Video of the Scale Model of the Salt Lake Temple. (Press play to view)

Today, the Church unveiled an 88-inch scale model of the Salt Lake Temple in the South Visitors’ Center on Temple Square in Salt Lake.  You can see an introduction of the model in the video clip above.  It is a 1:32 scale replica of the temple, with the walls cut away so visitors can see the rooms inside.  Sixteen model makers constructed the model over five months, and went to great lengths to construct the model, using thousands of photographs to make sure every intricate detail was accurate, from the murals, to the wall paintings, chairs, lighting fixtures, etc.  You can look into nearly every room.

The community regularly gets to tour new temples in a public open house before they are dedicated, but since it’s been so long since the dedication of the Salt Lake Temple, they hope this model will allow visitors to get the same experience of this temple:

"This replica will show the millions of visitors who come to Temple Square the beauty and majesty of this sacred and historic building," said Elder Richard G. Hinckley, executive director of the Missionary Department. "Like all temples, once the building is dedicated it is used for sacred Church purposes and not open to the general public, but this exhibit will provide the public with a glimpse of the interior and a feeling of the Spirit that is present there."

You can read more details, and see a few photos, about the model in the Church’s news release.  They also have more details about the project, photos, audio clips, and a fact sheet at this link about the creation process.

I’m going to have to go up to Temple Square to see this fantastic new model.

Scale Model Exhibit of the Salt Lake Temple Opened on Temple Square

Celestial Room in Vancouver British Columbia Temple

Today the Church announced the public open house of the Vancouver British Columbia Temple, which will be the 131st temple of the Church. It is beautiful.

If you are in the area, you might want to see if you can visit.  The tours run from April 9th through the 24th.  The Church has produced an invitation that you can give to friends or family.  The dedication will be held on May 2, 2010.

As always, the temple has been constructed of only the finest materials:

The temple's exterior is covered with Branco Siena granite from Brazil…

The interior features beautifully grained hardwood from the west coast of Africa. British Columbia's provincial flower, the Pacific dogwood, is used as a motif in the decorative painting and intricate carpet sculpting. Artwork depicting the native beauty of British Columbia graces the walls of the temple.

Here is a short video about the temple by the Church as well.

Vancouver British Columbia Temple Open House Announced

Annunciation to the Shepherds, Abraham Hondius, 1663, oil on panel. (Click image for a larger view)

The Christmas story from Luke 2 reads in part:

And there were in the same country shepherds abiding in the field, keeping watch over their flock by night. And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid. And the angel said unto them,

Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Saviour, which is Christ the Lord. And this shall be a sign unto you; Ye shall find the babe wrapped in swaddling clothes, lying in a manger.

And suddenly there was with the angel a multitude of the heavenly host praising God, and saying,

Glory to God in the highest, and on earth peace, good will toward men.

And it came to pass, as the angels were gone away from them into heaven, the shepherds said one to another,

Let us now go even unto Bethlehem, and see this thing which is come to pass, which the Lord hath made known unto us.

And they came with haste, and found Mary, and Joseph, and the babe lying in a manger. And when they had seen it, they made known abroad the saying which was told them concerning this child. And all they that heard it wondered at those things which were told them by the shepherds. But Mary kept all these things, and pondered them in her heart. And the shepherds returned, glorifying and praising God for all the things that they had heard and seen, as it was told unto them. (Luke 2:8-20)

Most of us are very familiar with these scriptures, as it is tradition in many families to read this story at Christmastime every year to remind us of the true meaning of Christmas.

But who were the shepherds?  Have you, like me, considered the angelophany to the shepherds in their fields something that was completely random?  Were the angels announcing the birth of the Savior abroad in the land, and this was just one of the accounts that was recorded in scripture?  Or was there a greater purpose to the angelic revelation specific to these shepherds? 

A couple weeks ago my perception of the shepherds changed, and I gained a greater understanding of their significance.  A preview of the upcoming Messiah documentary aired on BYU-TV on December 6th, in which Dr. Richard Holzapfel, professor of Church History and Doctrine at BYU, noted that the Christmas story takes on added meaning when we consider that the shepherds who were abiding by their flocks in the fields were perhaps watching over temple sheep, sheep that were being bred and protected to be sacrificed at the temple in Jerusalem.  These shepherds may have been men who were accustomed to preparing lambs which symbolically represented the Messiah in their cleanliness, perfection, and their sacrifice on the altar of the temple.  This gives added depth of meaning, if true, to these scriptures which tell of the angels who came to these shepherds to proclaim the birth of the Lamb of God, the Savior of mankind, who would offer the last and ultimate sacrifice.

But there are more interesting details.  The place where the angels appeared to the shepherds is traditionally known as the “Tower of the Flock,” or Migdal Edar, which is very near Bethlehem.  One commentator notes:

This watch tower from ancient times was used by the shepherds for protection from their enemies and wild beasts. It was the place ewes were brought to give birth to the lambs. In this sheltered building/cave the priests would bring in the ewes which were about to lamb for protection. These special lambs came from a unique flock which were designated for sacrifice at the temple in Jerusalem.

According to Edersheim in The Life And Times Of Jesus The Messiah, in Book 2, Chapter 6, states, “This Migdal Edar was not the watchtower for the ordinary flocks that pastured on the barren sheep ground beyond Bethlehem, but it lay close to the town, on the road to Jerusalem. A passage from the Mishnah (Shekelim 7:4) leads to the conclusion that the flocks which pastured there were destined for Temple sacrifices…”

…What are we to make of all of this information from the writings of the rabbis? First, we know that Migdal Edar was the watchtower that guarded the Temple flocks that were being raised to serve as sacrificial animals in the Temple. These were not just any flock and herd. The shepherds who kept them were men who were specifically trained for this royal task. They were educated in what an animal, that was to be sacrificed, had to be and it was their job to make sure that none of the animals were hurt, damaged, or blemished. These lambs were apparently wrapped in “swaddling cloths” to protect them from injury and also used to wrap the Lord Jesus.

Thus, with the establishment of Temple worship in Jerusalem, the fields outside of Bethlehem became the place where a special group of shepherds raised the lambs that were sacrificed in the Temple. Being themselves under special Rabbinical care, they would strictly maintain a ceremonially clean stable for a birthing place. The Tower of the Flock was used for birthing ewes, and the surround fields were where these shepherds grazed their flocks. These shepherds customarily kept their flocks outdoors twenty-four hours a day every day of the year, but brought the ewes in to deliver their lambs where they could be carefully cared for. It was to this place that Joseph took Mary. It was in this special stable at "Migdal Edar" that Christ was born!…

Luke 2:8-18records that there were shepherds in the fields keeping watch over their sheep by night. Who then were these shepherds? Without question these were shepherds who resided near Bethlehem. They were none other but the shepherds from "Migdal Edar" who were well aware that the Targum hinted and many of the rabbis taught that Messiah might well be announced from "Migdal Edar" at Bethlehem. The angels only told the shepherds that they would find the Babe wrapped in “swaddling cloths and lying in a manger.” There was no need for the angels to give these shepherds directions to the birth place because they already knew. These were the men who raised sacrificial lambs that were sacrificed in the Temple. When the angelic announcement came, they knew exactly where to go, as Luke 2 indicates, for the sign of a manger could only mean their manger at the tower of the flock! You cannot explain the meaning or direction of the sign they were given or their response unless you have the right manger and the right shepherds!

Typically, "Migdal Edar", (the tower of the flock) at Bethlehem is the perfect place for Christ to be born. He was born in the very birthplace where tens of thousands of lambs, which had been sacrificed to prefigure Him. God promised it, pictured it and performed it at "Migdal Edar". It all fits together, for that’s the place the place where sacrificial lambs were born! Jesus was not born behind an inn, in a smelly stable where the donkeys of travelers and other animals were kept. He was born in Bethlehem, at the birthing place of the sacrificial lambs that were offered in the Temple in Jerusalem which Micah 4:8 calls the “tower of the flock.”

I’m not sure how much of this commentator’s words can be corroborated, but it is interesting to consider.

As a side note, I also found it interesting when I was searching for an image to introduce this post that I found the painting “Annunciation to the Shepherds” by Abraham Hondius.  This 17th century art piece depicts the angels in heaven forming circular ring dances, reminiscent of the ancient temple prayer circles, with the cherubim taking each other’s hands.  Dr. Jeffrey Bradshaw has described this form of heavenly worship in an article recently at Meridian Magazine, which also describes temple themes in the Christmas story:

In ancient literature, heavenly worship is always described as taking a circular form. For example, in Abraham 3:23, God is described as standing "in the midst" (i.e., "in the center") of the premortal souls. Nibley clarifies this description by observing that: "He's surrounded on all sides." Likewise, Lehi describes God upon his throne "surrounded with numberless concourses of angels in the attitude of singing and praising their God." Nibley again points out: "A concourse is a circle. Of course [numberless] concourses means circles within circles."

Similar imagery relating to sacred circles is found in the Islamic hajj, where pilgrims circumambulate the Ka'bah and offer prayer in likeness of the angels. Teaching His disciples about prayer, Jesus said that "where two or three are gathered together in my name, there am I in the midst of them [in the center]."

Who were the Shepherds in the Christmas Story?

Temple Square Panoramas

I’ve featured 360° panoramas of Temple Square before, those created by Dr. William Hamblin, but a few more can’t hurt.  And these ones are very good indeed.

Created by Martin van Hemert Photography, Inc., at Utah3D.net, these full-screen panoramas include 360° images of the plaza, the Tabernacle, the Assembly Hall, the North-West corner of the temple, the Christus statue, and Christmas lights at Temple Square (between the Tabernacle and Assembly Hall).  The color and lighting are exquisite in these!  And it gives the perception of standing on the spot.  Very well done.

To navigate the panoramas, click on the image of the panorama you want to view, allow the image to load, and then click and drag on the image to look around in any direction.  You can zoom in/out with the left shift and CTRL keys, or the scroll wheel on your mouse.

And while you’re at it, check out the other Utah panoramas they’ve done.

Utah3D.net 360° Panoramas of Temple Square

[via Mormon Times via LDS Media Talk]

Excellent Panoramas of Temple Square

San Joaquin Delta College Hellenic Dancers doing the Greek Syrtos dance at the school's new campus dedication in 1977. They wear the traditional Greek folk dance costume. A musician is playing a Thracian gaida in the center of the circle, leading the dance. Used with permission.

When I originally wrote my paper on “The Genesis of the Round Dance,” I included a short section on the ancient Greek dance forms:

The ancient choruses, dances, and songs of the dithyramb of Greece displayed the familiar pattern of a dignified, circular dance around the altar of Dionysus in the theater's orchestra. In fact, the term orchestra originally meant the circular dancing place of the theater. In addition, the terms carole and chorus, also originally Greek, meant a sacred ring dance, men and women holding each others hands [other related English words are chorale, choir, and choreography]. LDS scholar, Dr. Hugh Nibley, reminds us that the creation was often acted out in these Greek dance dramas:

The Greek play has a chorus. Well what does chorus mean? It's a ring dance; it's a circle. Same as our word curve; Latin: curvus; going around. The chorus sings, and the chorus of the muses sings the poiema, the creation song . . . When they sing together, it's the poiema, the song of the creation. It's a glorious thing. It's a round dance like the Egyptian maypole.

Nibley takes it one step further to explain that all the arts originated from the ancient temple dramas. “So poetry, music, and dance,” he tells us, “go out to the world from the temple-called by the Greeks the Mouseion, the shrine of the Muses.” Again he states that, “All the arts and sciences began at the temple. Dance, music, architecture, sculpture, drama, and so forth-they all go back to the temple.” Kraus supports this claim of a ritualistic connection between the arts when he informs us that Native American ceremonies and sacred dances are “part of an elaborate drama which embraces all the arts.”

The more one learns about the arts, the more one is convinced of Nibley’s stunning summation.

I want to expand a bit more on the traditional Greek dance forms, and share some more interesting details I’ve learned about these ancient practices that still are continued today. 

Form

One of the most ancient literary references to dance in the Greek tradition is found in Homer’s The Iliad.  In book 18, the circular Shield of Achilles is described, with dancing youths making up one of the rings:

Hereon there danced youths and maidens whom all would woo, with their hands on one another’s wrists. The maidens wore robes of light linen, and the youths well woven shirts that were slightly oiled. The girls were crowned with garlands, while the young men had daggers of gold that hung by silver baldrics; sometimes they would dance deftly in a ring with merry twinkling feet, as it were a potter sitting at his work and making trial of his wheel to see whether it will run, and sometimes they would go all in line with one another, and much people was gathered joyously about the green. There was a bard also to sing to them and play his lyre, while two tumblers went about performing in the midst of them when the man struck up with his tune.

This same dance form has lived on in Greek literature, art, and tradition for centuries, changing little along the way.  There is a multitude of artifacts that represent the Greek dance, which tells us some of the story of how it was danced anciently.  The Greeks claim the form is the same today.  John Pappas of GreekFolkMusicandDance.com informs us:

Invariably, the dancers are in a circle or line, often with a musician or musicians in the center. The dancers are joined with the same common handholds still used in our Greek folk dances today. These include the shoulder hold, the chain hold, and the most common joining of hands (shoulder height with elbows down, like a ‘W’).

The Greeks don’t believe they invented this dance, but that it came from a divine source:

Ancient Greeks believed that dancing was invented by the Gods and therefore they had associated it with their religious and worshiping ceremonies. They believed that the Gods offered this gift to some select mortals only, who in turn taught dancing to their fellow-men.

Not only did the Gods reveal the dance, but it was an evolution of something else:

The ancient Greeks believed that dancing was a gift from the gods, and the art of the dance evolved from ritualized movements used in religious ceremonies.

These dances also included singing, which was antiphonal, meaning that a leader sang a statement, and another group responded or repeated the statement, which is where our modern verse and chorus originated.  Athan Karras writes:

Today the folk songs of the countryside still reflect antiphonal singing in their dances, especially in processional dances, when a leader will sing a verse, which the chorus repeats. The early church music also used chanters answering antiphonally with one another, evolving into today's choir. It is believed that in the earliest temples, the congregation danced and sang the liturgy. From this evolved the chorus leader and later, the priest. These early choruses or, Omadikoi Horoi, evolved by having the closed circle break open to allow for a leader. In her book on the ancient Greek dance, Lillian Lawler speaks about the circle, a sense of incorporating giving, receiving and excluding: “Circle dances and especially those with clasped hands have a mystical significance among ancient people, often performed around an altar, tree or a pillar or some sacred object, or even a musician. . . At times the circle dance seems to have been an invocation dance, as can be seen in ancient Minoan coins, or frescoes in the Minos palace in Knossos.”

One of the most well-known of the ritualistic uses of the dance is in the Greek Orthodox wedding ceremony.  First, the couple are crowned with flowered crowns, then the priest joins their right hands together, and later the bride, groom, and priest perform a dance procession around the altar, circling precisely three times.

There are many other uses of the Greek dances, used on occasions of “rites of passage” in life.

Greek dancing in Foustanelles costume (men) and Florina costume (ladies). 1970s. Used with permission.

Costume

"Women's Festive Costume... made of a variety of materials... sleeveless cotton tunic with a multi-colored embroidered hem, a silk jabot-trachilia, pure silk sleeves with lace... white woolen coat... The headgear with coins and ornaments... is covered with a white silk shawl... The apron is of velvet with floral embroidery." (http://www.greekfolkdancers.com/costumes.htm)

The Greek folk dance costume has a direct relationship to the liturgical garments of the Greek Orthodox Church:

Some of the characteristics of Greek folk costumes can be traced back to elements in ancient Hellenic and Byzantine costumes. In fact, many of the elements of the liturgical clothing worn today by the Greek Orthodox priests are related to the modern Greek folk costumes and have their origin in the clothing of the Byzantine Empire.

Such details make a study of the Greek folk dance costume even more intriguing.

While the costumes from various locations in Greece all differ significantly in ornamental design and individual styles, all the costumes are made with similar parts and construction.  I will focus particularly on the women’s costume.  The basic parts of this costume generally are:

• a long linen or cotton chemise or basic undergarment (Poukamiso)
• a sleeveless wool vest (Segouni)
• an apron (Bodia)
• a sash or girdle (Zonari)
• a scarf or head covering (Mandili)
• shoes or foot coverings (Tsarouhia)
• decorative jewelry

Many of these elements can be seen in the photographs of the Greek dancers above, and at the beginning of the article.  More examples of this costume and textiles can be seen at GreekFolkMusicandDance.com, GreekFolkDancers.com, and the Museum of Greek Folk Art.

"Greek Apron, 19th century Karagouna, Thessaly Athens, Museum of Greek Folk Art, Inv. No. 6633. The Karagounides were indigenous Greek inhabitants of the Thessaly plain. This particular apron is trapezoidal... Its surface is decorated all over with motifs including honeysuckle, spirals, arabesques and rosettes, and would appear to be a bridal apron judging from the lavish ornamentation." (Attika Guide of Museum of Greek Folk Art)

One of the more interesting accessories worn by the Greek dancers, and in daily wear, was and is an apron (called in Greek a podia or bodia).  This is one of the most ornamented and decorated articles of clothing worn by the Greeks and also one of the most important.

Their trapezoidal aprons of black wool were of great social significance… A woman would make about twenty-five for her dowry, each to be worn on a specific occasion.

This apron was not for practical use, to protect clothing underneath as is common in modern Western culture, but rather it stood as a symbol:

The purpose of the ubiquitous apron of most European peasant costume, and particularly that of eastern Europe, is symbolically protective and not practical.  Varying in style with each village but normally heavily embroidered, intricately pleated or finely woven in striped patterning, it covered a dress or petticoat that almost always was deliberately left plain where the apron would be worn.  It is the antithesis of an apron worn to protect precious clothing.  Instead it protects the body.

One of the primary associations of the apron was with marriage, a significant rite of passage:

This was the moment at which the bride, as well as taking a new hairstyle and headdress, changed the type of apron she had worn as a young girl to another that declared her status as a married woman… Women of the nomadic Sarakatsani, now living mainly in Greece, embroidered twenty to forty aprons (panoules) during their youth, each with different symbolism – such as the cross, the serpent, or the moon – that showed the woman’s social status or was thought suitable for various occasions and moods.  She would then choose each day the appropriate one to wear.

The designs embroidered on the aprons have “religious and magical significance”.

The apron and head scarf were important items in a girl’s dowry.  Her distinguishing traits of movement from girlhood to marriage did not derive so much from utility but as objects for protection and strengthening.  The apron (podia), is traditionally thrown over the stomach of Thracian women in labour to facilitate birth.

The apron – the podia – of all Greek costume was imbued with magical properties.

As can be seen in the links given above, the embroidery’s design on the Greek aprons is usually based on stylized vegetation, viz floral motifs, vines, leaves, etc.  The reason for this is because these designs usually are a depiction of the Tree of Life.

When embroidered, both everyday and festive aprons featured mainly flower designs or symbols of fertility such as the pomegranate.

The tree of life is one of the most common motifs in embroidery almost everywhere… almost every vaguely foliate shape and every pot of flowers is deemed to represent the tree of life.  Most in fact do. 

Sheila Paine describes why the Tree of Life is so universal in embroidery:

The tree is one of the most potent of symbols.  Its roots delve into the underworld, its trunk links the earth to the heavens – it transcends all three spheres.  Its life-cycle unfurls before our eyes in each season of the year, the symbolism of birth, maturity, death and rebirth embodied in leaf, bud and fruit.  Its fruitfulness is matched by the fruitfulness of woman and even sap and milk were equated by primitive man.

Many times the symbol of the Tree of Life is stylized:

It may be a simple linear pattern intended to signify a particular tree, such as a palm, or more often to convey the general concept of growth and fertility.  When the tree of life is depicted as an actual tree, it is stylized to convey its mythological significance.  Consequently foliate patterns or simple branched devices signify the tree of life, rather than a realistic tree with trunk and leafy branches.

Sampler, England, 1826. The tree of knowledge is a widely used motif in many English embroideries of the 19th century. (Embroidered Textiles, Sheila Paine.) Click for larger view.

The Tree of Knowledge, which bore the forbidden fruit, is also depicted on a number of embroideries:

The birth, life, death and regrowth of the tree symbolized in its fertility also the concept of immortality, an inestimable treasure.  In ancient Babylon such treasure was protected by a serpent and the concept of two trees, the one of immortality attained through the heavily guarded one of wisdom, formed part of mythological belief.  In biblical terms this is the tree of knowledge with the serpent that deprived Adam and Eve of paradise, and that became the central motif of a great number of nineteenth-century English samplers [a sampler is a piece of embroidery produced as a demonstration or test of skill in needlework].

Some scholars believe that the fig leaves that Adam and Eve used to make their aprons in fact came from the same tree that they had just eaten the forbidden fruit from, i.e. the Tree of Knowledge in the Garden of Eden (Gen. 3:6-7).

Conclusion

Studying the traditional Greek folk dances reveals that they are very rich in history and culture, and date back anciently to religious beliefs and practices, particularly the ring dance around the altar.  The suggestion that these traditions seem to have changed little since ancient times gives us a glimpse of how things might have been millenia ago.

Clearly, there is much more can be learned from a study of this subject.  Do you have any additional insights about the Greek folk dances?  Please share with us in the comments.

The Traditional Greek Folk Dances and their Ancient Roots

Book Cover

Some of you may remember I wrote about The Apotheosis of Washington painting in the U.S. Capitol.  A friend just informed me that someone has published an ebook that investigates the U.S. Capitol as a type of temple, including this painting, and many other interesting details.  It is called Freedom’s Gate: The Lost Symbols in the U.S. Capitol, by William Henry and Dr. Mark Gray.

Here are some of his main points:

• The Dome of the U.S. Capitol is a mirror image of the Vatican Dome and was thought of as a recreation of Solomon's Temple by its builders.
• The art of the interior corridors of the Capitol mirrors Vatican art.
• Higher Wisdom flows through the Capitol's spiritual imagery and artwork.
• The bell-shaped Capitol Dome is a stupa that creates a vortex or field of energy that extends into the world.
• The Freemasons who built the Capitol viewed it as a 'beehive' buzzing with energy.
• Literally, we can alter this energy field by visiting the Capitol Dome and praying or meditating inside. This will raise the frequency of the Dome and the Capitol, helping to clear out negative or harmful energies.
• This is the great secret of the Founding Fathers. They left us a bell to ring in times of distress. Let Freedom's Ring!

Reading up about the author, William Henry, shows he believes in some interesting New-Age metaphysics, with stargates and wormholes among other things.  I’m not so sure about all of that, but this book might still include some interesting insights about the U.S. Capitol being a type of temple to the Founding Fathers.  Thanks Jennifer!

Has anyone read this book?  What are your thoughts about it?  Please share your impressions in the comments.

Freedom’s Gate: U.S. Capitol as a Temple

The Apotheosis of Washington (detail), Constantino Brumidi, 1865, United States Capitol Building rotunda.

I watched an interesting show last night, Secret America on Discovery, and learned some interesting things.  One of them was that there is a large fresco painted on the inside of the dome of the rotunda of the United States Capitol Building.  It is called “The Apotheosis of Washington” and was painted by an Italian Painter, Constantino Brumidi, in 1865 for the sum of $40,000.

What is interesting is what was painted in this profound location.  The apotheosis of Washington literally means the deification of President George Washington, or the exaltation of Washington to the status of a god.  Wikipedia describes:

The Apotheosis of Washington depicts George Washington ascending to the heavens and becoming a god (apotheosis). Washington, the first U.S. president and commander-in-chief of the Continental Army during the American Revolutionary War, is allegorically represented, surrounded by figures from classical mythology. Washington is draped in purple, a royal color, with a rainbow arch at his feet, flanked by the goddess Victory (draped in green, using a horn) to his left and the goddess Liberty to his right. Liberty wears a red cap, symbolizing emancipation, from a Roman tradition where sons leaving the home would be given a red cap. She holds a fasces in her right hand and an open book in the other.

Wikipedia also describes the term apotheosis:

Apotheosis (from Greek ἀποθεόω, apotheoō “to deify”) refers to the exaltation of a subject to divine level. The term has meanings in theology, where it refers to a belief, and in art, where it refers to a genre.

In theology the term apotheosis refers to the idea that an individual, group, or locale has attained godlike stature. In art the term refers to the treatment of any subject (a figure, motif, convention or melody) in a particularly grand or exalted manner.

The full painting really is quite stunning.  You can see it here.  George Washington is depicted sitting in the clouds, amongst the gods, making gestures common in divine figures.  The Architect of the Capitol government webpage notes:

The word “apotheosis” in the title means literally the raising of a person to the rank of a god, or the glorification of a person as an ideal; George Washington was honored as a national icon in the nineteenth century.

It’s not only the Mormons who have thoughts about the divinization of mankind, but such a theme is even portrayed of our most beloved Founding Father and first President of our country, George Washington, in no less than oculus of the rotunda of the Capitol Building of the United States of America.

Another commenter notes:

This image of Washington, painted in 1865, reflects a vision of Washington that appealed to the American public just after his death. The “apotheosis” served as a powerful symbol of the immortalization of the country’s hero. Paintings and sculptures of Washington’s celestial rise were soon to be found in living rooms and civic halls across the country. The religious connotation was clear: here was a man so virtuous and beloved that he surely had ascended to heaven, escorted honorably by classical personifications of freedom and liberty. In effect, the public’s civic worship of Washington led to a nearly religious worship just after his death. Washington was suddenly deified.

It might be insightful to note that this painting was completed just 12 years before Elder Wilford Woodruff, President of the St. George Temple at the time and one of the Twelve Apostles, performed the exalting priesthood ordinances of the restored Gospel vicariously for our Founding Fathers, including George Washington.

The Apotheosis of Washington

Ms Fr 247 f.3 The Creation, God Introducing Adam and Eve, from 'Antiquites Judaiques', c.1470-76, Jean Fouquet, Bibliotheque Nationale, Paris, France

Every once and a while I’ll come upon an antiquarian painting, print, fresco, sculpture or other art piece that peaks my interest. This is one of them.

This is an illustration by Jean Fouquet from a french translation manuscript of Josephus‘ Jewish Antiquities.  It is entitled, “The Creation, God Introducing Adam and Eve,” and dates to 1470-76 C.E.  Currently it is maintained at the Bibliothèque Nationale in Paris, France.

There are several things that are interesting about this illustration:

• God is portrayed in the center, joining the right hands of Adam and Eve in a sacred handclasp, likely the dextrarum iunctio, a symbol of the eternal marriage of the two.
• Angels on both sides of the group seem to clothe Adam and Eve in the sacred garments worn by God.
• The Garden of Eden is symbolized as a walled city/fortress, with the rivers beginning at a fountain and exiting through the walls.
• Since this is also representative of the Creation, we note God and his angels at the top holding the instruments or tools of creation, including God holding a compass and one of the angels a square. (See Isa. 44:13)
• Is God represented here twice, or are there 2 Gods?
• God is depicted as a man, in both cases.

You can see a similar representation in a 16th century sculpture called The Garden of Eden or Love.

Anything else interesting that you see in this illustration?  Does anyone know anything else about this particular work, or similar ones?

Update (4/20/09): I found a scan of the entire page from a book entitled “Jehan Foucquet, native of Tours” by Trenchard Cox (page 88).  You can see the full page image here.  It is interesting to note that in this book the title of the illustration is “The Marriage of Adam and Eve.”

Update (4/20/09): I found another very similar illumination from the same time period.  This one is entitled “The Marriage of Adam and Eve” from “Des Proprietes De Chozes” by Jean Corbechon around 1415 C.E.  You can see very similar symbolism here.

The marriage of Adam and Eve, from 'Des Proprietes De Chozes' by Jean Corbechon, c.1415.

Update (4/20/09): Here is a detail of an engraving by Jean Duvet cerca 1540-1555 which depicts the same – “The Marriage of Adam and Eve.”  You can see the full engraving here.

Detail from engraving "The Marriage of Adam and Eve" by Jean Duvet, cerca 1540-1555.

The Creation, God Introducing Adam and Eve – An Illustration by Jean Fouquet

In response to a comment by Rick on my post “Consecrate = ‘A Filled Hand’ in Hebrew” I did some searching to see if I could find any commentary or studies of palm up/palm down symbolism in scholarship or art. What I found was interesting.  The palm up/palm down posture has a significant place in Christian art throughout the Middle Ages and the Renaissance, particularly in the figure of Christ.  They have been called the “judging gestures.”

I first happened upon a depiction of The Last Judgment by Giotto in the Scrovegni Chapel in Padua, Veneto, Italy. This artwork was completed about in about 1305. The scene is a typical judgment, with Christ in the center, the saved on his right, and the damned on his left. One commenter adds some interesting insight into his posture:

The seven virtues and seven vices are sometimes shown in opposition. In the Scrovegni chapel, the Last Judgement shows God with his right hand palm up towards the saved, and along the right wall are the seven virtues. His left hand is palm down towards the damned, and along the left wall are the seven vices, each opposite its corresponding virtue.

Another commenter says:

Giotto has filled the entrance wall of the chapel with a great scene of the Last Judgment. Christ’s left hand, palm down, condemns the damned to the horrors of Hell. His right hand, palm up, beckons the blessed to join him in heaven-and with them a hopeful Enrico Scrovegni.

This same pattern seems to repeat itself in many such depictions of Christ. The later famous depiction of The Last Supper by Leonardo da Vinci is said to have imitated Giotto’s posture of Christ, except with the palms reversed:

Understanding this, Jesus is not only at the center of infinity and providing his body and blood to the people, but he is infinite and universal in his body position. Leonardo references here Giotto's painting of The Last Judgment, in which Jesus extends his arms with one palm up and one palm down. In doing so, Leonardo affirms Christ's role as the viewer's means of salvation.

It is interesting that Christ has his hand down in the direction of the betrayer Judas Iscariot.

Another commenter on the scene of Leonardo’s The Last Supper said:

The mystical symbolism is repeated again in the hands of Jesus, positioned left palm up and right palm down, gestures which in the Renaissance symbolism of the Christian Kabbalists represented the pillars of the kabbalistic tree of life, Mildness and Severity- and the sephirot Geburah and Chesed- justice and mercy. The balance between these sephirah is Tiphareth, symbolized by the Seal of Solomon. (In Freemasonry, the square and compass shares similar symbolism).

A woodcut from the Middle Ages shows the same posture, with this commentary:

From the right side of Jesus’ head comes the lily of mercy and from the left the sword of vengeance; his right hand, similarly, is held palm up for the saved and his left palm down for the damned.

There are many more examples of Christ in this posture, including The Last Judgment by Hieronymus Bosch (ca. 1482).

The Last Judgment depicted by Maso di Banco in Santa Croce, Florence, depicts the same.  Jane Long refers to this position thus:

The seated figure of Christ floats above a rocky landscape in a mandorla and makes the customary judging gestures – right palm up to accept the saved, left palm down to reject the damned.

An interesting variation in these examples is that some depict the right hand not only with palm up, but with the right arm upraised also.  The Last Judgment by Michelangelo in the Sistine Chapel is a famous example.  The Tympanum (West Portal) of The Last Judgment to the Church of Ste. Foy at Conques, France, also shows Christ with a raised right arm towards the saved, and a lowered left hand towards the damned.  One particularly nice example of this variation is The Last Judgment by Master of the Bambino Vispo (ca. 1422).

This posture again appears in Hans Memling’s depiction of The Last Judgment (ca. 1467-1471).

It is also interesting that this posture is also found in other cultures and traditions, particularly in the mudra gestures of Buddhism.

So it would seem that in addition to the incense filled hand found in ancient Israel, the palm up/palm down symbolism does have a place in Christianity, especially in Christian art.  The palm up seems to depict blessing, receiving, mildness, mercy, and salvation, while the palm down seems to depict damnation, severity, justice, judgment, rejection, condemnation, and sin.  At least that is what the Christians in the Middle Ages and Renaissance might have believed.

Palm up/Palm down in Middle Ages & Renaissance Christian Art

I can’t remember where I originally heard about the new Olivewood bookstore. It may have been in the Bloggernacle somewhere – perhaps FAIR. In any case, I had heard enough about this store that I decided that I had to visit it. It is located at 3330 N University Ave. Suite C in Provo, next to Magelby’s Fresh. I had some spare time a couple weeks ago, so I stopped by. I’m glad I did!

This bookstore is the most elegant that I have ever stepped foot into. No bookstore that I know of compares to it. Imagine a very fine restaurant, like Chef’s Table or Ruth’s Chris, with bookshelves and exquisite fine art lining the walls. That is Olivewood, minus the fine dining (discounting lecture refreshments, of course). The bookshelves are made from rich dark wood, and are moderately filled. Framed fine art is everywhere you look. Beautiful temple photography by Robert Boyd is included. The lighting and music adds to the overall effect of this high-class bookstore. There is even a Neal A. Maxwell Reading Room, with a fireplace, dark leather couches and seating, and a bookcase with enough Hugh Nibley books to fill a lifetime. A bookcase in the middle of the store showcases some rare Church artifacts such as replicas of the death masks of Joseph Smith and his brother Hyrum, an original 1830 Book of Mormon, genuine signatures of Joseph Smith and other early Church figures, and a reproduction of the gold plates. This is a one-of-a-kind bookstore.

The most fantastic thing about the store is its high caliber collection of books for sale. Nowhere will you find the sentimental and flowery books that are sometimes found lining LDS bookstore shelves. No. This bookstore delivers only the best LDS literature from the top scholars at BYU and abroad, as well as other top LDS authors and General Authorities. The bookstore is a representative of The Neal A. Maxwell Institute for Religious Scholarship at BYU, and as such only contains the top-notch scholarship and writing that you would expect from this organization.

Not only do they provide high quality books, art and media, they also sponsor monthly lectures by well-known LDS scholars. I had the fortunate opportunity to attend Br. Daniel C. Peterson’s lecture a couple of weeks ago, and was not disappointed. He delivered one of the best talks on Book of Mormon evidences that I’ve ever heard. You can now see this lecture online on YouTube. They have Mark Alan Wright (a scholar in Mesoamerican archaeology) scheduled for May 15th at 7:00pm, and John Gee for June 19th.

There was an article in Thursday’s Deseret News “LDS Newsline” about the store, which reminded me to post about it. If you get a chance, I highly recommend stopping by.

Olivewood: A Singular Bookstore