Tag Archives: frankincense

New Jerusalem

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A Russian icon of the New Jerusalem, showing the apostles–the Twelve–surrounding the Mother of God in the midst of the city. She is the personification of Zion-Jerusalem-the Temple. Christ is immediately above the Holy Virgin, blessing the world. St. John the Divine is dictating to his disciple-secretary, who is writing down what St. John sees and the words of the angel speaking with him.

So [the angel] carried me away in the spirit … and showed me the holy city Jerusalem coming down out of heaven from God, possessing the glory of God. It had the radiance of a precious jewel…. (Apoc. 21:10-11)

The new heaven and the new earth are complete when the new Jerusalem descends from God. The city is described as being in a constant state of descending; it is always “coming down.” It is not static. It is always arriving. This movement indicates the city itself is alive. It is itself the Temple of the new heaven and new earth and therefore encapsulates the new creation which is intensely alive, just as the Temple built by Solomon was thought to encapsulate the world–the old world which, although it was currently alive, was always in the process of dying. The new Jerusalem is always coming down, always new, always becoming.

The new city has twelve foundation stones. Each is a precious jewel. These twelve stones are associated with the apostles, the Twelve; in Ephesians we read about the Church “built on the foundation of the apostles and prophets, Christ Jesus being himself the chief cornerstone.” (Eph. 2:20) If Peter is the rock (Matt. 16:17-19), the Twelve are the foundation.

The new city has twelve gates. Each gate is fashioned from pearl. Pearls in the ancient world were thought to be the result of lightning striking an oyster; the translucent pearl was born of fire and water, uniting these two opposite elements.

In Genesis 2, we are told that gold and jewels were found near the river Pishon. Often translated as “aromatic resin” or “pearls,” as well as “carbuncle” (a generic term meaning “a small, precious stone”), this is generally understood to refer to frankincense. (Frankincense was a particular resin/incense whose import and sale was a monopoly of the Franks in early medieval Europe, hence “the Frank’s incense.”) The resin was obtained by scoring—making slices in—the bark of certain trees. Sap would ooze from these wounds in the bark and congeal into the resin which would be scraped away and then these chunks of resin would be broken up to be used as incense. When the resin is sprinkled on hot charcoal, it melts and releases the fragrant smoke. The resins from various sorts of trees would produce a variety of fragrances which could be combined in different mixtures; myrrh, an especially bitter scent, was obtained in the same manner as frankincense but from another species of tree.

The particles of frankincense are customarily referred to as “pearls,” so that identifying Havilah–the land watered by the river Pishon–as the source of both frankincense and pearls is not necessarily a contradiction. There is also the later medieval Christian association of the round, white host at the Mass as a “pearl” as well as the eastern Christian practice of referring to the communion-particle as a “coal” (similar to the coal used by the seraphim to touch Isaiah’s lips to purify the prophet).

The jewels, pearls, and incense associated with the new city underscore its role as the temple of the new creation, the house of God in which the sacrificial worship of the Lamb is consummated.

There is a “New Jerusalem” monastery in Russia, built directly north of Jerusalem and an exact imitation of the church of the Holy Sepulchre for pilgrims who could not travel to the Middle East. It was closed by the communists and heavily damaged by the Nazis. I saw it in the early 1990s when it was still in ruins before the current restoration began.

The Seventh Seal

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Dionysiou Monastery on Mt. Athos was founded in 1374. In its refectory (dining hall) is a magnificent series of frescoes that illustrate the Apocalypse. In this illustration of chapter 8, we see the seven angels with trumpets, the censer with smoke, a mountain in the sea, the bloody sea water, destroyed ships, the fountain of water, the star Wormwood (in the rocks in the right corner), a darkened sun, etc.

When the Lamb broke the seventh seal, there was silence in heaven for about half an hour. I saw the seven angels who stand before God and they were given seven trumpets. (Apoc. 8:1)

The silence in heaven is momentous. It grabs the attention. It is louder than the thunder and commotion that either precede or follow it. Silence is not simply the absence of noise or the lull between events, one thing having finished and the other not yet having started as sometimes happens when a reader or performer is not ready to begin. Silence is a living presence.

I read many years ago that the most brilliant moment in music is the silence before the Et incarnatus of Bach’s “B Minor Mass.” The silence in heaven is like that. It is the sudden silence that follows Dorothy’s house crashing into Munchkinland as it drops from the cyclone in which she has seen Miss Gulch become the Wicked Witch.

This silence in heaven is an echo of the silence in heaven that preceded God’s first utterance: “Let there be light.” (see 4 Ezra 7:30-33) The apocalyptic silence in heaven is liturgical silence, the moment when all creation holds its breath seeing the Word of God crucified. It is the silence of the Great Entrance on Holy Saturday: God the Word has died and descended into Hades. It is the moment before all creation is turned topsy-turvy by Life himself tearing Death to shreds from the inside out.

Before the angels blow their trumpets, another angel-deacon comes to offer incense at the heavenly altar. There is “much incense” offered. The smoke creates an impenetrable cloud, much like the cloud of incense that the prophet Isaiah also saw (Isaiah 6). It was said that when the High Priest offered incense in the Holy of Holies on Yom Kippur that there was not enough smoke if he could still see his hand in front of his face. The smoke creates a buffer that serves to protect the human from the brilliant glory of God that would annihilate anything or anyone that dared stand unprotected in the terrible light.

In the Our Father, we pray, “Thy kingdom come.” Before the kingdom comes, all creation holds its breath and peers through the smoky clouds of incense, waiting to see what will happen when God reveals himself.

Angels and Deacons

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On the left, we see angels-deacons in the Apocalypse blowing trumpets and emptying thuribles of coals and incense before the heavenly altar as St. john watches (illumination from the Bamberg Apocalypse). On the right, we see smoking thuribles in the hands of deacons during the celebration of the Eucharist on earth.

Then I saw a strong angel proclaiming with a loud voice, “Who is worthy to open the scroll and to loose its seals?” (Apocalypse 5:2)

We encounter many figures in the Apocalypse who are mysterious at best and confusing at worst or commonly misunderstood. Angels might seem to be one of the more easily understood figures of the Apocalypse but we should not jump to such conclusions so quickly.

When reading early Christian texts like the Apocalypse, it is a rule of thumb that the animals and monsters we meet are there to stand in for people that the original readers might recognize–for instance, Roman emperors like Nero. Human figures are to be understood as angelic beings–like the “young men in white” who announce that Christ is risen to the women who meet them at Christ’s tomb. But figures who are introduced as angels–who are they?

The angels in the Apocalypse are understood to be the deacons who serve at the eternal celebration of the Eucharist before the Throne of God, just as earthly deacons at the celebrations of the Eucharist were commonly understood to be angels, the “messengers” who announce the Gospel and the prayer intentions of the community and who make other liturgical announcements (such as “Let us bend our knees” or “Arise! Stand upright!” or “Bow your heads unto the Lord”) and who swing the censers-thuribles of smoking frankincense. The angels in the Apocalypse make similar announcements, such as calling forth the one worthy to open the scroll, and offering the incense that fills the air around the heavenly altar and the Throne of God. The angels-deacons of the Apocalypse tell the visionary author what to write and when to stand up or step forward.

The angel-deacons in the Apocalypse are also wearing vestments similar to those that earthly deacons wear during the celebration of the Eucharist: splendid tunics and sashes/stoles. (The stoles that earthly deacons wear are sometimes compared by early Christian liturgical commentaries with the wings of the angels, especially when the stoles are tied to one side to make the distribution of Holy Communion easier.)

Burning incense is one of the most important things angels-deacons do. The smell of incense is more than aroma therapy; it is profoundly theological.  The sense of smell is an affirmation that we have bodies.  Christ in his Incarnation came to save our entire being – body, soul, mind, and spirit, not just our intellects.  The classical approach to Christian worship provides an embodied approach to worship.

Angelic figures in the Apocalypse are also sometimes compared to the eunuchs who function as imperial officials that keep the imperial system running. When the Apocalypse was written, eunuchs and angels were both thought to be asexual, beardless adults who served the imperial-heavenly court in a variety of ways–messengers, announcers, stenographers, record-keepers. Typically, eunuchs could not be ordained deacons but they could become monks.

Deacons! Angels! They coordinate the actions of the Eucharist on earth and in heaven, standing before the Throne and altar. They tell us what to do and when to do it. They burn the fragrant incense that nourishes the righteous and drives the devils away. They assist with the distribution of Holy Communion that also nourishes the faithful. They are one of the ways we unite what happens on earth with what happens eternally.