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Advent · First Sunday in Advent · Year A

Matthew 24:36-44

As in the Days of Noah

The Deluge, Michelangelo
The Deluge, Michelangelo, c. 1508–1509Sistine Chapel ceiling, Vatican
On the ceiling, the first panel Michelangelo painted and the most crowded. People carry what they can up a shrinking rock while the ark sits closed in the distance.They knew nothing until the flood came and swept them all away: the reading uses this for how ordinary the last ordinary day looks.MichelangeloSculptor first and painter under protest, who spent four years on his back on the Sistine ceiling and produced the most consequential painting in Europe.Sistine Chapel ceiling, VaticanThe pope's chapel, where conclaves are held, decorated by Perugino, Botticelli and Ghirlandaio before Michelangelo was ever asked.Sistine Chapel ceiling, Vatican

Overview & Insights

“Therefore, stay awake, for you do not know on what day your Lord is coming.” (Matthew 24:42)

The unit stands inside the last discourse and is the hinge from prediction to vigilance, and its first move undercuts prediction altogether, since no one knows the day, not the angels, “nor the Son” (v. 36), a phrase strong enough that some copyists removed it. The Noah comparison that follows does not dwell on wickedness, as later moralizing did; what characterizes the generation of the flood is ordinariness, eating and drinking and marrying, right up to the day Noah entered the ark (cf. Genesis 7:7). The paired sayings about two in a field and two at a mill make the division unpredictable rather than deserved, and the verb “taken” carries no promise of rescue in Matthew’s Greek. The householder and the thief supply the closing image, one taken up independently at 1 Thessalonians 5:2 and 2 Peter 3:10. Advent’s first Gospel concerns the coming at the end, not the one at Bethlehem.

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