Q: Is this a painting of Moroni?

A: The passage in the story to which this painting refers says the Title of Liberty was raised on every tower in the land. Without such support, the incident in which Moroni tore off his coat, wrote on it, and raised it as a standard to the people would have remained an isolated incident. Unification of the people and their eventual victory would have remained impossible also.

This painting, instead of focusing on the creation of the Title of Liberty, focuses on that part of the story that was the bridge to victory. This is a painting of what needs to happen to good ideas and good causes. The main character in this painting could indeed be Moroni; nevertheless, and this is more to the point, he could just as easily be Lehi or Teancum or Antipas, or anyone who plays the indispensable part of rallying to the support of virtue. The main character could just as readily be you or me. And if liberty is to endure, it better be.

Q: How does this apply to battles we face?

A: I like to think of the word “Title” not merely as a standard or banner or flag, but as we frequently use it in terms of ownership. If we would be free, or if we would possess liberty, the things that Moroni wrote on his coat give us a title or deed to liberty as we act accordingly. For example, if I am working or striving to achieve something in life and I do so according to what Moroni enumerated in the Title of Liberty, I will not only achieve what I’m striving for, but I won’t lose my grip on liberty in the process. If I ignore the principles enumerated in the Title of Liberty, I may achieve the end I seek, but I will jeopardize and ultimately forfeit liberty in doing so.

In my mind and in my heart I need to have the Title of Liberty—what it says and what it means—flying over every intention, every endeavor in my life. Only then is a person secure in both striving and achieving. That is true in every personal battle or inner struggle, just as much as it is true for a society.

Q: How did you come up with text for the flags?

A: Using the characters in what is referred to as the Anthon transcript, I created a hypothetical set of characters, then arbitrarily assigned the characters to vowel and consonant sounds in the English language. This facilitated a transliteration, of the English text of the Title of Liberty, into the fanciful character set I had formulated. It’s actually possible to render any English words or phrases in the character set, which will prove useful throughout this project.

In the painting, the banner in the foreground contains a single word repeated three times. That word is “memory”. The flag in the background also has writing on it, which happens to be the full text of the Title of Liberty. Of course the wind has folded the flag so that only part of that text is visible.

Since the painting portrays events subsequent to the creation of the Title of Liberty, it portrays the kind of thing that might have been done among the Nephites as they incorporated the Title into their material culture.

Q: So this painting does not depict a battle alert?

A: It actually does depict an alert because they’re lighting the signal beacons, which suggests that danger is imminent. The time for preparation—as Moroni’s story portrays—is not when the armies of the enemy are boiling over the horizon. That’s the time to fight. Times of peace are times of preparation.

Q: Signal fires are not mentioned in the Book of Mormon.

A: The Book of Mormon is silent on numerous facets of the culture and setting in which its story occurs. That silence is a wonderful opportunity to supply the deficiency. And in doing so, I’m not trying to re-create what was, but trying to bring it to life. That effort is necessarily a blend of what is mentioned in the narrative with what might be imagined.

Towers are mentioned throughout the Book of Mormon. This painting combines the idea of signaling and communication—for which there is considerable precedent in ancient America—with structures like towers. Added to this is the idea of protecting such a communication link.

Q: Tell us about the horn.

A: One of the first things to remark is that the characters in the painting are trying to communicate in every way possible. They’ve got a fire lit, they’ve got very colorful flags, their clothing is colorful, and they’re making a great noise. They’re using every method available to enlist and inspire, to coalesce their strength and their resolve. That’s what we need to do, either individually, or in whatever group or organization we may be part of. This is a day in which to do this kind of thing regarding whatever is virtuous or lovely or of good report or praiseworthy. This in not a day in which loiter in the valleys and the low places of the world, but to seek the highest ground we can find in thought and taste and action, and then do everything in our power to make that which is good visible so that people can find it, and Heaven can bless it.

Q: Why did you choose an alpine setting for the painting?

A: Underlying all of the paintings in the series is a fairly detailed and hypothetical setting and material culture. This is being done in order to add coherence to the set of paintings as a whole. This particular image draws upon that setting and culture to suggest that the Nephites chose to flee into the mountains and that for several centuries had used the mountains as their defense. Their villages and cities being located within the “walls” of the mountains did not require fortification because the mountains were there natural fortress. But during the days of Moroni, as Nephites dissented and joined the Lamanites, there could have been a cultural and technological transfer. In this hypothetical setting, the mountains ceased to be the fortress they had been because the Lamantites, lead by Nephite dissenters penetrated the region. Moroni’s innovations, which came not long after the discovery of the Jaredite culture and the weaponry that the people of Limhi brought back from their discovery, is a time of great change in Nephite warfare and defense.

Q: What is the role of the other two characters in the painting? How does their position in the painting apply to us?

A: The man with the horn is out in front, and as with all leaders it can feel lonely out in front because one cannot always tell whether one is alone or not; unless you turn around, which can be dangerous. So, he’s doing an awful lot of believing about what’s behind him and what’s out ahead. And life takes that kind of believing about one’s past, present, and future.

The man with the horn also has a pike and a sword but no shield. He’s not invincible. Similarly, the man with the helmet and shield (who probably has a sword, even though it isn’t visible) is also vulnerable to various threats. And the man on the tower, armed with at least a bow and arrows, brings yet other strengths and weaknesses to the group. Together, the warriors constitute a formidable force. The composition isn’t just about gathering support for a cause, but combining strengths and weaknesses in ways that unify participants in a common cause.

Also, there are two flags and only one man that we can see holding one of them, so there’s more to this army than what we can see coming up over the brow of the hill. In our own lives, there are those whom we can see who are helping us, and there are those we cannot see. It’s a great mistake to suppose that we’re alone whenever we champion righteousness.

Q: Is there significance in your choice of colors?

A: The man blowing the horn is not trying to hide. It takes that kind of boldness and courage to do the kind of thing he’s doing. Hiding has its uses, but there are points at which you cannot hide-your-way to victory.