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In John's revelation the first horseman rides a white horse, carries a bow, and is given a crown as a figure of conquest, [2] [3] perhaps invoking pestilence, or the Antichrist. The second carries a sword and rides a red horse as the creator of (civil) war, conflict, and strife. [4]
The Twenty-Four Elders appear in the Book of Revelation (4:4) of the Christian Bible. They are described as followed: before the throne there was a sea of glass like unto crystal... round about... were four beasts full of eyes... The four and twenty elders fall down before him... and worship him that liveth for ever and ever. [1] [2]
Each cherub is crowned by a tongued flame, a reference to the "seven lamps of fire" described in Revelation 4.5. [9] In Revelation, Saint John wrote, And round about the throne were four and twenty seats: and upon the seats I saw four and twenty elders sitting, clothed in white raiment: and they had on their heads crowns of gold. [9]
In the New Testament book of Revelation 4:6–8, four living beings (Greek: ζῷον, zōion) [5] are seen in John's vision. These appear as a lion, an ox, a man, and an eagle, much as in Ezekiel but in a different order. They have six wings, whereas Ezekiel's four living creatures are described as having four. [5]
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The Apocalypse Tapestry is a large medieval set of tapestries commissioned by Louis I, the Duke of Anjou, and woven in Paris between 1377 and 1382.It depicts the story of the Apocalypse from the Book of Revelation by Saint John the Divine in colourful images, spread over six tapestries that originally totalled 90 scenes, and were about six metres high, and 140 metres long in total.
Revelation 4 is the fourth chapter of the Book of Revelation or the Apocalypse of John in the New Testament of the Christian Bible.The book is traditionally attributed to John the Apostle, [1] [2] but the precise identity of the author remains a point of academic debate. [3]
[11] [4] Earlier woodcuts depicted the Book of Revelation in unrealistic way, but Dürer, after traveling to Italy, [4] was able to combine early ideology and biblical iconography with his artistic skill in order to create a work of art that was realistic, expressive, and practical to view. [13]