John Martin’s evocation of the New Jerusalem is part of a triptych of canvasses made betwen 1851 and 1853 CE. This image is the culmination of the trio, the paradisical resolution to the dark themes of the two preceding works, 'The Great Day of His Wrath' and 'The Last Judgement'—interestingly, the coming of the New Jerusalem is foreshadowed at the top of the Last Judgement panel. In contrast to medieval and early modern visualisations of the New Jerusalem, which always present it as a city, Martin has created an altogether more rural version of the celestial city, like Blake. Although the ‘great and the good’—the cast of characters including Shakespeare and Galileo who were among the ‘saved’ in The Last Judgement—have been transposed to the middle of the painting, it is the incredible landscape that is the focus. This is very much in line with Martin’s Romantic tendencies, but may perhaps be criticised for neglecting the resolutely urban details of the description of the New Jerusalem in Revelation 21, as well as the fact that this is supposed to be a place of intermingling between the human and the divine. While God and the Lamb may implicitly be present in the paradisial landscape, this is left ambiguous.