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The Four Horsemen of the Apocalypse [1] are figures in the Book of Revelation in the New Testament of the Bible, a piece of apocalypse literature attributed to John of Patmos, and generally regarded as dating to about AD 95.
Four Horsemen of the Apocalypse, an 1887 painting by Victor Vasnetsov. The Lamb is visible at the top. The opening of the first four seals does not yield the content of the scroll, which can only be read after all the seals are opened, but serves as a preparation that recalls 'the beginning of the birth pangs' in Mark 13:7–8. [7]
Considering the 15 woodcuts, The Four Horsemen of the Apocalypse (c. 1497–98), [7] referring to Revelation 6:1–8, [8] is often viewed as the most famous piece. The overall layout of the cycle has the illustrations on the recto (right) and the text on the following verso (left). This would suggest the importance of illustration over text.
The first 4 Seals result in the Four Horsemen. Four Horsemen of the Apocalypse, an 1887 painting by Victor Vasnetsov. The Lamb is visible at the top. Preterist view. Johann Jakob Wettstein (18th century) identified the first Horseman as Artabanus, king of the Parthians who slaughtered the Jews in Babylon. [13]
Four Horsemen of the Apocalypse in a 13th-century manuscript, kept in the British Library. The first Latin commentary – written by a Greek – was authored by Victorinus of Pettau (d. 304) in the late 3rd century. [8] Though incomplete, it became the foundation for later Latin commentaries.
And there appeared another wonder in Heaven; and behold a great red dragon, having seven heads and ten horns, and seven crowns upon his heads" (Revelation, 12.1–3) Facundus Beatus, f. 6v: "I am Alpha and Omega, the beginning and the ending, saith the Lord, which is, and which was, and which is to come, the Almighty." (Revelation, 1.8)
Gottman's Four Horsemen are four negative communication patterns that can signal the end of a relationship. An expert reveals how to work on them together.
Torrey showed how the three major songs in Revelation (the new song, the song of Moses and the Lamb and the chorus at 19:6–8) each fall naturally into four regular metrical lines plus a coda. [107] Other dramatic moments in Revelation, such as 6:16 where the terrified people cry out to be hidden, behave in a similar way. [ 108 ]