The seventh and last great image after the seventh trumpet, gives again a preview of what is going to be unfolded. We see seven angels stepping forward with seven last plagues. The seven trumpets proceeded after the opening of the seven seals. In the same way the seven vials of wrath come forward after the blowing of the seven trumpets and the related great images.
The wrath of God
Schult (p.255) objects against the word ‘wrath’, which is often used as a translation for the Greek word ‘thymos’. Although wrath is one of the possible translations, thymos has a much broader meaning, including: swelling, being violently moved, seething, storming, and so on. It expresses the glow of passion, life force, will power. In the framework of the Apocalypse, Schult translates it with ‘will power of God’. The heaviest trials for man are in the realm of the physical body and the will. Also the winepress is a symbol for God’s will, which is meant here to purify the human will and not to let man fall in disgrace. But an element of disgrace is indeed present in a later fragment (Rev.16:19) when the whore of Babylon has to drink the wine of the wrath of God.
The sea of glass
We are approaching the throne of God and stand before the sea of glass. Here, new humanity is gathered, they which overcame the beast and its image, and the number six-six-six. They carry the harps of God and play on them. Bock (p.246-248) explains that the sea of glass refers to the sea of glass out of which earlier the hard mineral earth on which we live has developed. The next incarnation of the earth, the Jupiter earth, will also have a mineral phase but that phase will be different from the hard minerals we know now. That mineral phase, the coming sea of glass, will be pervaded with fire and will be liquid.
Schult (p.256-257) gives the following interpretation. The picture of the sea of glass at the end of the cycle of the trumpets reflects the picture of the sea of glass at the opening of the book with the seven seals. But the first type of sea of glass is mixed with fire. The heaven of fire of God penetrates the heaven of crystal. The white radiating crystal mixes with the red of fire. They are representing the communion with the Father god. The harmonic consonance of head and heart, spirit and soul, man and wife, transforms in androgynous man, transforming the mineral body. Spiritual man wrests the physical body, which is very tenuous in this phase, from death.
The song of praise
And the song of creation, first played on the harps of the twenty four elders, now is the song which new humanity plays itself on the cithers of their hearts. And they sang the song of praise of Moses, the servant of God, and the song of praise of the Lamb: Great and marvelous are your works, Lord and God, you Almighty ruler. They sing the song of Moses which is also called the song of the Lamb. It is the song of the old covenant of the people with God, the Father, as well as the song of the new covenant with God, the Son, which has ascended to the realm of the Father god.
The ending of the epoch of the Trumpets leads again to a silence, like in the case of the ending of the epoch of the Seals. From this silence, the power of the start of a new aeon will come forward. The transition from the epoch of Trumpets and inspiration to that of the seven vials with God’s will-power and intuition will lead to the unification with God.