would describe a meteor blazing through the air; and the reference in the symbol is to something that would have a resemblance to such a meteor. It is not a lurid meteor (livid, pale, ghastly) that is here referred to, but a bright, intense, blazing star--emblem of fiery energy; of rapidity of movement and execution; of splendour of appearance--such as a chieftain of high endowments, of impetuousness of character, and of richness of apparel, would be. In all languages, probably, a star has been an emblem of a prince whose virtuese shone brightly, and who has exerted a beneficial influence on mankind. In all languages also, probably, a meteor flaming through the sky has been an emblem of some splendid genius causing or threatening desolation and ruin; of a warrior who has moved along in a brilliant but destructive path over the world; and who has been regarded as sent to execute the vengeance of heaven. This usage occurs because a meteor is so bright; because it appears so suddenly; because its course cannot be determined by any known laws; and because, in the apprehensions of men, it is either sent as a proof of the Divine displeasure, or is adapted to excite consternation and alarm. In the application of this part of the symbol, therefore, we naturally look for some prince or warrior of brilliant talents, who appears suddenly and sweeps rapidly over the world; who excites consternation and alarm; whose path is marked by desolation, and who is regarded as sent from heaven to execute the Divine purposes --who comes not to bless the world by brilliant talents well directed, but to execute vengeance on mankind. And it fell upon the third part of the rivers, and upon the fountains of waters. On the phrase, "the third part," Rev 8:7. This reference to the "rivers" and to the "fountains of waters" seems, in part, to be for the purpose of saying that everything would be affected by this series of judgments. In the previous visions, the trees and the green grass, the sea and the ships, had been referred to. The rivers and the fountains of waters are not less important than the trees, the grass, and the commerce of the world, and hence this judgment is mentioned as particularly bearing on them. At the same time, as in the case of the other trumpets, there is a propriety in supposing that there would be something in the event referred to by the symbol which would make it more appropriate to use this symbol in this case than in the others. It is natural, therefore, to look for some desolations that would particularly affect the portions of the world where rivers abound, or where they take their rise; or, if it be understood as having a more metaphorical sense, to regard it as affecting those things which resemble rivers and fountains--the sources of influence; the morals, the religion of a people, the institutions of a country, which are often so appropriately compared with running fountains or flowing streams. (a) "fell" Rev 4:1, Isa 14:12 Verse 11. And

And the third angel sounded, and there fell from heaven a great star, and it fell on the third part of the rivers - It seems Afric is meant by the rivers; (with which this burning part of the world abounds in an especial manner;) Egypt in particular, which the Nile overflows every year far and wide. ln the whole African history, between the irruption of the barbarous nations into the Roman empire, and the ruin of the western empire, after the death of Valentinian the Third, there is nothing more momentous than the Arian calamity, which sprung up in the year 315. It is not possible to tell how many persons, particularly at Alexandria, in all Egypt, and in the neighbouring countries, were destroyed by the rage of the Arians. Yet Afric fared better than other parts of the empire, with regard to the barbarous nations, till the governor of it, whose wife was a zealous Arian, and aunt to Genseric, king of the Vandals, was, under that pretence, unjustly accused before the empress Placidia. He was then prevailed upon to invite the Vandals into Afric; who under Genseric, in the year 428, founded there a kingdom of their own, which continued till the year 533. Under these Vandal kings the true believers endured all manner of afflictions and persecutions. And thus Arianism was the inlet to all heresies and calamities, and at length to Mahometanism itself. This great star was not an angel, (angels are not the agents in the two preceding or the following trumpet,) but a teacher of the church, one of the stars in the right hand of Christ. Such was Arius. He fell from on high, as it were from heaven, into the most pernicious doctrines, and made in his fall a gazing on all sides, being great, and now burning as a torch. He fell on the third part of the rivers - His doctrine spread far and wide, particularly in Egypt. And on the fountains of water - wherewith Afric abounds.

And the name of the star is called Wormwood - The unparalleled bitterness both of Arius himself and of his followers show the exact propriety of his title. And the third part of the waters became wormwood - A very considerable part of Afric was infected with the same bitter doctrine and Spirit. And many men (though not a third part of them) died - By the cruelty of the Arians.

the name of the star is called Wormwood. Is appropriately so called. The writer does not say that it would be actually so called, but that this name would be properly descriptive of its qualities. Such expressions are common in allegorical writings. The Greek word--αψινθος--denotes wormwood, a well-known bitter herb. That word becomes the proper emblem of bitterness. Compare Jer 9:15, 23:15, Lam 3:15,19. And the third part of the waters became wormwood. Became bitter as wormwood. This is doubtless an emblem of the calamity which would occur if the waters should be thus made bitter. Of course, they would become useless for the purposes to which they are mostly applied, and the destruction of life would be inevitable. To conceive of the extent of such a calamity, we have only to imagine a large portion of the wells, and rivers, and fountains of a country made bitter as wormwood. Compare Ex 15:23-24. And many men died of the waters, because they were made bitter. This effect would naturally follow if any considerable portion of the fountains and streams of a land were changed by an infusion of wormwood. It is not necessary to suppose that this is intended to be literally true; for as, by the use of a symbol, it is not to be supposed that literally a part of the waters would be turned into wormwood by the baleful influence of a failing meteor, so it is not necessary to suppose that there is intended to be represented a literal destruction of human life by the use of waters. Great destruction and devastation are undoubtedly intended to be denoted by this--destruction that would be well represented in a land by the natural effects if a considerable part of the waters were, by their bitterness, made unfit to drink. In the interpretation and application, therefore, of this passage, we may adopt the following principles and rules: (a) It may be assumed, in this exposition, that the previous symbols, under the first and second trumpet-blasts, referred respectively to Alaric and his Goths, and to Genseric and his Vandals. (b) That the next great and decisive event in the downfall of the empire is the one that is here referred to, (c) That there would be some chieftain or warrior who might be compared with a blazing meteor; whose course would be singularly brilliant; who would appear suddenly like a blazing star, and then disappear like a star whose light was quenched in the waters. (d) That the desolating course of that meteor would be mainly on those portions of the world that abounded with springs of water and running streams. (e) That an effect would be produced as if those streams and fountains were made bitter; that is, that many persons would perish, and that wide desolations would be caused in the vicinity of those rivers and streams, as if a bitter and baleful star should fall into the waters, and death should spread over the lands adjacent to them, and watered by them. Whether any events occurred of which this would be the proper emblem is now the question. Among expositors there has been a considerable degree of unanimity in supposing that Attila, the king of the Huns, is referred to, and if the preceding expositions are correct, there can be no doubt on the subject. After Alaric and Genseric, Attila occupies the next place as an important agent in the overthrow of the Roman empire, and the only question is, whether he would be properly symbolized by this baleful star. The following remarks may be made to show the propriety of the symbol: (1.) As already remarked, the place which he occupies in history, as immediately succeeding Alaric and Genseric in the downfall of the empire. This will appear in any chronological table, or in the table of contents of any of the histories of those times. A full detail of the career of Attila may be found in Gibbon, vol. ii. pp. 314-351. His career extended from A.D. 433, to A.D. 453. It is true that he was contemporary with Genseric, king of the Vandals, and that a portion of the operations of Genseric in Africa were subsequent to the death of Attila, (A.D. 455-A.D. 467;) but it is also true that Genseric preceded Attila in the career of conquest, and was properly the first in order, being pressed forward in the Roman warfare by the Huns, A.D. 428. See Gibbon, ii. 306, seq. (2.) In the manner of his appearance, he strongly resembled a brilliant meteor flashing in the sky. He came from the east, gathering his Huns, and poured them down, as we shall see, with the rapidity of a flashing meteor, suddenly on the empire. He regarded himself also as devoted to Mars, the god of war, and was accustomed to array himself in a peculiarly brilliant manner, so that his appearance, in the language of his flatterers, was such as to dazzle the eyes of beholders. One of his followers perceived that a heifer that was grazing had wounded her foot, and curiously followed the track of blood, till he found in the long grass the point of an ancient sword, which he dug out of the ground and presented to Attila. "That magnanimous, or rather that artful prince," says Mr. Gibbon, "accepted with pious gratitude this celestial favour; and, as the rightful possessor of the sword of Mars, asserted his divine and indefeasible claim to the dominion of the earth. The favourite of Mars soon acquired a sacred character, which rendered his conquests more easy and more permanent; and the Barbarian princes confessed, in the language of devotion or flattery, that they could not presume to gaze, with a steady eye, on the divine majesty of the king of the Huns," ii. 317. How appropriate would it be to represent such a prince by the symbol of a bright and blazing star--or a meteor flashing through the sky! (3.) There may be propriety, as applicable to him, in the expression-- "a great star from heaven falling upon the earth." Attila was regarded as an instrument in the Divine hand in inflicting punishment. The common appellation by which he has been known is "the scourge of God." This title is supposed by the modern Hungarians to have been first given to Attila by a hermit of Gaul, but it was "inserted by Attila among the titles of his royal dignity."--Gibbon, ii, 321, footnote. To no one could the title be more applicable than to him. (4.) His career as a conqueror, and the effect of his conquests on the downfall of the empire, were such as to be properly symbolized in this manner. (a) The general effect of the invasion was worthy of an important place in describing the series of events which resulted in the overthrow of the empire. This is thus stated by Mr. Gibbon: "The western world was oppressed by the Goths and Vandals, who fled before the Huns; but the achievements of the Huns themselves were not adequate to their power and prosperity. Their victorious hordes had spread from the Volga to the Danube, but the public force was exhausted by the discord of independent chieftains; their valour was idly consumed in obscure and predatory excursions; and they often degraded their national dignity by condescending, for the hopes of spoil, to enlist under the banners of their fugitive enemies. In the reign of Attila, the Huns again became the terror of the world; and I shall now describe the character and actions of that formidable barbarian who alternately invaded and insulted the East and the West, and urged the rapid downfall of the Roman empire," vol. ii. pp. 314, 316. (b) The parts of the earth affected by the invasion of the Huns were those which would be properly symbolized by the things specified at the blowing of this trumpet. It is said particularly, that the effect would be on "the rivers," and on "the fountains of waters." If this has a literal application, or if, as was supposed in the case of the second trumpet, the language used was such as had reference to the portion of the empire that would be particularly affected by the hostile invasion, then we may suppose that this refers to those portions of the empire that abounded in rivers and streams, and more particularly those in which the rivers and streams had their origin--for the effect was permanently in the " fountains of waters." As a matter of fact, the principal operations of Attila were in the regions of the Alps and on the portions of the empire whence the rivers flow down into Italy. The invasion of Attila is described by Mr. Gibbon in this general language: "The whole breadth of Europe, as it extends above five hundred miles from the Euxine to the Adriatic, was at once invaded, and occupied, and desolated, by the myriads of barbarians whom Attila led into the field," ii. 319, 320. After describing the progress and the effects of this invasion, (pp. 320-331,) he proceeds more particularly to detail the events in the invasion of Gaul and Italy, pp. 331-347. After the terrible battle of Chalons, in which, according to one account, one hundred and sixty-two thousand, and, according to other accounts, three hundred thousand persons were slain, and in which Attila was defeated, he recovered his vigour, collected his forces, and made a descent on Italy. Under pretence of claiming Honoria, the daughter of the empress of Rome, as his bride, "the indignant lover took the field, passed the Alps, invaded Italy, and besieged Aquileia with an innumerable host of barbarians." After endeavouring in vain for three months to subdue the city, and when about to abandon the siege, Attila took advantage of the appearance of a stork as a favourable omen to arouse his men to a renewed effort, "a large breach was made in the part of the wall where the stork had taken her flight; the Huns marched to the assault with irresistible fury; and the succeeding generation could scarcely discover the ruins of Aquileia. After this dreadful chastisement, Attila pursued his march; and as he passed, the cities of Altinum, Concordia, and Padua, were reduced into heaps of stones and ashes. The inland towns, Vicenza, Verona, and Bergarno, were exposed to the rapacious cruelty of the Huns. Milan and Pavia submitted, without resistance, to the loss of their wealth, and applauded the unusual clemency which preserved from the flames the public as well as the private buildings, and spared the lives of the captive multitude. The popular traditions of Comum, Turin, or Modena, may be justly suspected, yet they concur with more authentic evidence to prove that Attila spread his ravages over the rich plains of modern Lombardy, which are divided by the Po, and bounded by the Alps and the Apennines," ii. pp. 343, 344. "It is a saying worthy of the ferocious pride of Attila, that the grass never grew on the spot where his horse had trod."--Ibid, p. 345. Any one has only to look on a map, and to trace the progress of those desolations and the chief seats of his military operations, to see with what propriety this symbol would be employed. In these regions the great rivers that water Europe have their origin, and are swelled by numberless streams that flow down from the Alps; and about the fountains whence these streams flow were the principal military operations of the invader. (c) With equal propriety is he represented in the symbol, as affecting " a third " part of these rivers and fountains. At least a third part of the empire was invaded and desolated by him in his savage march, and the effects of his invasion were as disastrous on the empire as if a bitter star had fallen into a third part of those rivers and fountains and had converted them into wormwood. (d) There is one other point which shows the propriety of this symbol. It is, that the meteor, or star, seemed to be absorbed in the waters. It fell into the waters; embittered them; and was seen no more. Such would be the case with a meteor that should thus fall upon the earth--flashing along the sky, and then disappearing for ever. Now, it was remarkable in regard to the Huns, that their power was concentrated under Attila; that he alone appeared as the leader of this formidable host; and that when he died all the concentrated power of the Huns was dissipated, or became absorbed and lost. "The revolution," says Mr. Gibbon, (ii. 348,) "which subverted the empire of the Huns, established the fame of Attila, whose genius alone had sustained the huge and disjointed fabric. After his death, the boldest chieftains aspired to the rank of kings; the most powerful kings refused to acknowledge a superior; and the numerous sons, whom so many various mothers bore to the deceased monarch, divided and disputed, like a private inheritance, the sovereign command of the nations of Germany and Scythia." Soon, however, in the conflicts which succeeded, the empire passed away, and the empire of the Huns ceased. The people that composed it were absorbed in the surrounding nations, and Mr. Gibbon makes this remark, after giving a summary account of these conflicts, which continued but for a few years: "The Igours of the north, issuing from the cold Siberian regions, which produced the most valuable furs, spread themselves over the desert, as far as the Boristhenes and the Caspian gates, and finally extinguished the empire of the Huns." These facts may, perhaps, show with what propriety Attila would be compared with a bright but beautiful meteor; and that, if the design was to symbolize him as acting an important part in the downfall of the Roman empire, there is a fitness in the symbol here employed. (b) "wormwood" De 24:18, Amos 5:7, Heb 12:15 (c) "waters" Ex 15:23, Jer 9:15, 23:15 Verse 12. And the fo

urth angel sounded. Rev 8:6, Rev 8:7. And the third part of the sea was smitten. On the phrase the third part, Rev 8:7. The darkening of the heavenly luminaries is every, where an emblem of any great calamity-- as if the light of the sun, moon, and stars should be put out. Rev 6:12, Rev 6:13. There is no certain evidence that this refers to rulers, as many have supposed, or to anything that would particularly affect the government as such. The meaning is, that calamity would come as if darkness should spread over the sun, the moon, and the stars, leaving the world in gloom. What is the precise nature of the calamity is not indicated by the language, but anything that would diffuse gloom and disaster would accord with the fair meaning of the symbol. There are a few circumstances, however, in regard to this symbol, which may aid us in determining its application. (1.) It would follow in the series of calamities that were to occur. (2.) It would be separated in some important sense--of time, place, or degree--from those which were to follow, for there is a pause here, ( Rev 8:13 ) and the angel proclaims that more terrible woes are to succeed this series. (3.) Like the preceding, it is to affect "one third part" of the world; that is, it is to be a calamity as if a third part of the sun, the moon, and the stars were suddenly smitten and darkened. (4.) It is not to be total. It is not as if the sun, the moon, and the stars were entirely blotted out, for there was still some remaining light: that is, there was a continuance of the existing state of things--as if these heavenly bodies should still give an obscure and partial light. (5.) Perhaps it is also intended by the symbol, that there would be light again. The world was not to go into a state of total and permanent night. For a third part of the day, and a third part of the night, this darkness reigned: but does not this imply that there would be light again--that the obscurity would pass away, and that the sun, and moon, and stars would shine again? That is, is it not implied that there would still be prosperity ill some future period? Now, in regard to the application of this, if the explanation of the preceding symbols is correct, there can be little difficulty. If the previous symbols referred to Alaric, to Genseric, and to Attila, there can be no difficulty in applying this to Odoacer, and to his reign--a reign in which, in fact, the Roman dominion in the West came to an end, and passed into the hands of this barbarian. Any one has only to open the "Decline and Fall of the Roman Empire" to see that this is the next event that should be symbolized if the design were to represent the downfall of the empire. These four great barbarian leaders succeed each other in order, and under the last, Odoacer, the barbarian dominion was established; for it is here that the existence of the Roman power, as such, ended. The Western empire terminated, according to Mr. Gibbon, (ii. p. 380,) about A.D. 476 or 479. Odoacer was "King of Italy" from A.D. 476 to A.D. 490.--Gibbon, ii. 379. The Eastern empire still lingered; but calamity, like blotting out the sun, and moon, and stars, had come over that part of the world which for so many centuries had constituted the seat of power and dominion.--Odoacer was the son of Edecon, a barbarian, who was in the service of Attila, and who left two sons--Onulf and Odoacer. The former directed his steps to Constantinople; Odoacer "led a wandering life among the barbarians of Noricum, with a mind and fortune suited to the most desperate adventures; and when he had fixed his choice, he privily visited the cell of Severinus, the popular saint of the country, to solicit his approbation and blessing. The lowness of the door would not admit the lofty stature of Odoacer; he was obliged to stoop: but in that humble attitude the saint could discern the symptoms of his future greatness; and addressing him in a prophetic tone, 'Pursue,' said he, 'your design; proceed to Italy; you will cast away the coarse garment of skins; and your wealth will be adequate to the liberality of your mind.' The barbarian, whose daring spirit accepted and ratified this prediction, was admitted into the service of the Western empire, and soon obtained an honourable rank in the guards. His manners were gradually polished, his military skill improved, and the confederates of Italy would not have elected him for their general unless the exploits of Odoacer had established a high opinion of his courage and capacity. Their military acclamations saluted him with the title of king; but he abstained during his whole reign from the use of the purple and the diadem, lest he should offend those princes, whose subjects, by their accidental mixture, had formed the victorious army which time and policy might insensibly unite into a great nation."--Gibbon, ii. 379, 380. In another place Mr. Gibbon says, "Odoacer was the first barbarian who reigned in Italy, over a people who had once asserted their superiority above the rest of mankind. The disgrace of the Romans still excites our respectful compassion, and we fondly sympathize with the imaginary grief and indignation of their degenerate posterity. But the calamities of Italy had gradually subdued the proud consciousness of freedom and glory. In the age of Roman virtue, the provinces were subject to the arms, and the citizens to the laws, of the republic; till those laws were subverted by civil discord, and both the city and the provinces became the property of a servile tyrant. The forms of the constitution which alleviated or disguised their abject slavery were abolished by time and violence; the Italians alternately lamented the presence or the absence of the sovereigns whom they detested or despised; and the succession of five centuries inflicted the various evils of military license, capricious despotism, and elaborate oppression. During the same period the barbarians had emerged from obscurity and contempt, and the warriors of Germany and Scythia were introduced into the provinces, as the servants, the allies, and at length the masters of the Romans, whom they insulted or protected," ii. 381, 382. Of the effect of the reign of Odoacer, Mr. Gibbon remarks: "In the division and decline of the empire, the tributary harvests of Egypt and Africa were withdrawn; the numbers of the inhabitants continually decreased with the means of subsistence; and the country was exhausted by the irretrievable losses of war, famine, and pestilence. St. Ambrose has deplored the ruin of a populous district, which had been once adorned with the flourishing cities of Bologna, Modena, Regium, and Placentia. Pope Gelasius was a subject of Odoacer; and he affirms, with strong exaggeration, that in AEmilia, Tuscany, and the adjacent provinces, the human species was almost extirpated. One third of those ample estates, to which the ruin of Italy is originally imputed, was extorted for the use of the conquerors," ii. 383. Yet the light was not wholly extinct. It was "a third part" of it which was put out; and it was still true that some of the forms of the ancient constitution were observed--that the light still lingered before it wholly passed away. In the language of another, "The authority of the Roman name had not yet entirely ceased. The senate of Rome continued to assemble as usual. The consuls were appointed yearly, one by the Eastern emperor, one by Italy and Rome. Odoacer himself governed Italy under a title--that of Patrician --conferred on him by the Eastern emperor. There was still a certain, though often faint, recognition of the supreme imperial authority. The moon and the stars might seem still to shine in the West, with a dim, reflected light. In the course of the events, however, which rapidly followed in the next half century, these too were extinguished. After above a century and a half of calamities unexampled almost, as Dr. Robertson most truly represents it,* in the history of nations, the statement of Jerome--a statement couched under the very Apocalyptic figure of the text, but prematurely pronounced on the first taking of Rome by Alaric--might be considered at length accomplished: 'Clarissimum terrarum lumen extinctum est'--'The world's glorious sun has been extinguished;' or, as the modern poet Byron (Childe Harold, canto iv.) has expressed it, still under the Apocalyptic imagery- "She saw her glories star by star expire," till not even one star remained to glimmer in the vacant and dark night."--Elliott, i. 360, 361. I have thus endeavoured to explain the meaning of the four first trumpets under the opening of the seventh seal, embracing the successive severe blows struck on the empire by Alaric, Genseric, Attila, and Odoacer, until the empire fell to rise no more. I cannot better conclude this part of the exposition than in the words of Mr. Gibbon, in his reflections on the fall of the empire. "I have now accomplished," says he, "the laborious narrative of the decline and fall of the Roman empire, from the fortunate age of Trajan and the Antonines to its latest extinction in the West, about five centuries after the Christian era. At that unhappy period, the Saxons fiercely struggled with the natives for the possession of Britain; Gaul and Spain were divided between the powerful monarchies of the Franks and the Visigoths, and the dependent kingdoms of the Suevi and the Burgundians; Africa was exposed to the cruel persecution of the Vandals, and the savage insults of the Moors; Rome and Italy, as far as the banks of the Danube, were afflicted by an army of barbarian mercenaries, whose lawless tyranny was succeeded by the reign of Theodosia, the Ostrogoth. All the subjects of the empire, who, by the use of the Latin language, more particularly deserved the name and privileges of Romans, were oppressed by the disgrace and calamities of foreign conquest; and the victorious nations of Germany established a new system of manners and government in the western countries of Europe. The majesty of Rome was faintly represented by the princes of Constantinople, the feeble and imaginary successors of Augustus."--Vol. ii. pp. 440, 441. "The splendid days of Augustus and Trajan were eclipsed by a cloud of ignorance, [a fine illustration of the language 'the third part of the sun was smitten, and the day shone not, and the night likewise;'] and the barbarians subverted the laws and palaces of Rome."--Ibid, p. 446. Thus ended the history of the Gothic period, and, as I suppose, the immediate symbolic representation of the affairs of the Western empire. An interval now occurs ( Rev 8:13 ) in the sounding of the trumpets, and the scene is transferred, in the three remaining trumpets, to the Eastern parts of the empire. After that, the attention is directed again to the West, to contemplate Rome under a new form, and exerting a new influence in the nations, under the Papacy, but destined ultimately to pass away in its spiritual power, as its temporal power had yielded to the elements of internal decay in its bosom, and to the invasions of the Northern hordes. * "If we were called on to fix a period most calamitous, it would be that from the death of Theodosius to the establishment of the Lombards." -- Charles V., pp. 11, 12. (a) "sun" Isa 13:10, Jer 4:21, Eze 32:7,8, Joel 2:10, Amos 8:9 Verse 13. And I behe

And the fourth angel sounded, and the third part of the sun was smitten - Or struck. After the emperor Theodosius died, and the empire was divided into the eastern and the western, the barbarous nations poured in as a flood. The Goths and Hunns in the years 403 and 405 fell upon Italy itself with an impetuous force; and the former, in the year 410, took Rome by storm, and plundered it without mercy. In the year 452 Attila treated the upper part of Italy in the same manner. In 455 Valentinian the Third was killed, and Genseric invited from Afric. He plundered Rome for fourteen days together. Recimer plundered it again in 472. During all these commotions, one province was lost after another, till, in the year 476, Odoacer seized upon Rome, deposed the emperor, and put an end to the empire itself. An eclipse of the sun or moon is termed by the Hebrews, a stroke. Now, as such a darkness does not come all at once, but by degrees, so likewise did the darkness which fell on the Roman, particularly the western empire; for the stroke began long before Odoacer, namely, when the barbarians first conquered the capital city. And the third part of the moon, and the third part of the stars; so that the third part of them was darkened - As under the first, second, and third trumpets by "the earth," "sea, " and "rivers," are to be understood the men that inhabit them; so here by the sun, moon, and stars, may be understood the men that live under them, who are so overwhelmed with calamities in those days of darkness, that they can no longer enjoy the light of heaven: unless it may be thought to imply their being killed; so that the sun, moon, and stars shine to them no longer. The very same expression we find in Ezekiel 32:8 . "I will darken all the lights of heaven over them." As then the fourth seal transcends the three preceding seals, so does the fourth trumpet the three preceding trumpets. For in this not the third part of the earth, or sea, or rivers only, but of all who are under the sun, are affected. And the day shone not for a third part thereof - That is, shone with only a third part of its usual brightness. And the night likewise - The moon and stars having lost a third part of their lustre, either with regard to those who, being dead, saw them no longer, or those who saw them with no satisfaction. The three last trumpets have the time of their continuance fixed, and between each of them there is a remarkable pause: whereas between the four former there is no pause, nor is the time of their continuance mentioned; but all together these four seem to take up a little less than four hundred years.

ld. My attention was attracted by a new vision. And heard an angel flying, etc. I heard the voice of an angel making this proclamation. Woe, woe, woe. That is, there will be great woe. The repetition of the word is intensive, and the idea is, that the sounding of the three remaining trumpets would indicate great and fearful calamities. These three are grouped together, as if they pertained to a similar series of events, as the first four had been. The two classes are separated from each other by this interval and by this proclamation--implying that the first series had been completed, and that there would be some interval, either of space or time, before the other series would come upon the world. All that is fairly implied here would be fulfilled by the supposition that the former referred to the West, and that the latter pertained to the East, and were to follow when those should have been completed. (a) "flying" Rev 14:6

And I saw, and heard an angel flying - Between the trumpets of the fourth and fifth angel. In the midst of heaven - The three woes, as we shall see, stretch themselves over the earth from Persia eastward, beyond Italy, westward; all which space had been filled with the gospel by the apostles. In the midst of this lies Patmos, where St. John saw this angel, saying, Woe, woe, woe - Toward the end of the fifth century, there were many presages of approaching calamities. To the inhabitants of the earth - All without exception. Heavy trials were coming on them all. Even while the angel was proclaiming this, the preludes of these three woes were already in motion. These fell more especially on the Jews. As to the prelude of the first woe in Persia, Isdegard II., in 454, was resolved to abolish the sabbath, till he was, by Rabbi Mar, diverted from his purpose. Likewise in the year 474, Phiruz afflicted the Jews much, and compelled many of them to apostatize. A prelude of the second woe was the rise of the Saracens, who, in 510, fell into Arabia and Palestine. To prepare for the third woe, Innocent I., and his successors, not only endeavoured to enlarge their episcopal jurisdiction beyond all bounds, but also their worldly power, by taking every opportunity of encroaching upon the empire, which as yet stood in the way of their unlimited monarchy.