The Letters to the Seven Churches in the Book of Revelation follow a fixed sevenfold literary pattern. The single form elements are developed in view of the special situation of each of the seven churches but, at the same time, aim to create linkages with the main body of the book. In addition, referencing between form elements within one and the same letter often help to construe ambiguous metaphors. While the seven letters all together build a unit, this unit falls into two groups: the letter to Thyatira closes the first section, the letter to Laodicea closes the second one, with the letter to Sardis serving as a hinge between the two groups. The literary and the text-pragmatic purpose of the seven letters are well combined. In the second group, the linkages serving as a connection with the rest of the book make an increasing use of motives that describe the final victory at the end of the Book of Revelation. In this way, the author tries to focus the reader's attention on this eagerly awaited future.

The presentation of Jesus in his appearance in Rev 12.5 includes his birth and his ascension, but it does not mention his death, despite its important role elsewhere in the book. The present study, after surveying some typical explanations of this lack, suggests a twofold solution. First, the comparison of the christophanies in the Apocalypse reveals a characteristic sequence in their description into which the messianic appearance in ch. 12 fits well. Second, the fact that John sharply separates the depiction of the satanic intent to kill the Messiah from Jesus' death contributes to the Christology of Revelation. The protagonist of the book is unequivocally superior both to the devil and to all popular mythical figures who must face the forces of chaos.