Notes on the Apocalypse – Chapter 17

by Pastor David Steele Sr. in 1870

This chapter may be considered introductory to the eighteenth, or as a digression in the narrative, to explain more fully the integral parts of that complex, mystical moral person so often called “great Babylon,” whose destruction was so awfully presented in the foregoing chapter.

1. And there came one of the seven angels, which had the seven vials, and talked with me, saying unto me, Come hither; I will show unto thee the judgment of the great whore, that sitteth upon many waters;

2. With whom the kings of the earth have committed fornication, and the inhabitants of the earth have been made drunk with the wine of her fornication.

Vs. 1, 2.—The angel that “talked with the apostle” was probably the seventh. “The great whore” is the symbol of the idolatrous church of Rome, which broke her marriage covenant with Christ. Idolatry is spiritual whoredom. (Hosea vi. 10.) Her “sitting upon many waters” is explained, verse 15. “The kings of the earth” are her paramours, and their subjects are partakers in the crime,—”made drunk.”

3. So he carried me away in the spirit into the wilderness; and I saw a woman sit upon a scarlet-coloured beast, full of names of blasphemy, having seven heads, and ten horns.

4. And the woman was arrayed in purple and scarlet-colour, and decked with gold, and precious stones, and pearls, having a golden cup in her hand, full of abominations, and filthiness of her fornication.

5. And upon her forehead was a name written, MYSTERY, BABYLON THE GREAT, THE MOTHER OF HARLOTS, AND ABOMINATIONS OF THE EARTH.

Vs. 3-5.—The “scarlet-coloured beast” is the Roman empire professing the Christian religion, modelled by the Romish church; for the “woman sits upon the beast,” guiding and controlling all its motions. (James iii. 3.) The raiment of both is at once imperial and bloody,—”purple and scarlet.”—The raiment of this “woman” is decked with precious metal, stones and pearls, after the usual “attire of a harlot.” (Ezek. xvi. 17.) The “cup” alludes to the practice of harlots giving love-potions to their paramours, very expressive of the indulgences, absolutions, preferments, etc., by which the church of Rome attracts disciples to her idolatry. “The nations have drunken of her wine; therefore the nations are mad.” (Jer. li. 7.)—The inscription “upon her forehead” is after the manner of shameless prostitutes, avowing Rome’s whoredoms of idolatry, monasticism, indulgences to sin, as essential to religion, a “mystery of iniquity,” by which the “man of sin thinks to change times and laws.” (Dan. vii. 24, 25; xi. 36, 37.)

6. And I saw the woman drunken with the blood of the saints, and with the blood of the martyrs of Jesus: and when I saw her, I wondered with great admiration.

V. 6.—This “woman,”—Christian church,—was “drunken with the blood of saints and martyrs.” Of course, such a sight would give rise to the apostle’s astonishment. The attempt of popish writers to apply this to pagan Rome’s persecutions is demonstrably false; for John could not “wonder” at the persecution of the church when he was himself an actual victim in Patmos, (ch. i. 9.)

7. And the angel said unto me,  

Apocalypse, Apocalyptic Symbols, Bible Prophecy, Notes on the Apocalypse 1870, Pastor David Steele Sr

Notes on the Apocalypse – Chapter 15

by Pastor David Steele Sr. in 1870

This chapter introduces the third and last series of symbols under which the prospective history of the church militant is given, to strengthen the faith and animate the hopes of her suffering and heroic children. The warfare of the witnesses for the crown rights of Immanuel, which have been usurped by his enemies, has been symbolized under the seals, (chs. vi.-ix.,) and under the trumpets, (chs. xi. xii.;) and the symbolic narrative is yet under the vials to be greatly amplified, especially their last and greatest conflict, briefly represented in the latter part of the preceding chapter, (vs. 9-18.) Whether or not the vials, to which this fifteenth chapter is introductory, be all comprehended under the seventh trumpet, as the trumpets are all comprehended under the seventh seal, is a question upon which respectable expositors differ. It is indeed obvious that the breaking of the last seal, lays open the whole of the book, consequently the angels holding the vials would come into view. John, however, is obliged to “write” consecutively some visions which he saw as it were at one view. Thus he was “about to write what the seven thunders uttered,” (ch. x. 4,) but was prohibited. That was not the proper time or place; but it is there intimated, (v. 7,) that “in the days of the voice of the seventh angel,” the import of the “seven thunders” would be disclosed. Then would the “mystery of God be finished, as he had declared to his servants the prophets.” (Joel iii. 2, 12, 13; Micah iv. 3; Zech. xii. 2-4; 2 Thess. ii. 8.) Some of the most learned and sober divines, who wrote on the Apocalypse during the peninsular war waged by the first Napolean, contemplating the anarchical and bloody scenes of the French Revolution, and the subsequent tyranny and blood connected with the successful wars of the Gallic usurper, thought they heard in the commotions of European nations the sound of the seventh trumpet, and saw the plagues inflicted as symbolized by the vials. And thus it is that local events, which excite the political feelings, the prejudices and partialities of even good men, are hastily interpreted as a fulfilment of prophecy. It does not appear, however, that those events were either of sufficient magnitude or geographical extent to answer the tremendous symbols of either harvest or vintage. Did the French revolution, the American revolution, or the wars of Napolean First, influence the civilized world or affect the church of God, as Popery and Mahometanism have done? No, the comparison is preposterous. Hence it is most probable that Christendom has not yet heard the alarming sound of the seventh trumpet.

1. And I saw another sign in heaven, great and marvellous, seven angels having the seven last plagues; for in them is filled up the wrath of God.

V. 1.—”Another sign in heaven.”—All the visions were seen by the apostle in the same place, (ch. i. 1; xii. 1.) The word translated “sign” here is the same as “wonder” in the twelfth chapter, which for greater clearness to the English reader ought to have been rendered by the same word.—The symbol or sign consists of “seven angels having the seven last plagues,”—the last to be inflicted on the Antichrist, but not absolutely the last penal inflictions on the enemies of God; for “Gog and Magog” are in like manner to be destroyed, and there is eternal wrath.

Upon the “Lamb’s taking the book,” and before he had opened the first seal, songs of joy burst forth from saints and angels, (ch. v. 8, 9.) So it is here. Before the angels proceed to execute their commission, the redeemed of the Lord, anticipating the effects of these judgments, give expression to their joy.

2. And I saw as it were a sea of glass mingled with fire; and them that had gotten the victory over the beast, and over his image, and over his mark, and over the number of his name, stand on the sea of glass, having the harps of God.

3. And they sing the song of Moses the servant of God, and the song of the Lamb, saying, Great and marvellous are thy works, Lord God Almighty, just and true are thy ways, thou King of saints!

4. Who shall not fear thee, O Lord, and glorify thy  

Apocalypse, Apocalyptic Symbols, Bible Prophecy, Notes on the Apocalypse 1870, Pastor David Steele Sr