Thesis (M.S.)--Brigham Young University. Dept. of History.

Thesis (M.S.)--Brigham Young University. Dept. of History. / Electronic thesis. Also available in print ed.

The construction of the Salt Lake Temple is an in-extricable element of Utah and Mormon history. From the moment of its inception in 1847 until its completion forty-six years later its development coincides closely with the political and economic history of the territory. Its history epitomizes the faith of the Mormon people, attests to the strength of their conviction and serves as a monument to their efforts. It has been a rewarding experience to write the history of the construction of an edifice which has had, and continues to have, such a marked impact on Utah culture.

A biographical sketch of artist John B. Fairbanks, this thesis primarily probes Fairbanks' evolution as an artist. From amateur, to art missionary, to professional artist, Fairbanks influenced his cultural surroundings in Utah and in The Church of Jesus Christ of Latter-day Saints. His commitment to his career and his impact on others significantly affected Utah and Mormon art. Thus it is important to understand and recognize the full portrait of John B. Fairbanks.John B. Fairbanks, born on 27 December 1855, developed an interest in art while still young. Until reaching the age of thirty-four, he often worked as an amateur artist, eager to one day receive professional training. Although a difficult career path to follow, he maintained his focus on art and hoped for future opportunities in this field.In 1890, Fairbanks learned that he, along with artists John Hafen and Lorus Pratt, and later Edwin Evans and Herman Haag, would be subsidized by The Church of Jesus Christ of Latter-day Saints to study art at the Académie Julian in Paris, France, in order to prepare them to paint murals in the Salt Lake Temple. As an art missionary, Fairbanks developed a more complete understanding of art and embraced the process of becoming an artist.Upon returning to Utah from Paris, Fairbanks helped paint murals in the Salt Lake Temple. Following this unique privilege, he worked as a professional artist. During this phase of his life, he had the opportunity to teach various students, most importantly, his sons J. Leo and Avard. In addition, Fairbanks created several substantial works and helped influence the cultural environment of the Church and the state of Utah.

This thesis answers the question of how a vision recorded in Joseph Smith's journal found its home in the Doctrine and Covenants and become recognized as canonized scripture. The April 3, 1836, journal entry became known as Section 110. Section 110 serves as a foundation for the current practices and doctrines of The Church of Jesus Christ of Latter-day Saints, involving temple building and temple ordinances. Thus it is important to understand the history of this Section from journal entry to canonization because it is an example of recovering revelation. This thesis also explores contributing factors that could have led to the rediscovery of the 1836 vision. While Joseph Smith and Oliver Cowdery were in the Kirtland Temple with veils drawn around them at the Melchizedek Priesthood pulpits on April 3, 1836, they both saw Jesus Christ, Moses, Elias, and Elijah. Jesus Christ accepted the newly built temple and Moses, Elias, and Elijah committed keys to Joseph Smith and Oliver Cowdery. The vision was recorded, but as of yet, there is no evidence that the vision was publicly taught by Joseph Smith nor by Oliver Cowdery. This thesis follows the pattern established by Section 110 and the reclamation of the revelation and looks at how this section paved the way for other revelations and visions to move from handwritten pages to doctrinal levels of canonization, such as Sections 137 and 138. Joseph Smith had the vision recorded in his journal by Warren Cowdery, who served as a scribe to him. Joseph Smith also had the journal entry written in the Manuscript History of the Church. Although Joseph Smith did not publically declare that the 1836 vision had occurred to him and Oliver Cowdery, he still taught about the visitors in the vision and of their importance. After Joseph Smith's death, the leaders of the Church had his history printed in Church owned newspapers. The first time the vision was published in print was on November 6, 1852, in Salt Lake City, Utah, in the Deseret News. Outside influences of the late 1850s through the 1860s put pressure on the Church. Some of these potentially destructive influences were the Utah War, Civil War, transcontinental railroad, Spiritualism movement, and the lack of understanding of the foundational doctrines of the Church by the rising generation that had been a part of the Church from its beginnings with Joseph Smith as its Prophet. This thesis explores these potentially destructive forces on the Church and its doctrine, and looks at how the leadership of the Church responded to them and how their response influenced the canonization of the 1836 vision. Under the direction of Brigham Young, Orson Pratt oversaw the publication of the new 1876 edition of the Doctrine and Covenants. This new edition contained twenty-six new sections, including Section 110. After the death of Brigham Young in 1877, John Taylor sat at the head of the Church as president of the Quorum of the Twelve Apostles. While Orson Pratt was in England, preparing to print a new edition of the Book of Mormon on electrotype plates, he asked John Taylor about printing the Doctrine and Covenants with the electrotype plates as well. John Taylor agreed on condition that Orson Pratt add cross references and explanatory notes, as he had done with the Book of Mormon. Using the 1876 edition, Orson Pratt made the requested additions and the new edition of the Doctrine and Covenants was printed in 1880 and canonized on October 10, 1880, in a General Conference of The Church of Jesus Christ of Latter-day Saints, where all present voted unanimously to accept the 1880 edition as canonized scripture.