New Painting Completed : Go Forth To Meet The Bridegroom by Elspeth Young

Copyright 2011 by Elspeth Young

Go Forth to Meet the Bridegroom
A painting of the "Wise Virgin," (oil on panel) by Elspeth Young

The Story in the Painting

This painting depicts one of the "wise virgins" from the Savior’s parable of the ten virgins (Matthew 25, Luke 12). With faith and determination, this young woman holds in her glowing hands the brilliant lamp of faith, hope, and charity. Its light—the light of Christ—is the only illumination in the darkness that surrounds her.

Symbolism in the Painting


The lamplight casts a warm glow on the gilded pilaster and wooden paneling of an entry, symbolic of the threshold those who are spiritually prepared for the wedding feast (the Savior’s Second Coming) will be invited to pass. Just as the flickering flame glints in her gaze, so the "light, and the life, and the truth of the world" (Ether 4:12) provides "the light which shineth in darkness" (D&C 6:21) to all who seek Him.

Given during the last week of His mortal ministry, the parable this virgin represents is intended specifically for the time in which we now live-—the last days "before the Son of Man comes" when "the kingdom of heaven [shall] be likened unto ten virgins" (see Matthew 25:1 in the Joseph Smith Translation of the Bible). It teaches all mankind to "be faithful, praying always, having your lamps trimmed and burning, and oil with you, that you may be ready at the coming of the Bridegroom" (D&C 33:17).

Within the parable, the Savior teaches the difference between spiritual wisdom and foolishness: "They that were foolish took their lamps, and took no oil with them: But the wise took oil in their vessels with their lamps" (Matthew 25:3-4). It is taking thought for the oil within the lamps that distinguishes those who use their knowledge wisely. Within the context of the parable, oil is the key to spiritual preparation for the Savior’s Second Coming. What, then, might that oil represent? The following thoughts are a list of possibilities:

Oil is mentioned throughout the Old Testament, and has always been part of the ordinances performed within the Temple. The very meaning of the Greek word "Christ" is "the Anointed" (see also Isaiah 61:1-3, Acts 4:27 and 10:38). Thus, the oil suggests that the virgin is a covenant-keeping individual. As such, sacrifice and devotion to keeping the commandments must be a necessary attribute of those seeking to keep oil in their own spiritual lamp.

Oil is also a vital element in the miraculous account of the widow of Zarephath. Her story illustrates that personal application of prophetic guidance keeps oil replenished. Just as the widow and her son survived a severe physical famine because of their faith in a prophet’s invitation, so those who hearken to the counsel of living prophets will have the spiritual sustenance they need—-a spiritual "cruse of oil" that will not "fail, according to the word of the Lord" (see 1 Kings 17:16).

Perhaps, no less significant to an interpretation of the parable is the context in which the Savior provided it. The story of the virgins is immediately followed by the parable of the talents, and then the story of the sheep and the goats. Within these parables the Savior teaches the need for the development and consecration of talents for the purpose of building the Lord’s kingdom, and of utilizing our gifts and means for the blessing of others, no matter how small and simple such acts may seem at the time. In this context, "oil" might symbolize day-to-day offerings of selfless service and devoted discipleship. Indeed, as illustrated by the parable of the virgin, such noble deeds cannot be accrued in the brief moments prior to the Bridegroom's appearance, any more than the foolish five were able to obtain oil for their empty lamps.

The prophet Samuel the Lamanite taught that "if your days of probation are past; ye have procrastinated the day of your salvation until it is everlastingly too late" (Helaman 13:38). The great missionary Amulek likewise encouraged: "Now is the time and the day of your salvation . . . For behold this life is the time for men to prepare to meet God; yea, behold the day of this life is the day for men to perform their labors." He also warned: "Do not procrastinate the day of your repentance until the end" (Alma 34:31-32). Only in the little thoughts and words and actions of daily devotion is it possible to accrue the oil needed in one's own lamp.

President Henry B. Eyring declares: "However much faith to obey God we now have, we will need to strengthen it continually and keep it refreshed constantly. We can do that by deciding now to be more quick to obey and more determined to endure. Learning to start early and to be steady are the keys to spiritual preparation. Procrastination and inconsistency are its mortal enemies" (Eyring, Henry B. Spiritual Preparedness: Start Early and Be Steady, October 2005 General Conference Address).

The herodian-style lamp cradled in the virgin's hands is a style of lamp known in Savior’s day, and reminds the viewer of Biblical symbols: "For thou art my lamp, O Lord, and the Lord will lighten my darkness" (2 Samuel 22:29); "For the commandment is a lamp; and the law is light" (see Proverbs 6:23); and "The light of the righteous rejoiceth: but the lamp of the wicked shall be put out" (Proverbs 13:9). Therefore, the lamp depicted here symbolizes the safety of commandments and covenants. Just as a lamp also enables the oil it contains to produce light, so also do the covenants, laws, and ordinances available through the Gospel of Jesus Christ provide the means by which our daily drops of oil give enduring meaning, validity, and efficacy to our time here on earth. Without the lamp, the oil cannot burn: Without the power of salvation inherent in the ordinances of the Priesthood of God, we cannot re-enter the Father's presence (see D&C 132:4-6 and 131:1-4).

The darkness surrounding the figure reminds us that darkness, or opposition, is part of mortality (see 2 Nephi 2:10-11). Without the Light of Christ, the ordinances of salvation, and the endurance of faith on His name to end, we see nothing clearly in this world. We do not even see ourselves, nor can we discern whence we came or where we are going. It is this "kindly light" that guides us, often but "one step" at a time toward that heavenly home whence we came (see Hymns, 97).

In the words of Elder M. Russell Ballard: "Truly the Lord encourages us to walk in faith to the edge of the light and beyond—-into the unknown. After the trial of our faith, He once again shines the light ahead of us, and our journey of faith in every footstep continues" (Ballard, M. Russell. Faith In Every Footstep, October 1996 General Conference Address).

Finally, just as the parable was symbolic, so the setting in which the figure appears is not necessarily intended to portray the architectural styles at the time of the Savior's presentation of the parable. After all, "of that day, and hour" of the Messiah’s Second Coming "no one knoweth; no, not the angels of God in heaven, but [the] Father only" (see Matthew 1:40, JST).

For This Child I Prayed -- The Real “Story In The Painting”

By Elspeth Young

One thing I’ve learned over recent years is that no painting is finished when it’s done. The subject matter and the symbolism a painting contains never ceases, as long as there are real people looking at it. In fact, the essays accompanying our paintings don’t even begin to really tell the "story in the painting," since that “story” adapts to meet the gaze of those who bring new perspectives, experiences, and insights to that image day by day. Just like the scriptures, themselves, provide a mirror for us in which to see our own life’s experiences and challenges and their solution, so any artistic expression invites personal application.

No painting I have created has shown me this truth more vividly than For This Child I Prayed. When I finished my depiction of Hannah and her infant son, Samuel, in 2008, I really thought it was done! Little did I know how many mothers and fathers, husbands and wives, grandfathers and grandmothers would enrich the “story” in that painting: how many soon-to-be-parents hoping to raise their child in righteousness would relate to Hannah’s noble parenting; how many praying-to-be-parents would identify with Hannah’s faith in precious promises foretold; how many families praying precious infants to earth knew first-hand stories of “miracle babies” every bit as miraculous as Samuel, though doctors had labeled such impossible. Countless have been accounts of seemingly “barren” parents for whom Heaven provided adopted children—equally miraculous answers to prayers of faith, and devoted sacrifice. I have even heard from mothers wearied by worry and toil, but lifted by the courageous parenting of such a one as Hannah. One particularly poignant story tells of a faithful father and mother blessed to hold their tiny newborn infant in their arms for just one hour before it passed beyond this “frail existence”—for whom even that “one hour” was another answer to their family’s heartfelt prayers and earnest fasting.

Several months ago, I heard from another new mother—Hannah-like-years in the making—beaming with the news that adoption of her new little son was being finalized so that a Temple sealing ordinance could take place, and their family could be forever. She wrote to ask if we had a pattern for the costume Samuel wears in the painting so that she could make her own (a unique and delightful request!). She wanted, Hannah-like, to sew for her son—one tunic in glorious white for the Temple, and one with gold trimming for his baby blessing. I replied that my father (Al R. Young) had designed and created the costume, itself, but that no pattern was extent (as he always amazingly whips up designs out of thin air—magical, really!). Apologetically, we simply sent her pictures of the tunic to help her in her task, hoping it might be of help.

A couple of weeks ago, we received the beautiful image of her newly sealed son grasping his new parents’ hands, and wearing his mother’s own adaptation of Samuel’s tunic as seen in the painting. So contagiously happy and miraculously wonderful was this little one that we couldn’t resist sharing this mother’s own “step inside" the scriptures.

The photograph, above, was taken by LaRell Steele, All Rights Reserved.