New Jerusalem
Dead Sea Scrolls

4 [the one which passes to the lef]t of [the] tem[ple he mea]sured: eighte[en] rods wide, one hund[red and twent]y-six cubits. And the wid[th of the streets] which run from South 5 [to North: two] o[f them] are n[in]e rods and f[o]ur cubits each one, sixty-seven cubits; the one in the mid[dle, which is in] the [cen]tre of the city, 6 [he measured] its [width]: [th]irteen rod[s] and a cubit, ninety-t[wo] cubits. All the streets and the city are paved with white stone 7 [...] alabaster and onyx. 8 [And he showed me the measurements of the ei]ghty [posterns:] the wi[dth of] the posterns is two rods, [fourteen cubits ...] 9 [...] Each door had two stone jambs; the width of the [jambs] is [one] rod, [seven cubits.]

Revelation 21:21

New Testament

19 The foundations of the city’s wall are decorated with every kind of precious stone. The first foundation is jasper, the second sapphire, the third agate, the fourth emerald, 20 the fifth onyx, the sixth carnelian, the seventh chrysolite, the eighth beryl, the ninth topaz, the tenth chrysoprase, the eleventh jacinth, and the twelfth amethyst. 21 And the twelve gates are twelve pearls—each one of the gates is made from just one pearl! The main street of the city is pure gold, like transparent glass. 22 Now I saw no temple in the city, because the Lord God—the All-Powerful—and the Lamb are its temple. 23 The city does not need the sun or the moon to shine on it, because the glory of God lights it up, and its lamp is the Lamb.

 Notes and References

"... The holiness and glory of the eschatological Jerusalem (21:11) reflect God's presence in its fullness (compare Isaiah 40:5; 60:1; 62:2; Baruch 6:12; 1Q5 11:5). The twelve gates motif (21:12) is found in Ezekiel 48:30-35 and repeated in Qumran's New Jerusalem Apocalypse 5Q15. The use of the number of the twelve tribes of Israel on the gates (21:14) is probably borrowed from Ezekiel 48:30-35 and identify the patriarchs with the entrances. Interestingly, in ancient Jerusalem only two tribes had gates named after them, Benjamin and Ephraim. The wall motif was used by Ezekiel (Ezekiel 40:5; 41:5 and 43:30-35). We should keep in mind that Ezekiel's work lies prominently behind the imagery of Revelation 12-22. The wall is a sign of security (Is 49:16) or of separation between sacred and common territory. This wall signifies the separation of the life and light inside from the fiery lake outside. The apostles, as the foundation stones, represent the roots of the eschatological city ..."

du Rand, Jan A. The Imagery of the Heavenly Jerusalem (Revelation 21:9-22:5) (pp. 65-86) Neotestamentica, Vol. 22, No. 1, 1988

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