BEMA Episode Link: 182: Revelation — The Throne Room
Episode Length: 22:50
Published Date: Thu, 20 Aug 2020 01:00:00 -0700
Session 4
About this episode:

Marty Solomon and Brent Billings head into the rest of Revelation and the apocalyptic vision that John is sharing with his persecuted audience, standing in the throne room and paying careful attention to what is seen.

Revelation — The Throne Room Presentation (PDF)

Discussion Video for BEMA 182

Transcript for BEMA 182

Notes

*Note: The following notes are handwritten by me, Adam, and I reserve the right to be wrong.

BEMA Episode 182: Revelation — The Throne Room

Title & Source Summary

Episode: 182 - Revelation — The Throne Room Hosts: Marty Solomon and Brent Billings Focus: Revelation 4-5

This episode continues the study of the Book of Revelation by examining the apocalyptic vision of the throne room in Revelation 4-5. Marty and Brent demonstrate how understanding the historical and cultural context of first-century Roman imperial ceremonies—particularly the parousia (arrival) of Emperor Domitian in Ephesus—reveals John’s brilliant subversion of Roman power. The vision becomes a powerful message of hope to persecuted Christians, reminding them that despite Caesar’s claims to divine authority, there is only one true King seated on the heavenly throne. The episode emphasizes reading Scripture with a text-to-context hermeneutic, connecting Old Testament imagery with first-century Roman culture to unlock the deeper meaning of this apocalyptic literature.

Key Takeaways

  • Revelation 4-5 is a deliberate subversion of Roman imperial ceremonies, particularly Caesar’s arrival (parousia) in his capital cities
  • The 24 elders in white robes with golden crowns mirror the 24 high priests of Rome’s state-sanctioned religions who led imperial worship ceremonies
  • The song “Holy, holy, holy, Lord God Almighty, who was and is and is to come” was originally a song sung to honor Caesar, now reclaimed to worship the true God
  • John’s vision draws heavily from Exodus imagery (thunder, lightning, the slain lamb) to evoke themes of deliverance for a persecuted community
  • Understanding apocalyptic literature requires recognizing it as encouragement for the oppressed, not primarily prediction about the distant future
  • The scroll that only the worthy can open connects to Jewish synagogue practice and the reading of Torah
  • The entire vision communicates hope: “I’ve been to the throne room of God and Domitian isn’t on it”

Main Concepts & Theories

Text-to-Context Hermeneutic

The hosts emphasize their consistent interpretive approach throughout the BEMA series: understanding the biblical text requires understanding its cultural and historical context. This method refuses to read modern concerns back into ancient literature and instead asks what the original audience would have understood and experienced.

The 24 Elders and Roman Imperial Religion

Rome had 24 legal, state-sanctioned religions (Christianity not being one of them, and Judaism having special exception status but not being among the 24). Each religion had a high priest who served as an imperial representative—essentially ambassadors for Caesar. These priests appeared at public events wearing white robes and golden crowns, often with large golden sashes, leading the people in choruses and songs honoring the emperor.

When John describes 24 elders in white robes with golden crowns surrounding God’s throne, his first-century audience would immediately recognize the parallel—and the subversion. The true worship belongs not to Caesar but to the one on the heavenly throne.

Domitian’s Parousia in Ephesus

Historical context suggests Revelation was written during or in reference to Emperor Domitian’s reign. Domitian selected Ephesus as his neocorus (capital city) and planned his grand arrival to coincide with the opening of the world’s largest gymnasium. This arrival (called an “advent” or “parousia”) would have been accompanied by:

  • Soldiers in shining armor with medallions reading “Emperor Domitian Flavius, Lord and God”
  • New statues and emblems installed throughout the city
  • The 24 high priests assembling in ceremonial dress
  • Imperial proclamations read from scrolls
  • The people led in songs declaring Caesar’s greatness and divinity
Imperial Symbolism: Animals and Images

Each emperor chose different animals to represent themselves:

  • Domitian favored the ox and lion (representing strength and ferocity)
  • The golden eagle was the dominant Roman imperial symbol
  • These animals appeared on gates, buildings, and monuments throughout the empire
  • In the gymnasium gate at Ephesus, ox heads decorated the structure every 10 feet

John’s vision in Revelation 4 includes four living creatures: like a lion, like an ox, with a human face, and like a flying eagle. While these connect to Old Testament visions (particularly Ezekiel), the first-century audience would also hear echoes of imperial symbolism being reclaimed for God’s sovereignty.

The Imperial Song Reclaimed

Historical records indicate that one of the most common songs for the emperor went: “Holy, holy, holy, Lord God Almighty, who was, and who is, and who is to come.” This song, which sounds like it comes from Isaiah, was sung about Caesar (particularly Caesar Augustus) at Olympic games and imperial arrivals.

When John’s audience reads Revelation 4:8 with the four living creatures singing this same song, they hear their emperor’s hymn transformed into worship of the true God. It’s a radical act of resistance and reorientation.

Exodus Imagery and Deliverance

Revelation 5 is saturated with Exodus references:

  • Thunder, rumbling, and lightning (echoing Mount Sinai)
  • The slain lamb (the Passover lamb, symbol of revolution and deliverance)
  • The 24 elders (connecting to those who examined the Passover lamb in Exodus 12)
  • The song of Moses (Exodus 15, sung after crossing the Red Sea)
  • References to being made “a kingdom and priests” (Exodus 19:6)

For Jewish people, the slain lamb had become the symbol of revolution, calling them back to God’s great deliverance from Egypt. John uses this imagery to encourage his persecuted audience: just as God delivered Israel from Egyptian oppression, he will deliver his people from Roman persecution.

The Scroll and Worthiness

In the synagogue at Sardis (which sat in the second-largest gymnasium in the empire), archaeologists found a plaque above the Moses seat that read: “Only he who is worthy, take, open, read.” This referred to the Torah scrolls, which were sealed and could only be opened and read by someone walking in faithful righteousness.

Revelation 5’s vision of a sealed scroll that only the worthy can open would resonate deeply with this synagogue practice. The “Lion of the tribe of Judah, the Root of David” is identified as the one worthy to open the scroll—but he appears as a slain lamb. The references to the lion of Judah and root of David are remez (hints) pointing back to specific Old Testament passages that speak to the readers’ current situation.

Roman imperial proclamations were also read from scrolls, often made quite large for visual impact. These scrolls contained the emperor’s greatness and achievements. Some suggest the reference to writing on both sides was tongue-in-cheek: this King’s greatness couldn’t fit on one side. The contrast between Caesar’s scrolls of self-promotion and God’s scroll of redemption would not be lost on the audience.

Apocalyptic Literature as Hope for the Oppressed

The hosts emphasize that apocalyptic literature is difficult for modern Western readers to understand because we haven’t experienced the oppression and persecution that forms its context. We read it concerned about predicting the future, but the original audience read it seeking hope in their present suffering.

Apocalyptic literature says: “We’ve been here before. We’ve been oppressed by Egypt, Assyria, and Babylon. We know God delivers his people from empire. We can endure. Deliverance will come.”

The first-century Jewish reader would read themselves into the story—when reading Exodus, they were in the Exodus, part of the narrative. This Eastern, communal approach to Scripture differs radically from Western individualism.

The Isaiah Commission Connection

Revelation 5’s emphasis on worthiness, combined with flying figures with many wings circling the throne, connects to Isaiah’s commissioning vision in Isaiah 6. Not only is the “Holy, holy, holy” song from Isaiah mentioned in Revelation 4, but the entire atmosphere of throne room worship with seraphim echoes Isaiah’s experience. This connection reinforces themes of prophetic calling and speaking God’s word in difficult times.

Examples & Applications

The Ephesian Gymnasium Gate

Physical archaeological evidence supports the cultural context. The gate outside the gymnasium in Ephesus still stands today, decorated with ox heads approximately every 10 feet. Visitors can see the very symbols of imperial power that John’s original audience would have encountered daily. This makes the throne room vision tangible: the oxen aren’t Caesar’s—they belong to God’s sovereignty.

Statues from Pergamum’s Temple to Caesar

The statue of Caesar from the temple in Pergamum (mentioned in earlier episodes about “where Satan’s throne is”) shows the emperor surrounded by lions, eagles, and possibly griffins. These images of power and dominion saturated the visual landscape of first-century Asia. Every public space reinforced Caesar’s claim to divine authority. John’s vision systematically dismantles these claims.

Medallions and Public Declarations

Soldiers arriving with Domitian would have worn new medallions declaring “Emperor Domitian Flavius, Lord and God.” This wasn’t subtle propaganda—it was unavoidable, in-your-face imperial theology. For Christians refusing to say “Caesar is Lord” and insisting “Jesus is Lord,” this created daily confrontation and danger. Revelation’s vision gave them courage to resist.

The Sardis Synagogue Plaque

The archaeological discovery of the plaque reading “Only he who is worthy, take, open, read” provides concrete evidence for understanding Revelation 5’s scroll imagery. This wasn’t abstract symbolism—it reflected actual religious practice the audience knew intimately. The question of worthiness had both spiritual and practical dimensions in synagogue life.

Modern Applications: What Claims Power Over Us?

Marty notes that while written for first-century persecution, the message remains relevant: “May this same reminder remain true to us in a world that claims so many things to have power and sway over our present and our future.” In our context, what plays the role of Caesar? What demands our ultimate allegiance? What promises security but requires we compromise our faithfulness? The vision of the true King on the throne speaks to every age.

Community Bible Study

Brent makes a practical plug for studying Scripture in community rather than individually. Different people bring different perspectives, find different connections, discover better remez references than any one person could find alone. The hosts regularly receive emails from listeners finding connections they hadn’t noticed—collaboration enriches understanding.

Potential Areas for Further Exploration

Deep Dive into Remez References

The hosts intentionally don’t spell out every Old Testament allusion, encouraging listeners to do the work of tracing references:

  • Psalm 141:2 and Psalm 16:3 (prayers of God’s people/incense)
  • The full context of “Lion of the tribe of Judah” (Genesis 49:9-10)
  • “Root of David” connections (Isaiah 11:1, 10; Jeremiah 23:5)
  • The song of Moses in Exodus 15
  • Isaiah 6 and the throne room commission
  • Ezekiel’s visions of the four living creatures
  • Daniel’s apocalyptic imagery

Each of these requires examining not just the specific verse but the entire surrounding context and what it would have meant to John’s audience.

Roman Imperial Cult Practices

Further study could explore:

  • The specific rituals of the 24 state-sanctioned religions
  • How the imperial cult functioned in Asia Minor cities
  • The role of gymnasiums in Roman civic and religious life
  • The meaning and significance of “neocorus” (temple warden city)
  • Other recorded parousias of various emperors
  • The development of emperor worship from Augustus through Domitian
Comparison with Other Apocalyptic Literature

How does Revelation compare to:

  • Daniel (the foundational Jewish apocalyptic text)
  • Portions of Ezekiel and Zechariah
  • Extra-biblical apocalyptic literature (1 Enoch, 4 Ezra, 2 Baruch)
  • The Qumran War Scroll and other Dead Sea Scrolls material

Understanding the genre conventions helps interpret Revelation’s imagery appropriately.

The Exodus Pattern in Scripture

Trace how the Exodus functions as the paradigmatic story of deliverance throughout Scripture:

  • Prophetic literature calling Israel back to Exodus themes
  • Psalms celebrating Exodus deliverance
  • Jesus’ death occurring at Passover
  • Paul’s use of Exodus imagery
  • How early Christians understood themselves as experiencing a “new Exodus”
Persecution Under Various Roman Emperors

Study the historical reality of Christian persecution:

  • Under Nero (mid-60s AD)
  • Under Domitian (81-96 AD)
  • Later persecutions under Trajan, Decius, Diocletian
  • Regional variations in persecution intensity
  • How persecution shaped early Christian theology and practice
The Difference Between Eastern and Western Reading Strategies

This goes back to BEMA Episode 0:

  • Individualism vs. communalism
  • Linear thinking vs. cyclical/story-based thinking
  • Concern with historical facts vs. participation in narrative
  • How these differences affect interpretation of every biblical text
Synagogue Worship and Practices

Understanding first-century synagogue helps interpret New Testament texts:

  • The role of the Moses seat
  • Torah reading practices (parashah and haftarah readings)
  • The significance of scrolls and seals
  • The office of elders
  • How synagogue practices connected to temple practices
The Book of Revelation’s Structure

This episode covers chapters 4-5, but how do they fit in the overall structure:

  • Letters to seven churches (chapters 1-3)
  • Throne room vision (chapters 4-5)
  • Seven seals (chapter 6-8:1)
  • Seven trumpets (8:2-11:19)
  • The woman, dragon, and beasts (chapters 12-14)
  • Seven bowls (chapters 15-16)
  • Babylon’s fall (chapters 17-18)
  • Final victory and new creation (chapters 19-22)

Understanding the literary structure helps follow John’s argument.

Comprehension Questions

  1. How does understanding the historical context of Domitian’s parousia (arrival) in Ephesus change your reading of Revelation 4-5? What specific elements of the throne room vision would have resonated with Christians who witnessed or heard about imperial arrival ceremonies?

  2. Explain the significance of the 24 elders in white robes and golden crowns. What would John’s original audience have immediately understood about this imagery, and what message would it have communicated about who truly deserves worship?

  3. The song “Holy, holy, holy, Lord God Almighty, who was and is and is to come” appears in both Roman imperial ceremonies and Revelation 4:8. Why is this significant? What does it mean for John to reclaim Caesar’s song for the worship of God?

  4. How does the Exodus imagery throughout Revelation 5 (the slain lamb, thunder and lightning, the song of Moses) function as a message of hope for persecuted Christians? What would these symbols have communicated to a first-century Jewish audience familiar with Israel’s history?

  5. Marty states that apocalyptic literature is difficult for modern Western readers because “we don’t really know what it’s like to be” oppressed and persecuted. How does this affect our interpretation of Revelation? What steps can we take to read this text more faithfully despite not sharing the original audience’s experience?

Summary

BEMA Episode 182 powerfully demonstrates how cultural and historical context unlocks the meaning of Revelation’s throne room vision. What might appear to modern readers as simply strange apocalyptic imagery was, for the original audience, a brilliant subversion of Roman imperial propaganda. Every element—the 24 elders in white and gold, the animals around the throne, the song of “Holy, holy, holy,” the sealed scroll, the slain lamb—would have immediately evoked both familiar Roman ceremonies and Hebrew Scripture, creating a rich tapestry of meaning.

The message was clear and urgent: despite Caesar’s claims to be “lord and god,” despite his parousia ceremonies and imperial cult worship, despite the very real persecution and threat facing Christians, there is a true King on a heavenly throne, and Domitian isn’t sitting on it. God will deliver his people just as he delivered Israel from Egypt. The lamb who was slain is worthy to open the scroll and reign forever.

This episode challenges modern readers to do the hard work of understanding context, to trace Old Testament allusions, to recognize how the early church read themselves into the biblical story, and to hear apocalyptic literature not as prediction about our future but as encouragement for enduring faithfully in the present. The invitation is to see what powers claim sovereignty in our own lives and to find hope in the vision of the one true King who sits on the throne, worthy of all glory, honor, and power forever and ever.

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