Appendix F

THE GOSPEL IN PICTURE FORM

 

One of the most fascinating consequences of the Harmony of Revelation is the arrangement of scriptures in the seven-by-seven matrix shown on the front flyleaf of this book. The geometrical pattern determined by the location of scriptures in this matrix actually contains a mysterious relationship which, when interpreted as shown below, actually proclaims the full Gospel of Jesus Christ in pictorial form.

This amazing relationship was revealed to me some five years after I had harmonized Revelation, constructed the Matrix, and written the third revision of this book. Needless to say, I found this relationship to be profoundly satisfying. For, in my mind, it was conclusive proof that the Harmony I had constructed was not just some concoction of my own biased desires, but was truly one of the ways God intended for of the Book of Revelation to be interpreted.

This appendix describes how I arrived at the above conclusion through the use of symmetry analysis[1] and biblical numerology[2].

 

The Simplified Harmony Matrix

The first step in deciphering the geometry of the Harmony Matrix is to construct a simplified version of the matrix that obscures everything but the geometry. In other words, we focus on the location and pattern of the cells in the matrix and ignore their detailed contents. Or more specifically, we discard the scriptural references and construct the following miniature version of the Harmony Matrix that retains only the color of the respective cells.[3]

Fig. 1. The Harmony Matrix

 

 

Symmetrizing the Harmony Matrix

When I first looked at this pattern I found it very intriguing. Like an abstract painting, it suggested some kind of hidden meaning. But the meaning seemed to remain just beyond my mental grasp. Then, after pondering the pattern for five years, I finally noticed that there really are only five cells that prevent the arrangement from being perfectly symmetrical. In other words, there were only five cells that prevented the pattern from looking the same from left to right as from right to left. Three of these cells were gray, and two were blank.

When I removed the three offending gray cells and darkened the two offending blank cells, I obtained a perfectly symmetrical pattern. Then I used the five offending cells to construct a second, non-symmetrical matrix. In this manner, I was able to see that the Harmony matrix really consisted of two parts, a symmetrical part and a non-symmetrical part.

Fig. F.2. Symmetrizing the Harmony Matrix.

 

Fig. F.2 shows how to construct these two parts. You begin with the original Harmony matrix F.2a and remove the three extra gray cells and darken the two offending blank cells. The resulting matrix F.2b exhibits perfect horizontal symmetry.[4]

Then you modify an originally blank matrix so as to display a record of the changes you made. In other words, you construct matrix F.2c from a completely blank matrix by moving the offending gray cells to it and by borrowing two gray cells from it in order to fill the two offending blank cells. Naturally, borrowing two gray cells from an empty matrix leaves that matrix with two negative gray cells. These cells are indicated in Fig. F.2c by placing a minus signs on the negative gray cells.

Notice that we have now converted the original Harmony matrix into two other matrices, one of which is perfectly symmetrical and the other non-symmetrical. These two matrices contain the same information as the original Harmony matrix because we can regain the original matrix F.2a by simply placing matrix F.2b on top of F.2c.[5]

But our original Harmony matrix ignored the fact that each of the seven Accounts of Revelation contains a focal passage that emphasizes one of the seven Days of Revelation.[6] These focal passages are identified on the front flyleaf of this book by using white text on a black background. Let us now add these focal passages to each of our matrices by painting the appropriate cells black as shown below:[7]

Fig. F.3. Addition of the Focal Passages.

 

Notice that the non-symmetrical part of the Harmony matrix is finally beginning to show an interesting pattern. The symmetries of this pattern can be identified by dividing the matrix into a rectangle and an ell as shown below.

 

Fig. F.4. Additional Symmetries of the Harmony Matrix.

 

The rectangle exhibits perfect 180o rotational symmetry. This means that it appears unchanged if it is rotated around its center until it is upside down. This also means that the pattern remains unchanged if you first flip the rectangle vertically top to bottom and then flip it horizontally side to side. Therefore, the symmetry associated with the rectangle could well be expressed as "upside down and backwards" or simply "topsy turvy."

The ell exhibits diagonal symmetry rather than rotational symmetry. This means that it remains unchanged if it is flipped about its 45o diagonal line of symmetry. Notice that the black focal cell at the apex of the ell is the one and only point that does not move when the figure is flipped diagonally.

 

Interpreting the Symbolism

From all of the above, you can see that the Harmony matrix F.3a actually consists of three distinct geometrical figures each exhibiting its own distinctive symmetry. The seven-by-seven matrix F.3b exhibits horizontal symmetry, the six-by-four rectangle F.4b exhibits rotational symmetry, and the seven-by-seven ell F.4c exhibits diagonal symmetry.

But why should the Harmony of Revelation contain any symmetry at all? Or if it does contain symmetry, why would it contain three different types of symmetries superimposed on top of one another? Are all of these symmetries just a matter of coincidence, or are they intended to convey to us some hidden message?

In order to try to answer these questions I decided to apply a little biblical numerology to the situation[8].

Since the number six symbolizes man and four symbolizes the world, then the six by four rectangle F.4b could well represent "man in the world" or "the world of man." Then, the six focal passages (again associated with man) would represent the course or path of man through the world. Since the number two signifies testimony, the remaining two negative gray cells in the rectangle would then testify to the negative aspects of man in the world. In other words, they would symbolize sin. When all of this is combined with the rotational symmetry of the rectangle, we conclude that the sinful path of mankind through this world has turned everything completely topsy-turvy!

But if the six-by-four rectangle symbolizes the world of man, what does the seven-by-seven ell represent?

Again, biblical numerology suggests an answer. The number three symbolizes God and the number seven signifies completeness. Therefore, the three darkened cells in the ell could represent the Triune God, with the central black apex cell representing the second person of the Godhead; namely, Jesus Christ. Then the ell, itself, would represent heaven -- the place God abides  -- a completely perfect (7x7) realm that extends from eternity past to eternity future (the vertical part of the ell) and culminates with the Day of Eternity in the Eternal Kingdom (the horizontal part of the ell). When all of this is combined with the diagonal symmetry of the ell, we conclude that heaven and eternity revolves around the one focal apex cell representing none other than our Lord and Savior, Jesus Christ.

Since the matrix F.3c consists of both the rectangle F.4b and the ell F.4c, we conclude that the complete pattern depicted in Fig. F.3c symbolizes both the path of man through this world and the eternal heaven where God dwells. Therefore, the apparently non-symmetrical part of the Harmony actually contains both the worldly and the heavenly symmetries.

What, then, does the symmetrical part of the Harmony represent?

Once again biblical numerology suggests an answer. The complete seven-by-seven square matrix could represent the complete totality of all that exists. As you can see from Fig. F.3c, the complete seven-by-seven array includes (1) the six-by-four rectangle representing this world, (2) the seven-by-seven ell representing the eternal heaven, and (3) a six-by-two blank region which could symbolize all the other unknown mysteries of reality. Therefore, the complete seven-by-seven array symbolizes the complete universe, the symmetrical part of the Harmony is universal in scope, and its symmetry is universal in character.

 

Reversing Time

This universal symmetry, you will recall, is horizontal, not vertical. This means that if you flip the figure from top to bottom, you will not get back what you started with.[9]

Since the vertical direction of the matrix is associated with time, we conclude that time is not reversible from the universal perspective. The future is different from the past. Duh, who would have thought?

This suggests that there could be a preferred direction for displaying time in the Harmonistic matrix.

But what direction should this be? Should we continue depicting time as increasing downward? Or should we reverse things and display time upward?

I think most people would agree that the most natural way to depict time graphically is with time increasing upward.[10] But even if you do not agree with this conclusion, let us reverse the order of time on our diagrams and see what happens.[11]

 

Fig. F.5. Symmetries of the Harmony with time increasing upward.

 

Figure F.5 shows the result of this reversal of time. The complete Harmony F.5a is just as confusing as ever, but the universal picture F.5b and the Worldly/Heavenly picture F.5c suddenly exhibit enormous symbolism.

 

Proclaiming the Gospel[12]

Look carefully at Fig. F.5 and see how much of this symbolism you can identify yourself.

Then look at Fig. F.6 and see if you agree with my interpretation.[13]

 

Fig. F.6. The Gospel contained in the Harmony of Revelation.

 

The large gray area in the universal picture F.5b forms a cross (with a thin upright and a very fat crossbar).

Right in the middle of this cross are three black cells that form a V-shaped figure (or a perfect triangle, if you prefer). Once again biblical numerology suggests that these three cells symbolize the Triune God with the apex of the V (or the bottom cell of the triangle) symbolizing the second person of the Godhead; namely, Jesus Christ. Since the cell representing Christ is located at the very center of the universal matrix, we conclude that Christ is the central figure of all existence.

The two blank cells near the center of the universal picture, like the two negative gray cells in the worldly rectangle, represent sin.[14] Since they occur on both sides of and adjacent to the central black cell, we conclude that that cell is surrounded by sin. In other words, Christ is bearing our sins as he hangs on the cross.

Now let us turn our attention to the worldly/heavenly picture shown in Fig. F.5c. As already mentioned, the three darkened cells form an -shaped figure (or a perfect triangle[15]) which represents the Triune God. The apex of the  represents Jesus Christ. And the complete seven-by-seven ell that forms the top and right border of the matrix represents the eternal heaven where God now and forever abides.

The six-by-four rectangle still represents the world of man, and the six black cells symbolize the path of man through this world. However, the complete set of seven black cells now forms a zigzag path that goes through the world of man and leads to the apex of the eternal heaven.[16]  In other words, the seven focal passages represent the complete path of salvation.

This path is initially off target. By this I mean that its original direction would miss the apex of eternity. Therefore, in order to reach heaven, the path must contain a zigzag, or a turning away from the original direction toward the central cell of the matrix -- the very same central cell that the universal picture identified as representing Christ. In other words, the path of salvation requires repentance and a turning to Christ.

Once the path passes through the central cell, it is redirected properly so as to reach the eternal goal. That goal, or the door to salvation, is none other than the apex of the eternal heaven; namely, Jesus Christ. Therefore, the only part of the path that actually leads to salvation is the part that begins and ends with Christ.

Any other path, including the original part of this one if continued, does not lead to heaven's entrance. In fact, all conceivable paths through this world (except the one path that enters heaven) must eventually arrive at one or the other negative gray cells in the corners of the worldly rectangle. Since these two cells have already been identified with sin, we conclude that the farther one deviates from the path of salvation, the more that person is drawn into sin. And since the ultimate destination of those who continue in sin is hell, we conclude that the two negative gray cells can also symbolize hell.

When we combine the symbolisms derived from both the universal and the worldly/heavenly parts of the Harmony matrix, we conclude that the path of salvation is narrow and the way that leads to destruction is broad; that salvation requires repentance from one's old way of life and a turning to the very same Christ that bore our sins on the Cross of Calvary; that after encountering Christ, we find a new direction in life which is completely on target; and that after we leave this world we will be with Christ for all eternity in heaven.

In my opinion, this is all just too amazing to be pure coincidence. The geometrical relationships in the Harmony Matrix that render the above interpretation simply must have been placed there by the Author of the Book of Revelation in order to assure us that we have harmonized the accounts correctly. In other words, God intended that Revelation be harmonized in this manner when he inspired John to write the book some two thousand years ago.

 


[1]Symmetry analysis explores how something looks the same when viewed from different perspectives. It is used extensively in science to form conclusions about the fundamental aspects of nature.

An object is said to contain geometric symmetry if its geometrical shape looks the same when viewed from two different perspectives. For example, the letter "A" has horizontal symmetry because it looks the same from side to side, the letter "K" has vertical symmetry because it looks the same from top to bottom, the symbol "L" has diagonal symmetry because it looks the same from upper left to lower right, and the letter "S" has rotational symmetry because it looks the same if rotated around until it is upside down.

There are other types of symmetries in the Harmony of Revelation which depend upon relationships between ideas or concepts rather than geometrical shapes. Some of these content-dependent symmetries are discussed in Chapter 11.

[2]Biblical numerology is discussed in Appendix C.

[3] Note that the colors of the cells in this appendix are slightly different from those used elsewhere in the book. In this appendix, every cell containing a focal passage is colored black, every cell containing a non-focal passage is colored gray, and every other cell is colored white. These are the original colors of the cells that I used to derive the Gospel in Picture Form. They have the disadvantage of requiring two negative gray cells in order to complete the picture. The more recent coloration scheme used throughout the rest of the book eliminates this disadvantage by utilizing two shades of gray rather than just one as is done here.

[4]Horizontal symmetry means that everything looks exactly the same from left to right as from right to left. In other words, if you flip the figure about a vertical axis running straight up the middle of Account IV, the pattern will remain unchanged.

By the way, notice that Account IV is the only one of the seven Accounts of Revelation that includes all seven Days of Revelation and that it runs right up the middle of the Harmony matrix. This is why none of the cells in that column needed to be removed in order to retain the symmetry of Fig. F.2b.

[5]When we do this, the blank cells are treated as being transparent, and the negative gray cells are pictured as canceling out the regular gray cells to produce blank cells. With the more modern coloration, we do not have to utilize negative gray cells, the multiple shades of gray simply add up appropriately when light is projected through them.

[6]For example, all of Account I deals with Day 3; five out of seven seals in Account II are associated with Day 4; six out of seven trumpets in Account III are associated with Day 5; a whole chapter of Account IV is devoted to Day 4; six out of seven vials of Account V are associated with Day 5; the only part of Account VI that contains significant chronology is the chapter that describes Day 6; and more than one whole chapter of Account VII is devoted to Day 7.

[7]Because Revelation emphasizes the seven focal passages more than its other passages, we include these focal passages in all three matrices F.3a, F.3b, and F3.c. However, only the three central cells can be included in the symmetrical matrix F.3b because only these three cells display horizontal symmetry.

[8]See Appendix C for a discussion of Biblical numerology..

[9]Actually, there is more vertical symmetry than you might first suspect. This is because the single extra gray cell at the bottom of the universal matrix contains two separate accounts (REV 14:1-5 and REV 15:1-4). Therefore, these two accounts in the one bottom cell somewhat balance the two accounts at the top of the universal matrix. The line drawn through cell (IV,7) is intended to remind us of this suggested symmetry.

Notice that this suggestion of vertical symmetry would not be possible if Account IV were perfectly chronological. Only because one of its descriptions of eternity is out of order can the two descriptions be classified as distinct. Perhaps this is one of the reasons why God inserted the chronological exception (REV 14:1-5) into the otherwise consistent chronology of the Account IV. It provided a means to accomplish this hint of vertically symmetrical balance.

[10]This is certainly the way nature stacks things. Newer (later) items are almost always placed on top of older (earlier) items. In fact, the only way to stack a new item under the old is to artificially lift the whole stack, insert the item, and then return the stack. And even then, the last thing moved is the stack you placed on top, so time is still pointing upward.

[11]Notice that the only reason our original Harmony depicted time running downward was because of a characteristic of the English language; namely, the characteristic of writing text downward. If English wrote text upward, then we would have had no need to reverse things. Our Harmony already would  have depicted time increasing naturally upward.

Notice, also, that the horizontal symmetry of the Harmony is unaffected by the English habit of writing text from left to right. If English wrote text from right to left, as some other languages do, then the universal symmetry would have been completely unaffected and the worldly/heavenly symmetries, although reversed, still would have rendered the same conclusions we have already reached. This means that all of the conclusions drawn from the symmetries of the Harmony of Revelation are effectively independent of the culture or language used to express them. Isn't this amazing?

[12]This part of Appendix F is essentially the same as the section on Interpreting the Symbolism in Chapter 2. It is repeated here as a matter of convenience.

[13]Fig. F.6b corresponds to Fig. F.5b and Fig. F.6c corresponds to Fig. F.5c.

[14]They even occur on Day 4, the Day of Sin.

[15]This triangle is larger than that in the universal picture and it is oriented differently. Nevertheless, the shapes of these two triangles are identical. Both consist of a 45x45x90 degree triangle with the cell representing Christ located at the 90 degree angle.

[16]By the way, notice that our zigzagging line of focus generally supports the "progressive parallelism" concept of interpretation adopted by Dr. Hoekema and William Hendriksen. Nevertheless, the Harmony does not fully support their interpretation. In fact, it shows clearly that the correct progression actually goes backward on Day 4 rather than continuing forward (or even staying the same).