Last
week I took advantage of a free pass to Tacoma’s Museum of
Glass downtown. There were exhibits of modern Irish glass, as
artists came together to fill the hole left by the closing of the
famous Waterford crystal factory, which along with the closing of
three others had thrown hundreds of glass blowers and artists out of
work. There were some other exhibits, but that was my favorite.
The
museum has a working hot shop, and hosts an ever changing schedule of
artists in residence. There’s a gallery where you can come sit
down and watch as the team works and the staff member narrates. I’ve
visited it before, and I’m familiar with the basics.
More
because I was tired and wanted to get off my feet for a few minutes
than any other reason, I decided to go in and watch for a few
minutes. There was still time left on my parking meter, after all.
What
I found was the team working on something I’d never seen
before. The artists of the day were two men at a table,
painstakingly putting together a design they were copying off of an
easel, and the leader directing the gaffers who went into the
furnaces in turn with the work in progress.
Here was the image that was transferred to glass. Click here to see the entire process.
They
had already formed the first shape by gathering and blowing it, and
they had transferred the reproduction of a portrait onto that first
graceful bulb.
The
artist explained, in answer to a question, that the picture was coded
into a program that then printed it on a special type of resin, not
in ink but in ceramic. Then that sheet was placed on the surface of
the hot colored glass, smoothed, and sent into the furnace for a new,
clear gather to encase it.
Look closely and you can see faces in the molten glass.
I
know from previous visits that they have to have materials with the
same tolerances and expansion rates, or else the layers or colors
will break as they’re set in the annealing oven to be gradually
cooled. I could see a table below with other, finished examples of the
technique, as I watched them insert the piece into the furnace,
remove and blow, twirl and shape it with the paddles.
I
had a sudden flash of Alma’s question: “Have you
received his image in your countenances?”
And
now behold, I ask of you, my brethren of the church, have ye
spiritually been born of God? Have ye received his image in your
countenances? Have ye experienced this mighty change in your hearts?
(Alma 5:14)
The
Savior enjoined his followers, both in Matthew and 3rd
Nephi, to let their light so shine that others, seeing their good
works, will glorify our Father which is in heaven. One of my
favorite pieces in choir went, “The Lord bless you and keep
you; the Lord make his face to shine upon you, and be gracious unto
you. The Lord lift his countenance upon you, and give you peace,”
from Numbers 6:24-26.
Spiritual
light can indeed shine upon us and from us.
I
watched as the team continued. It wasn’t enough to meld the
portrait onto the surface of the honey-colored vase shape. It was
returned, one step at a time, to the furnace for another layer of
clear glass to seal it in, then another, and another.
Each
layer had to be formed then covered over, and at the end the bottom
was pushed flat so that it could stand. The portrait showed through
clearly, but now it was encased in luminous strength.
My
mother sent word recently of the death of an old teacher of ours, and
a convert, in our ward growing up. I thought of his story of being
sent to go pick up a man he didn’t know from the airport, who
was coming in on some sort of church assignment. Brother Morehead
asked what this brother looked like, or how he should identify him.
The instruction? “Look for the man with the Mormon face.”
What
was that supposed to mean? What kind of answer was that? Find the
man with a “Mormon face.” His delegator clarified: go
down to the gate as that plane comes in, see who’s left after
most of the people have been matched up, and approach the person who
seems to have that light of the gospel in him, and ask if he’s
so-and-so.
So
Brother Morehead went off dutifully but still uncertain, and blamed
if it didn’t work, he said. It made him thoughtful, and he
told us he mused on it often, that the spirit of the gospel should
be visible in us. He told us that sometimes somebody doesn’t
have that look, and sometimes someone might that isn’t a member
of the Church (but that meant they might be prepared to find it), but
most of the time it’s there.
Last
weekend our ward had a trip to the temple, all together on a
chartered bus. The person who paid for the bus is known only to the
bishopric, though some of us may have our suspicions. It was
something that we used to do years ago, and it was wonderful to be
all together.
Some
of us were doing endowments, and some were going to do baptisms; both
had been arranged with the temple schedulers. A few of our members
weren’t on the bus, but met us there because of logistics and
work schedules.
There
were forty participants in all. Five of our members who have not
been endowed yet did baptisms, and for three of them this was their
very first experience. (For the other two, it was only their second
time.)
All
but one are members of our current temple preparation class, and we
were excited to have them go. We have encouraged them to go to the
temple and do baptisms for the dead while they are waiting to take
out their endowments, because it gives them an opportunity to be in
the temple and feel the singular spirit there, and take part in the
work.
The
ones who did baptisms, though they were scheduled to begin a half
hour later than our session, were done far earlier than we were. We
found them waiting outside as the bishop signaled the bus to come
load us up to go home. Every one of them said that they had had a
wonderful experience; we didn’t need to be told, because we
could see their joy in the light of their faces.
One
sister who was there for the first time and walks with a cane told me
that all her pain lifted from her as she walked in the temple doors,
and didn’t touch her again until she walked out. She had a
profound experience.
Like
the glass piece, the first shape of ourselves takes Christ’s
image on top of it, but it isn’t done. It takes repeated
experiences of service, prayer, faith, and covenant to build up that
polished, clear layer of safety and strength. His light in us
shines, the more we continue in His paths, and it will draw his other
children in so that they may know Him too.
Marian J. Stoddard was born in Washington, D.C., and grew up in its Maryland suburbs. Her
father grew up in Carson City, Nevada, and her mother in Salt Lake City, so she was always
partly a Westerner at heart, and she ended up raising her family in Washington State. Her family
took road trips all over the United States and Canada, so there were lots of adventures.
The adventures of music, literature, and art were also valued and pursued. Playing tourist always
included the local museums as well as historical sites and places of natural beauty. Discussions
at home, around the dinner table or working in the kitchen, could cover politics, philosophy, or
poetry, with the perspective of the gospel underlying all. Words and ideas, and testimony and
service, were the family currency.
Marian graduated from Winston Churchill High School in Potomac, Maryland, and attended the
University of Utah as the recipient of the Ralph Hardy Memorial Scholarship, where she was
graduated with honors, receiving a B.A. in English. She also met the love of her life, a law
student, three weeks after her arrival; she jokes that she had to marry him because her mother
always wanted a tenor in the family. (She sings second soprano.) They were married two years
later and have six children and six grandchildren (so far). She treasures her family, her friends,
and her opportunities to serve.
Visit Marian at her blog, greaterthansparrows. You can contact her at
bloggermarian@gmail.com.
Marian and her husband live in Tacoma, Washington. Together they teach those who are
preparing to go to the temple for the first time, and she also teaches a Stake Relief Society
Institute class.