The Martyrdom of Saint Clement
Bernardino Fungai (1460– c. 1516)
Ad Majorem Dei Gloriam (To the Greater Glory of God)
From: Revelation 15:1-4
The Hymn of the Saved
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[1] Then I saw another portent in heaven, great and wonderful, seven angels with seven plagues, which are the last, for with them the wrath of God is ended.
[2] And I saw what appeared to be a sea of glass mingled with fire, and those who had conquered the beast and its image and the number of its name, standing beside the sea of glass with harps of God in their hands. [3] And they sing the song of Moses, the servant of God, and the song of the Lamb, saying, "Great and wonderful are thy deeds, O Lord God the Almighty! Just and true are thy ways, O King of the ages! [4] Who shall not fear and glorify thy name, O Lord? For thou alone art holy. All nations shall come and worship thee, for thy judgments have been revealed."
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Commentary:
1. The third portent (cf. the first two in 12:1, 3) is of special significance--it is "great and wonderful"--for it heralds the final outcome of the contention between the beasts and the followers of the Lamb, between the powers of evil and the Church of Jesus Christ. That this is the denouement is shown by the use of the figure seven for a third time, after the seven seals (5:1) and the seven trumpets (cf. Rev 8:2). This is the last word: "the wrath of God is ended."
As in the case of the two earlier groups of seven, the author first announces the sevenfold nature of the sign. It consists of seven plagues--which immediately recall the punishments God inflicted on Pharaoh in Egypt prior to the Exodus. Then follows a very liturgical type of scene (15:2-8) which as it were encourages and calls for the divine judgments which follow (cf. 16:1-17).
The last of these plagues acts as an introduction to the account of the last battles and total victory of the Church (cf. chaps. 17-22).
2-4. The image of the sea of glass mixed with fire is somewhat reminiscent of the passage of the Red Sea during the Exodus. On that occasion, according to the Book of Wisdom (cf. Wis 19:6-22), natural elements were changed to enable the Israelites to walk on water: the water became as hard as glass for the Israelites whereas for the Egyptians it was unable to protect them from the fire sent to punish them. The sea of glass may also be evocative of the molten sea (used for the cleansing of those going to take part in temple rites) which was positioned in front of the Holy of Holies (cf. note on Rev 4:6-7). In any event, the author depicts the saved as giving thanks and praising God while intoning a hymn which fuses the salvation of the Israelites with the Redemption wrought by Christ. The latter is the full realization of the former, and God's plan is seen to embrace all men and all nations (cf. v. 4; Eph 3:4-7). For this reason some early Christian writers (Primasius, for example) interpret the sea of glass as a symbol of Baptism (prefigured in the Red Sea) which makes Christians pure and transparent. The reference to fire signifies the gift of the Holy Spirit (cf. "Commentariorum Super Apoc.", 15, 2).
Every saving action of God has ultimately a supernatural purpose, even though it may include noble human aims, for when "God rescues his people from hard economic, political and cultural slavery, he does so in order to make them, through the Covenant on Sinai, 'a kingdom of priests and a holy nation' (Ex 19:6). God wishes to be adored by people who are free. All the subsequent liberations of the people of Israel help to lead them to this full liberty that they can only find in communion with their God" (SCDF, "Libertatis Conscientia", 44).