In the vision of Revelation 8:3-4 an angel stands before the golden altar, ministering incense before God. In many statements Ellen White appears to equate that angel with Christ. EW 32 (= LS 100), 252; MS 142, 1899 (= COL 156 = 7 BC 931); MS 21, 1900 (= SD 22); MS 14, 1901 (= 6 BC 1078). When she does so, she always speaks of the scene as a description of Christ’s intercession. MS 14, 1901 (= 6 BC 1078); MS 142, 1899 (= 7 BC 931 = COL 156); SD 22. Interestingly, however, in other statements she describes the scene in terms of angels offering incense, but in those cases she never uses the term “intercession,” reserving it for Christ alone. MS 15, 1897 (= 7BC 971); RH July 4, 1893; ML 29.

In her clearest allusions to Revelation 8:3-4, Ellen White relates this scene to the daily ministration in the first apartment of the heavenly sanctuary. GC 414-415; RH Nov 9, 1905; PP 353. Early in her ministry, however, she alludes to portions of the imagery with reference to the second apartment. EW 32 [= LS 100], 252, 256. In all clear allusions to Revelation 8:3-4, however, the ministration of incense is associated with Christ’s work of intercession and not with the Investigative Judgment. MS 142, 1899 (= COL 156 = 7BC 931); MS 14, 1901 (= 6BC 1078). The incense represents the “merit of Jesus” (RH July 4, 1893) or the “blood of the atonement.” MS 15, 1897 (= 7 BC 971).

In an earlier blog we made an extensive analysis of her single echo of Revelation 8:5. She appears to understand the throwing down of the censer in terms of an end to intercession, but it is not clear if she understood it as something that might happen repeatedly in the course of human history or as “the” final close of probation.

On the whole, Ellen White’s use of the language of Revelation 8:3-5 is remarkably compatible with exegesis of the passage. The basic concept of the passage is the intercession of Christ. In some sense this is brought to an end by the act of throwing down the censer. Her writings make it unclear, however, whether that act occurs before the blowing of the trumpets chronologically, whether it occurs repeatedly during the trumpets, or only at a specific point toward the end. In other words, she respects the ambiguity of the text and does not go beyond what is reasonably evident there.