This aspect of the divine kingship is undoubtedly represented in the vision of Ezekiel. We have remarked that the imagery of the vision is to some extent moulded on the idea of the sanctuary as the seat of Jehovah’s government, and we shall find later on that the final resting‐place of this emblem of His presence is a restored sanctuary in the land of Canaan. But the circumstances under which Ezekiel was called to be a prophet required that prominence should be given to the complementary truth that the kingship of Jehovah was independent of His special relation to Israel. For the present the tie between Jehovah and His land was dissolved. Israel had disowned her divine King, and was left to suffer the consequences of her disloyalty. Hence it is that the vision appears, not from the direction of Jerusalem, but “out of the north,” in token that God has departed from His Temple and abandoned it to its enemies. In this way the vision granted to the exiled prophet on the plain of Babylonia embodied a truth opposed to the religious prejudices of his time, but reassuring to himself—that the fall of Israel leaves the essential sovereignty of Jehovah untouched; that He still lives and reigns, although His people are trodden underfoot by worshippers of other gods. But more than this, we can see that on the whole the tendency of Ezekiel’s vision, as distinguished from that of Isaiah, is to emphasise the universality of Jehovah’s relations to the world of nature and of mankind. His throne rests here on a sapphire stone, the symbol of heavenly purity, to signify that His true dwelling‐place is above the firmament, in the heavens, which are equally near to every region of the earth. Moreover, it is mounted on a chariot, by which it is moved from place to place with a velocity which suggests ubiquity, and the chariot is borne by “living creatures” whose forms unite all that is symbolical of power and dignity in the living world. Further, the shape of the chariot, which is foursquare, and the disposition of the wheels and cherubim, which is such that there is no before or behind, but the same front presented to each of the four quarters of the globe, indicate that all parts of the universe are alike accessible to the presence of God. Finally, the wheels and the cherubim are covered with eyes, to denote that all things are open to the view of Him who sits on the throne. The attributes of God here symbolised are those which express His relations to created existence as a whole—omnipresence, omnipotence, omniscience. These ideas are obviously incapable of adequate representation by any sensuous image—they can only be suggested to the mind; and it is just the effort to suggest such transcendental attributes that imparts to the vision the character of obscurity which attaches to so many of its details.