Bible By Colour – Part 2

Two years ago, the former minister of Gants Hill United Reformed Church asked me to write a series of articles about the importance of certain colours in the Christian Bible. I posted about the colours red, crimson, scarlet and green two weeks ago. Here are the remaining colours in the original series.

Blue

Blue is the third primary colour, along with red and yellow. The word comes from the Middle English bleu, which means shimmering or lustrous. Of the colours on the visible spectrum of light, blue has one of the shortest wavelengths. As a result, when sunlight passes through our atmosphere, the blue waves are scattered more widely than other colours, making the sky appear blue. It would take a scientist to explain this theory, but as Einstein said it was true, we can accept it as thus. 

Apart from naturally occurring blues, blue was not used in art or referenced in literature until much later than the other colours. This is because it was much harder to produce a blue dye, and the minerals from which it was made were much more expensive, for example, indigo, lapis lazuli and azurite. No ancient cave paintings contain blue pigment. One of the earliest uses is thought to be on the funeral mask of King Tutankhamun (1323 BC).

The Ancient Egyptians associated the colour blue with the sky and divinity. They believed the god Amun could turn his skin blue to fly, invisible, across the sky. They also believed blue could protect against evil, which is why many people in the Mediterranean wear blue amulets to protect them from misfortune.

The Romans often used blue for decorations. The walls of Pompeii were reportedly decorated with frescoes of blue skies. Later, in the Byzantine era, blue was often used in churches, and the Virgin Mary was usually depicted in dark blue clothing in artworks. In Islam, blue is Muhammad’s favourite colour.

In the Middle Ages, blue became the colour of poor people who used poor-quality dyes made from the woad plant to colour their clothes. In the western world, blue did not appear in churches until the 1130s, when the Saint-Denis Basilica installed a cobalt coloured stained glass window. This colour became known as bleu de Saint-Denis. Although the Byzantine Empire had depicted Mary in blue, the western church did not take up this practice until the 12th century. Before that, the Virgin wore blacks, greys and greens. 

King Louis IX of France (1214-70), now known as Saint Louis, was the first king to dress in blue. After this, many nobles followed suit. As a result, paintings of the legendary King Arthur show him dressed in blue. In the years to follow, blue became a sign of the wealthy and powerful in Europe.

During the Renaissance, merchants devised a way to produce blue dyes more cheaply. This led to several blue dye industries in cities across Europe. Eventually, blue pigments became widely available, and the colour began to appear regularly in paintings. By the 18th and 19th centuries, blue had become a popular colour amongst artists, particularly impressionists.

In contemporary English, blue represents sadness, for example, “She was feeling blue.” Alternatively, blue can represent happiness or optimism, for instance, blue skies. On the other hand, in Germany, to be blue means to be drunk. Also, in Germany, a naïve person is said to look upon the world with a blue eye.

In Turkey and some parts of Asia, blue represents mourning. In China, blue is the colour of ghosts, torment and death. It is common in Chinese opera for the villain to wear blue face paint. In Thailand, the colour blue represents Friday. 

Although some societies are trying to eradicate gender stereotypes, it is common to associate blue with boys and pink with girls. Yet, before the 1900s, it was the other way around. Blue was the colour for girls because it corresponded with the blue of the Virgin Mary’s clothes. Boys were pink due to its closeness to red, a masculine colour.

Many countries throughout the world use the colour blue on their flags. Countries include Scotland, Finland, Greece, Israel, Argentina, Uruguay, Estonia, Romania, Barbados, Russia, Serbia, Norway, Iceland, New Zealand, Thailand and the United Kingdom. In politics, blue represents the Conservative Party in the UK and the Democratic Party in the USA.

In Christianity, blue is associated with the Virgin Mary, although there is no evidence she wore this colour in the Bible. In Hinduism, many of the gods have blue skin, including Vishnu, the preserver of the world. In the Bible, the colour blue is mentioned several times, mostly in verses related to the Tabernacle. In Judaism, the colour blue represents God’s glory.

The colour blue first appears in Exodus 25:4, in which the Lord asks Moses to tell the Israelites to give him a gift of gold, silver and bronze; “blue, purple and scarlet yarn and fine linen; goat hair,” rams skins and so on. After this, between chapters 26 and 39, there are a further 33 mentions of the colour blue.

Exodus 26 contains God’s instructions for the construction of the Tabernacle. In the first verse, He requests ten linen curtains made from blue, purple and scarlet yarn, which have loops of blue material along the bottom (verse 4). Another curtain containing blue yarn is instructed in verse 31 and one more for the entrance to the tent in verse 36. Exodus 27 continues God’s instructions for the Tabernacle. The entrance to the courtyard of the tabernacle required “a curtain twenty cubits long, of blue, purple and scarlet yarn and finely twisted linen.” (verse 16)

Exodus 28 records God’s wishes for the priestly garments. These include a breast piece, an ephod, a robe, a tunic and a sash, all made from gold and blue, and purple and scarlet yarn. The breast piece and ephod were tied together with a blue cord, and the robe was made entirely from blue cloth but decorated with balls of blue, purple and scarlet yarn. A blue cord attached a seal onto the priest’s turban, which read, “Holy to the Lord”.

Exodus 35 requests the Israelites to donate gold, silver and bronze, and blue, purple and scarlet yarn and fine linen for the construction of the Tabernacle. The actual building of the Tabernacle commences in chapter 36. The Lord chose Bezalel, son of Uri, for the task of constructing the gold, silver and bronze elements, and Oholiab, son of Ahisamak, for the ability to teach others to work with the yarn and linen. The chapter goes on to record the production of the curtains mentioned earlier in the book.

Next, Exodus 38 records the construction of the courtyard, complete with a blue, purple and scarlet curtain for the entrance. Finally, Exodus 39 explains how the Israelites made priestly garments. The chapters are all rather repetitive, but they emphasise the importance of the colour blue, as well as purple and scarlet.

Blue continues to be important to the Israelites in the Book of Numbers. Chapter four records God’s instruction to Moses and Aaron to take a census of all the Levite clans. The Kohathite clan is responsible for covering the Tabernacle curtain with a “durable leather” and to “spread a cloth of solid blue over that and put the poles in place.” (verse 6). They are also instructed to lay a blue cloth over plates, dishes and bowls, the lampstand, the gold altar and any articles used for ministering in the sanctuary. 

Finally, we move away from the Tabernacle when we reach Numbers 15:38: “Speak to the Israelites and say to them: ‘Throughout the generations to come you are to make tassels on the corners of your garments, with a blue cord on each tassel.’” The tassels, or tzitzit, are still worn by orthodox Jews today. There have been several opinions about the significance of this blue cord (tekhelet), including representing the noonday sky and that it is the colour of God’s glory. 

The next mention of the colour blue occurs in 2 Chronicles. A large part of the book focuses on the construction of Solomon’s Temple. 2 Chronicles 2:7 states, “Send me, therefore, a man skilled to work in gold and silver, bronze and iron, and in purple, crimson and blue yarn, and experienced in the art of engraving, to work in Judah and Jerusalem with my skilled workers, whom my father David provided.” These are the same colours (except crimson instead of scarlet) used for the Tabernacle. 

A man named Huram-Abi was sent to work on the Temple by Hiram. He was “trained to work in gold and silver, bronze and iron, stone and wood, and with purple and blue and crimson yarn and fine linen.” (verse 14) In the following chapter, a curtain of blue, purple and crimson yarn is recorded. 

The next book of the Bible to feature the colour blue is Esther. Chapter one, which focuses on the deposition of Queen Vashti, also describes the citadel of Susa. Verse 6 tells us, “The garden had hangings of white and blue linen, fastened with cords of white linen and purple material to silver rings on marble pillars. There were couches of gold and silver on a mosaic pavement of porphyry, marble, mother-of-pearl and other costly stones.”

The book of Esther contains the story of Haman, the enemy of the Jews. By chapter 8, he has been defeated, and King Xerxes gives Queen Esther Haman’s estate. Mordecai was also rewarded by the king, and “When Mordecai left the king’s presence, he was wearing royal garments of blue and white, a large crown of gold and a purple robe of fine linen. And the city of Susa held a joyous celebration.” (Esther 8:15) 

The book of Jeremiah mentions the colour once. On this occasion, the blue does not reference God as it may have done in the curtains of the Tabernacle. Instead, in chapter ten, God warns the Israelites of the dangers of false gods and idols. He reports that skilled workers hammer gold and silver, then “What the craftsman and goldsmith have made is then dressed in blue and purple”. (Jeremiah 10:9) God tells them that he is the true God and any other god or idol will perish. 

Ezekiel 23 talks about Assyrian warriors “clothed in blue, governors and commanders, all of them handsome young men, and mounted horsemen.” (verse 6) In this instance, the colour blue has moved away from representing God’s glory and become an indication of importance – similar, in a way, to Mordecai’s garments in the book of Esther. 

Yet, Ezekiel 27 reveals that clothing yourself in blue fabric does not give you the same status as God. In a lament, God reminds the people of Tyre that “Fine embroidered linen from Egypt was your sail and served as your banner; your awnings were of blue and purple from the coasts of Elishah.” (verse 7) Yet, Tyre has now fallen. “In your marketplace they traded with you beautiful garments, blue fabric, embroidered work and multicoloured rugs with cords twisted and tightly knotted.” (verse 24) Still, Tyre was destroyed. 

This leaves one final mention of the colour blue. “The horses and riders I saw in my vision looked like this: Their breastplates were fiery red, dark blue, and yellow as sulphur. The heads of the horses resembled the heads of lions, and out of their mouths came fire, smoke and sulphur.” (Revelation 9:17)

Except for the latter, all fifty-odd references to the colour blue relate to God, the service to God and godly living. The building of the Tabernacle and construction of the Temple occurred when blue dyes were harder to come across, so they were only used for something special, and what is more special than God? As time went on, people began to use the colour blue to signify their rank and importance, but God put them back in their place.

With this meaning in mind, it is clear why artists chose to use blue for Mary’s clothing in the Nativity Scene. She was chosen by God to be the mother of his son and is, therefore, important in his eyes.

Today, the colour blue has lost this sacredness. No one looks at blue paint, blue curtains, blue books or a blue football shirt and thinks of God. Fortunately, unlike the people of Tyre, we are not attempting to elevate ourselves to God’s level by using this colour. We use it because it is now readily available.

Purple

Purple is a secondary colour made by combining red and blue. The word was first used in English in the year 975 AD, although it was spelt purpul. Many shades get confused as purple, for example, violet and lilac, but purple has its place on the traditional colour wheel. The confusion arises from the term Tyrian purple, which ranged from crimson to bluish purple. To make things more confusing, each country tends to have a different definition of purple, resulting in a variety of shades. In France, purple is described as “a dark red, inclined toward violet,” and in German, the word Purpurrot means “purple-red”. 

Confusion aside, it is generally agreed that purple is the colour of kings, nobles, priests and magistrates. This idea formed as early as 950 BC, and it is believed the kings of Ptolemaic Egypt wore purple, as did Alexander the Great. The Roman custom of wearing purple togas may have stemmed from this or may have been introduced by the Etruscans. An Etruscan tomb painting from the 4th century BC shows a nobleman wearing deep purple.

The Byzantine Empire continued to use purple as the imperial colour. In Western Europe, Charles the Great, also known as Charlemagne, was buried in a purple shroud. After the fall of Constantinople to the Ottoman Empire, the colour lost its imperial status and was replaced with scarlet.

Throughout the medieval and Renaissance eras, purple was phased out of royal clothing and cardinals were no longer allowed to wear the colour on the orders of Pope Paul II (1417-71). On the other hand, purple robes became the standard among students of divinity. 

The colour purple regained its popularity during the 18th and 19th centuries. Paintings of Catherine the Great (1729-96) show her wearing a light purple dress, although some may call this mauve. Queen Victoria (1819-1901) wore a gown of a similar colour to the Royal Exhibition of 1862, which encouraged factories to produce purple dyes, making them readily available to everyone and not just royalty.

Purple became a popular choice of colour amongst Pre-Raphaelite artists, and it was said to be the favourite colour of the Austrian painter Gustav Klimt (1862-1918). George VI (1895-1952) wore purple for his official portrait, and his daughter, Elizabeth II (b. 1926), used the colour on the invitations to her coronation.

At the beginning of the 20th century, the Suffragettes adopted purple, white and green as the colours of women’s liberation. On a less positive note, in Nazi concentration camps, non-conformist religious groups were required to wear a purple triangle.

Purple is less naturally occurring than other colours, but there are a few animals described as purple. These include purple frogs, purple queenfish, purple sea urchins, purple herons, purple finches, purple honeycreepers and one of the colours of the imperial amazon parrot. The latter is the national bird of Dominica and appears on their flag, making it the only flag to contain the colour purple. Purple plants include hydrangeas, pansies, copper beech trees, irises, alfalfa, alpine asters, wisteria and lavender.

There are several “Purple Mountains” around the world, some of which are so named due to the colour of the rock, and others because of the shade the clouds form at dawn and dusk. These mountains can be found in Nanjing (China), Ireland, Wyoming, Alaska, Oregon, Washington and Colorado.

Although the colour purple had been phased out of imperial families, the British Royal Family continues to use the colour on ceremonial and special occasions. In Roman Catholic Liturgy, purple symbolises penitence, and priests may wear a purple stole when they hear a confession. They also wear a purple stole or chasuble during the periods of Lent and Advent.

In other traditions, purple is associated with vanity and extravagance. This is because it is a colour that attracts attention. It is a colour associated with the artificial and unconventional due to the infrequency of its appearance in nature. It was also the first colour to be synthesised.

In the past, purple was a sign of mourning in Britain. The first year after a death, mourners traditionally wore black, and in the second year, they wore purple. This may have stopped being common practice after Queen Victoria decided to wear black for the rest of her widowhood.

In China, purple represents awareness, physical and mental wellbeing, strength, and abundance. In some cases, it also symbolises luck. In Japan, it is the colour of wealth and privilege. On the Thai solar calendar, it is associated with Saturday. Grieving widows in Thailand wear purple as a sign of mourning.

The colour purple is also significant in the Bible. It appears roughly thirty times in the book of Exodus when describing the decoration of the tabernacle. The Israelites were instructed to make several curtains “twenty cubits long, of blue, purple and scarlet yarn and finely twisted linen.” (Exodus 27:16) 

Later, in the book of Numbers, the Kohathite tribe are instructed to “remove the ashes from the bronze altar and spread a purple cloth over it” (Numbers 4:13) every time the tabernacle is moved. 

Purple also appears in the books of Esther and Jeremiah. The garden of the palace of Susa was decorated with blue linen and cords of white and purple. (Esther 1:6) When King Xerxes rewarded Mordecai after the death of Haman, Mordecai was dressed in royal garments of blue and a purple robe of fine linen. (Esther 8:15) In Jeremiah, we are told that people had started to dress in blue and purple, believing themselves to be as important as God, but God put them back in their place.

In the book of Judges, we are told that purple garments are the clothing of kings. In the book of Daniel, King Belshazzar announces that whoever interprets the strange writing on the wall will be awarded purple clothing.

  • Judges 8:26: The weight of the gold rings he asked for came to seventeen hundred shekels, not counting the ornaments, the pendants and the purple garments worn by the kings of Midian or the chains that were on their camels’ necks. 
  • Daniel 5:7: The king summoned the enchanters, astrologers and diviners. Then he said to these wise men of Babylon, “Whoever reads this writing and tells me what it means will be clothed in purple and have a gold chain placed around his neck, and he will be made the third highest ruler in the kingdom.”
  • Daniel 5:29: Then at Belshazzar’s command, Daniel was clothed in purple, a gold chain was placed around his neck, and he was proclaimed the third highest ruler in the kingdom.

The epilogue of Proverbs 31 tells of the wife of a noble character. The chapter tells us she is worth more than rubies and should be honoured. She provides for her husband and looks after her household. She makes sure there is always something for her family to eat, but also, “she is clothed in fine linen and purple,” (Proverbs 31:22), a noble, respected colour. 

On the other hand, the poem in Lamentations 4 reveals that wearing purple does not equate to godly status. The colour does not protect people from God’s wrath or entitle them to sin without punishment. “Those brought up in royal purple now lie on ash heaps.” (Lamentations 4:5) These self-important people, clothed in royal colours, have become the victims of God’s anger.

The most noteworthy use of purple occurs in two of the Gospels, Mark and John. Although purple is a royal colour, it is used negatively in these books. After Jesus was arrested, he was crowned with thorns and mocked for being the “King of the Jews.” What is often missed out of this story is the purple robe in which they dress him.

  • Mark 15:17: They put a purple robe on him, then twisted together a crown of thorns and set it on him.
  • Mark 15:20: And when they had mocked him, they took off the purple robe and put his own clothes on him. Then they led him out to crucify him.
  • John 19:2: The soldiers twisted together a crown of thorns and put it on his head. They clothed him in a purple robe
  • John 19:5: When Jesus came out wearing the crown of thorns and the purple robe, Pilate said to them, “Here is the man!”

Purple was the colour of kings, the colour of important people, but the Romans used the colour as a way to mock and torment Jesus.

Purple is also mentioned in the Gospel of Luke, however, not in relation to Jesus’ arrest and crucifixion. “There was a rich man who was dressed in purple and fine linen and lived in luxury every day.” (Luke 16:19) This is the opening line of one of Jesus’ teachings. A beggar named Lazarus died outside the rich man’s home. Later, the rich man died, but in the afterlife, or Hades, as the NIV states, the rich man notices Lazarus has been honoured with a place next to Abraham. When questioning why he did not also receive this honour, the rich man was told, “Son, remember that in your lifetime you received your good things, while Lazarus received bad things, but now he is comforted here and you are in agony.” (Luke 16:25) This is an example of the colour purple representing extravagance and vanity.

There are four more mentions of the colour purple in the Bible. They each indicate someone’s wealth and status, but only one has positive connotations:

  • Acts 16:14: One of those listening was a woman from the city of Thyatira named Lydia, a dealer in purple cloth. She was a worshiper of God. The Lord opened her heart to respond to Paul’s message.
  • Revelations 17:4: The woman was dressed in purple and scarlet, and was glittering with gold, precious stones and pearls. She held a golden cup in her hand, filled with abominable things and the filth of her adulteries.
  • Revelation 18:12: fine linen, purple, silk and scarlet cloth; every sort of citron wood, and articles of every kind made of ivory, costly wood, bronze, iron and marble
  • Revelation 18:16: Woe! Woe to you, great city,dressed in fine linen, purple and scarlet,and glittering with gold, precious stones and pearls!

Overall, the colour purple is symbolic of God. Although bad things happened to some people who wore purple, it is not the colour that was the cause but their actions. Purple is a colour that represents royalty, wealth and nobility, but unless we put God first, it does not matter what we wear.

Black

Some may argue that black is not a colour, but Wikipedia describes it as the darkest colour. It is an achromatic colour, which means it has no colour hue. White and grey are two other achromatic colours. Symbolically, black is used to represent darkness, but there are several other meanings associated with the colour.

Black was the first colour used in cave paintings. Palaeolithic cave paintings produced between 18,000 and 17,000 years ago used charcoal or burnt bones to produce the colour black. The ancient Latin and Greek words for black also translate as “to burn”.

The Ancient Egyptians believed black was the colour of fertility due to the colour of the soil that had once been flooded by the River Nile. The Ancient Greeks, on the other hand, associated black with death and the underworld because they believed the waters of the River Acheron, that separated Hades from the living world, were black. 

Initially, in Ancient Rome, craftsmen and artisans wore the colour black, but by the second century, the colour had been adopted by Roman magistrates when attending funeral ceremonies. Thus, black became a symbol of death and mourning.

By the 12th century, black was the traditional colour of Benedictine monks as a sign of humility and penitence. Yet, two centuries later, the meaning of black changed once again. Due to more expensive processes of producing black dyes, the colour became common amongst the wealthy and signified their importance and position in society. This change spread from Italy to France, eventually reaching England during the reign of Richard II (1367-1400). By the end of the 16th century, almost all monarchs and royal courts in Europe wore black.

Although black was the colour worn by members of the Catholic clergy, it later became the colour of the Protestant Reformation and the English Puritans. John Calvin (1509-64), amongst other Protestant theologians, denounced the richly coloured interiors of Catholic churches, claiming they represented luxury and sin. Ironically, around the same period, the colour became associated with witchcraft and the devil. People feared that the devil would appear at midnight during a ceremony known as Black Mass or Black Sabbath in the form of a goat, dog, wolf or bear, accompanied by black creatures, such as cats or snakes.

During the Industrial Revolution, black became associated with the colour of dirt, coal and smog. In literature, it became the colour of melancholy, and in politics, the colour of anarchism. In the 20th century, it was adopted by fascism and intellectual and social rebellion. On the other hand, it had an alternative meaning in fashion. Black became the colour of evening dress for men, and Coco Chanel popularized the little black dress.

The Black Power movement and the slogan “Black is Beautiful” fought for equal rights for African Americans during the 1950s. In the 1990s, the Black Standard became the banner of many Islamic extremists groups. Black is also associated with subcultures, such as Goths.

Today, the colour black has different meanings all over the world. In China, it represents water, which is one of their five fundamental elements. It also represents the direction north, which is symbolised by a black tortoise. In Japan, black means mystery, the night, the supernatural, the invisible and death. A black belt in Japanese martial arts symbolises experience. In Indonesia, black represents demons, disaster and the left hand.

In Islam, Muhammad’s soldiers carried a black banner, hence, the Black Standard of some Islamic groups. In Hinduism, the goddess of time and change is called Kali, which means “the black one”. According to mythology, she destroys anger and passion.

With so many variants on the meaning of the colour black, what does it represent in the Bible? In Christian mythology, black was the colour of the universe before God created light. Occasionally, the devil is known as “the prince of darkness”, a term that was used in John Milton’s Paradise Lost and Shakespeare’s King Lear

The colour black appears less than twenty times in the Bible, and, on some occasions, the NIV translates the word as “dark” or “darkness”. These Bible verses tend to refer to famines, wars and sorrow. An example of this is Job 30:30: “My skin grows black and peels”. Job is lamenting his fate and refers to “blackness” many times throughout the book; however, it is only in reference to the colour of his skin as a result of lack of nourishment that he uses the word “black”. 

The colour black also represents the deceitful treatment of Job’s friends, although the NIV quotes “darkness”. Similarly, black or darkness symbolises God’s judgement and punishment of sins. A handful of times, black horses were used as a symbol of sorrow and famine. In Zechariah 6, four chariots are pulled by different coloured horses. Each travels in a different direction, the black one going north, i.e. Babylon, where punishment will be given out. Verses involving black horses include:

  • Zechariah 6:2: The first chariot had red horses, the second black.
  • Zechariah 6:6: The one with the black horses is going toward the north country, the one with the white horses toward the west, and the one with the dappled horses toward the south.
  • Revelation 6:5: When the Lamb opened the third seal, I heard the third living creature say, “Come!” I looked, and there before me was a black horse! Its rider was holding a pair of scales in his hand.

Another symbol of God’s judgement is the darkening of the sky.

  • Deuteronomy 4:11: You came near and stood at the foot of the mountain while it blazed with fire to the very heavens, with black clouds and deep darkness.
  • 1 Kings 18:45: Meanwhile, the sky grew black with clouds, the wind rose, a heavy rain started falling and Ahab rode off to Jezreel.
  • Revelation 6:12: I watched as he opened the sixth seal. There was a great earthquake. The sun turned black like sackcloth made of goat hair, the whole moon turned blood red.

In the latter example, the black sun would result in total darkness, like the universe before God created light. It is an absence of God. 

Not all references to the colour black have negative connotations. In some instances, black represents good health. Whilst, yellow hair in a wound was a sign of uncleanliness or leprosy, a black hair, i.e. a natural coloured hair, gave the afflicted a clean bill of health. “If, however, the sore is unchanged so far as the priest can see, and if black hair has grown in it, the affected person is healed. They are clean, and the priest shall pronounce them clean.” (Leviticus 13:37)

If a wound contains no black hair, the priests were instructed to isolate the person in case an illness developed. “But if, when the priest examines the sore, it does not seem to be more than skin deep and there is no black hair in it, then the priest is to isolate the affected person for seven days.” (Leviticus 13:31) Deuteronomy 14:12-13 states the same virtually word for word. 

There are many black animals in the world, including, bears, spiders, snakes, panthers and birds. Two black birds are listed as unclean animals that the Israelites were unable to eat. “These are the birds you are to regard as unclean and not eat because they are unclean: the eagle, the vulture, the black vulture, the red kite, any kind of black kite.” (Leviticus 11:13-14) Another black bird is mentioned in Song of Songs as a simile to describe the hair colour of “the beloved”. (Song of Songs 5:11)

A final mention of black hair occurs during the Sermon on the Mount. Jesus warns people not to break an oath or even make an oath in the first place. “All you need to say is simply ‘Yes’ or ‘No’.” It is wrong to swear things on heaven for it belongs to God. Jesus also instructs people to not swear by their head. “And do not swear by your head, for you cannot make even one hair white or black.” (Matthew 5:36)

So, what does black represent in the Bible? Most examples relate to sin, judgement and “dark times”. There is no getting away from the fact that black has negative connotations. On the other hand, the other verses show that not all black things are bad. There are naturally occurring black things in the world that have not come about due to sin, for example, ravens and hair. We must not be quick to judge something by its colour; we should not be so black and white (pardon the pun) about the world. This way of thinking can debunk many thoughts, ideas and stereotypes about the world, for instance, assumptions about a Goth’s choice of clothing, and no one should ever be judged by their skin colour.

White

Like black, white is an achromatic colour. The word derives from the same roots as “bright” and “light”, which describe the colour white. Along with black, white was one of the first colours used in cave paintings. Palaeolithic artists used chalk or calcite to produce white markings.

In Ancient Egypt, white was connected with the goddess Isis who, according to myth, resurrected her dead husband. The priestesses of Isis dressed only in white linen, and Egyptians used the same material to wrap mummies. In Ancient Greece, white represented life and nourishment, particularly concerning a mother’s milk. The Ancient Greeks and other civilisations also saw white as a counterpart to black in terms of light and darkness.

In Ancient Roman, Vesta, the goddess of the hearth and family, was said to wear white linen robes. Thus, white became a symbol of purity, loyalty and chastity. White was also worn at ceremonial occasions by Roman citizens between the ages of 14 and 18. A man who wished to be elected to public office wore a white toga known as a toga candida. This is from where the word candidate originates.

The early Christian church adopted the Roman concept of white representing purity and virtue. Priests were expected to wear white during mass, and it became the colour of the Cistercian Order and the official colour worn by the Pope. Similarly, in the secular world, a white unicorn was used as a symbol of purity, chastity and grace. Legend said only a virgin could capture a unicorn.

Whereas black is the traditional colour of mourning today, before the 16th century, widows commonly wore white. Later, in the 18th century, white became a fashionable colour for both men and ladies. White wigs and stockings became a typical part of male dress for the upper classes. There was also an unwritten rule that all underwear and bed linen must be white. These items were washed more than others, so more likely to fade and wear out.

According to science, we see the colour white when an object reflects all light and colour wavelengths. Snow is white because the ice reflects the sunlight. Clouds are white because the water droplets do not absorb any wavelengths. The White Cliffs of Dover are white because they are made of limestone, which reflects lights. White beaches occur when the sand is made up of limestone or quartz particles, from which light is reflected.

Many animals use the colour of their skin, fur or feathers as a means of camouflage. White animals are particularly good at hiding in the winter when the land is covered in snow. White animals include ermine, stoats, polar bears, the Beluga whale, and white doves. The latter have become an international symbol of peace.

There are many interpretations of the meaning and symbolism of the colour white. In Western cultures, white usually represents innocence and purity. It is also associated with beginnings and is why babies and children are usually baptised wearing white. Queen Elizabeth II wears white at the opening of each British Parliament session. Debutantes wear white at their first ball. White has been the traditional colour of wedding dresses since the 19th century.

White is a sign of cleanliness. Objects to be kept clean are typically white, for example, dishes, refrigerators, toilets, sinks, bed linen, towels, doctors’ coats and chefs’ outfits. White can also mean peace or surrender. Originating during the Hundred Years’ War, a white flag is used to request a truce or indicate surrender.

In the Bible, white is also a symbol of purity, innocence, honesty and cleanliness; but there are other meanings. One repeated representation is illness, particularly concerning skin disease. When someone is ill, they usually look pale or white, particularly in the hands and face. Verses that refer to this idea include:

  • Exodus 4:6: Then the Lord said, “Put your hand inside your cloak.” So Moses put his hand into his cloak, and when he took it out, the skin was leprous—it had become as white as snow.
  • Leviticus 13:4: If the shiny spot on the skin is white but does not appear to be more than skin deep and the hair in it has not turned white, the priest is to isolate the affected person for seven days.
  • Leviticus 13:10-26: (10) The priest is to examine them, and if there is a white swelling in the skin that has turned the hair white and if there is raw flesh in the swelling… (13) the priest is to examine them, and if the disease has covered their whole body, he shall pronounce them clean. Since it has all turned white, they are clean… (16-17) If the raw flesh changes and turns white, they must go to the priest. The priest is to examine them, and if the sores have turned white, the priest shall pronounce the affected person clean; then they will be clean… (19-21) and in the place where the boil was, a white swelling or reddish-white spot appears, they must present themselves to the priest. The priest is to examine it, and if it appears to be more than skin deep and the hair in it has turned white, the priest shall pronounce that person unclean. It is a defiling skin disease that has broken out where the boil was.  But if, when the priest examines it, there is no white hair in it and it is not more than skin deep and has faded, then the priest is to isolate them for seven days.
  • Leviticus 13:38-43: (38-39) When a man or woman has white spots on the skin, the priest is to examine them, and if the spots are dull white, it is a harmless rash that has broken out on the skin; they are clean… (42-43) But if he has a reddish-white sore on his bald head or forehead, it is a defiling disease breaking out on his head or forehead. The priest is to examine him, and if the swollen sore on his head or forehead is reddish-white like a defiling skin disease.
  • Numbers 12:10: When the cloud lifted from above the tent, Miriam’s skin was leprous—it became as white as snow. Aaron turned toward her and saw that she had a defiling skin disease.
  • 2 Kings 5:27: Naaman’s leprosy will cling to you and to your descendants forever.” Then Gehazi went from Elisha’s presence and his skin was leprous—it had become as white as snow.
  • Joel 1:7: It has laid waste my vines and ruined my fig trees. It has stripped off their bark and thrown it away, leaving their branches white.

The example from Joel talks about plants rather than humans. Joel speaks about a plague of locusts that have destroyed his vines and fig trees, stripping them of their bark. The inner layers of many trees are white, as mentioned in the book of Genesis: “Jacob, however, took fresh-cut branches from poplar, almond and plane trees and made white stripes on them by peeling the bark and exposing the white inner wood of the branches.” (Genesis 30:37)

Sometimes, the writers of the Bible used the colour white to describe something’s appearance. In these cases, they may not contain hidden meanings but rather a way of helping the reader picture the scene.

  • Genesis 49:12: His eyes will be darker than wine, his teeth white from milk.
  • Exodus 16:31: The people of Israel called the bread manna. It was white like coriander seed and tasted like wafers made with honey.
  • Leviticus 11:18: the white owl, the desert owl, the osprey
  • Deuteronomy 14:16: the little owl, the great owl, the white owl
  • Judges 5:10: You who ride on white donkeys, sitting on your saddle blankets, and you who walk along the road.

There are many examples of white as a symbol of purity. A couple of these refer to the repentance of sin, for example:

  • Ecclesiastes 9:8: Always be clothed in white, and always anoint your head with oil.
  • Isaiah 1:18: “Come now, let us settle the matter,” says the Lord. “Though your sins are like scarlet, they shall be as white as snow; though they are red as crimson,they shall be like wool.”
Angel of the Annunciation (Gabriel) – Titian

Other references to white as a symbol of purity appear in verses about Jesus, particularly after his resurrection or during his transfiguration.

  • Matthew 17:2: There he was transfigured before them. His face shone like the sun, and his clothes became as white as the light.
  • Matthew 28:3: His appearance was like lightning, and his clothes were white as snow.
  • Mark 9:3: His clothes became dazzling white, whiter than anyone in the world could bleach them.
  • Mark 16:5: As they entered the tomb, they saw a young man dressed in a white robe sitting on the right side, and they were alarmed.
  • John 20:12: and saw two angels in white, seated where Jesus’ body had been, one at the head and the other at the foot.
  • Acts 1:10: They were looking intently up into the sky as he was going, when suddenly two men dressed in white stood beside them.

In the Book of Esther, the gardens of the palace of Susa contained white hangings and, later, Mordecai was clothed in blue and white. This also refers to purity as well as peace.

  • Esther 1:6: The garden had hangings of white and blue linen, fastened with cords of white linen and purple material to silver rings on marble pillars. There were couches of gold and silver on a mosaic pavement of porphyry, marble, mother-of-pearl and other costly stones.
  • Esther 8:15: When Mordecai left the king’s presence, he was wearing royal garments of blue and white, a large crown of gold and a purple robe of fine linen. And the city of Susa held a joyous celebration.

The remaining examples of the colour white all relate to prophesy. White horses symbolise truth and righteousness. The other prophetic uses of the colour likely refer to similar things, although scholars have debated at length over their exact meaning. The majority appear in the book of Revelation.

  • Daniel 7:9: As I looked, thrones were set in place, and the Ancient of Days took his seat. His clothing was as white as snow; the hair of his head was white like wool.
  • Zechariah 1:8: During the night I had a vision, and there before me was a man mounted on a red horse. He was standing among the myrtle trees in a ravine. Behind him were red, brown and white horses. 
  • Zechariah 6:3: the third white, and the fourth dappled—all of them powerful.
  • Revelation 1:14: The hair on his head was white like wool, as white as snow, and his eyes were like blazing fire.
  • Revelation 2:17: Whoever has ears, let them hear what the Spirit says to the churches. To the one who is victorious, I will give some of the hidden manna. I will also give that person a white stone with a new name written on it, known only to the one who receives it.
  • Revelation 3:4-5: Yet you have a few people in Sardis who have not soiled their clothes. They will walk with me, dressed in white, for they are worthy. The one who is victorious will, like them, be dressed in white. I will never blot out the name of that person from the book of life, but will acknowledge that name before my Father and his angels.
  • Revelation 3:18: I counsel you to buy from me gold refined in the fire, so you can become rich; and white clothes to wear, so you can cover your shameful nakedness; and salve to put on your eyes, so you can see.
  • Revelation 4:4: Surrounding the throne were twenty-four other thrones, and seated on them were twenty-four elders. They were dressed in white and had crowns of gold on their heads.
  • Revelation 6:2: I looked, and there before me was a white horse! Its rider held a bow, and he was given a crown, and he rode out as a conqueror bent on conquest.
  • Revelation 7:9: After this I looked, and there before me was a great multitude that no one could count, from every nation, tribe, people and language, standing before the throne and before the Lamb. They were wearing white robes and were holding palm branches in their hands.
  • Revelation 7:13-14: Then one of the elders asked me, “These in white robes—who are they, and where did they come from?” I answered, “Sir, you know.” And he said, “These are they who have come out of the great tribulation; they have washed their robes and made them white in the blood of the Lamb.”
  • Revelation 14:14:  I looked, and there before me was a white cloud, and seated on the cloud was one like a son of man with a crown of gold on his head and a sharp sickle in his hand.
  • Revelation 19:14: The armies of heaven were following him, riding on white horses and dressed in fine linen, white and clean.
  • Revelation 20:11: Then I saw a great white throne and him who was seated on it. The earth and the heavens fled from his presence, and there was no place for them.

So ends the brief introduction to The Importance of Colours in the Bible.


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Bible By Colour – Part One

Two years ago, the former minister of Gants Hill United Reformed Church asked me to write a series of articles about the importance of certain colours in the Christian Bible. How often are colours mentioned, and do they have a particular meaning in scripture? We know that a rainbow of colours was symbolic. In Genesis 9:13, a rainbow symbolised God’s promise that he would never flood the earth again. In Ezekiel 1:27, a rainbow represented the glory of God. Revelation 4:3 records John’s witness of the same rainbow as Ezekiel, but he also saw one above the head of a “mighty angel” who carried a book about the events to occur at the end of time.

The modern understanding of a rainbow was established by Isaac Newton (1643-1727), who divided up the visible wavelengths of light (colours) into seven groups. These are red, orange, yellow, green, blue, indigo and violet. Yet, there is a continuum of colours that fall between these categories.

Red

Red is one of the three primary colours (the others are yellow and blue) and appears on 75% of national flags. In contemporary times, red is associated with several things; for example, when seen on a traffic light or road sign, it means “stop”. Red is one of the colours used to describe fire, which can have both positive and negative connotations. Fire brings warmth and a means of cooking, but on the other hand, it can also signify danger.

In astronomy, Mars is known as the Red Planet, and on Jupiter, there is a Great Red Spot. There are stars known as red giants, red supergiants and red dwarfs. The sky occasionally turns red during sunset or sunrise. This has led to the saying, “Red sky at night, shepherd’s delight; red sky in the morning, shepherd’s warning.” It was believed a red sky signified an approaching storm. The original phrase, however, comes from the Gospel of Matthew:

“He replied, “When evening comes, you say, ‘It will be fair weather, for the sky is red,’ and in the morning, ‘Today it will be stormy, for the sky is red and overcast.’ You know how to interpret the appearance of the sky, but you cannot interpret the signs of the times.” (Matthew 16:2-3, NIV)

Red is one of the autumnal colours that appear on leaves during the lead up to winter. This associates the colour with the end of life; however, it can also represent new life with its appearance in fruit, such as cranberries, apples, cherries and raspberries. Elsewhere in nature, the colour red appears on many woodland creatures, for example, red foxes, red squirrels, robins, grouse, redwings and red setters. 

Human blood is red, which symbolises both life (i.e. we need blood to live) and death (in terms of blood being spilt). Two per cent of the world’s population has naturally red hair. The term redhead, or redd hede as it was originally spelt, has been in use since around 1510.

In human and animal behaviour, red sometimes indicates dominance. Wearing red has been linked with success and enhanced performance, especially in sport. Although a more controlled test of this theory suggests this is not entirely true.

Other meanings that the colour red connotes are love (i.e. red roses on Valentine’s day), celebration and ceremony (red carpet), Christmas (Santa Claus), anger (“seeing red”), seduction (red lipstick) and sexuality (red-light district). 

In the New International Version of the Bible, the word “red” appears at least fifty times, although some translations use “red” more broadly. There is a wide spectrum of colours, and red is only one small section. Either side of red are similar colours, such as scarlet and crimson, which have separate mentions and meanings in the Bible – at least in the NIV.

On more than one occasion, the colour red is used symbolically to indicate sin or sinfulness. When Israel attacked the wicked Moabites, the “water looked red – like blood.” (2 Kings 3:22) When the city of Nineveh fell, Nahum tells us, “The shields of the soldiers are red.” (Nahum 2:3). 

The prophet Ezekiel wrote about a prostitute, a sinner who lusted after a group of men of whom a sketch was drawn on a wall in red. “But she carried her prostitution still further. She saw men portrayed on a wall, figures of Chaldeans portrayed in red.” (Ezekiel 23:14) An interesting thing to note here is the colour red was the first pigment to be used in art. In this instance, it may be a coincidence that the drawing was in the same colour as one representative of sin.

In Zechariah 1, the prophet heard the Lord was very angry with his ancestors. Later on that day, Zechariah had a vision: “During the night I had a vision, and there before me was a man mounted on a red horse. He was standing among the myrtle trees in a ravine. Behind him were red, brown and white horses.” (Zechariah 1:8) The prophet recorded another vision of red horses in Zechariah 6:2. 

Another red horse is mentioned in Revelation 6:4 as a sign of war, bloodshed and the end times: “Then another horse came out, a fiery red one. Its rider was given power to take peace from the earth and to make people kill each other. To him was given a large sword.”

A red dragon is used as a similar symbol but also represents Satan’s power and determination to bring about destruction: “Then another sign appeared in heaven: an enormous red dragon with seven heads and ten horns and seven crowns on its heads.” (Revelation 12:13)

Other mentions of red in relation to the end times are:

  1. Revelation 6:12: I watched as he opened the sixth seal. There was a great earthquake. The sun turned black like sackcloth made of goat hair, the whole moon turned blood red.
  2. Revelation 9:17: The horses and riders I saw in my vision looked like this: Their breastplates were fiery red, dark blue, and yellow as sulphur. The heads of the horses resembled the heads of lions, and out of their mouths came fire, smoke and sulphur.

Proverbs 23:31 says, “Do not gaze at wine when it is red, when it sparkles in the cup, when it goes down smoothly!” This is a warning about the temptation of sin. It may look good but it will have its repercussions. In the book of Job, the colour red is a sign of sorrow, grief and distress. “My face is red with weeping, dark shadows ring my eyes.” (Job 16:16)

Red is also a symbol of death. The Red Sea, which lies between Africa and Asia on the edge of the Indian Ocean, has claimed many people’s lives. Today, the Red Sea is bordered by Egypt, Sudan, Eritrea, Djibouti, Saudi Arabia and Yemen. It is approximately 1400 miles in length and about 220 miles wide.

The most famous Bible passage involving the Red Sea takes place in the book of Exodus. Moses rescued the Israelites from Egypt by parting the waters of the Red Sea. When Pharaoh and his army tried to cross, God caused the waters to return to normal, drowning the entire army.

  1. Exodus 13:18: So God led the people around by the desert road toward the Red Sea. The Israelites went up out of Egypt ready for battle.
  2. Exodus 15:4: Pharaoh’s chariots and his army he has hurled into the sea. The best of Pharaoh’s officers are drowned in the Red Sea.

The Red Sea is also mentioned in the books of Numbers, Deuteronomy, Joshua, Judges, 1 Kings, Nehemiah, Psalms, Isaiah, Jeremiah, Acts and Hebrews. 

On a couple of occasions, Biblical characters are given names that mean “red”. “The first to come out was red, and his whole body was like a hairy garment; so they named him Esau.” (Genesis 25:25) “He said to Jacob, “Quick, let me have some of that red stew! I’m famished!” (That is why he was also called Edom.)” (Genesis 25:30)

At least three verses of the Bible mention items being dyed or decorated red. The significance of this, if there is one, is uncertain.

  1. Exodus 25:5: ram skins dyed red and another type of durable leather; acacia wood.
  2. Exodus 26:14: Make for the tent a covering of ram skins dyed red, and over that a covering of the other durable leather.
  3. Jeremiah 22:14: He says, ‘I will build myself a great palace with spacious upper rooms.’ So he makes large windows in it, panels it with cedar and decorates it in red.

In the Roman Catholic Church, the colour red is associated with the fire of Pentecost and the Holy Spirit. It has also been the colour worn by the Cardinals since 1295. In general, red is the colour of Christ’s blood and, therefore, a symbol of his crucifixion. At Christmas, red tape or ribbon is used during Christingle services to represent the blood. The flags of some historically Christian nations still bear a red cross. 

Crimson and Scarlet

The New International Version of the Bible frequently uses the words “crimson” and “scarlet” when other newer versions may use “red”. In the original Hebrew text, there were several other ways to describe a reddish hue. Three of these words are now translated as “crimson”. They are karmity, which means deep red; tola, the maggot from which the dye is derived; and shaniy. The term “scarlet” is a translation of the Greek word Kokkinos, which refers to the shape of the insect from which the dye is extracted.

Crimson is a strong red colour that slightly inclines towards purple on the colour wheel. The colour was originally produced using the dried bodies of the kermes insect found in Mediterranean countries.

In Polish, crimson or Karmazyn is another name for a nobleman. People of high nobility often wore crimson robes. Poland is also one of two countries that have the colour crimson on their national flags – the other country is Nepal. In Denmark, the Grand Hussar Regiment wears a crimson jacket as part of its ceremonial uniform. The King’s Royal Hussars in the British Army still wear crimson trousers, giving themselves the nickname “Cherrypickers”. Likewise, in the USA crimson is the colour of the Ordnance Corps.

The plant rhubarb is poetically referred to as “crimson stalks” for obvious reasons. The crimson sunbird is the national bird of Singapore. In Australia, there is a species of parrot known as the crimson rosella. Occasionally, in places such as Mexico and Florida, a crimson tide occurs when certain algae turn the water red.

In some religions, such as the Bahá’í Faith, crimson stands for tests and sacrifice. But where does it appear in the Bible?

The Second Book of Chronicles, chapter two, tells us about King Solomon’s plans to build a temple in Jerusalem. He requested the help of King Hiram of Tyre, with whom he wished to continue the friendly relationship King David had established. The people of Tyre were known for their dyeing industry, particularly for using crimson and purple dyes. Solomon requested Hiram to send him a man who could assist with the decoration of the temple.

  1. 2 Chronicles 2:7: Send me, therefore, a man skilled to work in gold and silver, bronze and iron, and in purple, crimson and blue yarn, and experienced in the art of engraving, to work in Judah and Jerusalem with my skilled workers, whom my father David provided.
  2. 2 Chronicles 2:14: whose mother was from Dan and whose father was from Tyre. He is trained to work in gold and silver, bronze and iron, stone and wood, and with purple and blue and crimson yarn and fine linen. He is experienced in all kinds of engraving and can execute any design given to him. He will work with your skilled workers and with those of my lord, David your father.
  3. 2 Chronicles 3:14: He made the curtain of blue, purple and crimson yarn and fine linen, with cherubim worked into it.

Thus, the colour crimson is associated with the Temple and praising God.

There are only two other mentions of the word “crimson” in the NIV Bible, and they are both found in the book of Isaiah. In chapter 63, Isaiah writes about God’s day of vengeance and redemption. The first verse says: “Who is this coming from Edom, from Bozrah, with his garments stained crimson? Who is this, robed in splendour, striding forward in the greatness of his strength? ‘It is I, proclaiming victory, mighty to save.’” In this verse, crimson is a sign of splendour and victory, but in an earlier chapter, crimson means something entirely different. It is also an example that distinguishes crimson and scarlet as two separate colours:

Isaiah 1:18 (NIV): “Come now, let us settle the matter,” says the Lord. “Though your sins are like scarlet, they shall be as white as snow; though they are red as crimson, they shall be like wool.

In this example, both crimson and scarlet represent sin. It may not be the colours themselves that denote sin but rather the fact they have obscured the purity of the original whiteness of the snow and wool. 

Scarlet lies somewhere between red and orange on the colour wheel, making it weaker than crimson. Nonetheless, the same insects originally produced the scarlet dye. Synthetic scarlet is often called cadmium red and was the standard red of many artists during the 19th and 20th centuries.

In the 20th century, scarlet became associated with revolution. It appeared on revolutionary emblems as a symbol of the blood of martyrs in the French Revolution. It also became the colour of communism, used on the Soviet Union’s flag and is still used on the Chinese flag. In China, red is also a symbol of happiness.

Scarlet is the colour of the traditional academic dress of doctorate students in the United Kingdom. The Foot Guards and Life Guards also wear scarlet for ceremonial purposes. Army regiments across the world use the colour scarlet on their uniforms too. The countries that do this include Australia, Jamaica, New Zealand, Fiji, Canada, Kenya, India, Singapore, Sri Lanka, Pakistan, Brazil and the USA. 

In the Roman Catholic Church, scarlet symbolises the blood of Christ and Christian martyrs. In Lutheran tradition, scarlet decorations are displayed from Palm Sunday until Maundy Thursday. Other Christians often associate scarlet with prostitution. This is partly due to the description of an adulterous woman in the Book of Revelations, sometimes referred to as the Great Scarlet Whore.

Revelation 17:3-4: Then the angel carried me away in the Spirit into a wilderness. There I saw a woman sitting on a scarlet beast that was covered with blasphemous names and had seven heads and ten horns. The woman was dressed in purple and scarlet, and was glittering with gold, precious stones and pearls. She held a golden cup in her hand, filled with abominable things and the filth of her adulteries.

As a result, cities in which prostitutes work are named “red-light districts”, and sex worker organisations have titles such as the Scarlet Alliance. The scandalous novel The Scarlet Letter by Nathaniel Hawthorne (1804-64) uses the colour to denote adultery. 

Other negative connotations of scarlet in the book of Revelation include:

  1. Revelation 18:12: cargoes of gold, silver, precious stones and pearls; fine linen, purple, silk and scarlet cloth; every sort of citron wood, and articles of every kind made of ivory, costly wood, bronze, iron and marble.
  2. Revelation 18:16: and cry out: “Woe! Woe to you, great city, dressed in fine linen, purple and scarlet, and glittering with gold, precious stones and pearls!”

The first time the word “scarlet” is used in the NIV is in Genesis 38 when Tamar gave birth to twins. A scarlet thread was tied around the wrist of the eldest so that they could differentiate between the two.

  1. Genesis 38:28 (NIV): As she was giving birth, one of them put out his hand; so the midwife took a scarlet thread and tied it on his wrist and said, “This one came out first.”
  2. Genesis 38:30 (NIV): Then his brother, who had the scarlet thread on his wrist, came out. And he was named Zerah.

The colour is most frequently used in the book of Exodus concerning the construction of the Tabernacle. This connects scarlet with God, giving it an entirely different meaning in comparison to the final book of the New Testament. Between Exodus 25 and Exodus 39, the colour scarlet is mentioned over 25 times. Examples include:

  1. Exodus 26:1: Make the tabernacle with ten curtains of finely twisted linen and blue, purple and scarlet yarn, with cherubim woven into them by a skilled worker.
  2. Exodus 26:31: Make a curtain of blue, purple and scarlet yarn and finely twisted linen, with cherubim woven into it by a skilled worker.
  3. Exodus 28:15: Fashion a breastpiece for making decisions—the work of skilled hands. Make it like the ephod: of gold, and of blue, purple and scarlet yarn, and of finely twisted linen.
  4. Exodus 35:25: Every skilled woman spun with her hands and brought what she had spun—blue, purple or scarlet yarn or fine linen.

Leviticus 14 mentions scarlet yarn at least five times in the instructions for the cleansing of defiling skin diseases:

  1. Leviticus 14:4: the priest shall order that two live clean birds and some cedar wood, scarlet yarn and hyssop be brought for the person to be cleansed.
  2. Leviticus 14:6: He is then to take the live bird and dip it, together with the cedar wood, the scarlet yarn and the hyssop, into the blood of the bird that was killed over the fresh water.
  3. Leviticus 14:49: To purify the house he is to take two birds and some cedar wood, scarlet yarn and hyssop.
  4. Leviticus 14:51: Then he is to take the cedar wood, the hyssop, the scarlet yarn and the live bird, dip them into the blood of the dead bird and the fresh water, and sprinkle the house seven times.
  5. Leviticus 14:52: He shall purify the house with the bird’s blood, the fresh water, the live bird, the cedar wood, the hyssop and the scarlet yarn.

Twice, scarlet is mentioned in the book of Numbers:

  1. Numbers 4:8: They are to spread a scarlet cloth over them, cover that with the durable leather and put the poles in place.
  2. Numbers 19:6: The priest is to take some cedar wood, hyssop and scarlet wool and throw them onto the burning heifer.

The second of these is also referenced in Hebrews 9:19. “When Moses had proclaimed every command of the law to all the people, he took the blood of calves, together with water, scarlet wool and branches of hyssop, and sprinkled the scroll and all the people.”

Potentially the most famous mention of scarlet in the Bible occurs during the story of Rahab and the Spies. This is found in the second chapter of the book of Joshua. Rahab was a prostitute but in this story, the colour scarlet is not a reflection of her occupation. Rahab helped Joshua’s spies escape, and in return, they told her to tie a scarlet cord in her window so that when Joshua’s soldiers attack the city, she would be spared.

  1. Joshua 2:18: unless, when we enter the land, you have tied this scarlet cord in the window through which you let us down, and unless you have brought your father and mother, your brothers and all your family into your house.
  2. Joshua 2:2: “Agreed,” she replied. “Let it be as you say.” So she sent them away, and they departed. And she tied the scarlet cord in the window.

Other mentions of the colour scarlet in the Bible are:

  1. 2 Samuel 1:24: “Daughters of Israel,weep for Saul,who clothed you in scarlet and finery,who adorned your garments with ornaments of gold.”
  2. Proverbs 31:21: When it snows, she has no fear for her household; for all of them are clothed in scarlet.
  3. Song of Songs 4:3: Your lips are like a scarlet ribbon; our mouth is lovely. Your temples behind your veil are like the halves of a pomegranate.
  4. Jeremiah 4:30: What are you doing, you devastated one? Why dress yourself in scarlet and put on jewels of gold? Why highlight your eyes with makeup? You adorn yourself in vain. Your lovers despise you; they want to kill you.
  5. Nahum 2:3: The shields of the soldiers are red; the warriors are clad in scarlet. The metal on the chariots flashes on the day they are made ready; the spears of juniper are brandished.

Generally, scarlet is a colour associated with wealth and opulence. This meaning is supported with the only mention of the colour in the Gospels. “They stripped him and put a scarlet robe on him.”(Matthew 27:28) The “him” in this verse is Jesus, and the soldiers in the Praetorium are mocking him. They dressed him in a scarlet robe to make him look like a king. As we all know, the soldiers then crowned him with a crown of thorns and put a staff in his right hand whilst jeering, “Hail, king of the Jews!”

Despite the unfortunate connection to prostitution, both crimson and scarlet represent wealth and power, both politically and religiously. Even the verses in Revelation refer to this. By the end times, people were worshipping their wealth and power rather than God.

According to surveys across Europe and the UK, scarlet is also associated with courage, force, passion and joy. Combining this with Biblical meaning, it is ascertained that scarlet is a powerful and positive colour – crimson, too.

Yellow

There is no mention of the word orange in the Bible. The closest the Bible comes to mentioning the colour in the NIV is Revelation 21:20, which states: “the fifth onyx, the sixth ruby, the seventh chrysolite, the eighth beryl, the ninth topaz, the tenth turquoise, the eleventh jacinth, and the twelfth amethyst.” According to the AUV Bible (An Understandable Bible), [sard]onyx is “an orange-coloured stone similar to chalcedony”. 

Yellow is the second of the primary colours. It is the colour of canaries, daffodils, lemons, egg yolks, buttercups and bananas. There are yellowtail fish, yellow-fever mosquitos, yellowjackets (wasps), yellow birches and yellow poplars.

The history of the colour yellow is rather intriguing. In Ancient Egypt, yellow was associated with gold, thus considered eternal and indestructible. The skin of gods was believed to be yellow, so the Egyptians used the colour yellow extensively in their tomb paintings. The ancient Romans followed suit, using yellow to represent gold and skin tone.

Yellow Star Badge

The meaning of yellow in artwork changed sometime in the centuries following the crucifixion of Jesus. In paintings of Jesus’ disciples, Judas Iscariot often wears yellow, thus the colour has become associated with betrayal, envy, jealousy and greed. From this, the tradition of depicting Jews or other non-Christians in yellow began. Whilst this practice fell out of use, it was briefly reinstated during the 20th-century when Jews living in German-occupied countries were required to wear a yellow badge featuring the Star of David.

In China, the colour yellow represents happiness and wisdom. The first Chinese emperor was known as the Yellow Emperor, and all subsequent emperors were considered a child of heaven. Only the emperor was allowed to wear yellow and, instead of a red carpet, distinguished guests were honoured with a yellow carpet.

In politics, yellow represents liberalism. In the UK, the Liberal Democrats, UKIP, and SNP all use yellow in their campaign materials. In the US, the Libertarian Party is recognised by the colour yellow. In Chinese history, a Daoist sect was known as the Yellow Turbans; they staged a rebellion against the Han Dynasty (202 BC-220 AD).

Yellow has been and continues to be used to represent optimism and pleasure. It is a colour that attracts attention. Yellow is the most visible colour from a distance, and many countries have used the colour on their emergency vehicles. The RAF rescue helicopter is yellow, as are the vehicles used by the Royal Danish Air Force. The colour is frequently used as a warning; for instance, yellow (amber) traffic lights mean slow down, and a yellow card in football is a caution but not expulsion.

The colour yellow is prevalent on national flags across the world. The flags of three of the five most populous countries feature yellow: China, India and Brazil. Other countries include Germany, Bhutan, Ukraine, Belgium, Lithuania, Spain, Colombia, Brunei, Vietnam, Malaysia, Mozambique, Romania, Sweden, the Vatican, the Philippines, Chad and the European Union.

Buddhist and Hindu monks usually wear yellow or saffron robes. The Hindu divinity Krishna was often portrayed in yellow, as is Lord Ganesha. In Islam, yellow is a symbol of wisdom. In the various religions of the islands of Polynesia, yellow is a sacred colour associated with the food of the gods.

In Christianity, yellow is both positive and negative. The latter relates to Judas Iscariot and the former concerns wealth and gold. Similarly, there are both negative and positive connotations of the colour yellow in the Bible. Yellow is used to describe two things; one is gold or something valuable, the other is leprosy.

In Leviticus 13, God gave Moses and Aaron regulations about diagnosing skin diseases, i.e. leprosy. This was the job of the priest, in this case, Aaron, who had to examine all suspected cases of the disease and determine whether the sufferers were unclean.

  1. Leviticus 13:30: the priest is to examine the sore, and if it appears to be more than skin deep and the hair in it is yellow and thin, the priest shall pronounce them unclean; it is a defiling skin disease on the head or chin.
  2. Leviticus 13:32: On the seventh day the priest is to examine the sore, and if it has not spread and there is no yellow hair in it and it does not appear to be more than skin deep.
  3. Leviticus 13:36: the priest is to examine them, and if he finds that the sore has spread in the skin, he does not need to look for yellow hair; they are unclean.

For examples of yellow representing gold or valuable objects, you have to compare the NIV with other versions of the Bible. Take Psalm 68:13, for instance. the NIV says: “Even while you sleep among the sheep pens, the wings of my dove are sheathed with silver, its feathers with shining gold.” The King James Version, on the other hand, says: “Though ye have lien among the pots, yet shall ye be as the wings of a dove covered with silver, and her feathers with yellow gold.”

Often, the word yellow is not cited. Instead, yellow objects or items are named. Frankincense is an off-yellow colour and is mentioned approximately 25 times in the Bible. In Matthew 2:11, one of the gifts Jesus received from the magi was Frankincense.

Many precious jewels are referenced throughout scripture. Chrysolite, a yellow gemstone, is mentioned ten times. In Revelation, chapter 21 tells us about the New Jerusalem. The city’s walls are made of jasper and the city itself from pure gold. There are to be twelve foundations, each one a different gemstone. It is here that chrysolite gets mentioned for the tenth and final time. “The foundations of the city walls were decorated with every kind of precious stone. The first foundation was jasper, the second sapphire, the third agate, the fourth emerald, the fifth onyx, the sixth ruby, the seventh chrysolite, the eighth beryl, the ninth topaz, the tenth turquoise, the eleventh jacinth, and the twelfth amethyst.” (Revelation 21:19-20, NIV)

The book of Revelation also contains one mention (in the NIV) of the word yellow. This occurs in chapter nine, in which John writes about the riders of the apocalypse. Verse seventeen describes the breastplates of the riders, which were “fiery red, dark blue, and yellow as sulphur”.

Sulphur is mentioned elsewhere in the Bible, although without the colour yellow attached. As well as Revelation, the yellow chemical element appears in the books of Job, Isaiah and Luke. In each of these cases, sulphur is an indication of destruction, thus giving the colour yellow another negative connotation.

Yellow is a difficult colour to attach meaning to due to its connection with both positive and negative things. In terms of emotion, yellow is generally considered a happy, optimistic colour. Chris Martin, the lead singer from the band Coldplay, said the band wrote the song “Yellow” to reflect “the mood of the band. Brightness and hope and devotion.”  

“Look at the stars/Look how they shine for you/And everything you do/Yeah they were all yellow.”

Green

Combining all versions of the Bible, there are almost ninety mentions of the colour green, but only half of them appear in the NIV. The translator of the NIV decided that the word “pasture” was as good as “green field”, and it was not necessary to write “green trees” when “trees” would suffice.

The colour green is between yellow and blue on the visible spectrum. It is a secondary colour produced by mixing two primary colours – blue and yellow. The word “green” comes from the old English word grene, which has the same root as the words “grass” and “grow”. The majority of green we see in the world comes from nature, such as grass, trees, vegetation and so forth. 

Green is common in plants because they contain a chemical called chlorophyll, which gives them this colour. Many fish, birds and reptiles are also green and use the chlorophyll green of their surrounding environment as a means of camouflage. Green creatures include frogs, parrots, snakes and the green huntsman spider.

In Ancient Egypt, green was associated with regeneration and rebirth, but it was rarely used in their artworks. The Romans, on the other hand, connected the colour green with Venus, the goddess of gardens, vegetables and vineyards, amongst other things. As a result, green, earthy pigments featured in their artworks. By the second century AD, the Romans had at least ten different words for varieties of greens.

Van Eyck – Arnolfini Portrait

In the Middle Ages and Renaissance era, colour determined people’s rank and profession. Red was reserved for nobility and browns for peasants. Green was used for merchants, bankers, gentry and their family. For this reason, Leonardo da Vinci’s (1452-1519) Mona Lisa wears green in her famous portrait, as does the woman in the Arnolfini portrait by Jan van Eyck (1390-1441).

Green is used as a symbol for a variety of things. In terms of traffic and safety, green grants permission and announces that it is safe to proceed. In most countries, the colour is also associated with nature, health, life, springtime, freshness and hope. Due to this, it has been adopted by organisations, such as Greenpeace and the Green Party. Bins specifically for garden waste are green, and areas in cities designated as a garden or park are referred to as green areas.

In China, green is associated with the east, sunrise, life and growth. In Thailand, they connect the colour with something a little more obscure: a child born on a Wednesday. Many places relate green with youth; for instance, an inexperienced person may be called “green”. Underripe fruit is usually green.

Surveys undertaken around the world reveal that people mostly think of calmness, nature and freshness when confronted with the word green. Other suggestions are less positive, for example, jealousy and envy. William Shakespeare (1564-1616) was the first to use the term “green-eyed monster” in his play, Othello, about jealousy. 

Other phrases that include the word green are:

  • Having a green thumb – being good at gardening
  • Greenhorn – an inexperienced person
  • Greenroom – a room in a theatre where actors can rest when not on stage. This term originated from the colour of this room at the Theatre Royal in London.
  • Green around the gills – someone who is looking a little ill
  • Going green – a company or person who is participating in activities to preserve the environment, i.e. recycling

The colour green has a few significances in religion. According to Islamic tradition, the robes and banner of Muhammad were green. Al-Khidr, who supposedly met and travelled with Moses, was known as “The Green One”.

In Christianity, clergy may wear green during “ordinary time”, i.e. a Sunday that does not fall within a particular holiday or festival season. In Eastern Catholic Churches, green is usually the colour of Pentecost. Many associate green with Christmas, for instance, Christmas trees and holly leaves. Interestingly, in Scotland and Ireland, green is used to represent Catholics. This is how Catholics are symbolised on the Irish flag, with orange representing Protestants.

In the Bible, there does not appear to be any particular meaning connected to the use of the word “green”. It is mostly used to describe the colour of grass, trees or plants.

  1. Genesis 1:30: “And to all the beasts of the earth and all the birds in the sky and all the creatures that move along the ground—everything that has the breath of life in it—I give every green plant for food.” And it was so.
  2. Genesis 9:3: Everything that lives and moves about will be food for you. Just as I gave you the green plants, I now give you everything.
  3. Psalm 23:2: He makes me lie down in green pastures,he leads me beside quiet waters
  4. Psalm 105:35: they ate up every green thing in their land, ate up the produce of their soil.
  5. Joel 2:22: Do not be afraid, you wild animals, for the pastures in the wilderness are becoming green. The trees are bearing their fruit; the fig tree and the vine yield their riches.
  6. Mark 6:39: Then Jesus directed them to have all the people sit down in groups on the green grass.

The greenness of nature is a positive thing, but many verses in the Bible talk about the lack of green. Exodus 10:15 talks about the result of the plague of locusts sent by God to the land of Egypt: “They covered all the ground until it was black. They devoured all that was left after the hail—everything growing in the fields and the fruit on the trees. Nothing green remained on tree or plant in all the land of Egypt.”

In Job 39:8, God speaks to Job about the animals he created. God tells him he gave the donkey the salt flats as its natural habit where “It ranges the hills for its pasture and searches for any green thing.” Isaiah 15 records a prophecy against Moab. As a punishment, the land will be ruined, destroyed overnight. Verse 6 states, “The waters of Nimrim are dried up and the grass is withered; the vegetation is gone and nothing green is left.”

God reminds Ezekiel of His powers in Ezekiel 17:24: “All the trees of the forest will know that I the Lord bring down the tall tree and make the low tree grow tall. I dry up the green tree and make the dry tree flourish. I the Lord have spoken, and I will do it.” Later, in chapter 20, God speaks via Ezekiel, revealing a prophecy against the South. Verse 47 says, “Say to the southern forest: Hear the word of the Lord. This is what the Sovereign Lord says: I am about to set fire to you, and it will consume all your trees, both green and dry. The blazing flame will not be quenched, and every face from south to north will be scorched by it.”

Of course, the best place to find verses about destruction is in the book of Revelation. In the NIV, the word green only appears once in the book. It concerns the end of the world, thus a distinct lack of green. Revelation 8:7: “The first angel sounded his trumpet, and there came hail and fire mixed with blood, and it was hurled down on the earth. A third of the earth was burned up, a third of the trees were burned up, and all the green grass was burned up.”

In the Gospel of Luke, there is one example of a positive connotation of the colour green, yet used in a negative context. This occurs shortly before the crucifixion of Jesus when he tells the “Daughters of Jerusalem” not to weep for him but their children, predicting devastating times in the future. He ends this short speech with the line: “For if people do these things when the tree is green, what will happen when it is dry?” (Luke 23:31) The green tree in this riddle refers to Jesus himself, the Son of God, the one who came to Earth to save. If people are doing wicked things while he is alive, what will they do once he is dead?

Green plants are often used as an analogy in the Bible. Most commonly, it describes people or entire societies. In some instances, the metaphor talks about people flourishing or bouncing back after a disaster. On the other hand, some refer to the destruction of communities as a punishment for their sins.

  1. 2 Kings 19:26: Their people, drained of power, are dismayed and put to shame. They are like plants in the field, like tender green shoots, like grass sprouting on the roof, scorched before it grows up.
  2. Psalm 92:14: They will still bear fruit in old age, they will stay fresh and green
  3. Proverbs 11:28: Those who trust in their riches will fall, but the righteous will thrive like a green leaf.
  4. Isaiah 37:27: Their people, drained of power, are dismayed and put to shame. They are like plants in the field, like tender green shoots, like grass sprouting on the roof, scorchedbefore it grows up.
  5. Jeremiah 17:8: They will be like a tree planted by the waterthat sends out its roots by the stream. It does not fear when heat comes; its leaves are always green. It has no worries in a year of drought and never fails to bear fruit.
  6. Psalm 37:2: for like the grass they will soon wither, like green plants they will soon die away.
  7. Psalm 58:9: Before your pots can feel the heat of the thorns—whether they be green or dry—the wicked will be swept away.

There are, of course, many more instances of the colour green in other versions of the Bible, but they tend to refer to plants, grass or fields rather than anything of significance.

To be continued …


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Michelangelo’s Sistine Chapel

The Sistine Chapel in the Vatican City is one of the most visited chapels in the world due to its impressive fresco paintings by the Renaissance painter Michelangelo Buonarroti (1474-1564). In 1505 Pope Julius II (1443-1513) asked Michelangelo to paint the ceiling, which at 68ft high was a daunting task. Initially, Michelangelo refused. He wanted to be known as a sculptor rather than a painter but eventually agreed to the job in 1508. For four years, Michelangelo stood on high platforms, painting the ceiling above his head with Biblical scenes and characters. After completion, Michelangelo happily returned to his sculptures, only returning to the chapel to paint a fresco above the altar in 1536.

For a limited time, people in London can see a life-sized, close-up of Michelangelo’s paintings. Those who have visited the Sistine Chapel will know that it is impossible to study the ceiling in detail because of the height of the building. This unique exhibition brings copies of the paintings down to ground level, where visitors can appreciate them for their unique features and grandeur. Located at the Cannon Factory near Tottenham Hale, London, the COVID-safe experience provides a never-before-seen perspective of Michelangelo’s timeless masterpieces.

The central section of the ceiling is made up of nine paintings depicting scenes from the Book of Genesis. Whilst they are not in chronological order, the paintings are grouped into three themes: Creation, Downfall, and Fate of Humanity. The exhibition positioned the paintings in the order they appear when entering the chapel, meaning the Book of Genesis appears to read backwards. Some historians suggest Michelangelo chose to paint them in this order to symbolise a return to a state of grace as people approach the altar.

The first three ceiling panels closest to the entrance of the chapel (and exhibition) tell the story of Noah, from the sixth to ninth chapters of Genesis. Noah was the 10th and final patriarch of the Bible before the Great Flood. God wanted to return the Earth to “its pre-creation state of watery chaos and then remake it in a reversal of creation.” All except Noah and his family were corrupt and violent, so God instructed Noah to build an Ark to save themselves and two of every animal from the oncoming deluge.

The scene nearest the door depicts Noah after the flood. According to Genesis 9, Noah grew drunk on the wine produced from the newly cultivated vines. As a result, he passed out and exposed his nakedness. Two of his sons, Shem and Japheth, discreetly covered their father with a cloak to protect his modesty. Ham, the third son, mocked his father instead. When Noah found out about this, he cursed Ham, saying that Ham’s descendants would serve Shem and Japheth’s descendants forever. Some Christian theologians interpret Ham’s mockery of Noah as a projection of the mockery of Jesus in the New Testament.

The second panel concerning Noah depicts the Great Flood, which is the largest punishment God inflicted on man. After instructing Noah to build an Ark, God sent 40 days of rain to flood the earth, destroying all life in the process. Michelangelo’s painting illustrates the onset of the flood. Noah’s ark is floating away in the background, where a single white dove sits in one of the hatches. Noah later sent out the dove to search for land, and it returned holding an olive branch. Since then, the dove has symbolised peace and hope. While Noah and his family sail away, the people in the foreground frantically search in vain for shelter as the flood levels rise.

The third scene comes chronologically after the flood but before the drunkenness of Noah. When Noah and his family eventually found land, the first thing Noah did was build an altar and sacrifice some of the animals to the Lord. Seeing this, God said, “Never again will I curse the ground because of humans, even though every inclination of the human heart is evil from childhood. And never again will I destroy all living creatures, as I have done.” Christian Theologians suggest all three panels forecast events of the New Testament – the mockery of Christ (Noah’s drunkenness), baptism (Great Flood), and Christ’s death on the cross (Noah’s sacrifice).

The second group of paintings tell the story of Adam and Eve, from their creation until their expulsion from the Garden of Eden. When approaching the middle of the chapel from the entrance, the first panel is the last chronologically and combines two scenes: the fall of man and the expulsion from paradise. On the left-hand side, Eve reaches up to take the fruit of knowledge from the serpent. When God created the first man and woman, He told them they could eat the fruit of any trees, except the tree of knowledge of good and evil. By accepting the fruit from the serpent, depicted as Lilith, Eve is going against God’s will. According to Genesis 3, Eve gave some of the fruit to Adam, but in Michelangelo’s depiction, Adam reached out to take the fruit from the tree. Most Western Christian artists use an apple tree to symbolise the forbidden fruit, but Michelangelo chose a fig tree instead.

On the right-hand side, the archangel Michael expels Adam and Eve from Eden. His sword represents the flaming sword that prevented the couple from returning to the garden. Michael is not mentioned in the account in Genesis, but Michelangelo included the angel to emphasise the man and woman were banished from the presence of God. Adam and Eve were forced to fend for themselves and eventually die in the wilderness.

In the centre of the chapel ceiling is a panel depicting the creation of Eve. Due to its position, the composition is smaller than the rest of the scenes from Genesis. Using inspiration from paintings by other Italian artists, Michelangelo portrayed Adam in a deep sleep, whilst Eve stands up and reaches towards her God and creator, who Michelangelo represents as an elderly man. According to Genesis 2:21-22, “God caused the man to fall into a deep sleep; and while he was sleeping, he took one of the man’s ribs and then closed up the place with flesh. Then the Lord God made a woman from the rib he had taken out of the man, and he brought her to the man.”

The third scene in the Adam and Eve story is perhaps the most famous painting in the Sistine chapel and art history. Once again, God is depicted as an elderly man, who reaches out to touch Adam to impart the spark of life. Surrounding God are twelve figures about whose identities are often argued. The woman under God’s left arm is generally accepted as Eve due to her resemblance to Eve in Michelangelo’s other paintings and her gaze toward Adam.

Christian theologians have analysed The Creation of Adam in great depth. As a sculptor, Michelangelo was familiar with human anatomy. When discussing the painting in a medical journal, someone pointed out that the proportions of Adam’s torso were slightly off to encompass an extra rib – the rib God later used to create Eve. Others suggest the red cloak surrounding God represents the human womb and the twelve figures, the future human race. Another medical hypothesis concerns the shape of God’s head in comparison to Adam’s smoother brow. The shape of the head Michelangelo gave God is more anatomically accurate to house a brain. This means Adam, who had not yet eaten from the tree of knowledge, did not have a fully formed brain.

The last three scenes before reaching the altar come from the first chapter of Genesis, during which God created the world in six days. In the first painting, Michelangelo depicts God breaking through the background to represent the separation of the waters from the heavens – the second day of creation. The movement of God’s body and his outstretched hands suggest His elemental powers and strength.

The next scene illustrates days three and four of creation. On the left, God faces away from the viewer, pointing His hand towards some green plants. On the third day, God created dry land and commanded, “Let the land produce vegetation: seed-bearing plants and trees on the land that bear fruit with seed in it, according to their various kinds.” On the right, God’s outstretched arms point towards the sun and moon, which He placed in the sky on the fourth day “to separate the day from the night, and let them serve as signs to mark sacred times, and days and years.” The way Michelangelo paints God’s robe and hair suggest God is moving at speed across the sky.

Despite being the last scene displayed on the ceiling, the final painting depicts the first stage of the creation narrative. “God said, ‘Let there be light,’ and there was light. God saw that the light was good, and he separated the light from the darkness. God called the light ‘day’, and the darkness he called ‘night’.” Michelangelo depicts God from below amidst swirling black and white clouds to demonstrate the separation of night and day. Some theologians liken the image to the Last Judgement, with the light representing God’s chosen people and the dark, the condemned.

As well as the nine scenes from Genesis, the Sistine Chapel ceiling contains pendentives (triangular sections) featuring figures from the Bible and mythology. Twelve of these are categorised as prophetic figures, twelve people who prophesied the coming of a Messiah. Seven are male prophets from the Bible, and the remaining five are female prophetesses or Sibyls from classical mythology.

Above the altar sits Jonah, a reluctant prophet famously swallowed by a large fish. Some Bible scholars believe the Book of Jonah is fictional, but whether it is a story or not, Jonah is considered a foreshadowing of Christ. Between the crucifixion of Jesus and his resurrection, He spent three days in the tomb. This is the same length of time that Jonah spent in the belly of the fish. Michelangelo includes the image of a large fish beside the sitting figure of Jonah, although it does not look large enough to swallow a man whole.

The prophet Jeremiah sits on the left side of the altar with his head bowed in anguished meditation. Known as the “weeping prophet”, Jeremiah was called by God to proclaim Jerusalem’s coming destruction. According to Jewish tradition, Jeremiah wrote the Book of Jeremiah, the Books of Kings and the Book of Lamentations. The latter is a collection of his laments for the destruction of Jerusalem in 586 BC. Michelangelo captures Jeremiah’s emotional pain and reflects the same emotions in the two figures standing behind the prophet. It is suggested that Jeremiah is a self-portrait of Michelangelo lamenting his fate as a painter when he would rather earn a reputation as a sculptor.

Michelangelo depicts the prophet Ezekiel as an elderly man. Like Jeremiah, Ezekiel prophesied the destruction of Jerusalem, but he also spoke of the restoration of the land of Israel. The figure of Ezekiel twists in his seat to look at a smaller figure, who is pointing upwards, either towards God or at the painting of the fall of man. Art historians suggest Ezekiel’s open hand demonstrates his amazement and readiness to receive a message from God.

Joel is also represented as an elderly man. The prophet is only mentioned once by name in the Hebrew Bible, in the introduction to the Book of Joel. No one knows for sure when Joel lived and what events he witnessed. In his writings, Joel told people to repent of their sins and promised their safety on “the great and dreadful day of the Lord.” Michelangelo painted Joel with his brow furrowed as he concentrates on his words of wisdom. Some believe Michelangelo based the prophet’s face on the Italian architect Donato Bramante (1445-1514), who helped Michelangelo design the Basilica of Saint Peter in the Vatican.

Sitting above the entrance to the chapel is the prophet Zechariah, who proclaimed, “Behold, your King is coming to you … Lowly and riding on a donkey…”(Zechariah 9:9). This prophesied the entry of Jesus into the city of Jerusalem, which is celebrated annually on Palm Sunday. His position over the door is symbolic of the entrance the Pope enters in the Palm Sunday procession. Traditionally, Zechariah is portrayed as a young man, but Michelangelo chose to depict him in his old age. This helps to emphasise Zechariah’s profound prophetic abilities.

Isaiah is portrayed as a younger figure who has just been disturbed from his reading by two small figures. Each painting of the prophets features two figures that may represent the conveyors of God’s message. Isaiah foretold the death of the coming Messiah. Many of his prophecies are repeated in the New Testament, particularly concerning the death and resurrection of the “Suffering Servant”. “But he was pierced for our transgressions, he was crushed for our iniquities; the punishment that brought us peace was on him, and by his wounds we are healed.” (Isaiah 53:5)

Even younger in appearance is Daniel, who spent many years working as a scribe for King Nebuchadnezzar (642-562 BC). The open book on Daniel’s lap may reference his career or allude to his ability to interpret dreams. Michelangelo used scrolls and books to highlight the prophets’ intellect, but Daniel is the only one who appears to be writing, as though recording his interpretations and prophecies for future generations. Unlike Jonah, whose famous encounter with a giant fish is documented in the painting, there is no reference to Daniel’s experience in the lion’s den, where he was thrown after disobeying the rule that forbade prayer.

Michelangelo included five Sibyls from classical mythology to emphasise the Messiah came for both Jews and Gentiles (non-Jews). The Persian Sibyl, also known as the Babylonian, Hebrew or Egyptian Sibyl, may have authored the Sibylline Oracle, although some scholars believe the Persian Sibil was more than one person. Michelangelo alluded to this theory by portraying the Sibyl with a book in her hands. The Sibylline Oracles contained information about pagan mythology and Old Testament events, including the Garden of Eden, Noah, and the Tower of Babel. Fragments surviving from the 7th century AD also contain details about the Roman Empire and early Christian writings.

The Erythraean Sibyl came from modern-day Turkey, where she prophesied the coming of the Messiah through an acrostic, which read “Jesus Christ, God’s Son, Savior, Cross” in Greek. The Sibyl forecast other events in the life of Jesus, and St. Augustine (354-430), the bishop of Hippo, referenced her prophecies in his book The City of God. Michelangelo acknowledged the Sibyl’s wisdom by portraying her reading a book. He also depicted divine enlightenment by including a small figure lighting an oil lamp above her head.

The Delphic Sibyl looks up from her scroll with a slightly worried look upon her face, as though she has just envisioned an unpleasant future event. The Delphic Sibyl predated the Trojan War (11th century BC) and made several prophecies about events written about in classical mythology. She also foresaw that the Messiah would be mocked with a crown of thorns.

Michelangelo depicted the Cumaean Sibyl as an elderly lady. She presided over a Greek colony located near Naples, Italy. According to the poet Ovid, she lived for at least 1000 years. Ovid claimed the god Apollo offered her longevity in exchange for her virginity. She agreed, and taking a handful of sand, asked to live for as many years as the grains she held. Unfortunately, eternal youth did not come as part of the bargain. During her long life, the Cumaean Sibyl foretold the coming of a Messiah.

The Libyan Sibyl may not have mentioned Christ directly when presiding over the Siwa Oasis in the Libyan Desert, but the Church has interpreted many of her prophesies as connected to the Messiah. For instance, she foretold the “coming of the day when that which is hidden shall be revealed.” The ancient Greeks claimed the Libyan Sibyl, sometimes known as Phemonoe, was the daughter of the Greek god Zeus, and Lamia, a daughter of Poseidon, god of the sea. According to Plutarch (46-119 AD), she also told Alexander the Great (356-323 BC) that he was a divine individual and the legitimate Pharaoh of Egypt.

In each corner of the Sistine Chapel ceiling is a triangular pendentive depicting Biblical stories associated with the salvation of Israel. These are four examples of the more violent ways the People of Israel were saved from their enemies and sinful ways. One illustrated the story of The Brazen Serpent as told in Numbers 21:4–9. Moses had rescued the Israelites from Egypt, but it was a long journey to the Promised Land. They began to complain and turn against God, saying, “Why have you brought us up out of Egypt to die in the wilderness? There is no bread! There is no water! And we detest this miserable food!” As punishment, God sent venomous snakes to attack and kill many of the Israelites. Michelangelo depicted the Israelites’ frantic battle with the serpents. In the background, he included an image of a bronze serpent on a pole. To save the Israelites’, God instructed Moses, “Make a snake and put it up on a pole; anyone who is bitten can look at it and live.” This spectacle, whilst violent, taught the Israelites to trust and obey Moses and the Lord.

Another pendentive illustrates three scenes from the Book of Esther. Rather than telling the story chronologically from left to right, Michelangelo placed the final scene in the middle of the triangle. Esther was the wife of a Persian king who did not know that she came from a Jewish background. The king’s chief vizier, Haman the Agagite, hated the Jews and proposed a massacre to rid Persia of all people of Jewish descent. Haman particularly hated Esther’s cousin, Mordecai, who refused to bow down to the vizier. As a result, Haman persuaded the king to have Mordecai hanged. This part of the narrative is illustrated on the righthand side of the painting. Mordecai begged Esther to intervene by talking to the king, which she is seen doing on the lefthand side. Realising Haman’s plan would also result in Esther’s death, the king hanged Haman instead, as shown in the centre of the pendentive. Thus, the people of Israel were saved from death.

Michelangelo’s painting of David and Goliath only illustrates one scene: Goliath’s death. David, an unlikely hero, defeated the giant warrior of the Philistine army with a slingshot, which ended the war between the Israelites and the Philistines. According to the Book of Samuel, chapter 17, after David knocked Goliath out, he “took hold of the Philistine’s sword and drew it from the sheath. After he killed him, he cut off his head with the sword.” Michelangelo’s interpretation is slightly different, with Goliath trying to scramble to his feet while David methodically carries out his task in the name of the Lord. David appears much stronger than the little shepherd boy written about in the Bible and more like the powerful king he later became.

The fourth story comes from the apocryphal Book of Judith, which is not included in most Bibles. Judith was a Jewish woman living in Bethulia around 600 BC. At the time, the city was under attack by King Nebuchadnezzar’s army, led by the Assyrian general, Holofernes. To protect her city and the Israelites who lived there, Judith tricked her way into the enemy encampment where she seduced and intoxicated Holofernes. While he lay in a drunken stupor, Judith cut off his head. Michelangelo’s painting shows Judith and her maid carrying the severed head out of the tent where the headless body of Holofernes remains sprawled on the bed. Having lost their leader, the army dispersed, and the Israelites were saved.

In between the paintings of prophets and Sibyls are eight spandrels (triangular spaces) featuring small families. These are known collectively as the Ancestors of Christ. Whilst Michelangelo labelled each one with a name from the genealogy of Christ mentioned in the Gospels of Matthew and Luke, it is not clear which figure in each artwork is the named individual. Some suggest the ancestor is the child because the scenes are reminiscent of paintings of the Holy Family of Mary, Joseph and Jesus. The woman or mother in each spandrel is more noticeable than the man or father, which also reflects the order of importance within the Holy Family, at least within the Catholic faith.

It is generally accepted that both Jesus’ parents descended from King David, whose father was Jesse, also known as Ishai. Jesse is one of the eight ancestors Michelangelo chose to depict. Jesse was a descendant of Shem, one of the three sons of Noah. Another ancestor is Asa, the third King of Judah and the fifth king of the House of David, who ruled between 913 and 873 BC. Michelangelo also portrayed Asa’s father, Rehoboam, the grandson of King David. Rehoboam became king after the death of his father, King Solomon. He ruled between 932 and 915 BC, during which the kingdom was divided into northern and southern tribes.

Josiah became King of Judah in 640 BC at the age of eight following the assassination of his father, Amon. Josiah was killed in 609 BC during a battle against the Egyptians. According to 2 Chronicles 35:25, the prophet Jeremiah lamented for Josiah, although there is no mention of the king in the Book of Lamentations. There are other connections between Jesus’ ancestors and the prophets, such as Ezechias, also known as Hezekiah, who often consulted the prophet Isaiah for advice. During Ezechias’ reign as King of Judah between 752 and 687 BC, he witnessed the destruction of the northern Kingdom of Israel by the Assyrians (722 BC) and the siege of Jerusalem by Sennacherib, the king of the Neo-Assyrians (701 BC).

Jeremiah stated that no offspring of “Coniah” would sit on the throne of Judah. Scholars assume the prophet meant King Jeconiah, who was taken into captivity in Babylon. His grandson, Zerubbabel was one of the first Jews who returned from this exile and began rebuilding the Temple in Jerusalem. Michelangelo may have chosen to depict Zerubbabel because the Sistine Chapel bore a resemblance to the Temple in size and dimensions. The other two ancestors Michelangelo chose were Uzziah and Salmon. Uzziah was the tenth king of Judah who often sought the advice of the prophet Zechariah. Salmon, on the other hand, was the great-great-grandfather of David. He was the father of Boaz and potentially the husband of Rahab, who famously assisted the Israelites in capturing the city of Jericho.

Twenty-five years after completing the Sistine Chapel ceiling, a reluctant Michelangelo returned to paint the altar wall. He began painting in 1536, by which time Michelangelo was in his early sixties. Despite his age, Michelangelo spent five years painting 390 individual figures to depict the last judgement and second coming of Christ. According to the Book of Revelation in the New Testament, Christ will appear and judge the living and dead. The “chosen” people will enter heaven to live eternally with God, and the sinners will be sent to the fires of Hell.

In the centre of the fresco is Christ, whose crucifixion wounds are still visible. His face is turned towards the damned, who are destined for Hell. His mother, the Virgin Mary, stands on his right with her face turned towards the Saved. Positioned around Christ are some of His disciples, such as Peter, who holds the keys to the Kingdom of Heaven. Opposite Peter is John the Baptist, recognised by his animal skin cape.

Some of the disciples are recognisable from their attributes or deaths. Saint Thomas, for instance, holds a carpenter’s square, referencing his profession. Saint Bartholomew, on the other hand, holds his old skin, alluding to being skinned alive. Some believe the face on the skin is a self-portrait of Michelangelo.

Michelangelo included a group of angels on clouds. Seven are blowing trumpets, as mentioned in the Book of Revelation. Other angels hold books in which to record the names of the Saved and Damned. Rather than depicting Satan, Michelangelo turned to Classical mythology for his representation of Hell. Charon, the ferryman of Hades, transports the Damned across the river to Hell, where they are received by King Minos, a judge of the Underworld.

In the bottom left corner, the resurrected dead arise from their graves and float up towards the angels and Heaven. Some of the Damned struggle against the devils who pull them towards Hell and others are paralyzed with horror.

On completion, Catholics were divided over the suitability of the painting. Whilst The Last Judgement often appeared in churches, it was unusual to see it over the altar. Others took offence at the nudity of the figures and accused Michelangelo of being insensitive to proper decorum. The Vatican council quickly hired the Mannerist painter Daniele da Volterra (1509-66) to paint discrete drapery over the exposed genitalia. These additions were added after the original paint had dried, so fifteen of them were easy to remove during restoration work between 1990 and 1994. Today, the fresco is a combination of Michelangelo’s intended design and Volterra’s alterations.

Whilst it is no replacement for the real thing, the Sistine Chapel exhibition allows people to look at each section of the ceiling in detail and learn about the history and Biblical significance of each figure and scene. At a time when travel is uncertain due to COVID-19, the exhibition brings the Sistine Chapel to those who cannot visit the Vatican. London is one of the first cities to host Michelangelo’s Sistine Chapel: The Exhibition and Londoners only have until 2nd January 2022 to visit before it jets off to another location around the world. Cities currently on the waiting list include Madrid, Paris, Lisbon, Sydney, Singapore, New York and São Paulo. Book now to avoid disappointment.

Tickets are available online starting at £11 per adult and £8 per child. Whilst it is open to children, some paintings contain nudity which may be unsuitable for younger visitors.


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