116 Andreas Hock to be no direct message of grace in this final story of the Primeval History (Gen 1–11) (30). Quite different, and even antithetical is the picture of the Heavenly City, Rev 21,24.26, where peoples are united as they walk in the light of the Lamb, and bring their riches, glory and honor into it (see also Rev 7,9). Kings introduce not just their own wealth into the City, but also the riches and honor of the nations they represent. It is not just material resources that will be contributed to the City’s splendor, but also peoples’ reverence (timhv). Unlike Isa 60,6-9, John supplies no catalogue of merchandises; instead, the dovxh, Rev 21,24, is being brought into the City. These phrases breathe an atmosphere of unity and harmony in the presence of God (31). Eloquent is the reiteration of the deictic eij" (vv.24b.26.27a), insinuating motion: the City is gradually embellished by both divine and human values. While peoples will walk through the divine light (diav, v.24a), God’s and the Lamb’s presence is depicted with static prepositions (ejn, 22,3b; ejpiv, 22,5c): a merging of the concepts of povli" and qeov", in whose presence kings and peoples dwell unendingly (32). A previously dualistic world is undone by the restoration of the paradisiacal peace: in the last vision of the Apocalypse, creation becomes a sure refuge of salvation for the victors, where Creator and creatures are happily united, and from which all malicious powers are ostracized. This cosmic side is enriched by the idea of unity, protection and communitarian life characteristic of a city. Added is the element of sacredness, divine predilection and ownership, as well as continuity in salvation economy, deriving from the historical notion of Jerusalem (33). All these aspects are refined by the image of motion that expresses something of an interim status of that divine-human communion, participative of both history and eternity. The descent signifies mainly God’s stooping toward humanity, to unite Himself with humankind, in order to draw them to Himself. It also announces the definitive covenant between God and humankind in exclusive love, permanent commitment, and (30) Although one could argue that the ensuing Ancestral History, Gen 11,27–50,26 is a story of grace. (31) “The entire presentation stretches the limits of human vocabulary and thought to emphasize the glorious reality of God dwelling among his people” (R.H. MOUNCE, The Book of Revelation [NICNT; Grand Rapids – Cambridge 21998] 380-381). (32) “La città-tempio ha quella doppia funzione di irradiazione e di attrazione che esercitava il tempio della Gerusalemme terrena: in uno schema letterario che riprende da vicino quello dei salmi graduali, l’autore ci mostra questo doppio movimento, alla luce del quale cerca di interpretare quella che sarà l’attività escatologica (21,24-27)” (U. VANNI, L’Apocalisse. Ermeneutica, Esegesi, Teologia [Bologna 1991] 384). (33) C. Deutsch highlights the historical background of the City image: “In describing Jerusalem as bride and wife, John has taken up a biblical symbol which originally referred to the restoration of the historical Jerusalem following its destruction in 587 B.C. That symbol had already been transformed in post-biblical Judaism to describe the new reality, which God would create in the time beyond history. Placing the vision as he does, after the description of the final destruction in 19:11–20:15, John indicates that he too understands this new reality to occur after the final time. He, however, calls his apocalyptic city the bride/wife not only of God but also of the Lamb”. “Transformation of Symbols: The New Jerusalem in Rv 21,1 – 22,5”, ZNW 78 (1987) 125.