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FAIR is a non-profit organization dedicated to providing well-documented answers to criticisms of the doctrine, practice, and history of The Church of Jesus Christ of Latter-day Saints.
SpencerMarsh (talk | contribs) (/* Response to claim: "The issue here is the Church's continued displaying - still in 2014 - the incorrect, inaccurate, and deceptive art in its Conference Center, Church History Museum, Temple Square, Missionary publications, and official publications...) |
SpencerMarsh (talk | contribs) (/* Response to claim: "The issue here is the Church's continued displaying - still in 2014 - the incorrect, inaccurate, and deceptive art in its Conference Center, Church History Museum, Temple Square, Missionary publications, and official publications...) |
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[[File:Seer stone display at church history museum.jpg|thumb|center|300px|The seer stone display at the Church History Museum (2017).]] | [[File:Seer stone display at church history museum.jpg|thumb|center|300px|The seer stone display at the Church History Museum (2017).]] |
[[../Book of Mormon Concerns & Questions|Book of Mormon Concerns & Questions]] | A FAIR Analysis of: [[../|Letter to a CES Director]], a work by author: Jeremy Runnells
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[[../First Vision Concerns & Questions|First Vision Concerns & Questions]] |
Summary: The author of the letter asks, "Why is the Church not being honest and transparent to its members about how Joseph Smith really translated the Book of Mormon? How am I supposed to be okay with this deception?"
Jump to details:
Unlike the story I’ve been taught in Sunday Schools, Priesthood, General Conferences, Seminary, EFY, Ensigns, Church history tour, Missionary Training Center, and BYU…Joseph Smith used a rock in a hat for translating the Book of Mormon.See also the followup(s) to this claim from "Debunking FAIR’s Debunking" (20 July 2014 revision):
Response to claim: "Sources that I clearly demonstrate were either unofficial, extremely obscure, or not clearly educating the member and investigator about the rock in the hat translation"
Joseph Smith used both the Nephite Interpreters and his own seer stone during the translation process, yet we only hear of the "Urim and Thummim" being used for this purpose.
Emma Smith Bidamon described Joseph's use of several stones during translation to Emma Pilgrim on 27 March 1870 (original spelling retained):
Now the first that my <husband> translated, [the book] was translated by use of the Urim, and Thummim, and that was the part that Martin Harris lost, after that he used a small stone, not exactly, black, but was rather a dark color.”[1]
The Lord provided a set of seer stones (which were formerly used by Nephite prophets) along with the plates. The term Nephite interpreters can alternatively refer to the stones themselves or the stones in conjunction with their associated paraphernalia (holding rim and breastplate). Some time after the translation, early saints noticed similarities with the seer stones and related paraphernalia used by High Priests in the Old Testament and began to use the term Urim and Thummim interchangeably with the Nephite interpreters and Joseph's other seer stones as well. The now popular use of the term Urim and Thummim has unfortunately obscured the fact that all such devices belong in the same class of consecrated revelatory aids and that more than one were used in the translation.
The Nephite interpreters were intended to assist Joseph in the initial translation process, yet the manner in which they were employed was never explained in detail. The fact that the Nephite interpreters were set in rims resembling a pair of spectacles has led some to believe that they may have been worn like a pair of glasses, with Joseph viewing the characters on the plates through them. This, however, is merely speculation that doesn't take into account that Joseph soon disassembled the fixture, the spacing between seer stones being too wide for his eyes. The accompanying breastplate also appeared to have been used by a larger man. Like its biblical counterpart (the High Priest's breastplate contained 12 gems that symbolized him acting as a mediator between God and Israel), the Nephite breastplate was apparently non-essential to the revelatory process.
Martin Harris states that Joseph used the Nephite interpreters and then later switched to using the seer stone "for convenience." [2] In fact, Elder Nelson refers to the use of the seer stone in his 1993 talk:
The details of this miraculous method of translation are still not fully known. Yet we do have a few precious insights. David Whitmer wrote:
“Joseph Smith would put the seer stone into a hat, and put his face in the hat, drawing it closely around his face to exclude the light; and in the darkness the spiritual light would shine. A piece of something resembling parchment would appear, and on that appeared the writing. One character at a time would appear, and under it was the interpretation in English. Brother Joseph would read off the English to Oliver Cowdery, who was his principal scribe, and when it was written down and repeated to Brother Joseph to see if it was correct, then it would disappear, and another character with the interpretation would appear. Thus the Book of Mormon was translated by the gift and power of God, and not by any power of man.” (David Whitmer, An Address to All Believers in Christ, Richmond, Mo.: n.p., 1887, p. 12.) [3]
W.W. Phelps wrote the following in the January 1833 edition of The Evening and The Morning Star:
The book of Mormon, as a revelation from God, possesses some advantage over the old scripture: it has not been tinctured by the wisdom of man, with here and there an Italic word to supply deficiencies.-It was translated by the gift and power of God, by an unlearned man, through the aid of a pair of Interpreters, or spectacles-(known, perhaps, in ancient days as Teraphim, or Urim and Thummim) and while it unfolds the history of the first inhabitants that settled this continent, it, at the same time, brings a oneness to scripture, like the days of the apostles; and opens and explains the prophecies, that a child may understand the meaning of many of them; and shows how the Lord will gather his saints, even the children of Israel, that have been scattered over the face of the earth, more than two thousand years, in these last days, to the place of the name of the Lord of hosts, the mount Zion. [4]
It appears that the seer stone was also referred to as the "Urim and Thummim" after 1833, indicating that the name could be assigned to any device that was used for the purpose of translation.[5]
FairMormon removed from their webpage...most of the sources they claimed backed up their position that the Church is transparent and honest in how the Book of Mormon is translated. Sources that I clearly demonstrate were either unofficial, extremely obscure, or not clearly educating the member and investigator about the rock in the hat translation.
The manner of the translation is described repeatedly, for example, in the Church's official magazine for English-speaking adults, the Ensign. Richard Lloyd Anderson discussed the "stone in the hat" matter in 1977,[6] and Elder Russell M. Nelson quoted David Whitmer's account to new mission presidents in 1992.[7]
The details of the translation are not certain, and the witnesses do not all agree in every particular. However, Joseph's seer stone in the hat was also discussed by, among others: B.H. Roberts in his New Witnesses for God (1895)[8] and returns somewhat to the matter in Comprehensive History of the Church (1912).[9] Other Church sources to discuss this include The Improvement Era (1939),[10] BYU Studies (1984, 1990)[11] the Journal of Book of Mormon Studies (1993),[12] and the FARMS Review (1994).[13] LDS authors Joseph Fielding McConkie and Craig J. Ostler also mentioned the matter in 2000.[14] Elder Bruce R. McConkie talked about the seer stone in his second edition of Mormon Doctrine (1966), clearly distinguishing it from the Urim and Thummim, loosely implying that it was involved in the translation of the Book of Mormon, and quoting President Joseph Fielding Smith who said that "[t]his seer stone is now in the possession of the Church."[15]
In fact, historical evidence shows that in addition to the two seer stones known as “interpreters,” Joseph Smith used at least one other seer stone in translating the Book of Mormon, often placing it into a hat in order to block out light. According to Joseph’s contemporaries, he did this in order to better view the words on the stone.
—Richard E. Turley Jr., Robin S. Jensen and Mark Ashurst-McGee, "Joseph the Seer," Ensign (October 2015)
The stone pictured here has long been associated with Joseph Smith and the Book of Mormon translation. The stone Joseph Smith used in the Book of Mormon translation effort was often referred to as a chocolate-colored stone with an oval shape. This stone passed from Joseph Smith to Oliver Cowdery and then to the Church through Brigham Young and others.
—Richard E. Turley Jr., Robin S. Jensen and Mark Ashurst-McGee, "Joseph the Seer," Ensign (October 2015)
The Urim and Thummim was “an instrument prepared of God to assist man in obtaining revelation from the Lord and in translating languages” (Bible Dictionary, “Urim and Thummim”). Joseph Smith used the Urim and Thummim to aid in the translation of the Book of Mormon. In addition to the Urim and Thummim, the Prophet used a seer stone in the translation process.
Elder Neal A. Maxwell of the Quorum of the Twelve Apostles said the following about the translation process and Joseph Smith’s use of the Urim and Thummim and the seer stone:
“The Prophet Joseph alone knew the full process, and he was deliberately reluctant to describe details. We take passing notice of the words of David Whitmer, Joseph Knight, and Martin Harris, who were observers, not translators. David Whitmer indicated that as the Prophet used the divine instrumentalities provided to help him, ‘the hieroglyphics would appear, and also the translation in the English language … in bright luminous letters.’ Then Joseph would read the words to Oliver (quoted in James H. Hart, “About the Book of Mormon,” Deseret Evening News, 25 Mar. 1884, 2). Martin Harris related of the seer stone: ‘Sentences would appear and were read by the Prophet and written by Martin’ (quoted in Edward Stevenson, “One of the Three Witnesses: Incidents in the Life of Martin Harris,” Latter-day Saints’ Millennial Star, 6 Feb. 1882, 86–87). Joseph Knight made similar observations (see Dean Jessee, “Joseph Knight’s Recollection of Early Mormon History,” BYU Studies 17 [Autumn 1976]: 35).
"Lesson 10: Joseph Smith—History 1:55–65," Doctrine and Covenants and Church History Seminary Teacher Manual, 2013 (available online at LDS.org)
Two accounts of the translation process, including the use of a seer stone, have been written by members of the Quorum of the Twelve Apostles and published in Church magazines. Historians have also written about the seer stone in Church publications, both in the Ensign and in The Joseph Smith Papers. (See Neal A. Maxwell, “‘By the Gift and Power of God,’” Ensign, Jan. 1997, 36–41; Russell M. Nelson, “A Treasured Testament,” Ensign, July 1993, 61–63; Richard Lloyd Anderson, “‘By the Gift and Power of God,’” Ensign, Sept. 1977, 78–85; and Documents, Volume 1: July 1828–June 1831, xxix–xxxii.)
—"Book of Mormon Translation," Gospel Topics on lds.org off-site
Gerrit Dirkmaat (Church History Department - January 2013 Ensign):
Those who believed that Joseph Smith’s revelations contained the voice of the Lord speaking to them also accepted the miraculous ways in which the revelations were received. Some of the Prophet Joseph’s earliest revelations came through the same means by which he translated the Book of Mormon from the gold plates. In the stone box containing the gold plates, Joseph found what Book of Mormon prophets referred to as “interpreters,” or a “stone, which shall shine forth in darkness unto light” (Alma 37:23–24). He described the instrument as “spectacles” and referred to it using an Old Testament term, Urim and Thummim (see Exodus 28:30).2
He also sometimes applied the term to other stones he possessed, called “seer stones” because they aided him in receiving revelations as a seer. The Prophet received some early revelations through the use of these seer stones. For example, shortly after Oliver Cowdery came to serve as a scribe for Joseph Smith as he translated the plates, Oliver and Joseph debated the meaning of a biblical passage and sought an answer through revelation. Joseph explained: “A difference of opinion arising between us about the account of John the Apostle … whether he died, or whether he continued; we mutually agreed to settle it by the Urim and Thummim.”3 In response, Joseph Smith received the revelation now known as section 7 of the Doctrine and Covenants, which informed them that Jesus had told the Apostle John, “Thou shalt tarry until I come in my glory” (D&C 7:3).
Records indicate that soon after the founding of the Church in 1830, the Prophet stopped using the seer stones as a regular means of receiving revelations. Instead, he dictated the revelations after inquiring of the Lord without employing an external instrument. One of his scribes explained that process: “The scribe seats himself at a desk or table, with pen, ink, and paper. The subject of inquiry being understood, the Prophet and Revelator inquires of God. He spiritually sees, hears, and feels, and then speaks as he is moved upon by the Holy Ghost.”
Gerrit Dirkmaat (Church History Department), "Great and Marvelous Are the Revelations of God," Ensign, January 2013. (emphasis added) off-site
In 2005, Opening the Heavens was published jointly by the Joseph Fielding Smith Institute for Latter-day Saint History and Deseret Book. As part of this book, at least twenty-nine references to the stone (often with the hat) are included, from both friendly and hostile sources:
"Martin Harris related of the seer stone: 'Sentences would appear and were read by the Prophet and written by Martin'"
—Neal A. Maxwell, “‘By the Gift and Power of God’,” Ensign, January 1997, 36 (emphasis added) off-site
"David Whitmer wrote: ' Joseph Smith would put the seer stone into a hat, and put his face in the hat, drawing it closely around his face to exclude the light; and in the darkness the spiritual light would shine.'"
—Russell M. Nelson, “A Treasured Testament,” Ensign, Jul 1993, 61. (emphasis added) off-site
"Jacob censured the "stiffnecked" Jews for "looking beyond the mark" (Jacob 4:14). We are looking beyond the mark today, for example, if we are more interested in the physical dimensions of the cross than in what Jesus achieved thereon; or when we neglect Alma's words on faith because we are too fascinated by the light-shielding hat reportedly used by Joseph Smith during some of the translating of the Book of Mormon. To neglect substance while focusing on process is another form of unsubmissively looking beyond the mark."
—Neal A. Maxwell, Not My Will, But Thine (Salt Lake City, Utah: Bookcraft, 1988), 26.
The scriptures indicate that translation involved sight, power, transcription of the characters, the Urim and Thummim or a seerstone, study, and prayer.
After returning from a trip to Palmyra to settle his affairs, Martin began to transcribe. From April 12 to June 14, Joseph translated while Martin wrote, with only a curtain between them. On occasion they took breaks from the arduous task, sometimes going to the river and throwing stones. Once Martin found a rock closely resembling the seerstone Joseph sometimes used in place of the interpreters and substituted it without the Prophet’s knowledge. When the translation resumed, Joseph paused for a long time and then exclaimed, “Martin, what is the matter, all is as dark as Egypt.” Martin then confessed that he wished to “stop the mouths of fools” who told him that the Prophet memorized sentences and merely repeated them." —Kenneth W. Godfrey, "A New Prophet and a New Scripture: The Coming Forth of the Book of Mormon," Ensign (Jan 1988).
"There he gave his most detailed view of 'the manner in which the Book of Mormon was translated': “Joseph Smith would put the seer stone into a hat and put his face in the hat, drawing it closely around his face to exclude the light."
—Richard Lloyd Anderson, "‘By the Gift and Power of God’," Ensign (Sep 1977): 79, emphasis added. off-site
"To help him with the translation, Joseph found with the gold plates “a curious instrument which the ancients called Urim and Thummim, which consisted of two transparent stones set in a rim of a bow fastened to a breastplate.” Joseph also used an egg-shaped, brown rock for translating called a seer stone."
—“A Peaceful Heart,” Friend, Sep 1974, 7 off-site
The rock in the hat is confirmed "in an obscure 1992 talk given by Elder Russell M. Nelson."
Gospel Topics on LDS.org:
These two instruments—the interpreters and the seer stone—were apparently interchangeable and worked in much the same way such that, in the course of time, Joseph Smith and his associates often used the term “Urim and Thummim” to refer to the single stone as well as the interpreters. In ancient times, Israelite priests used the Urim and Thummim to assist in receiving divine communications. Although commentators differ on the nature of the instrument, several ancient sources state that the instrument involved stones that lit up or were divinely illumin[at]ed. Latter-day Saints later understood the term “Urim and Thummim” to refer exclusively to the interpreters. Joseph Smith and others, however, seem to have understood the term more as a descriptive category of instruments for obtaining divine revelations and less as the name of a specific instrument. [16]
Gerrit Dirkmaat (Church History Department - January 2013 Ensign):
Those who believed that Joseph Smith’s revelations contained the voice of the Lord speaking to them also accepted the miraculous ways in which the revelations were received. Some of the Prophet Joseph’s earliest revelations came through the same means by which he translated the Book of Mormon from the gold plates. In the stone box containing the gold plates, Joseph found what Book of Mormon prophets referred to as “interpreters,” or a “stone, which shall shine forth in darkness unto light” (Alma 37:23–24). He described the instrument as “spectacles” and referred to it using an Old Testament term, Urim and Thummim (see Exodus 28:30).2
He also sometimes applied the term to other stones he possessed, called “seer stones” because they aided him in receiving revelations as a seer. The Prophet received some early revelations through the use of these seer stones. For example, shortly after Oliver Cowdery came to serve as a scribe for Joseph Smith as he translated the plates, Oliver and Joseph debated the meaning of a biblical passage and sought an answer through revelation. Joseph explained: “A difference of opinion arising between us about the account of John the Apostle … whether he died, or whether he continued; we mutually agreed to settle it by the Urim and Thummim.”3 In response, Joseph Smith received the revelation now known as section 7 of the Doctrine and Covenants, which informed them that Jesus had told the Apostle John, “Thou shalt tarry until I come in my glory” (D&C 7:3).
Records indicate that soon after the founding of the Church in 1830, the Prophet stopped using the seer stones as a regular means of receiving revelations. Instead, he dictated the revelations after inquiring of the Lord without employing an external instrument. One of his scribes explained that process: “The scribe seats himself at a desk or table, with pen, ink, and paper. The subject of inquiry being understood, the Prophet and Revelator inquires of God. He spiritually sees, hears, and feels, and then speaks as he is moved upon by the Holy Ghost.”[17]
In other words, he used the same “Ouija Board” that he used in his days treasure hunting where he would put in a rock – or a peep stone – in his hat and put his face in the hat to tell his customers the location of buried treasure
"Book of Mormon Translation," Gospel Topics on LDS.org (2013):
Joseph Smith and his scribes wrote of two instruments used in translating the Book of Mormon. According to witnesses of the translation, when Joseph looked into the instruments, the words of scripture appeared in English. One instrument, called in the Book of Mormon the “interpreters,” is better known to Latter-day Saints today as the “Urim and Thummim.” ....
The other instrument, which Joseph Smith discovered in the ground years before he retrieved the gold plates, was a small oval stone, or “seer stone.” As a young man during the 1820s, Joseph Smith, like others in his day, used a seer stone to look for lost objects and buried treasure. As Joseph grew to understand his prophetic calling, he learned that he could use this stone for the higher purpose of translating scripture.[18]
Joseph was given a set of Nephite interpreters along with the gold plates from which the Book of Mormon was produced. In addition, Joseph already possessed and utilized several seer stones. Although Joseph began translating the Book of Mormon using the Nephite interpreters, he later switched to using one of his seer stones to complete the translation. Critics (typically those who reject Mormonism but still believe in God) reject the idea that God would approve the use of an instrument for translation that had previously been used for "money digging."
The conclusion that Joseph used a "magical" or "occult" stone to assist in the translation of the Book of Mormon is entirely dependent upon one's own preconception that the use of such an instrument would not be acceptable by God. Believers, on the other hand, ought not to take issue with a distinction between one set of seer stones versus another. As Brant Gardner notes: "Regardless of the perspective from which we tell the story, the essential fact of the translation is unchanged. How was the Book of Mormon translated? As Joseph continually insisted, the only real answer, from any perspective, is that it was translated by the gift and power of God." [19]
"Behold, I am God and have spoken it; these commandments are of me, and were given unto my servants in their weakness, after the manner of their language, that they might come to understanding."
The above nine images are copyrighted by the Church of Jesus Christ of Latter-day Saints. [images of Joseph looking at the plates in the open] Book of Mormon translation as it actually happened: [images of Joseph looking into a hat] Why is the Church not being honest and transparent to its members about how Joseph Smith really translated the Book of Mormon? How am I supposed to be okay with this deception?See also the followup(s) to this claim from "Debunking FAIR’s Debunking" (20 July 2014 revision):
Response to claim: "The issue here is the Church's continued displaying - still in 2014 - the incorrect, inaccurate, and deceptive art in its Conference Center, Church History Museum, Temple Square, Missionary publications, and official publications"
Here’s an illustration: A traditional view of Joseph Smith translating the Book of Mormon. Now, there are several things wrong with it, and he points to this sort of thing and says this is Church deception. Joseph didn’t have the plates with him quite often, and here is is following along with the text on the plates. Well, you know that’s not true, because the witnesses didn’t see the plates all the time, right? This can’t possibly be true. When the witnesses saw the plates it was a big deal for them, because, Joseph wasn’t just sitting there translating with the plates in front of him all the time as people wandered around and so on. But [the author of the Letter to a CES Director] says, “look, the Church is being deceptive” because it doesn’t show Joseph with his face in the hat using the seer stones. Well, my response to this partly would be “What in the world are you thinking of?” Trying to derive doctrine from illustrations? Or expecting that illustrations are going to give you the accurate picture? Here’s another one: There Joseph has the curtain between him and the scribe....This one is equally wrong. It’s not a sign of evil or deliberate conspiratorial intent. It’s just an indication that the illustrators often just don’t get it right.
—Daniel C. Peterson, "Some Reflections on That Letter to a CES Director," 2014 FairMormon Conference.
One of the strangest attacks on the Church of Jesus Christ of Latter-day Saints is an assault on the Church's art. Now and again, one hears criticism about the representational images which the Church uses in lesson manuals and magazines to illustrate some of the foundational events of Church history.[20]
A common complaint is that Church materials usually show Joseph translating the Book of Mormon by looking at the golden plates, such as in the photo shown here.
Here critics charge a clear case of duplicity—Oliver Cowdery and Joseph Smith are shown translating the Book of Mormon.
But as the critics point out, there are potential historical errors in this image:
The reality is that the translation process, for the most part, is represented by this image:
Anthony Sweat explains more about the history of artistic depictions of the Book of Mormon translation in this presentation given at the 2020 FAIR Conference
It is claimed by some that the Church knowingly "lies" or distorts the historical record in its artwork in order to whitewash the past, or for propaganda purposes. [22] For example, some Church sanctioned artwork shows Joseph and Oliver sitting at a table while translating with the plate in the open between them. Daniel C. Peterson provides some examples of how Church art often does not reflect reality, and how this is not evidence of deliberate lying or distortion on the part of the Church:
Look at this famous picture....Now that’s Samuel the Lamanite on a Nephite wall. Are any walls like that described in the Book of Mormon? No. You have these simple things, and they’re considered quite a technical innovation at the time of Moroni, where he digs a trench, piles the mud up, puts a palisade of logs along the top. That’s it. They’re pretty low tech. There’s nothing like this. This is Cuzco or something. But this is hundreds of years after the Book of Mormon and probably nowhere near the Book of Mormon area, and, you know, and you’ve heard me say it before, after Samuel jumps off this Nephite wall you never hear about him again. The obvious reason is....he’s dead. He couldn’t survive that jump. But again, do you draw your understanding of the Book of Mormon from that image? Or, do you draw it from what the book actually says?[23]
The implication is that the Church's artistic department and/or artists are merely tools in a propaganda campaign meant to subtly and quietly obscure Church history. The suggestion is that the Church trying to "hide" how Joseph really translated the plates.
On the contrary, the manner of the translation is described repeatedly, for example, in the Church's official magazine for English-speaking adults, the Ensign. Richard Lloyd Anderson discussed the "stone in the hat" matter in 1977,[24] and Elder Russell M. Nelson quoted David Whitmer's account to new mission presidents in 1992.[25]
The details of the translation are not certain, and the witnesses do not all agree in every particular. However, Joseph's seer stone in the hat was also discussed by, among others: B.H. Roberts in his New Witnesses for God (1895)[26] and returns somewhat to the matter in Comprehensive History of the Church (1912).[27] Other Church sources to discuss this include The Improvement Era (1939),[28] BYU Studies (1984, 1990)[29] the Journal of Book of Mormon Studies (1993),[30] and the FARMS Review (1994).[31] LDS authors Joseph Fielding McConkie and Craig J. Ostler also mentioned the matter in 2000.[32]
Elder Neal A. Maxwell went so far as to use Joseph's hat as a parable; this is hardly the act of someone trying to "hide the truth":
Jacob censured the "stiffnecked" Jews for "looking beyond the mark" (Jacob 4꞉14). We are looking beyond the mark today, for example, if we are more interested in the physical dimensions of the cross than in what Jesus achieved thereon; or when we neglect Alma's words on faith because we are too fascinated by the light-shielding hat reportedly used by Joseph Smith during some of the translating of the Book of Mormon. To neglect substance while focusing on process is another form of unsubmissively looking beyond the mark.[33]
Those who criticize the Church based on its artwork should perhaps take Elder Maxwell's caution to heart.
From Anthony Sweat’s essay “The Gift and Power of Art”:
When I asked Walter Rane about creating an image of the translation with Joseph looking into a hat, he surprised me by telling me that the Church had actually talked to him a few times in the past about producing an image like that but that the projects fell by the wayside as other matters became more pressing. Note how Walter refers to the language of art as to why he never created the image:At least twice I have been approached by the Church to do that scene [Joseph translating using the hat]. I get into it. When I do the draw- ings I think, “This is going to look really strange to people.” Culturally from our vantage point 200 years later it just looks odd. It probably won’t communicate what the Church wants to communicate. Instead of a person being inspired to translate ancient records it will just be, “What’s going on there?” It will divert people’s attention. In both of those cases I remember being interested and intrigued when the commission was changed (often they [the Church] will just throw out ideas that disappear, not deliberately) but I thought just maybe I should still do it [the image of Joseph translating using the hat]. But some things just don’t work visually. It’s true of a lot of stories in the scriptures. That’s why we see some of the same things being done over and over and not others; some just don’t work visually.[34]
Anthony Sweat explains more about the history of artistic depictions of the Book of Mormon translation in this presentation given at the 2020 FAIR Conference
Why, then, does the art not match details which have been repeatedly spelled out in LDS publications?
The simplest answer may be that artists simply don't always get such matters right. The critics' caricature to the contrary, not every aspect of such things is "correlated." Robert J. Matthews of BYU was interviewed by the Journal of Book of Mormon Studies, and described the difficulties in getting art "right":
JBMS: Do you think there are things that artists could do in portraying the Book of Mormon?
RJM: Possibly. To me it would be particularly helpful if they could illustrate what scholars have done. When I was on the Correlation Committee [of the Church of Jesus Christ of Latter-day Saints], there were groups producing scripture films. They would send to us for approval the text of the words that were to be spoken. We would read the text and decide whether we liked it or not. They would never send us the artwork for clearance. But when you see the artwork, that makes all the difference in the world. It was always too late then. I decided at that point that it is so difficult to create a motion picture, or any illustration, and not convey more than should be conveyed. If you paint a man or woman, they have to have clothes on. And the minute you paint that clothing, you have said something either right or wrong. It would be a marvelous help if there were artists who could illustrate things that researchers and archaeologists had discovered…
I think people get the main thrust. But sometimes there are things that shouldn't be in pictures because we don't know how to accurately depict them…I think that unwittingly we might make mistakes if we illustrate children's materials based only on the text of the Book of Mormon.[35]
Modern audiences—especially those looking to find fault—have, in a sense, been spoiled by photography. We are accustomed to having images describe how things "really" were. We would be outraged if someone doctored a photo to change its content. This largely unconscious tendency may lead us to expect too much of artists, whose gifts and talents may lie in areas unrelated to textual criticism and the fine details of Church history.
Even this does not tell the whole story. "Every artist," said Henry Ward Beecher, "dips his brush in his own soul, and paints his own nature into his pictures."[36] This is perhaps nowhere more true than in religious art, where the goal is not so much to convey facts or historical detail, as it is to convey a religious message and sentiment. A picture often is worth a thousand words, and artists often seek to have their audience identify personally with the subject. The goal of religious art is not to alienate the viewer, but to draw him or her in.
The critics would benefit from even a cursory tour through religious art. Let us consider, for example, one of the most well-known stories in Christendom: the Nativity of Christ. How have religious artists portrayed this scene?
As the director of Catholic schools in Yaounde, Cameroon argues:
It is urgent and necessary for us to proclaim and to express the message, the life and the whole person of Jesus-Christ in an African artistic language…Many people of different cultures have done it before us and will do it in the future, without betraying the historical Christ, from whom all authentic Christianity arises. We must not restrict ourselves to the historical and cultural forms of a particular people or period.[37]
The goal of religious art is primarily to convey a message. It uses the historical reality of religious events as a means, not an end.
Religious art—in all traditions—is intended, above all, to draw the worshipper into a separate world, where mundane things and events become charged with eternal import. Some dictated words or a baby in a stable become more real, more vital when they are connected recognizably to one's own world, time, and place.
This cannot happen, however, if the image's novelty provides too much of a challenge to the viewer's culture or expectations. Thus, the presentation of a more accurate view of the translation using either the Nephite interpreters (sometimes referred to as "spectacles") or the stone and the hat, automatically raises feelings among people in 21st Century culture that the translation process was strange. This type of activity is viewed with much less approval in our modern culture.
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One of the strangest attacks on the Church of Jesus Christ of Latter-day Saints is an assault on the Church's art. Now and again, one hears criticism about the representational images which the Church uses in lesson manuals and magazines to illustrate some of the foundational events of Church history.[1]
A common complaint is that Church materials usually show Joseph translating the Book of Mormon by looking at the golden plates, such as in the photo shown here.
Here critics charge a clear case of duplicity—Oliver Cowdery and Joseph Smith are shown translating the Book of Mormon.
But as the critics point out, there are potential historical errors in this image:
The reality is that the translation process, for the most part, is represented by this image:
Anthony Sweat explains more about the history of artistic depictions of the Book of Mormon translation in this presentation given at the 2020 FAIR Conference
It is claimed by some that the Church knowingly "lies" or distorts the historical record in its artwork in order to whitewash the past, or for propaganda purposes. [3] For example, some Church sanctioned artwork shows Joseph and Oliver sitting at a table while translating with the plate in the open between them. Daniel C. Peterson provides some examples of how Church art often does not reflect reality, and how this is not evidence of deliberate lying or distortion on the part of the Church:
Look at this famous picture....Now that’s Samuel the Lamanite on a Nephite wall. Are any walls like that described in the Book of Mormon? No. You have these simple things, and they’re considered quite a technical innovation at the time of Moroni, where he digs a trench, piles the mud up, puts a palisade of logs along the top. That’s it. They’re pretty low tech. There’s nothing like this. This is Cuzco or something. But this is hundreds of years after the Book of Mormon and probably nowhere near the Book of Mormon area, and, you know, and you’ve heard me say it before, after Samuel jumps off this Nephite wall you never hear about him again. The obvious reason is....he’s dead. He couldn’t survive that jump. But again, do you draw your understanding of the Book of Mormon from that image? Or, do you draw it from what the book actually says?[4]
The implication is that the Church's artistic department and/or artists are merely tools in a propaganda campaign meant to subtly and quietly obscure Church history. The suggestion is that the Church trying to "hide" how Joseph really translated the plates.
On the contrary, the manner of the translation is described repeatedly, for example, in the Church's official magazine for English-speaking adults, the Ensign. Richard Lloyd Anderson discussed the "stone in the hat" matter in 1977,[5] and Elder Russell M. Nelson quoted David Whitmer's account to new mission presidents in 1992.[6]
The details of the translation are not certain, and the witnesses do not all agree in every particular. However, Joseph's seer stone in the hat was also discussed by, among others: B.H. Roberts in his New Witnesses for God (1895)[7] and returns somewhat to the matter in Comprehensive History of the Church (1912).[8] Other Church sources to discuss this include The Improvement Era (1939),[9] BYU Studies (1984, 1990)[10] the Journal of Book of Mormon Studies (1993),[11] and the FARMS Review (1994).[12] LDS authors Joseph Fielding McConkie and Craig J. Ostler also mentioned the matter in 2000.[13]
Elder Neal A. Maxwell went so far as to use Joseph's hat as a parable; this is hardly the act of someone trying to "hide the truth":
Jacob censured the "stiffnecked" Jews for "looking beyond the mark" (Jacob 4꞉14). We are looking beyond the mark today, for example, if we are more interested in the physical dimensions of the cross than in what Jesus achieved thereon; or when we neglect Alma's words on faith because we are too fascinated by the light-shielding hat reportedly used by Joseph Smith during some of the translating of the Book of Mormon. To neglect substance while focusing on process is another form of unsubmissively looking beyond the mark.[14]
Those who criticize the Church based on its artwork should perhaps take Elder Maxwell's caution to heart.
From Anthony Sweat’s essay “The Gift and Power of Art”:
When I asked Walter Rane about creating an image of the translation with Joseph looking into a hat, he surprised me by telling me that the Church had actually talked to him a few times in the past about producing an image like that but that the projects fell by the wayside as other matters became more pressing. Note how Walter refers to the language of art as to why he never created the image:At least twice I have been approached by the Church to do that scene [Joseph translating using the hat]. I get into it. When I do the draw- ings I think, “This is going to look really strange to people.” Culturally from our vantage point 200 years later it just looks odd. It probably won’t communicate what the Church wants to communicate. Instead of a person being inspired to translate ancient records it will just be, “What’s going on there?” It will divert people’s attention. In both of those cases I remember being interested and intrigued when the commission was changed (often they [the Church] will just throw out ideas that disappear, not deliberately) but I thought just maybe I should still do it [the image of Joseph translating using the hat]. But some things just don’t work visually. It’s true of a lot of stories in the scriptures. That’s why we see some of the same things being done over and over and not others; some just don’t work visually.[15]
Anthony Sweat explains more about the history of artistic depictions of the Book of Mormon translation in this presentation given at the 2020 FAIR Conference
Why, then, does the art not match details which have been repeatedly spelled out in LDS publications?
The simplest answer may be that artists simply don't always get such matters right. The critics' caricature to the contrary, not every aspect of such things is "correlated." Robert J. Matthews of BYU was interviewed by the Journal of Book of Mormon Studies, and described the difficulties in getting art "right":
JBMS: Do you think there are things that artists could do in portraying the Book of Mormon?
RJM: Possibly. To me it would be particularly helpful if they could illustrate what scholars have done. When I was on the Correlation Committee [of the Church of Jesus Christ of Latter-day Saints], there were groups producing scripture films. They would send to us for approval the text of the words that were to be spoken. We would read the text and decide whether we liked it or not. They would never send us the artwork for clearance. But when you see the artwork, that makes all the difference in the world. It was always too late then. I decided at that point that it is so difficult to create a motion picture, or any illustration, and not convey more than should be conveyed. If you paint a man or woman, they have to have clothes on. And the minute you paint that clothing, you have said something either right or wrong. It would be a marvelous help if there were artists who could illustrate things that researchers and archaeologists had discovered…
I think people get the main thrust. But sometimes there are things that shouldn't be in pictures because we don't know how to accurately depict them…I think that unwittingly we might make mistakes if we illustrate children's materials based only on the text of the Book of Mormon.[16]
Modern audiences—especially those looking to find fault—have, in a sense, been spoiled by photography. We are accustomed to having images describe how things "really" were. We would be outraged if someone doctored a photo to change its content. This largely unconscious tendency may lead us to expect too much of artists, whose gifts and talents may lie in areas unrelated to textual criticism and the fine details of Church history.
Even this does not tell the whole story. "Every artist," said Henry Ward Beecher, "dips his brush in his own soul, and paints his own nature into his pictures."[17] This is perhaps nowhere more true than in religious art, where the goal is not so much to convey facts or historical detail, as it is to convey a religious message and sentiment. A picture often is worth a thousand words, and artists often seek to have their audience identify personally with the subject. The goal of religious art is not to alienate the viewer, but to draw him or her in.
The critics would benefit from even a cursory tour through religious art. Let us consider, for example, one of the most well-known stories in Christendom: the Nativity of Christ. How have religious artists portrayed this scene?
As the director of Catholic schools in Yaounde, Cameroon argues:
It is urgent and necessary for us to proclaim and to express the message, the life and the whole person of Jesus-Christ in an African artistic language…Many people of different cultures have done it before us and will do it in the future, without betraying the historical Christ, from whom all authentic Christianity arises. We must not restrict ourselves to the historical and cultural forms of a particular people or period.[18]
The goal of religious art is primarily to convey a message. It uses the historical reality of religious events as a means, not an end.
Religious art—in all traditions—is intended, above all, to draw the worshipper into a separate world, where mundane things and events become charged with eternal import. Some dictated words or a baby in a stable become more real, more vital when they are connected recognizably to one's own world, time, and place.
This cannot happen, however, if the image's novelty provides too much of a challenge to the viewer's culture or expectations. Thus, the presentation of a more accurate view of the translation using either the Nephite interpreters (sometimes referred to as "spectacles") or the stone and the hat, automatically raises feelings among people in 21st Century culture that the translation process was strange. This type of activity is viewed with much less approval in our modern culture.
Key sources |
|
Wiki links |
|
FAIR links |
|
Navigators |
Notes
One of the strangest attacks on the Church of Jesus Christ of Latter-day Saints is an assault on the Church's art. Now and again, one hears criticism about the representational images which the Church uses in lesson manuals and magazines to illustrate some of the foundational events of Church history.[1]
A common complaint is that Church materials usually show Joseph translating the Book of Mormon by looking at the golden plates, such as in the photo shown here.
Here critics charge a clear case of duplicity—Oliver Cowdery and Joseph Smith are shown translating the Book of Mormon.
But as the critics point out, there are potential historical errors in this image:
The reality is that the translation process, for the most part, is represented by this image:
Anthony Sweat explains more about the history of artistic depictions of the Book of Mormon translation in this presentation given at the 2020 FAIR Conference
It is claimed by some that the Church knowingly "lies" or distorts the historical record in its artwork in order to whitewash the past, or for propaganda purposes. [3] For example, some Church sanctioned artwork shows Joseph and Oliver sitting at a table while translating with the plate in the open between them. Daniel C. Peterson provides some examples of how Church art often does not reflect reality, and how this is not evidence of deliberate lying or distortion on the part of the Church:
Look at this famous picture....Now that’s Samuel the Lamanite on a Nephite wall. Are any walls like that described in the Book of Mormon? No. You have these simple things, and they’re considered quite a technical innovation at the time of Moroni, where he digs a trench, piles the mud up, puts a palisade of logs along the top. That’s it. They’re pretty low tech. There’s nothing like this. This is Cuzco or something. But this is hundreds of years after the Book of Mormon and probably nowhere near the Book of Mormon area, and, you know, and you’ve heard me say it before, after Samuel jumps off this Nephite wall you never hear about him again. The obvious reason is....he’s dead. He couldn’t survive that jump. But again, do you draw your understanding of the Book of Mormon from that image? Or, do you draw it from what the book actually says?[4]
The implication is that the Church's artistic department and/or artists are merely tools in a propaganda campaign meant to subtly and quietly obscure Church history. The suggestion is that the Church trying to "hide" how Joseph really translated the plates.
On the contrary, the manner of the translation is described repeatedly, for example, in the Church's official magazine for English-speaking adults, the Ensign. Richard Lloyd Anderson discussed the "stone in the hat" matter in 1977,[5] and Elder Russell M. Nelson quoted David Whitmer's account to new mission presidents in 1992.[6]
The details of the translation are not certain, and the witnesses do not all agree in every particular. However, Joseph's seer stone in the hat was also discussed by, among others: B.H. Roberts in his New Witnesses for God (1895)[7] and returns somewhat to the matter in Comprehensive History of the Church (1912).[8] Other Church sources to discuss this include The Improvement Era (1939),[9] BYU Studies (1984, 1990)[10] the Journal of Book of Mormon Studies (1993),[11] and the FARMS Review (1994).[12] LDS authors Joseph Fielding McConkie and Craig J. Ostler also mentioned the matter in 2000.[13]
Elder Neal A. Maxwell went so far as to use Joseph's hat as a parable; this is hardly the act of someone trying to "hide the truth":
Jacob censured the "stiffnecked" Jews for "looking beyond the mark" (Jacob 4꞉14). We are looking beyond the mark today, for example, if we are more interested in the physical dimensions of the cross than in what Jesus achieved thereon; or when we neglect Alma's words on faith because we are too fascinated by the light-shielding hat reportedly used by Joseph Smith during some of the translating of the Book of Mormon. To neglect substance while focusing on process is another form of unsubmissively looking beyond the mark.[14]
Those who criticize the Church based on its artwork should perhaps take Elder Maxwell's caution to heart.
From Anthony Sweat’s essay “The Gift and Power of Art”:
When I asked Walter Rane about creating an image of the translation with Joseph looking into a hat, he surprised me by telling me that the Church had actually talked to him a few times in the past about producing an image like that but that the projects fell by the wayside as other matters became more pressing. Note how Walter refers to the language of art as to why he never created the image:At least twice I have been approached by the Church to do that scene [Joseph translating using the hat]. I get into it. When I do the draw- ings I think, “This is going to look really strange to people.” Culturally from our vantage point 200 years later it just looks odd. It probably won’t communicate what the Church wants to communicate. Instead of a person being inspired to translate ancient records it will just be, “What’s going on there?” It will divert people’s attention. In both of those cases I remember being interested and intrigued when the commission was changed (often they [the Church] will just throw out ideas that disappear, not deliberately) but I thought just maybe I should still do it [the image of Joseph translating using the hat]. But some things just don’t work visually. It’s true of a lot of stories in the scriptures. That’s why we see some of the same things being done over and over and not others; some just don’t work visually.[15]
Anthony Sweat explains more about the history of artistic depictions of the Book of Mormon translation in this presentation given at the 2020 FAIR Conference
Why, then, does the art not match details which have been repeatedly spelled out in LDS publications?
The simplest answer may be that artists simply don't always get such matters right. The critics' caricature to the contrary, not every aspect of such things is "correlated." Robert J. Matthews of BYU was interviewed by the Journal of Book of Mormon Studies, and described the difficulties in getting art "right":
JBMS: Do you think there are things that artists could do in portraying the Book of Mormon?
RJM: Possibly. To me it would be particularly helpful if they could illustrate what scholars have done. When I was on the Correlation Committee [of the Church of Jesus Christ of Latter-day Saints], there were groups producing scripture films. They would send to us for approval the text of the words that were to be spoken. We would read the text and decide whether we liked it or not. They would never send us the artwork for clearance. But when you see the artwork, that makes all the difference in the world. It was always too late then. I decided at that point that it is so difficult to create a motion picture, or any illustration, and not convey more than should be conveyed. If you paint a man or woman, they have to have clothes on. And the minute you paint that clothing, you have said something either right or wrong. It would be a marvelous help if there were artists who could illustrate things that researchers and archaeologists had discovered…
I think people get the main thrust. But sometimes there are things that shouldn't be in pictures because we don't know how to accurately depict them…I think that unwittingly we might make mistakes if we illustrate children's materials based only on the text of the Book of Mormon.[16]
Modern audiences—especially those looking to find fault—have, in a sense, been spoiled by photography. We are accustomed to having images describe how things "really" were. We would be outraged if someone doctored a photo to change its content. This largely unconscious tendency may lead us to expect too much of artists, whose gifts and talents may lie in areas unrelated to textual criticism and the fine details of Church history.
Even this does not tell the whole story. "Every artist," said Henry Ward Beecher, "dips his brush in his own soul, and paints his own nature into his pictures."[17] This is perhaps nowhere more true than in religious art, where the goal is not so much to convey facts or historical detail, as it is to convey a religious message and sentiment. A picture often is worth a thousand words, and artists often seek to have their audience identify personally with the subject. The goal of religious art is not to alienate the viewer, but to draw him or her in.
The critics would benefit from even a cursory tour through religious art. Let us consider, for example, one of the most well-known stories in Christendom: the Nativity of Christ. How have religious artists portrayed this scene?
As the director of Catholic schools in Yaounde, Cameroon argues:
It is urgent and necessary for us to proclaim and to express the message, the life and the whole person of Jesus-Christ in an African artistic language…Many people of different cultures have done it before us and will do it in the future, without betraying the historical Christ, from whom all authentic Christianity arises. We must not restrict ourselves to the historical and cultural forms of a particular people or period.[18]
The goal of religious art is primarily to convey a message. It uses the historical reality of religious events as a means, not an end.
Religious art—in all traditions—is intended, above all, to draw the worshipper into a separate world, where mundane things and events become charged with eternal import. Some dictated words or a baby in a stable become more real, more vital when they are connected recognizably to one's own world, time, and place.
This cannot happen, however, if the image's novelty provides too much of a challenge to the viewer's culture or expectations. Thus, the presentation of a more accurate view of the translation using either the Nephite interpreters (sometimes referred to as "spectacles") or the stone and the hat, automatically raises feelings among people in 21st Century culture that the translation process was strange. This type of activity is viewed with much less approval in our modern culture.
Key sources |
|
Wiki links |
|
FAIR links |
|
Navigators |
Notes
One of the strangest attacks on the Church of Jesus Christ of Latter-day Saints is an assault on the Church's art. Now and again, one hears criticism about the representational images which the Church uses in lesson manuals and magazines to illustrate some of the foundational events of Church history.[1]
A common complaint is that Church materials usually show Joseph translating the Book of Mormon by looking at the golden plates, such as in the photo shown here.
Here critics charge a clear case of duplicity—Oliver Cowdery and Joseph Smith are shown translating the Book of Mormon.
But as the critics point out, there are potential historical errors in this image:
The reality is that the translation process, for the most part, is represented by this image:
Anthony Sweat explains more about the history of artistic depictions of the Book of Mormon translation in this presentation given at the 2020 FAIR Conference
It is claimed by some that the Church knowingly "lies" or distorts the historical record in its artwork in order to whitewash the past, or for propaganda purposes. [3] For example, some Church sanctioned artwork shows Joseph and Oliver sitting at a table while translating with the plate in the open between them. Daniel C. Peterson provides some examples of how Church art often does not reflect reality, and how this is not evidence of deliberate lying or distortion on the part of the Church:
Look at this famous picture....Now that’s Samuel the Lamanite on a Nephite wall. Are any walls like that described in the Book of Mormon? No. You have these simple things, and they’re considered quite a technical innovation at the time of Moroni, where he digs a trench, piles the mud up, puts a palisade of logs along the top. That’s it. They’re pretty low tech. There’s nothing like this. This is Cuzco or something. But this is hundreds of years after the Book of Mormon and probably nowhere near the Book of Mormon area, and, you know, and you’ve heard me say it before, after Samuel jumps off this Nephite wall you never hear about him again. The obvious reason is....he’s dead. He couldn’t survive that jump. But again, do you draw your understanding of the Book of Mormon from that image? Or, do you draw it from what the book actually says?[4]
The implication is that the Church's artistic department and/or artists are merely tools in a propaganda campaign meant to subtly and quietly obscure Church history. The suggestion is that the Church trying to "hide" how Joseph really translated the plates.
On the contrary, the manner of the translation is described repeatedly, for example, in the Church's official magazine for English-speaking adults, the Ensign. Richard Lloyd Anderson discussed the "stone in the hat" matter in 1977,[5] and Elder Russell M. Nelson quoted David Whitmer's account to new mission presidents in 1992.[6]
The details of the translation are not certain, and the witnesses do not all agree in every particular. However, Joseph's seer stone in the hat was also discussed by, among others: B.H. Roberts in his New Witnesses for God (1895)[7] and returns somewhat to the matter in Comprehensive History of the Church (1912).[8] Other Church sources to discuss this include The Improvement Era (1939),[9] BYU Studies (1984, 1990)[10] the Journal of Book of Mormon Studies (1993),[11] and the FARMS Review (1994).[12] LDS authors Joseph Fielding McConkie and Craig J. Ostler also mentioned the matter in 2000.[13]
Elder Neal A. Maxwell went so far as to use Joseph's hat as a parable; this is hardly the act of someone trying to "hide the truth":
Jacob censured the "stiffnecked" Jews for "looking beyond the mark" (Jacob 4꞉14). We are looking beyond the mark today, for example, if we are more interested in the physical dimensions of the cross than in what Jesus achieved thereon; or when we neglect Alma's words on faith because we are too fascinated by the light-shielding hat reportedly used by Joseph Smith during some of the translating of the Book of Mormon. To neglect substance while focusing on process is another form of unsubmissively looking beyond the mark.[14]
Those who criticize the Church based on its artwork should perhaps take Elder Maxwell's caution to heart.
From Anthony Sweat’s essay “The Gift and Power of Art”:
When I asked Walter Rane about creating an image of the translation with Joseph looking into a hat, he surprised me by telling me that the Church had actually talked to him a few times in the past about producing an image like that but that the projects fell by the wayside as other matters became more pressing. Note how Walter refers to the language of art as to why he never created the image:At least twice I have been approached by the Church to do that scene [Joseph translating using the hat]. I get into it. When I do the draw- ings I think, “This is going to look really strange to people.” Culturally from our vantage point 200 years later it just looks odd. It probably won’t communicate what the Church wants to communicate. Instead of a person being inspired to translate ancient records it will just be, “What’s going on there?” It will divert people’s attention. In both of those cases I remember being interested and intrigued when the commission was changed (often they [the Church] will just throw out ideas that disappear, not deliberately) but I thought just maybe I should still do it [the image of Joseph translating using the hat]. But some things just don’t work visually. It’s true of a lot of stories in the scriptures. That’s why we see some of the same things being done over and over and not others; some just don’t work visually.[15]
Anthony Sweat explains more about the history of artistic depictions of the Book of Mormon translation in this presentation given at the 2020 FAIR Conference
Why, then, does the art not match details which have been repeatedly spelled out in LDS publications?
The simplest answer may be that artists simply don't always get such matters right. The critics' caricature to the contrary, not every aspect of such things is "correlated." Robert J. Matthews of BYU was interviewed by the Journal of Book of Mormon Studies, and described the difficulties in getting art "right":
JBMS: Do you think there are things that artists could do in portraying the Book of Mormon?
RJM: Possibly. To me it would be particularly helpful if they could illustrate what scholars have done. When I was on the Correlation Committee [of the Church of Jesus Christ of Latter-day Saints], there were groups producing scripture films. They would send to us for approval the text of the words that were to be spoken. We would read the text and decide whether we liked it or not. They would never send us the artwork for clearance. But when you see the artwork, that makes all the difference in the world. It was always too late then. I decided at that point that it is so difficult to create a motion picture, or any illustration, and not convey more than should be conveyed. If you paint a man or woman, they have to have clothes on. And the minute you paint that clothing, you have said something either right or wrong. It would be a marvelous help if there were artists who could illustrate things that researchers and archaeologists had discovered…
I think people get the main thrust. But sometimes there are things that shouldn't be in pictures because we don't know how to accurately depict them…I think that unwittingly we might make mistakes if we illustrate children's materials based only on the text of the Book of Mormon.[16]
Modern audiences—especially those looking to find fault—have, in a sense, been spoiled by photography. We are accustomed to having images describe how things "really" were. We would be outraged if someone doctored a photo to change its content. This largely unconscious tendency may lead us to expect too much of artists, whose gifts and talents may lie in areas unrelated to textual criticism and the fine details of Church history.
Even this does not tell the whole story. "Every artist," said Henry Ward Beecher, "dips his brush in his own soul, and paints his own nature into his pictures."[17] This is perhaps nowhere more true than in religious art, where the goal is not so much to convey facts or historical detail, as it is to convey a religious message and sentiment. A picture often is worth a thousand words, and artists often seek to have their audience identify personally with the subject. The goal of religious art is not to alienate the viewer, but to draw him or her in.
The critics would benefit from even a cursory tour through religious art. Let us consider, for example, one of the most well-known stories in Christendom: the Nativity of Christ. How have religious artists portrayed this scene?
As the director of Catholic schools in Yaounde, Cameroon argues:
It is urgent and necessary for us to proclaim and to express the message, the life and the whole person of Jesus-Christ in an African artistic language…Many people of different cultures have done it before us and will do it in the future, without betraying the historical Christ, from whom all authentic Christianity arises. We must not restrict ourselves to the historical and cultural forms of a particular people or period.[18]
The goal of religious art is primarily to convey a message. It uses the historical reality of religious events as a means, not an end.
Religious art—in all traditions—is intended, above all, to draw the worshipper into a separate world, where mundane things and events become charged with eternal import. Some dictated words or a baby in a stable become more real, more vital when they are connected recognizably to one's own world, time, and place.
This cannot happen, however, if the image's novelty provides too much of a challenge to the viewer's culture or expectations. Thus, the presentation of a more accurate view of the translation using either the Nephite interpreters (sometimes referred to as "spectacles") or the stone and the hat, automatically raises feelings among people in 21st Century culture that the translation process was strange. This type of activity is viewed with much less approval in our modern culture.
Key sources |
|
Wiki links |
|
FAIR links |
|
Navigators |
Notes
One of the strangest attacks on the Church of Jesus Christ of Latter-day Saints is an assault on the Church's art. Now and again, one hears criticism about the representational images which the Church uses in lesson manuals and magazines to illustrate some of the foundational events of Church history.[1]
A common complaint is that Church materials usually show Joseph translating the Book of Mormon by looking at the golden plates, such as in the photo shown here.
Here critics charge a clear case of duplicity—Oliver Cowdery and Joseph Smith are shown translating the Book of Mormon.
But as the critics point out, there are potential historical errors in this image:
The reality is that the translation process, for the most part, is represented by this image:
Anthony Sweat explains more about the history of artistic depictions of the Book of Mormon translation in this presentation given at the 2020 FAIR Conference
It is claimed by some that the Church knowingly "lies" or distorts the historical record in its artwork in order to whitewash the past, or for propaganda purposes. [3] For example, some Church sanctioned artwork shows Joseph and Oliver sitting at a table while translating with the plate in the open between them. Daniel C. Peterson provides some examples of how Church art often does not reflect reality, and how this is not evidence of deliberate lying or distortion on the part of the Church:
Look at this famous picture....Now that’s Samuel the Lamanite on a Nephite wall. Are any walls like that described in the Book of Mormon? No. You have these simple things, and they’re considered quite a technical innovation at the time of Moroni, where he digs a trench, piles the mud up, puts a palisade of logs along the top. That’s it. They’re pretty low tech. There’s nothing like this. This is Cuzco or something. But this is hundreds of years after the Book of Mormon and probably nowhere near the Book of Mormon area, and, you know, and you’ve heard me say it before, after Samuel jumps off this Nephite wall you never hear about him again. The obvious reason is....he’s dead. He couldn’t survive that jump. But again, do you draw your understanding of the Book of Mormon from that image? Or, do you draw it from what the book actually says?[4]
The implication is that the Church's artistic department and/or artists are merely tools in a propaganda campaign meant to subtly and quietly obscure Church history. The suggestion is that the Church trying to "hide" how Joseph really translated the plates.
On the contrary, the manner of the translation is described repeatedly, for example, in the Church's official magazine for English-speaking adults, the Ensign. Richard Lloyd Anderson discussed the "stone in the hat" matter in 1977,[5] and Elder Russell M. Nelson quoted David Whitmer's account to new mission presidents in 1992.[6]
The details of the translation are not certain, and the witnesses do not all agree in every particular. However, Joseph's seer stone in the hat was also discussed by, among others: B.H. Roberts in his New Witnesses for God (1895)[7] and returns somewhat to the matter in Comprehensive History of the Church (1912).[8] Other Church sources to discuss this include The Improvement Era (1939),[9] BYU Studies (1984, 1990)[10] the Journal of Book of Mormon Studies (1993),[11] and the FARMS Review (1994).[12] LDS authors Joseph Fielding McConkie and Craig J. Ostler also mentioned the matter in 2000.[13]
Elder Neal A. Maxwell went so far as to use Joseph's hat as a parable; this is hardly the act of someone trying to "hide the truth":
Jacob censured the "stiffnecked" Jews for "looking beyond the mark" (Jacob 4꞉14). We are looking beyond the mark today, for example, if we are more interested in the physical dimensions of the cross than in what Jesus achieved thereon; or when we neglect Alma's words on faith because we are too fascinated by the light-shielding hat reportedly used by Joseph Smith during some of the translating of the Book of Mormon. To neglect substance while focusing on process is another form of unsubmissively looking beyond the mark.[14]
Those who criticize the Church based on its artwork should perhaps take Elder Maxwell's caution to heart.
From Anthony Sweat’s essay “The Gift and Power of Art”:
When I asked Walter Rane about creating an image of the translation with Joseph looking into a hat, he surprised me by telling me that the Church had actually talked to him a few times in the past about producing an image like that but that the projects fell by the wayside as other matters became more pressing. Note how Walter refers to the language of art as to why he never created the image:At least twice I have been approached by the Church to do that scene [Joseph translating using the hat]. I get into it. When I do the draw- ings I think, “This is going to look really strange to people.” Culturally from our vantage point 200 years later it just looks odd. It probably won’t communicate what the Church wants to communicate. Instead of a person being inspired to translate ancient records it will just be, “What’s going on there?” It will divert people’s attention. In both of those cases I remember being interested and intrigued when the commission was changed (often they [the Church] will just throw out ideas that disappear, not deliberately) but I thought just maybe I should still do it [the image of Joseph translating using the hat]. But some things just don’t work visually. It’s true of a lot of stories in the scriptures. That’s why we see some of the same things being done over and over and not others; some just don’t work visually.[15]
Anthony Sweat explains more about the history of artistic depictions of the Book of Mormon translation in this presentation given at the 2020 FAIR Conference
Why, then, does the art not match details which have been repeatedly spelled out in LDS publications?
The simplest answer may be that artists simply don't always get such matters right. The critics' caricature to the contrary, not every aspect of such things is "correlated." Robert J. Matthews of BYU was interviewed by the Journal of Book of Mormon Studies, and described the difficulties in getting art "right":
JBMS: Do you think there are things that artists could do in portraying the Book of Mormon?
RJM: Possibly. To me it would be particularly helpful if they could illustrate what scholars have done. When I was on the Correlation Committee [of the Church of Jesus Christ of Latter-day Saints], there were groups producing scripture films. They would send to us for approval the text of the words that were to be spoken. We would read the text and decide whether we liked it or not. They would never send us the artwork for clearance. But when you see the artwork, that makes all the difference in the world. It was always too late then. I decided at that point that it is so difficult to create a motion picture, or any illustration, and not convey more than should be conveyed. If you paint a man or woman, they have to have clothes on. And the minute you paint that clothing, you have said something either right or wrong. It would be a marvelous help if there were artists who could illustrate things that researchers and archaeologists had discovered…
I think people get the main thrust. But sometimes there are things that shouldn't be in pictures because we don't know how to accurately depict them…I think that unwittingly we might make mistakes if we illustrate children's materials based only on the text of the Book of Mormon.[16]
Modern audiences—especially those looking to find fault—have, in a sense, been spoiled by photography. We are accustomed to having images describe how things "really" were. We would be outraged if someone doctored a photo to change its content. This largely unconscious tendency may lead us to expect too much of artists, whose gifts and talents may lie in areas unrelated to textual criticism and the fine details of Church history.
Even this does not tell the whole story. "Every artist," said Henry Ward Beecher, "dips his brush in his own soul, and paints his own nature into his pictures."[17] This is perhaps nowhere more true than in religious art, where the goal is not so much to convey facts or historical detail, as it is to convey a religious message and sentiment. A picture often is worth a thousand words, and artists often seek to have their audience identify personally with the subject. The goal of religious art is not to alienate the viewer, but to draw him or her in.
The critics would benefit from even a cursory tour through religious art. Let us consider, for example, one of the most well-known stories in Christendom: the Nativity of Christ. How have religious artists portrayed this scene?
As the director of Catholic schools in Yaounde, Cameroon argues:
It is urgent and necessary for us to proclaim and to express the message, the life and the whole person of Jesus-Christ in an African artistic language…Many people of different cultures have done it before us and will do it in the future, without betraying the historical Christ, from whom all authentic Christianity arises. We must not restrict ourselves to the historical and cultural forms of a particular people or period.[18]
The goal of religious art is primarily to convey a message. It uses the historical reality of religious events as a means, not an end.
Religious art—in all traditions—is intended, above all, to draw the worshipper into a separate world, where mundane things and events become charged with eternal import. Some dictated words or a baby in a stable become more real, more vital when they are connected recognizably to one's own world, time, and place.
This cannot happen, however, if the image's novelty provides too much of a challenge to the viewer's culture or expectations. Thus, the presentation of a more accurate view of the translation using either the Nephite interpreters (sometimes referred to as "spectacles") or the stone and the hat, automatically raises feelings among people in 21st Century culture that the translation process was strange. This type of activity is viewed with much less approval in our modern culture.
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Notes
One of the strangest attacks on the Church of Jesus Christ of Latter-day Saints is an assault on the Church's art. Now and again, one hears criticism about the representational images which the Church uses in lesson manuals and magazines to illustrate some of the foundational events of Church history.[1]
A common complaint is that Church materials usually show Joseph translating the Book of Mormon by looking at the golden plates, such as in the photo shown here.
Here critics charge a clear case of duplicity—Oliver Cowdery and Joseph Smith are shown translating the Book of Mormon.
But as the critics point out, there are potential historical errors in this image:
The reality is that the translation process, for the most part, is represented by this image:
Anthony Sweat explains more about the history of artistic depictions of the Book of Mormon translation in this presentation given at the 2020 FAIR Conference
It is claimed by some that the Church knowingly "lies" or distorts the historical record in its artwork in order to whitewash the past, or for propaganda purposes. [3] For example, some Church sanctioned artwork shows Joseph and Oliver sitting at a table while translating with the plate in the open between them. Daniel C. Peterson provides some examples of how Church art often does not reflect reality, and how this is not evidence of deliberate lying or distortion on the part of the Church:
Look at this famous picture....Now that’s Samuel the Lamanite on a Nephite wall. Are any walls like that described in the Book of Mormon? No. You have these simple things, and they’re considered quite a technical innovation at the time of Moroni, where he digs a trench, piles the mud up, puts a palisade of logs along the top. That’s it. They’re pretty low tech. There’s nothing like this. This is Cuzco or something. But this is hundreds of years after the Book of Mormon and probably nowhere near the Book of Mormon area, and, you know, and you’ve heard me say it before, after Samuel jumps off this Nephite wall you never hear about him again. The obvious reason is....he’s dead. He couldn’t survive that jump. But again, do you draw your understanding of the Book of Mormon from that image? Or, do you draw it from what the book actually says?[4]
The implication is that the Church's artistic department and/or artists are merely tools in a propaganda campaign meant to subtly and quietly obscure Church history. The suggestion is that the Church trying to "hide" how Joseph really translated the plates.
On the contrary, the manner of the translation is described repeatedly, for example, in the Church's official magazine for English-speaking adults, the Ensign. Richard Lloyd Anderson discussed the "stone in the hat" matter in 1977,[5] and Elder Russell M. Nelson quoted David Whitmer's account to new mission presidents in 1992.[6]
The details of the translation are not certain, and the witnesses do not all agree in every particular. However, Joseph's seer stone in the hat was also discussed by, among others: B.H. Roberts in his New Witnesses for God (1895)[7] and returns somewhat to the matter in Comprehensive History of the Church (1912).[8] Other Church sources to discuss this include The Improvement Era (1939),[9] BYU Studies (1984, 1990)[10] the Journal of Book of Mormon Studies (1993),[11] and the FARMS Review (1994).[12] LDS authors Joseph Fielding McConkie and Craig J. Ostler also mentioned the matter in 2000.[13]
Elder Neal A. Maxwell went so far as to use Joseph's hat as a parable; this is hardly the act of someone trying to "hide the truth":
Jacob censured the "stiffnecked" Jews for "looking beyond the mark" (Jacob 4꞉14). We are looking beyond the mark today, for example, if we are more interested in the physical dimensions of the cross than in what Jesus achieved thereon; or when we neglect Alma's words on faith because we are too fascinated by the light-shielding hat reportedly used by Joseph Smith during some of the translating of the Book of Mormon. To neglect substance while focusing on process is another form of unsubmissively looking beyond the mark.[14]
Those who criticize the Church based on its artwork should perhaps take Elder Maxwell's caution to heart.
From Anthony Sweat’s essay “The Gift and Power of Art”:
When I asked Walter Rane about creating an image of the translation with Joseph looking into a hat, he surprised me by telling me that the Church had actually talked to him a few times in the past about producing an image like that but that the projects fell by the wayside as other matters became more pressing. Note how Walter refers to the language of art as to why he never created the image:At least twice I have been approached by the Church to do that scene [Joseph translating using the hat]. I get into it. When I do the draw- ings I think, “This is going to look really strange to people.” Culturally from our vantage point 200 years later it just looks odd. It probably won’t communicate what the Church wants to communicate. Instead of a person being inspired to translate ancient records it will just be, “What’s going on there?” It will divert people’s attention. In both of those cases I remember being interested and intrigued when the commission was changed (often they [the Church] will just throw out ideas that disappear, not deliberately) but I thought just maybe I should still do it [the image of Joseph translating using the hat]. But some things just don’t work visually. It’s true of a lot of stories in the scriptures. That’s why we see some of the same things being done over and over and not others; some just don’t work visually.[15]
Anthony Sweat explains more about the history of artistic depictions of the Book of Mormon translation in this presentation given at the 2020 FAIR Conference
Why, then, does the art not match details which have been repeatedly spelled out in LDS publications?
The simplest answer may be that artists simply don't always get such matters right. The critics' caricature to the contrary, not every aspect of such things is "correlated." Robert J. Matthews of BYU was interviewed by the Journal of Book of Mormon Studies, and described the difficulties in getting art "right":
JBMS: Do you think there are things that artists could do in portraying the Book of Mormon?
RJM: Possibly. To me it would be particularly helpful if they could illustrate what scholars have done. When I was on the Correlation Committee [of the Church of Jesus Christ of Latter-day Saints], there were groups producing scripture films. They would send to us for approval the text of the words that were to be spoken. We would read the text and decide whether we liked it or not. They would never send us the artwork for clearance. But when you see the artwork, that makes all the difference in the world. It was always too late then. I decided at that point that it is so difficult to create a motion picture, or any illustration, and not convey more than should be conveyed. If you paint a man or woman, they have to have clothes on. And the minute you paint that clothing, you have said something either right or wrong. It would be a marvelous help if there were artists who could illustrate things that researchers and archaeologists had discovered…
I think people get the main thrust. But sometimes there are things that shouldn't be in pictures because we don't know how to accurately depict them…I think that unwittingly we might make mistakes if we illustrate children's materials based only on the text of the Book of Mormon.[16]
Modern audiences—especially those looking to find fault—have, in a sense, been spoiled by photography. We are accustomed to having images describe how things "really" were. We would be outraged if someone doctored a photo to change its content. This largely unconscious tendency may lead us to expect too much of artists, whose gifts and talents may lie in areas unrelated to textual criticism and the fine details of Church history.
Even this does not tell the whole story. "Every artist," said Henry Ward Beecher, "dips his brush in his own soul, and paints his own nature into his pictures."[17] This is perhaps nowhere more true than in religious art, where the goal is not so much to convey facts or historical detail, as it is to convey a religious message and sentiment. A picture often is worth a thousand words, and artists often seek to have their audience identify personally with the subject. The goal of religious art is not to alienate the viewer, but to draw him or her in.
The critics would benefit from even a cursory tour through religious art. Let us consider, for example, one of the most well-known stories in Christendom: the Nativity of Christ. How have religious artists portrayed this scene?
As the director of Catholic schools in Yaounde, Cameroon argues:
It is urgent and necessary for us to proclaim and to express the message, the life and the whole person of Jesus-Christ in an African artistic language…Many people of different cultures have done it before us and will do it in the future, without betraying the historical Christ, from whom all authentic Christianity arises. We must not restrict ourselves to the historical and cultural forms of a particular people or period.[18]
The goal of religious art is primarily to convey a message. It uses the historical reality of religious events as a means, not an end.
Religious art—in all traditions—is intended, above all, to draw the worshipper into a separate world, where mundane things and events become charged with eternal import. Some dictated words or a baby in a stable become more real, more vital when they are connected recognizably to one's own world, time, and place.
This cannot happen, however, if the image's novelty provides too much of a challenge to the viewer's culture or expectations. Thus, the presentation of a more accurate view of the translation using either the Nephite interpreters (sometimes referred to as "spectacles") or the stone and the hat, automatically raises feelings among people in 21st Century culture that the translation process was strange. This type of activity is viewed with much less approval in our modern culture.
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Wiki links |
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FAIR links |
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Navigators |
Notes
The issue here is the Church's continued displaying - still in 2014 - the incorrect, inaccurate, and deceptive art in its Conference Center, Church History Museum, Temple Square, Missionary publications, and official publications.
The inaccuracy of this artwork doesn't seem to bother active Church members - they know that the Urim and Thummim were used, yet they know that they aren't seeing it in the artwork. The truth is that depicting the translation instrument, whether it be the Nephite interpreters or the seer stone, would appear equally awkward, and the artists simply choose not to portray it. The "traditional" portrayal would show Joseph looking into a pair of "spectacles," while an alternate portrayal would show Joseph looking at a stone in the bottom of his hat. One is hardly more culturally "uncomfortable" than the other.
Summary: The Church is routinely accused of suppressing and hiding uncomfortable facts from its own history. Yet, the very same people quote Church sources in order to provide proof of their claims. This concern often rests on a misunderstanding. It is true that the Church's teachings are primarily doctrinal and devotional—Church lessons are neither apologetic nor historical in scope or intent. It is remarkable, however, how many of the issues which some charge the Church with "suppressing" are discussed in Church publications.
Jump to details:
Highlights in the Prophet’s Life 20 Mar. 1826: Tried and acquitted on fanciful charge of being a “disorderly person,” South Bainbridge, Chenango County, New York. New York law defined a disorderly person as, among other things, a vagrant or a seeker of “lost goods.” The Prophet had been accused of both: the first charge was false and was made simply to cause trouble; Joseph’s use of a seer stone to see things that others could not see with the naked eye brought the second charge. Those who brought the charges were apparently concerned that Joseph might bilk his employer, Josiah Stowell, out of some money. Mr. Stowell’s testimony clearly said this was not so and that he trusted Joseph Smith.
—Anonymous, "Highlights in the Prophet’s Life," Ensign (Jun 1994): 24. off-site
Oliver Cowdery lived in a culture steeped in biblical ideas, language and practices. The revelation’s reference to Moses likely resonated with him. The Old Testament account of Moses and his brother Aaron recounted several instances of using rods to manifest God’s will (see Ex. 7:9-12; Num. 17:8). Many Christians in Joseph Smith and Oliver Cowdery's day similarly believed in divining rods as instruments for revelation. Cowdery was among those who believed in and used a divining rod.
The Lord recognized Oliver’s ability to use a rod: “thou hast another gift which is the gift of working with the rod.”9 Confirming the divinity of this gift, the revelation stated: “Behold there is no other power save God that can cause this thing of Nature to work in your hands for it is the work of God.” If Oliver desired, the revelation went on to say, the Lord would add the gift of translation to the revelatory gifts Oliver already possessed (D&C 8:8-11).
—Jeffrey G. Cannon, "Oliver Cowdery's Gift," Revelations in Context, history.lds.org. (December 15, 2012) off-site
"In a few places, however, Joseph Smith did intentionally add to the text to clarify a point. An illustration of this is the added words the son of in 1 Nephi 11:21, 32, and 13:40. The text would be correct with or without the additional words, but the addition helps the reader avoid misunderstanding." - George Horton, "Understanding Textual Changes in the Book of Mormon," Ensign (December 1983).
"Some have alleged that these books of revelation are false, and they place in evidence changes that have occurred in the texts of these scriptures since their original publication. They cite these changes, of which there are many examples, as though they themselves were announcing revelation. As though they were the only ones that knew of them. Of course there have been changes and corrections. Anyone who has done even limited research knows that. When properly reviewed, such corrections become a testimony for, not against, the truth of the books....Now, I add with emphasis that such changes have been basically minor refinements in grammar, expression, punctuation, clarification. Nothing fundamental has been altered. Why are they not spoken of over the pulpit? Simply because by comparison they are so insignificant, and unimportant as literally to be not worth talking about. After all, they have absolutely nothing to do with whether the books are true." -Boyd K. Packer, "We Believe All That God Has Revealed," Ensign (May 1974): 94.
Joseph actually used a stone which he placed in a hat to translate a portion of the Book of Mormon in addition to or instead of the "Urim and Thummim." Sometimes there is reference to Joseph using the stone to receive revelation. Sometimes the hat is mentioned as well. These facts are found hidden in the official Church magazines the Ensign and the Friend on the official Church website lds.org.
Gerrit Dirkmaat (Church History Department - January 2013 Ensign):
Those who believed that Joseph Smith’s revelations contained the voice of the Lord speaking to them also accepted the miraculous ways in which the revelations were received. Some of the Prophet Joseph’s earliest revelations came through the same means by which he translated the Book of Mormon from the gold plates. In the stone box containing the gold plates, Joseph found what Book of Mormon prophets referred to as “interpreters,” or a “stone, which shall shine forth in darkness unto light” (Alma 37:23–24). He described the instrument as “spectacles” and referred to it using an Old Testament term, Urim and Thummim (see Exodus 28:30).2
He also sometimes applied the term to other stones he possessed, called “seer stones” because they aided him in receiving revelations as a seer. The Prophet received some early revelations through the use of these seer stones. For example, shortly after Oliver Cowdery came to serve as a scribe for Joseph Smith as he translated the plates, Oliver and Joseph debated the meaning of a biblical passage and sought an answer through revelation. Joseph explained: “A difference of opinion arising between us about the account of John the Apostle … whether he died, or whether he continued; we mutually agreed to settle it by the Urim and Thummim.”3 In response, Joseph Smith received the revelation now known as section 7 of the Doctrine and Covenants, which informed them that Jesus had told the Apostle John, “Thou shalt tarry until I come in my glory” (D&C 7:3).
Records indicate that soon after the founding of the Church in 1830, the Prophet stopped using the seer stones as a regular means of receiving revelations. Instead, he dictated the revelations after inquiring of the Lord without employing an external instrument. One of his scribes explained that process: “The scribe seats himself at a desk or table, with pen, ink, and paper. The subject of inquiry being understood, the Prophet and Revelator inquires of God. He spiritually sees, hears, and feels, and then speaks as he is moved upon by the Holy Ghost.”[1]
The manner of the translation is described repeatedly, for example, in the Church's official magazine for English-speaking adults, the Ensign. Richard Lloyd Anderson discussed the "stone in the hat" matter in 1977,[2] and Elder Russell M. Nelson quoted David Whitmer's account to new mission presidents in 1992.[3]
The details of the translation are not certain, and the witnesses do not all agree in every particular. However, Joseph's seer stone in the hat was also discussed by, among others: B.H. Roberts in his New Witnesses for God (1895)[4] and returns somewhat to the matter in Comprehensive History of the Church (1912).[5] Other Church sources to discuss this include The Improvement Era (1939),[6] BYU Studies (1984, 1990)[7] the Journal of Book of Mormon Studies (1993),[8] and the FARMS Review (1994).[9] LDS authors Joseph Fielding McConkie and Craig J. Ostler also mentioned the matter in 2000.[10] Elder Bruce R. McConkie talked about the seer stone in his second edition of Mormon Doctrine (1966), clearly distinguishing it from the Urim and Thummim, loosely implying that it was involved in the translation of the Book of Mormon, and quoting President Joseph Fielding Smith who said that "[t]his seer stone is now in the possession of the Church."[11]
In fact, historical evidence shows that in addition to the two seer stones known as “interpreters,” Joseph Smith used at least one other seer stone in translating the Book of Mormon, often placing it into a hat in order to block out light. According to Joseph’s contemporaries, he did this in order to better view the words on the stone.
—Richard E. Turley Jr., Robin S. Jensen and Mark Ashurst-McGee, "Joseph the Seer," Ensign (October 2015)
The stone pictured here has long been associated with Joseph Smith and the Book of Mormon translation. The stone Joseph Smith used in the Book of Mormon translation effort was often referred to as a chocolate-colored stone with an oval shape. This stone passed from Joseph Smith to Oliver Cowdery and then to the Church through Brigham Young and others.
—Richard E. Turley Jr., Robin S. Jensen and Mark Ashurst-McGee, "Joseph the Seer," Ensign (October 2015)
The Urim and Thummim was “an instrument prepared of God to assist man in obtaining revelation from the Lord and in translating languages” (Bible Dictionary, “Urim and Thummim”). Joseph Smith used the Urim and Thummim to aid in the translation of the Book of Mormon. In addition to the Urim and Thummim, the Prophet used a seer stone in the translation process.
Elder Neal A. Maxwell of the Quorum of the Twelve Apostles said the following about the translation process and Joseph Smith’s use of the Urim and Thummim and the seer stone:
“The Prophet Joseph alone knew the full process, and he was deliberately reluctant to describe details. We take passing notice of the words of David Whitmer, Joseph Knight, and Martin Harris, who were observers, not translators. David Whitmer indicated that as the Prophet used the divine instrumentalities provided to help him, ‘the hieroglyphics would appear, and also the translation in the English language … in bright luminous letters.’ Then Joseph would read the words to Oliver (quoted in James H. Hart, “About the Book of Mormon,” Deseret Evening News, 25 Mar. 1884, 2). Martin Harris related of the seer stone: ‘Sentences would appear and were read by the Prophet and written by Martin’ (quoted in Edward Stevenson, “One of the Three Witnesses: Incidents in the Life of Martin Harris,” Latter-day Saints’ Millennial Star, 6 Feb. 1882, 86–87). Joseph Knight made similar observations (see Dean Jessee, “Joseph Knight’s Recollection of Early Mormon History,” BYU Studies 17 [Autumn 1976]: 35).
"Lesson 10: Joseph Smith—History 1:55–65," Doctrine and Covenants and Church History Seminary Teacher Manual, 2013 (available online at LDS.org)
Two accounts of the translation process, including the use of a seer stone, have been written by members of the Quorum of the Twelve Apostles and published in Church magazines. Historians have also written about the seer stone in Church publications, both in the Ensign and in The Joseph Smith Papers. (See Neal A. Maxwell, “‘By the Gift and Power of God,’” Ensign, Jan. 1997, 36–41; Russell M. Nelson, “A Treasured Testament,” Ensign, July 1993, 61–63; Richard Lloyd Anderson, “‘By the Gift and Power of God,’” Ensign, Sept. 1977, 78–85; and Documents, Volume 1: July 1828–June 1831, xxix–xxxii.)
—"Book of Mormon Translation," Gospel Topics on lds.org off-site
Gerrit Dirkmaat (Church History Department - January 2013 Ensign):
Those who believed that Joseph Smith’s revelations contained the voice of the Lord speaking to them also accepted the miraculous ways in which the revelations were received. Some of the Prophet Joseph’s earliest revelations came through the same means by which he translated the Book of Mormon from the gold plates. In the stone box containing the gold plates, Joseph found what Book of Mormon prophets referred to as “interpreters,” or a “stone, which shall shine forth in darkness unto light” (Alma 37:23–24). He described the instrument as “spectacles” and referred to it using an Old Testament term, Urim and Thummim (see Exodus 28:30).2
He also sometimes applied the term to other stones he possessed, called “seer stones” because they aided him in receiving revelations as a seer. The Prophet received some early revelations through the use of these seer stones. For example, shortly after Oliver Cowdery came to serve as a scribe for Joseph Smith as he translated the plates, Oliver and Joseph debated the meaning of a biblical passage and sought an answer through revelation. Joseph explained: “A difference of opinion arising between us about the account of John the Apostle … whether he died, or whether he continued; we mutually agreed to settle it by the Urim and Thummim.”3 In response, Joseph Smith received the revelation now known as section 7 of the Doctrine and Covenants, which informed them that Jesus had told the Apostle John, “Thou shalt tarry until I come in my glory” (D&C 7:3).
Records indicate that soon after the founding of the Church in 1830, the Prophet stopped using the seer stones as a regular means of receiving revelations. Instead, he dictated the revelations after inquiring of the Lord without employing an external instrument. One of his scribes explained that process: “The scribe seats himself at a desk or table, with pen, ink, and paper. The subject of inquiry being understood, the Prophet and Revelator inquires of God. He spiritually sees, hears, and feels, and then speaks as he is moved upon by the Holy Ghost.”
Gerrit Dirkmaat (Church History Department), "Great and Marvelous Are the Revelations of God," Ensign, January 2013. (emphasis added) off-site
In 2005, Opening the Heavens was published jointly by the Joseph Fielding Smith Institute for Latter-day Saint History and Deseret Book. As part of this book, at least twenty-nine references to the stone (often with the hat) are included, from both friendly and hostile sources:
"Martin Harris related of the seer stone: 'Sentences would appear and were read by the Prophet and written by Martin'"
—Neal A. Maxwell, “‘By the Gift and Power of God’,” Ensign, January 1997, 36 (emphasis added) off-site
"David Whitmer wrote: ' Joseph Smith would put the seer stone into a hat, and put his face in the hat, drawing it closely around his face to exclude the light; and in the darkness the spiritual light would shine.'"
—Russell M. Nelson, “A Treasured Testament,” Ensign, Jul 1993, 61. (emphasis added) off-site
"Jacob censured the "stiffnecked" Jews for "looking beyond the mark" (Jacob 4:14). We are looking beyond the mark today, for example, if we are more interested in the physical dimensions of the cross than in what Jesus achieved thereon; or when we neglect Alma's words on faith because we are too fascinated by the light-shielding hat reportedly used by Joseph Smith during some of the translating of the Book of Mormon. To neglect substance while focusing on process is another form of unsubmissively looking beyond the mark."
—Neal A. Maxwell, Not My Will, But Thine (Salt Lake City, Utah: Bookcraft, 1988), 26.
The scriptures indicate that translation involved sight, power, transcription of the characters, the Urim and Thummim or a seerstone, study, and prayer.
After returning from a trip to Palmyra to settle his affairs, Martin began to transcribe. From April 12 to June 14, Joseph translated while Martin wrote, with only a curtain between them. On occasion they took breaks from the arduous task, sometimes going to the river and throwing stones. Once Martin found a rock closely resembling the seerstone Joseph sometimes used in place of the interpreters and substituted it without the Prophet’s knowledge. When the translation resumed, Joseph paused for a long time and then exclaimed, “Martin, what is the matter, all is as dark as Egypt.” Martin then confessed that he wished to “stop the mouths of fools” who told him that the Prophet memorized sentences and merely repeated them." —Kenneth W. Godfrey, "A New Prophet and a New Scripture: The Coming Forth of the Book of Mormon," Ensign (Jan 1988).
"There he gave his most detailed view of 'the manner in which the Book of Mormon was translated': “Joseph Smith would put the seer stone into a hat and put his face in the hat, drawing it closely around his face to exclude the light."
—Richard Lloyd Anderson, "‘By the Gift and Power of God’," Ensign (Sep 1977): 79, emphasis added. off-site
"To help him with the translation, Joseph found with the gold plates “a curious instrument which the ancients called Urim and Thummim, which consisted of two transparent stones set in a rim of a bow fastened to a breastplate.” Joseph also used an egg-shaped, brown rock for translating called a seer stone."
—“A Peaceful Heart,” Friend, Sep 1974, 7 off-site
"...the Prophet possessed a seer stone, by which he was enabled to translate as well as from the Urim and Thummim, and for convenience he then used the seer stone."
—Richard Lloyd Anderson, "‘By the Gift and Power of God’," Ensign (Sep 1977): 79, emphasis added. off-site
For 179 years this book has been examined, and attacked. Denied and deconstructed. Targeted and torn apart, like perhaps no other book in modern religious history. Perhaps like no other book in any religious history, and still, it stands. Failed theories about its origins have been born, parroted and died. From Ethan Smith to Solomon Spalding, to deranged paranoid, to cunning genius. None of these frankly pathetic answers for this book has ever withstood examination, because there is no other answer than the one Joseph gave as its young, unlearned translator.
—Elder Jeffrey R. Holland, General Conference talk, Oct. 4, 2009
He also bore his testimony in these words: “Friends and brethren my name is Cowdery, Oliver Cowdery. In the early history of this church I stood identified with [you]. … I … handled with my hands the gold plates from which [the Book of Mormon] was translated. I also beheld the interpreters. That book is true. Sidney Rigdon did not write it. Mr. Spaulding did not write it. I wrote it myself as it fell from the lips of the prophet.” 8 Even though Oliver came back, he lost his exalted place in the Church.
—James E. Faust, “‘Some Great Thing’,” Liahona, Jan 2002, 53–56 off-site
It is strange to me that unbelieving critics must still go back to the old allegations that Joseph Smith wrote the book out of ideas gained from Ethan Smith’s View of the Hebrews and Solomon Spaulding’s manuscript. To compare the Book of Mormon with these is like comparing a man to a horse. It is true they both walk, but beyond this there is little similarity.
— Gordon B. Hinckley, “My Testimony,” Ensign, Nov 1993, 51 off-site
At one time, it was popular among critics to contend that a literary work of Joseph Smith’s day, a manuscript authored by the Reverend Solomon Spalding (also spelled Spaulding), influenced the plot of the Book of Mormon. Spalding died in 1816, but his manuscript survived and was used by Eber D. Howe to advance a “Spalding theory” in the first anti-Mormon work of note, Mormonism Unvailed, (Painesville: E. D. Howe, 1834; original spelling preserved.) Howe held that Sidney Rigdon had been responsible for taking Spalding’s manuscript from a printing establishment in Pittsburgh, Pennsylvania, and later making it available for publication through Joseph Smith.
—Larry C. Porter, “I Have a Question,” Ensign, June 1992, 27–29 off-site
Enemies threatened to knock down the walls of the temple. Philastus Hurlburt was excommunicated and in bitterness set in motion the Spaulding manuscript story of the origin of the Book of Mormon with all of the mischief that for years followed that concoction.
—Gordon B. Hinckley, “Go Forward with Faith,” Ensign, Aug 1986, 3 off-site
These restored truths came fully formed. Joseph Smith did not receive them through Solomon Spaulding, Ethan Smith, Sidney Rigdon, Oliver Cowdery, or any others to be advanced by those desperate for any explanation other than the correct one.
—Neal A. Maxwell, “‘A Choice Seer’,” Ensign, Aug 1986, 6 off-site
This interpretation initially appeared in the first anti-Mormon book, Mormonism Unvailed, a work published by Eber D. Howe and, most believe, authored by Philastus Hurlburt, an apostate. This hypothesis for the formulation of the Book of Mormon can best be summed up thus: “The Book of Mormon is the joint production of Solomon Spaulding and some other designing knave.” They conjectured this “knave” to be Sidney Rigdon.
—Keith W. Perkins, “Francis W. Kirkham: A ‘New Witness’ for the Book of Mormon,” Ensign, Jul 1984, 53 off-site
Every few years the opponents of the Church dust off one of the timeworn theories about how the Book of Mormon “really” was written. One of the dustiest is the theory that the Book of Mormon is based on a stolen manuscript written by Solomon Spaulding, a would-be novelist who died in 1816.
—Orson Scott Card, “Spaulding Again? ,” Ensign, Sept. 1977, 94–95 off-site
So it was that they sought to take the divine stamp away from his translation of the Book of Mormon. They determined to “humanize” his work by saying that he himself had composed the volume, or that he stole it from Spaulding, or that Sidney Rigdon wrote it, although it was published well before Joseph ever heard of Sidney Rigdon.
—Mark E. Petersen, “It Was a Miracle!,” Ensign, Nov 1977, 11 off-site
Would you respond to the theories that the Book of Mormon is based on the Spaulding manuscript or on Ethan Smith’s View of the Hebrews?
—Bruce D. Blumell, “I Have a Question,” Ensign, Sept. 1976, 84–87off-site
"The claim is made (in some anti-Mormon tabloids) that toward the end of his life, B. H. Roberts found insuperable difficulties with the Book of Mormon and even that he lost faith in it."
—Truman G. Madsen, "B. H. Roberts after Fifty Years: Still Witnessing for the Book of Mormon," Ensign (Dec 1983): 11. off-site
John L. Sorenson discussed a limited geographical model for the Book of Mormon in 1984:
A more complete listing of Church publications during the 20th century that reference plural marriage can be found elsewhere on the FairMormon wiki:
After God revealed the doctrine of plural marriage to Joseph Smith in 1831 and commanded him to live it, the Prophet, over a period of years, cautiously taught the doctrine to some close associates. Eventually, he and a small number of Church leaders entered into plural marriages in the early years of the Church. Those who practiced plural marriage at that time, both male and female, experienced a significant trial of their faith. The practice was so foreign to them that they needed and received personal inspiration from God to help them obey the commandment.
When the Saints moved west under the direction of Brigham Young, more Latter-day Saints entered into plural marriages.
—"Polygamy (Plural Marriage)," lds.org website.
This book deals with teachings of the Prophet Joseph Smith that have application to our day....This book also does not discuss plural marriage. The doctrines and principles relating to plural marriage were revealed to Joseph Smith as early as 1831. The Prophet taught the doctrine of plural marriage, and a number of such marriages were performed during his lifetime.
—The 2008-2009 lesson manual Teachings of Presidents of the Church: Joseph Smith, (2007), pages vii–xiii (emphasis added)
While working on the translation of the Bible in the early 1830s, the Prophet Joseph Smith became troubled by the fact that Abraham, Jacob, David, and other Old Testament leaders had more than one wife. The Prophet prayed for understanding and learned that at certain times, for specific purposes, following divinely given laws, plural marriage was approved and directed by God. Joseph Smith also learned that with divine approval, some Latter-day Saints would soon be chosen by priesthood authority to marry more than one wife. A number of Latter-day Saints practiced plural marriage in Nauvoo, but a public announcement of this doctrine and practice was not made until the August 1852 general conference in Salt Lake City. At that conference, Elder Orson Pratt, as directed by President Brigham Young, announced that the practice of a man having more than one wife was part of the Lord’s restitution of all things (see Acts 3:19–21).
—Our Heritage: A Brief History of the Church of Jesus Christ of Latter-day Saints (1996), 97
Her great trial came when the prophet revealed to Emma that they would be required to live the ancient law of Abraham—plural marriage. Emma suffered deeply hurt feelings because of it. While she agreed with this doctrine at times, at other times she opposed it. Years later, Emma is purported to have denied that any such doctrine was ever introduced by her husband.
—Gracia N. Jones, "My Great-Great-Grandmother, Emma Hale Smith," Ensign (Aug 1992): 30.(emphasis added)
The Prophet introduced several doctrines relating to the temple including the temple ceremonies and plural marriage, which some could not accept....
—William G. Hartley, “The Knight Family: Ever Faithful to the Prophet,” Ensign, Jan 1989, 43 off-site (emphasis added)
How a family accepts members who join it by marriage is, in some ways, analogous to how a Church accepts members who join it by baptism. The experiences of plural marriage make the analogy even closer....the Prophet Joseph Smith recorded a revelation to the Whitneys on plural marriage....The Whitneys gave their daughter into the system of plural marriage and received into their family other plural wives.
—D. Michael Quinn, “The Newel K. Whitney Family,” Ensign, Dec 1978, 42 off-site (emphasis added)
Starting during Joseph Smith’s own lifetime but limited to a few dozen families until its official announcement in 1852, plural marriage brought a powerful new challenge to the equanimity of Latter-day Saint family life...
—Davis Bitton, "Great-Grandfather’s Family," Ensign (Feb 1977): 48.(emphasis added)
The great prophet Elias, whom Joseph Fielding Smith says is Noah..., appeared and bestowed upon their heads the keys of the dispensation of Abraham, or in other words, as Elder Bruce R. McConkie says in Mormon Doctrine...the keys of celestial and plural marriage.
—Jerry C. Roundy, “The Greatness of Joseph Smith and His Remarkable Visions,” New Era, Dec 1973, 7 off-site (emphasis added)
"Did Joseph Smith Introduce Plural Marriage?," Improvement Era (November 1946):
Several approaches to eternal marriage may be made: Two living persons may be sealed to each other for time and eternity. A living man may be sealed for eternity to a dead woman; or a living woman to a dead man. Two dead persons may be sealed to each other. It is also possible, though the Church does not now permit it, to seal two living people for eternity only, with no association on earth.
Further, under a divine command to the Prophet Joseph Smith, it was possible for one man to be sealed to more than one woman for time and eternity. Thus came plural marriage among the Latter-day Saints. By another divine command, to Wilford Woodruff, a successor to Joseph Smith, this order of marriage was withdrawn in 1890. Since that time the Church has not sanctioned plural marriages. Anyone who enters into them now is married unlawfully, and is excommunicated from the Church.[14]
The first leaders that seem to have commented on it were John Widtsoe and Joseph Fielding Smith.
John Widtsoe wrote the following in 1946 in the Improvement Era magazine:
Zealous women, married or unmarried, loving the cause of the restored gospel, considered their condition in the here- after. Some of them asked that they might be sealed to the Prophet for eternity. They were not to be his wives on earth, in mortality, but only after death in the eternities. This came often to be spoken of as celestial marriage. Such marriages led to misunderstandings by those not of the Church, and unfamiliar with its doctrines. To them marriage meant only association on earth. Therefore any ceremony uniting a married woman, for example, to Joseph Smith for eternity seemed adulterous to such people. Yet, in any day, in our day, there may be women who prefer to spend eternity with another than their husband on earth. Such cases, if any, and they must have been few in number, gave enemies of the Church occasion to fan the flaming hatred against the Latter-day Saints. The full truth was not told. Enemies made the most of untruth. They found it difficult to believe that the Church rests on truth and virtue.[15]
Widtsoe's discussion there was republished in 1960 under the title Evidences and Reconciliations: one of the most popular apologetic and doctrinal books in the Church for many years after.[16]
The first mention of polyandry on the Church’s website seems to be in 2012.
A more full summary of discussion of the multiple The First Vision accounts can be found here:
Critics charge that the existence of multiple accounts of the First Vision has been hidden. A review of just some of the sources demonstrates that this is simply false:
On page 12 of this official publication, all known accounts of the First Vision were compared in an easy-to-understand chart, demonstrating that the author and the Church did not think they had anything to hide:
We now know of nine contemporary reports from the Prophet himself or from those who personally heard him relate his first vision: (1) the Prophet’s handwritten description in 1832, an attempt to start a manuscript history of the Church; (2) a Church secretary’s brief 1835 journal entry of Joseph talking with a visitor who called himself Joshua, the Jewish minister; (3) the 1838 history discussed above, published in 1842 and now in the Pearl of Great Price; (4) Orson Pratt’s publication, the first publicly disseminated, of the Prophet’s vision in his Interesting Account of Several Remarkable Visions, issued in 1840 in Edinburgh, Scotland; (5) Orson Hyde’s revision of Orson Pratt’s pamphlet, published in 1842 for German readers and adding some insights that may have come from his contact with Joseph Smith; (6) the Wentworth Letter, created in response to editor John Wentworth’s inquiry and published by Joseph Smith in 1842 in Times and Seasons; this account adapted parts of Orson Pratt’s pamphlet; (7) Levi Richards’s diary about Joseph Smith preaching in the summer of 1843 and repeating the Lord’s first message to him that no church was His; (8) a newspaper interview in the fall of 1843; (9) Alexander Neibaur’s 1844 journal entry of a conversation at the Prophet’s house.
Richard L. Anderson, "Joseph Smith’s Testimony of the First Vision," Ensign (April 1996). off-site
There are many more references to the pistol in Church publications.
Joseph and others drank wine at Carthage. This fact is presented without apology in Joseph Smith, History of The Church of Jesus Christ of Latter-day Saints, 7 volumes, edited by Brigham H. Roberts, (Salt Lake City: Deseret Book, 1957), 6:616. Volume 6 link:
Before the jailor came in, his boy brought in some water, and said the guard wanted some wine. Joseph gave Dr. Richards two dollars to give the guard; but the guard said one was enough, and would take no more.
The guard immediately sent for a bottle of wine, pipes, and two small papers of tobacco; and one of the guards brought them into the jail soon after the jailor went out. Dr. Richards uncorked the bottle, and presented a glass to Joseph, who tasted, as also Brother Taylor and the doctor, and the bottle was then given to the guard, who turned to go out. When at the top of the stairs some one below called him two or three times, and he went down. (emphasis added)
A more complete listing of publications can be found elsewhere on the wiki.
With that in mind, let me suggest two reasons why the Isaiah passages in the Book of Mormon are more like those in the King James Version than those in the Dead Sea Scrolls.
The problem giving birth to the multiple-authorship theory is the prophecies of Isaiah. For example, Isaiah identifies King Cyrus of Persia by name and indicates that Cyrus will set the Israelites free of Babylon. This event actually occurred many decades after Isaiah lived. To a person with a testimony of prophecy, such a pronouncement isn’t astonishing. But to a person who lacks that testimony, it’s impossible. Those who reject the existence of prophecy as we know it have no choice but to conclude that the book of Isaiah must have been written by more than one man.
Critics also question whether Isaiah was the author of the book that bears his name. One of the assumptions they make is that a prophet cannot foretell. Hence, since Isaiah named Cyrus as the future deliverer of the Jews from captivity (see Isa. 44:28; Isa. 45:1), critics assume that a later person, a “deutero,” or second, Isaiah—someone who lived after Cyrus—must have written this part of Isaiah in approximately 540 B.C. (See Encyclopedia Judaica, s .v. “Isaiah.”)For some readers, this issue casts doubt on the integrity of the Bible and on its value as an inspired authority. But those who believe the Book of Mormon know that prophets can prophesy. Christ’s name was known centuries before his birth (see 2 Ne. 10:3), and so was his mother Mary’s (see Mosiah 3:8). Joseph Smith was identified by name some 3500 years before he was born. (See 2 Ne. 3:15.) If one understands the role of a prophet, it’s not hard to believe that a prophet could have identified Cyrus by name two hundred years before he was born.
The Nephite copy of the book of Isaiah came to America in 600 B.C., several decades before so-called Deutero-Isaiah supposedly lived and wrote. And it includes quotes from both the “first-Isaiah” chapters (Isa. 1–39) and the “second-Isaiah” chapters (Isa. 40–66), giving credit to Isaiah for all. Book of Mormon prophets and the resurrected Lord Jesus Christ refer to the prophet Isaiah many times—as a man who wrote (see 1 Ne. 15:20), who spoke judgments (see 2 Ne. 25:6), who saw the premortal Messiah (see 2 Ne. 11:2), and who testified of future events (see Hel. 8:18–20).
After talking with Elder James E. Talmage and later with Elder Richard R. Lyman, he gathered, under assignment, three sets of material: (1) problems of language and anachronisms; (2) attempts to explain the Book of Mormon in terms of Joseph Smith’s environment or his imaginative mind, or both; and (3) comparison of certain passages in a manuscript by Ethan Smith entitled View of the Hebrews and the Book of Mormon. Out of this study grew a lengthy manuscript in three basic parts: a 140-page section entitled “Book of Mormon Difficulties”; a 285-page section entitled “A Book of Mormon Study”; and an 18-page document simply called “A Parallel.”
At school the following Monday, I spoke with a good friend, not a member of the Church. He said he had a list of 50 anachronisms in the Book of Mormon that demonstrated the book was a nineteenth-century invention. An anachronism refers to something that is chronologically out of place, a bit like saying Julius Caesar drove his SUV into Rome. Well, I told my friend that he was too late, for I had received a witness of the truth of the Book of Mormon. But I said to him, “Give me your list, and I will keep it.” I did keep that list, and over the years, as more research was done by various academics, one item after another dropped off the list. A few years ago when I was speaking to a group at Cornell University, I mentioned my list and noted that, after these many years, only one item remained. After my presentation a distinguished professor said to me, “You can remove your last item, for our studies indicate that it is not an anachronism.”
Dennis Largey (ed.) “Book of Mormon Reference Companion” (Salt Lake City: Deseret Book, 2003)
This book, published through Church owned Deseret Book, has an entry dedicated to anachronisms and discusses all different animals, plants, and other materials in the Book of Mormon in detail.
2015
Alleged Ticking Clocks
For many years critics argued that a ticking clock was to be found in the Book of Mormon because of its references to the use of cement by the ancient inhabitants of America. The following scripture is an example: "The people who went forth became exceedingly expert in the working of cement; therefore they did build houses of cement, in the which they did dwell" (Hel 3:7). Archaeologists were "certain" that cement was not invented until years after the recorded history of the Book of Mormon in the Americas. One critic alleged: There is zero archaeological evidence that any kind of cement existed in the Americas prior to modern times."
[. . .]
Another ticking clock was asserted soon after the Book of Mormon came forth from te printers. The existence of gold plates was hailed as ridiculous. Surely Joseph Smith knew the ancient civilizations recorded their histories on papyrus or parchments, not metal plates. All the evidence supported the critics; their argument seemed so convincing, so incontrovertible, so ironclad. Then time and truth began to work their magic. Discoveries of ancient metal plates began to unfold, and the critics' myth was shattered.[17]
Elder Tad R. Callister wrote the book and goes on to mention "and it came to pass" and "Alma" as a name that wasn't understood as male originally but then was found to be male years later.
From the entry on "Blacks" in Encyclopedia of Mormonism:
The reasons for these restrictions have not been revealed. Church leaders and members have explained them in different ways over time. Although several blacks were ordained to the priesthood in the 1830s, there is no evidence that Joseph Smith authorized new ordinations in the 1840s, and between 1847 and 1852 Church leaders maintained that blacks should be denied the priesthood because of their lineage. According to the book of Abraham (now part of the Pearl of Great Price), the descendants of Cain were to be denied the priesthood of God (Abr. 1:23-26). Some Latter-day Saints theorized that blacks would be restricted throughout mortality. As early as 1852, however, Brigham Young said that the "time will come when they will have the privilege of all we have the privilege of and more" (Brigham Young Papers, Church Archives, Feb. 5, 1852), and increasingly in the 1960s, Presidents of the Church taught that denial of entry to the priesthood was a current commandment of God, but would not prevent blacks from eventually possessing all eternal blessings.
Notes
Notes
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