Accuracy of Church history

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Accuracy of Church history

Jump to Subtopic:

• The Church's Gospel Topics essays on LDS.org
• How the Church of Jesus Christ of Latter-day Saints has responded to issues related to Church history
• Artistic depictions of the Book of Mormon translation
• How the Church has handled issues related to publications related to Church history
• The History of the Church, though credited to Joseph Smith, was not actually authored by him

The Church's Gospel Topics essays on LDS.org

Summary: The Church has posted a series of Gospel Topics essays on LDS.org which discuss a variety of issues related to Church History and belief.

Jump to details:

• Source:Steven E. Snow:Deseret News:9 Dec 2013:The First Presidency and the Quorum of the Twelve both have been very supportive of this process
• Question: What has the Church done to help members learn about historical issues?

How the Church of Jesus Christ of Latter-day Saints has responded to issues related to Church history

Summary: Elder Dallin Oaks discusses the issue of church history and facts that are not discussed frequently in church approved curriculum during an interview with Helen Whitney (HW) for the PBS documentary, The Mormons.

Jump to details:

• Question: How has the Church responded to issues related to Church history?

FAIR Answers—back to home page

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Articles about Latter-day Saint history

Overview	Latter-day Saint history Approaching history Responding to criticisms about Church history Primary source documents of early Church history
Accuracy of Church History	Alleged whitewashing of Church history Alleged whitewashing of polygamy in Church history Alleged hiding of facts in Church history History scholars and Church discipline Accuracy of Church art History of the Church (6-volume history) Lucy Mack Smith's biography of Joseph Smith Histories written by scholars
Forgeries and folklore	Mark Hofmann Kinderhook Plates The Sealed Book of Mormon by Mauricio Berger The Mentinah Papers The Ang Aklatan The Bat Creek Stone The Burrows Cave artifacts Mormon urban legends or folklore

Question: Why are people concerned about Church artwork?

As the critics point out, there are potential historical errors in some of these images

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.

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.

Artist's rendition of Joseph and Oliver translating the Book of Mormon.

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:

1. Oliver Cowdery did not see the plates as Joseph worked with them.
2. For much of the translation of the extant Book of Mormon text, Joseph did not have the plates in front of him—they were often hidden outside the home during the translation.
3. Joseph used a seer stone to translate the plates; he usually did this by placing the stone in his hat to exclude light, and dictating to his scribe.

The reality is that the translation process, for the most part, is represented by this image:

Joseph Smith prepares to translate using the seer stone placed within his hat while Oliver Cowdery acts as scribe. Image Copyright (c) 2014 Anthony Sweat. This image appears in the Church publication From Darkness Unto Light: Joseph Smith's Translation and Publication of the Book of Mormon, by Michael Hubbard Mackay and Gerrit J. Dirkmaat. (11 May 2015)

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

Question: Does Church art always reflect reality?

All art, including Church art, simply reflects the views of the artist: It may not reflect reality

Samuel the Lamanite Prophecies from the City Wall by Arnold Friberg

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. 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?

Question: Is the Church trying to hide something through its use of artwork?

The manner of the translation is described repeatedly in Church publications, despite the inaccurate artwork

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, and Elder Russell M. Nelson quoted David Whitmer's account to new mission presidents in 1992.

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) and returns somewhat to the matter in Comprehensive History of the Church (1912). Other Church sources to discuss this include The Improvement Era (1939), BYU Studies (1984, 1990) the Journal of Book of Mormon Studies (1993), and the FARMS Review (1994). LDS authors Joseph Fielding McConkie and Craig J. Ostler also mentioned the matter in 2000.

Neal A. Maxwell: "To neglect substance while focusing on process is another form of unsubmissively looking beyond the mark"

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.

Those who criticize the Church based on its artwork should perhaps take Elder Maxwell's caution to heart.

Artists have been approached by the Church in the past to paint a more accurate scene, yet denied the request for artistic vision.

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.

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

Question: Why doesn't the art match details which have been repeatedly spelled out in Church publications?

The simplest answer is that artists simply don't always get such matters right

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.

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." 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.

Question: How do non-Mormon artists treat the Nativity?

A look at how other religious artists portray the birth of Christ

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?

		A personal favorite of mine is Belgian painter Pierre Bruegel the Elder. In his Census of Bethlehem (1569, shown at left) he turns Bethlehem into a Renaissance Belgian village. The snow is the first tip-off that all is not historically accurate. But the skaters on the pond, the clothing, and the houses are also all wrong. However, it's unlikely that anyone would suggest Bruegel's tribute was an attempt to perpetuate a fraud.
An Italian work from the thirteenth century gives us The Nativity with Six Dominican Monks (1275, shown at right). There were surely no monks at the Nativity, and the Dominican order was not formed until the early thirteenth century. But any serious claim that this work is merely an attempt to "back date" the order's creation, giving them more prestige would certainly be dismissed by historians, Biblical scholars, and the artistic community.
		Renaissance Italian Madonna Even details of no religious consequence are fair game for artists to get "wrong." Giovanni Bellini's portrait of Mary might seem innocuous enough, until one spots the European castle on the portrait's right, and the thriving Renaissance town on the left.
Non-European cultures Other cultures follow the same pattern. Korean and Indian artists portray the birth in Bethlehem in their own culture and dress. Certainly, no one would suspect that the artists (as with Bruegel the Elder) hope we will be tricked into believing that Jesus' birth took place in a snow-drenched Korean countryside, while shepherds in Indian costume greeted a sari-wearing Mary with no need for a stable at all under the warm Indian sky?
		African example For a final example, consider an African rendition of the Nativity, which shows the figures in traditional African forms. If we were to turn the same critical eye on this work that has been turned on LDS art, we might be outraged and troubled by what we see here. But when we set aside that hyper-literal eye, the artistic license becomes acceptable. Clearly, there's a double standard at work when it comes to LDS art.

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.

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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Learn more about art and Church history

Key sources	Anthony Sweat, "History and Art: Mediating the Rocky Relationship," Proceedings of the 2020 FAIR Conference (August 2020). link
Wiki links	Accuracy of Church art
FAIR links	David Keller, "FAIR in Religious News Service," fairblog.org (15 Feb 2008). FAIR link
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Notes

How the Church has handled issues related to publications related to Church history

Jump to details:

• Question: Was the newspaper called The Seer published by the Church?
• Question: Who qualifies for the title "Mormon scholar?"

FAIR Answers—back to home page

V

Articles about Latter-day Saint history

Overview	Latter-day Saint history Approaching history Responding to criticisms about Church history Primary source documents of early Church history
Accuracy of Church History	Alleged whitewashing of Church history Alleged whitewashing of polygamy in Church history Alleged hiding of facts in Church history History scholars and Church discipline Accuracy of Church art History of the Church (6-volume history) Lucy Mack Smith's biography of Joseph Smith Histories written by scholars
Forgeries and folklore	Mark Hofmann Kinderhook Plates The Sealed Book of Mormon by Mauricio Berger The Mentinah Papers The Ang Aklatan The Bat Creek Stone The Burrows Cave artifacts Mormon urban legends or folklore

The History of the Church, which bears Joseph Smith’s name, was begun under his dictation and direction and completed after his death according to his instructions. The original sources used to compile the History were the Prophet’s own diaries, correspondence, and other documents. Those who may feel that the work is not a fundamental historical source because the Prophet did not personally write much of it are in error. The History, with its priceless collection of primary documents, remains the most important source of historical information on the life of Joseph Smith and early Latter-day Saint history.

—Dean C. Jessee, "I Have a Question," Ensign (July 1985)

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Who is the author of History of the Church?

The History of the Church, though credited to Joseph Smith, was not actually authored by him

Dean C. Jessee wrote of this question :

The History of the Church, which bears Joseph Smith’s name, was begun under his dictation and direction and completed after his death according to his instructions. The original sources used to compile the History were the Prophet’s own diaries, correspondence, and other documents. Those who may feel that the work is not a fundamental historical source because the Prophet did not personally write much of it are in error. The History, with its priceless collection of primary documents, remains the most important source of historical information on the life of Joseph Smith and early Latter-day Saint history.

The work presents the teachings and activities of the Prophet with a remarkable degree of accuracy. A look at how it was produced, and at the concepts that governed historical writing at that time, helps tell us the nature of the history.

Production of the history

Continued Jessee:

Among the difficulties encountered by Joseph Smith was his own lack of formal literary education. He wrote that it took the exertions of all his father’s family to sustain themselves, “therefore we were deprived of the benefit of an education. … I was merely instructed in reading, writing and the ground rules of arithmetic, which constituted my whole literary acquirements.” Throughout his life the Prophet seemed to be concerned with his lack of literary training. In his extant correspondence he refers to his “lack of fluency in address,” his limited “ability in conveying my ideas in writing,” and “the imperfections of my writing.”

The Prophet thus relied on others to write for him. More than two dozen clerks are known to have assisted him in a secretarial capacity. Of these, nine left the Church (typical of the challenges of those years), and four others died while engaged in important writing assignments.

A major inhibition of efforts to keep a record was the persecution the Prophet and the Church experienced. During the years in which the history was being written, the Latter-day Saints moved or were driven across two-thirds of the North American continent. Such unstable conditions resulted in the loss of some records and affected the accuracy of many of those that were preserved. In addition, the Prophet endured lawsuits and repeated arrests that took his attention from the history.

When Willard Richards took over the duties of Church historian in December 1842, a mere 157 pages of a work that eventually numbered 2,000 pages had been written.

On 1 March 1842, publication of the history in serial form commenced in the Nauvoo newspaper Times and Seasons. By 27 June 1844, the date of Joseph Smith’s death, the manuscript had been completed only to 5 August 1838 and published to December 1831. However, important source material had been preserved for completing the history. Shortly before his death, the Prophet wrote: “For the last three years I have a record of all my acts and proceedings, for I have kept several good, faithful, and efficient clerks in constant employ: they have accompanied me everywhere, and carefully kept my history, and they have written down what I have done, where I have been, and what I have said.” Some have indicated that, prior to his death, the Prophet reviewed most of what his clerks had written.

While in Carthage Jail shortly before his death, Joseph Smith instructed the Church historian, Willard Richards, who was there with him, to continue the history. This Elder Richards did, and for the next decade he was the custodian of the records and the architect of the history. After Joseph Smith’s death, work on the history continued, even as the Saints prepared to leave Nauvoo for the Rocky Mountains. With the addition of 674 pages to the manuscript, nearly as much work was done on the history in the period between the Prophet’s death and the departure of the Saints from Nauvoo as had been done in the preceding years.

At the time the records of the Church were packed at Nauvoo for the journey west in February 1846, Willard Richards had compiled the history to 1 March 1843. But in the disruptive years that followed, he was never able to complete that work. After Brother Richards’s death in 1854, George A. Smith and Wilford Woodruff continued work on the history. To assure accuracy, every effort was made to collect information. Late in 1845, for instance, an epistle to the Saints urged all who knew of “any fact, circumstance, incident, event, or transaction” that should be in the history to please report it.

Finally, in August 1856, eighteen years after the history was begun, the work was completed to the death of Joseph Smith. The entire manuscript had been read in the hearing of the First Presidency and other witnesses for a general appraisal.

The History of the Church

Modern standards of history writing were not always observed in earlier time periods. For example, some are surprised to learn at the six-volume History of the Church has portions which were written as if Joseph Smith had written the words, when in fact the original documents were written by others.

Is this an attempt at dishonesty?

The common nineteenth-century format of writing was chosen by Joseph Smith, who directed his clerks to write a first person

Historian Dean Jessee described the differences between historical writing as practiced by a modern writer, and those practices in place in Joseph Smith's day:

Since none of the manuscript of the history is in Joseph Smith’s handwriting, and apparently not much of the text was actually dictated by him, why did those employed on the work write in first person, as though the Prophet himself were writing? That common nineteenth-century format was chosen by Joseph Smith, who directed his clerks to write a first person, daily narrative based upon diaries kept by himself and his clerks. In addition, since Joseph Smith’s diary did not provide an unbroken narrative of his life, the compilers of the history were to bridge gaps by using other sources (diaries, Church periodicals, minute and record books of Church and civic organizations, letters and documents kept on file, and news of current world happenings), changing indirect discourse to direct as if Joseph Smith had done the writing himself. Not uncommon according to the editorial practices of the day, this method of supplying missing detail had the effect of providing a smooth-flowing, connected narrative of events.

Many examples from other works of the period show that this was the historical standard of the time. Nineteenth-century American methods of historical writing and editing were very different from those of today. In 1837, for example, Jared Sparks—regarded as “the first great compiler of national records”—edited in twelve volumes the Writings of George Washington. When his work was later compared with original manuscripts, it was found that he had rewritten portions of letters, deleted or altered offensive passages, and changed irregularities in style and awkward modes of expression.

In his review of historical editing in the United States, Lyman E. Butterfield has noted that changing text and creating text faithful to the ideas of the writer were not uncommon in early years, and that seldom were original texts left to speak for themselves. The History of the Church was written in the general literary and historical climate of its time.

New Testament parallels

Jessee noted that this 19th century approach to historiography matches more ancient practices, such as those used by some Biblical authors:

New Testament writers apparently used a similar method in writing the Gospels. One Bible commentary records that Matthew and Luke borrowed from Mark (Interpreter’s Bible, 7:235–36) and omitted or altered what seemed to be critical of the Apostles. For example, Mark records that James and John came to the Savior and asked that he give them whatsoever they desired; whereupon, the Savior heard their plea that each might sit by his side when he came in glory. (Mark 10:35–37.) When Matthew recorded the event, he said that it was the mother of James and John who desired this privilege for her sons (Matt. 20:20–21.) This difference in recording the circumstances, presumably to place the Apostles in a better light, does not destroy the credibility of the Savior’s mission, nor may we believe that there was dishonesty in making the change.

Challenges with direct citation

Jessee cautions:

One of the challenges facing those who compiled the history was that of presenting the Prophet’s sermons and teachings. Since none of Joseph’s clerks had mastered shorthand during his lifetime, reports of what he said were made longhand. Many of these were smooth-flowing, well-connected summaries and were copied into the history almost as recorded. In some instances, however, it was necessary to reconstruct an address from brief notes and disconnected ideas. George A. Smith’s editorial work was careful, and when he was finished, each discourse was read to members of the First Presidency and the Quorum of the Twelve, some of whom had also heard the original address. Their input proved invaluable. These measures no doubt guaranteed the doctrinal accuracy of such reporting of Joseph Smith’s discourses, but the result obviously would not reflect his personality and speaking style as accurately as a verbatim report would have done.

An analysis of the History reveals those portions obtained from material written personally by Joseph Smith. These clearly reflect his loving and warm spirit. For example, the following is an entry from the History stemming from a portion of Joseph Smith’s 1835 diary written by himself:

“September 23. I was at home writing blessings for my most beloved brethren, but was hindered by a multitude of visitors. The Lord has blessed our souls this day, and may God grant to continue His mercies unto my house this night, for Christ’s sake. This day my soul has desired the salvation of Brother Ezra Thayer. Also Brother Noah Packard came to my house and loaned the committee one thousand dollars to assist building the house of the Lord. Oh! may God bless him a hundred fold, even of the things of the earth, for this righteous act. My heart is full of desire today, to be blessed of the God of Abraham with prosperity, until I shall be able to pay all my debts, for it is the delight of my soul to be honest. O Lord, that thou knowest right well. Help me, and I will give to the poor.”

Is History of the Church not accurate because Joseph Smith did not write it himself?

The content of the History of the Church is likely largely accurate

Dean C. Jessee noted:

The History will continue to be the most important source of information on the life of the Prophet and early Latter-day Saint history. Since the First Presidency and the Quorum of the Twelve—some of whom were participants in the historical events—reviewed the history, it is reliable. It should be known that the revelations of the Prophet Joseph Smith recorded in the Doctrine and Covenants are also recorded in the History of the Church and most assuredly are true and reliable.

It is important to realize that the content of the History of the Church is likely largely accurate, though it can of course be supplemented with other material to expand or correct it. Areas which may be less accurate are the precise wording attributed to Joseph Smith, or the 'personality' of some of the entries, especially the later ones written after his death. Though the History of the Church speaks in the first person as if Joseph were writing, these words are put in his mouth by admirers, often after his martyrdom. Thus, small details of Joseph's "personality" in the History are less likely to be accurate.

Related article:

History of the Church as the "most correct" history? Summary: Quote mining of Doctrines of Salvation about the History of the Church being "the most correct" of any history.

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Source(s) of the criticism

Critical sources

Jerald and Sandra Tanner, The Changing World of Mormonism (Moody Press, 1979), 398, see also all of Chapter 13.( Index of claims )

Notes

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