ARIZONA TEMPLE

ARIZONA

The Arizona edifice in which are centered the highest spiritual activities of the Church of Jesus Christ of Latter-day Saints, commonly called "Mormons," is the Temple at Mesa. It is not only important for the sacred ordinances performed for church members, but it is one of the show places in the Valley of the Sun. Its majestic, yet friendly, architectural lines are pleasing to the eye. The Temple grounds are landscaped with plants and trees from many parts of the world as well as Arizona. At the main entrance to the site is found a pool which mirrors the Temple and the Italian cypresses and welcomes the visitor.

The Temple stands on a twenty-acre tract in the east section of Mesa. U.S. Highways 60, 70, 80 and 89, running east and west, bounds the location on the north.

The need for a temple in Mesa, Arizona, was placed before the presidency of the Church in 1908. A second petition was made in 1912. After considerable correspondence, it appeared that the Church administration was about ready to act favorably on the question of a temple when World War I began in 1914. This delayed further action until 1919, when the present location was chosen.

On November 28, 1921, the late President Heber J. Grant dedicated the site upon which the Temple was to be built. The first ground was broken April 23, 1922. The actual construction of the building began on January 5, 1923, and the Temple was completed in October, 1927.

The architectural lines of the Temple might be termed an American adaptation of classic architecture, and it is said to resemble temples of ancient origin built in America as well as in the Old World. The exterior dimensions, including the annex, are 128 feet north and south by 184 east and west. The height of the building is 55 feet. The structure is surrounded by a four-foot parapet, which, together with the one-story annex, gives the Temple a terraced appearance similar to the Temple of Herod. This parapet not only gives a finished appearance to the walls, but also serves as the background for the frieze-work which decorates the apex of the walls.

As one writer has said, "The Temple was built so as not only to stand but to withstand the spoilation of nature and the ravages of time, as a veritable rock of ages, almost as perfect as if cleft by the hand of God."

The foundation footings of the main structure are ten feet, four inches thick, on the north; on the east and west, ten feet, seven inches; and on the south, twelve feet, six inches. On this foundation to the level of the first floor, the walls have a thickness of four feet. All concrete is reinforced with steel, some 130 tons having been used in the construction. Concrete pillars support the building, and to these are tied the concrete floors and roof.

The exterior walls are faced by fireclay bricks having an eggshell glaze, which gives the outside of the building a most pleasing and attractive appearance.

TEMPLE

The roof is practically covered by insulating material. The concrete was covered with a layer of hot asphalt, and imbedded into this was a sheet of linen one inch thick. Hot asphalt binds three layers of asbestos rag-felt to the linen. On top of this was laid a four-ply cap sheet of white asbestos.

The roof gradually slopes from the parapet toward the center, where a large skylight allows the sunlight to illuminate the interior of the building.

When refrigerated air-conditioning equipment was installed in June, 1954, all the remodeling necessary was drilling through the floor at the side of one of the many concrete columns to install the air ducts. Approximately twenty tons of galvanized sheet metal were used in fabricating the ducts for cool air.

All work in the Temple is based on the conviction that life beyond the grave is as much a certainty as is mortal existence. The majestic building in Mesa, as well as others which have been constructed, are tangible evidence of the assurance which members of the Church have that they go on living as distinct personalities after death.

The various instructions which are given and the ordinances performed in the Temple lead church members to a loftier expression of personal Christianity, in addition to an increased understanding of the eternal relationship of God and His children.

Among the ceremonies performed is that of marriage for eternity. Under its power, man and wife are united in marriage, not alone for this life under legal authority, but for all eternity. Under the power of the same priesthood, the blessings of the gospel are made available to all, including those who have died without a knowledge of the truth.

By the various ordinances performed in the Temple for the dead as well as the living, the family ties are maintained and strengthened for the life in the hereafter.

In order to obtain names of their ancestors every family is encouraged to do research and seek the record of their forebears. The genealogical work is an important phase of the life of every true Latter-day Saint.

To assist members (or other interested persons) the Church maintains extensive genealogical facilities. The Genealogical Library in Salt Lake City, with its huge accumulation of microfilm records, is said to be the largest archive of genealogical data in the world. In the rear half of the Bureau of Information, across the street west from the Arizona Temple, is found a branch of this genealogical library.

The actual temple work as well as the genealogical research affords an opportunity for many retired men and women to keep busily engaged in a fascinating activity. The value of such work from the psychological angle cannot be overlooked.

One of the great features for which the Temple is noted is that of the "gathering of Israel" in the latter days, depicted in friezes, dramatically and artistically drawn.

OPPOSITE PAGE

Exterior views of Arizona Temple at Mesa and views of famed Temple gardens were taken by Norton Louis Avery. Top shows the Temple from the east side, so impressive in design, creating a feeling of both peace and strength. The gardens, with cactus, citrus and many other trees, are especially colorful in March and April when the flowers are in bloom.

CENTER PANEL

"EVENING-ARIZONA TEMPLE" BY WAYNE DAVIS. This photograph was taken about 7 o'clock, one evening in early September of last year. 4x5 view camera, Ektachrome, ten minutes at f.16. The imposing structure, mirnored in the pool, attracts thousands of visitors to Mesa each year.

The friezes of the four corners of the Temple represent the nations coming from the "four corners" of the earth. Location is described by compass points. For example NNW indicates the north panel of the northwest corner.

ENE, facing the east, represents people from France and Switzerland, having just come down from the Alps on their way to Holland. Those in the rear are the Italians, the wife being anxious to join the group going to Zion, but the husband is unwilling to leave. Many from these nations have accepted the gospel and have become a part of the migration or "gathering."

NNE pictures the embarkation in Holland for the land of Zion, America. The German Saints are gathering their belongings in preparation to enter the ship. The Bulgarians and the Hollanders are embarking. The wooden shoes as well as the windmill can be seen in the background.

WNW, on the west, shows the arrival in America, the leader being an Englishman, followed by the Welsh immigrants in their native costumes. Those in the boat are the Irish, while the man in the rear, wearing kilties, is Scotch.

NNW. The Israelites have now crossed the plains and are within sight of the Rocky Mountains.

In their order, those in this group are the Norwegians, followed by the Swedish and Danish. These Scandinavian Saints as well as those from other countries were led by the spirit of gathering to the tops of the mountains where the Lord's House-the Salt Lake Temple-has been established in these last days.

WSW portrays one of the most remarkable journeys afoot ever undertaken in the annals of history. Beginning in 1854, approximately 4000 Saints crossed the plains from the Mississippi River to Salt Lake, a distance of 1400 miles, with their meager belongings in handcarts, pushed and pulled by the fathers, mothers and children of the families. These were Saints who were unable to outfit themselves with covered wagons and horses or oxen. In spite of the many hardships encountered all but two companies arrived safely in Salt Lake.

SSW. Here a Spanish or Mexican group who have left their old mission behind and are traveling westward to join the Saints. The Mexican people, being a mixture of the Spanish and Indian races, contain much of the blood of Israel, the Indians being descendants of Joseph, the son of Israel.

SSE. Here a group of Indians-Lamanites as the Mormons call them are traveling westward to unite with the people of Zion. They are being directed by the chief, his council and the medicine men and are traveling in the manner of their ancient forebears.

ESE represents a Hawaiian group who are peacefully pursuing their daily vocations. The young woman by the grass house is playing a ukulele.

The sketches for these panels were made by A. D. Wright, from native scenes which he had personally observed in his travels. Torleaf Knapphus was the sculptor who fashioned the models of the friezes, which were used by the California Faience Company, Oakland, to cast the friezes used on the Temple.

As one approaches the Temple from the west, which is the main entrance, the grounds are entered through wide gates. The walks skirt a large mirror pool in which is reflected the Temple itself. Continuing toward the Temple, the path leads to wide, low steps composed of artificial stone (the terrace walls are of the same material) to a court paved with smooth red and buff bricks, accented with tile inserts. To the right and left, other steps lead to the top of the terrace while directly ahead are broad Vermont granite steps leading to an open vestibule. This has a tile floor and vaulted ceiling which shelters the bronze-trimmed glass doors of the Temple. Over the entrance is the following statement in large gilt letters, "The House of the Lord, Erected by the Church of Jesus Christ of Latter-day Saints." These doors open into the west annex.

The west annex includes the front hall where recommends are checked. (Only members of the Church in good standing are admitted to the Temple. Each person is required to present a recommend certifying to his worthiness, signed by the bishop of a ward, or president of the branch of which he is a member and by his Stake or Mission President). Here also are the cloak rooms for men and women and a lobby or foyer from which doors lead to the Chapel, the President's and Recorder's offices,

OPPOSITE PAGE

The two views on the opposite page were taken by Wayne Davis and are the first color photographs ever published from the interior of Arizona Temple at Mesa. The top photograph shows a portion of the mural in the Creation Room. The lower photograph shows a portion of the mural in the World Room. The Temple was open to the general public during dedication ceremonies, but is now open only to members of the Church of Jesus Christ of Latter-day Saints. In making these striking color studies, the photographer used a 4x5 view camera, daylight type Ektachrome, existing daylight plus two No. 4 photofloods and one blue photoflash. Exposure, top, 16 seconds at f.8; bottom, 22 seconds at f.22.

The record vault, the clothing department and sanctuary. From the foyer, wide swinging doors open into a long hall which divides the lower floor into two departments. On one side there are dressing booths and ordinance rooms for women and on the opposite side similar accommodations for men. Over the door just inside the foyer is the inscription, "Blessed are they who obey the Gospel." Above the door to the main entrance to the Temple are these words, "Blessed are the Pure in Heart for They Shall See God." Above the main entrance door in the foyer are the words, "Holiness to the Lord." This spacious hall is two stories high, being lighted by a huge oval skylight of varicolored glass. The lower walls are of polished Tennessee marble. Leading to the upper floors are two broad stairways of the same material with graceful walnut hand rails and molded bronze banisters. The upper walls are covered with artists' canvas on which are depicted scenes of events significant in Church history. To insulate this area from disturbing annoyances in the foyer, there is an enclosure or screen just inside the entrance. It is made of thick decorative plate glass set in a framework of polished metal, with a pair of swinging doors of the same material. At the opposite end of the hall are doors leading to the baptistry. In the center of this room is the baptismal font. Twelve life-size oxen stand in a circle, with heads facing out, and on their backs rests the font. The oxen have the appearance of sculptured stone animals, but are of hard-burned, tile-like material of great durability. The twelve oxen represent the twelve tribes of Israel. The font is twelve feet in diameter and about four feet deep. Ornamenting the outside of the font is special tile work representing reeds, water lilies and other characteristic plants found near the water's edge in natural color. The font is depressed below the level of the balance of the floor. The floor of this room is of tile with a gray marble wainscot on all four sides. Long benches of the same material are along the north and south walls. On these two walls, reaching from the wainscot to the ceiling, are two remarkable paintings.

Joseph Smith and Oliver Cowdery kneeling in prayer and seeking light as to the necessity and mode of baptism. The area portrayed is on the banks of the Susquehanna River, in Pennsylvania. These murals were done by J. Leo Fairbanks, assisted by his father, J. B. Fairbanks, and his brother. In the east annex are the kitchen, dining room and laundry. Access to this department is from the east entrance and also across the open courts from the west annex. There are five rooms, each with a seating capacity of about 125 people in the upper story of the Temple, which are used in presenting the allegorical story of the progress of the human race. As one "goes through the Temple" he occupies each room where instructions are received. The first, or lower lecture room, is sometimes called the Creation Room. Here the paintings represent the creation of the physical universe from the fanciful standpoint of the artist. It might be likened to "matter unorganized," for the physical features have not been brought together as we know them today. The various forces of nature have not started their activity and man has not been brought into the picture. The artist was F. E. Weiborg. From this room, passing up three steps to the west, leads one to the second lecture room, which is often called the Garden Room. The room is covered with murals representing the Garden of Eden, painted by A. B. Wright. On the four walls are the sources of the four rivers that flowed from Eden. There are sylvan retreats, mossy dells, small lakes, trees, vines, flowers, insects, beasts and birds, in short, the earth beautiful-as it was before the fall. In every part and suggestion it bespeaks contentment and reposé. From the Garden Room, a flight of stairs, representing further progress, leads into a room depicting "the lone and dreary world." The walls are entirely covered with scenic paintings that are in strong contrast with those in the preceding room. Here the rocks are "rent and riven"; the earth-story is that of mountain uplift and seismic disruption. Beasts are contending in deadly strife, or engaged in murderous attack, or already rending their prey. All the forest folk and the wild things of the

mountains and deserts are living under the ever-present menace of death, and it is by death they live. Many of the trees are gnarled, misshapen and blasted and shrubs maintain a precarious root-hold in rocky clefts. On the west wall is a typical, outstanding desert scene for which the artist must have used the Painted Desert as a model. A coyote and two buzzards are fighting over some carrion. In one corner a destructive storm is raging.

Up another flight of steps in the progressive symbolism of the Temple, one enters the upper lecture room. The walls here are frescoed with ornamental friezes. These friezes and the arched tapestry entrances leading to the higher room above, Celestial Room, give a distinct beauty to the surroundings. The general effect is that of combined richness and simplicity. Following the elaboration of the World Room, this is restful in its soft coloring and air of comfort.

An upholstered altar stands near the east end of the room, with copies of sacred writ in place. In this room lectures emphasizing the practical duties of a religious life are given. It is, therefore, commonly known as the upper lecture room, but in view of its relation to the room that follows, it may, for convenience sake, be designated as the Terrestrial Room. At the east end is a raised floor reached by three steps, across which springs an arch of thirty feet span. The arch is supported by five columns between which hangs a silken drape in four sections. This is the "Veil of the Temple."

From the room last mentioned to the one now to be described, the passage leads through the "Veil." In