Dr. M. G. Kellogg designed and copyrighted the original picture entitled A The Way of Life from Paradise Lost to Paradise Restored.@  It was first advertised in the Review and Herald on May 27, 1873.  That same year Kellogg published a 15-page AKey of Explanation@ to accompany the allegorical picture.

The picture was an immediate success, and proved to be a great aid to Adventist evangelists in their efforts to properly present the relationship between the law and the gospel.  By 1876 James White had decided to improve the picture, and to produce a new descriptive brochure.  He wrote to his wife on April 7, 1876:

I go to New York in May to get out Way of Life and charts. . . .  Tell Willie that I begin my book on Way of Life next week, and will let him have it for Signs, piece by piece.

In July of that same year Ellen White wrote from New Jersey:

The Way of Life is to be revised and improved in every way.  The charts are to be considered and our pictures for books are to be engraved in New York.  There is enough to consider and plan and arrange and we hope to do this all with exactitude which will leave us no chance for regret. . . .

The designs of Way of Life are now to be presented to the artist, also Law of God charts.  This is a large business being carried on by Father just now in Philadelphia.BLetter 35, 1876, July 30, 1876.

James White's letters written during the remainder of the year indicated that much thought and planning were going into the new Way of Life.  He was planning to get Way of Life lithographed Aimmediately.@  But he needed money, and wrote to Willie on July 19 that he must have $1,000, Aif you can spare it.@  Willie, at Pacific Press, was expected to Ameet these expenses from sales of paper@ (James White, July 18-19, 1876).  Finally, on October 26, 1876, he wrote to Willie, AOne thousand Way of Life is on the way.@  This is the 1876 version, copyrighted by James White.

Four years later, Elder White began another revision of the picture.  He wrote to his wife:
 

I have a sketch also of the new picture, ABehold the Lamb of God.@  This differs from the Way of Life in these particulars: The Law Tree is removed.  Christ on the cross is made large, and placed in the center.  In other particulars it is about the same excepting the baptism scene and the city will be very much improved.BJames White, March 31, 1880.

In order to make the picture acceptable for sale to church people who did not believe in the immersion form of baptism, he planned Ato have one plate with baptism scene, one without it to sell to sprinklers@ (James White, September 16, 1880).

By this time Elder White's plans had expanded to include printing the picture for use in other countries (Ibid.).  In January 1881, he went to New York City Ato see Thomas Moran who is said to be the best artist in the world, in reference to the completion of steel engraving of Way of Life.  It will cost me $1,000 to get the plate. . . .  It will sell for $1.25@ (James White, January 16, 1881).

Further inspired with the power of the picture, James White next planned to publish a book to accompany it, enlarging the AKey,@ or explanation, already in print.  He would title it, AChrist the Way of Life.  From Paradise Lost to Paradise Restored.@  But this ambition was not fulfilled in his lifetime.  He died on August 6, 1881.  With the help of her sons, Ellen White undertook to fulfill her husband=s plan, and in 1883, a beautiful new steel plate engraving was copyrighted by Ellen White which placed Christ at the center of the plan of salvation.

In the spring of 1980 the staff of the Ellen G. White Estate commissioned Adventist artist Elfred Lee to render the AWay of Life@ picture yet again.  Working in the Auburn, California, church, Mr. Lee created a mural seven feet tall and ten feet ling, which became the centerpiece of the White Estate display at the 1980 General Conference Session in Dallas, Texas.

After the conference, the mural was placed on permanent display in the Ellen G. White Estate offices at the General Conference in Washington, D.C.    In 1989 it was moved to the new headquarters building in Silver Spring, Maryland, where thousands of visitors enjoy its striking beauty and take in its spiritual lessons. 

"The Way of Life from Paradise Lost to Paradise Restored."

1873

Dr. M. G. Kellogg, older half-brother of Dr. J. H. and W. K. Kellogg, designed and copyrighted this original picture entitled "The Way of Life from Paradise Lost to Paradise Restored." It was first advertised in the Review and Herald on May 27, 1873. That same year Kellogg published a 15-page "Key of Explanation" to accompany the allegorical picture.

The picture was an immediate success, and proved to be a great aid to Adventist evangelists in their efforts to properly present the relationship between the law and the gospel. Of particular interest is the large eye behind the tree bearing the law of God. Dr. Kellogg explained that this represented the all-seeing eye of God, who views humanity in the light of His law.     (See the 1876 revision.)

"The Way of Life, from Paradise Lost to Paradise Restored."

1876

By 1876 James White had decided to improve Dr. Kellogg's picture, and to produce a new descriptive brochure. His letters indicate that much thought and planning were going into the new Way of Life. Finally, on October 26, 1876, he wrote to his son William, "One thousand Way of Life is on the way." This is the 1876 version, copyrighted by James White.

Four years later James White began another revision of the picture. He wrote to his wife:

"I have a sketch also of the new picture, 'Behold the Lamb of God.' This differs from the Way of Life in these particulars: The Law Tree is removed. Christ on the cross is made large, and placed in the center. In other particulars it is about the same excepting the baptism scene and the city will be very much improved."--James White, March 31, 1880.

In order to make the picture acceptable for sale to church people who did not believe in the immersion form of baptism, he planned "to have one plate with baptism scene, one without it to sell to sprinklers" (James White, September 16, 1880).

By this time Elder White's plans had expanded to include printing the picture for use in other countries (Ibid.). In January 1881, he went to New York City "to see Thomas Moran who is said to be the best artist in the world, in reference to the completion of steel engraving of Way of Life. It will cost me $1,000 to get the plate. . . . It will sell for $1.25" (James White, January 16, 1881).

Further inspired with the power of the picture, James White next planned to publish a book to accompany it, enlarging the "Key," or explanation, already in print. He would title it, "Christ the Way of Life. From Paradise Lost to Paradise Restored."    (See the 1883 revision.) 

"Christ, The Way of Life"

1883

James White's ambition to produce yet another version of Way of Life was not fulfilled in his lifetime. He died on August 6, 1881. With the help of her sons, Ellen White undertook to fulfill her husband's plan, and in 1883, this beautiful new steel plate engraving was copyrighted by Ellen White which placed Christ at the center of the plan of salvation. 

A "Key" to the allegorical picture was printed the next year, from which the following comments are condensed: 

Key to the Allegorical Engraving Entitled  WAY OF LIFE

From Paradise Lost to Paradise Restored 

1. As a work of art, it commends itself to all lovers of the beautiful. . . . Its skillful grouping and its harmonious combination of light and shade . . . delight the cultivated taste, and suggest abundant food for thought. The conception of the picture . . . has never been satisfactory until it was brought out in steel by one of the best artists in the country, resulting in the beautiful engraving under consideration. 

2. The Theme. "The Way of Life from Paradise Lost to Paradise Restored." The picture presents, at one view, the history . . . of man as related to the plan of Salvation, from the first transgression to the close of probation, and the restoration of the race to its Edenic holiness. . . . Its central purpose is the 

EXALTATION OF THE CROSS

The death of the Son of God is given prominence as the great event in the plan of human redemption. In the light of this grand scene, all other events in the history of the race pale into insignificance. Around it cluster the hopes of humanity, and upon it hangs the destiny of the soul. Worthy of the first and best thoughts of writer or artist, it occupies the foreground of the picture, as the grand pivotal thought of the scenic composition before us.

Taking our position at the foot of the cross, we look backward in the history of man, and trace the steps which have led upward to the scenes of Calvary. The scenes which suggest the provisions of the gospel are enacted 

IN THE SHADOW OF THE CROSS

which is cast far back over the history of the race, reaching even to the gates of Eden. . . . The shadow . . . inspires faith and hope. . . . At the extreme left of the picture is presented a view of the 

EXPULSION OF OUR FIRST PARENTS FROM EDEN

Driven from the abode of their former innocence, in sorrow, shame, and distress, with the wrath of God hanging over them, represented by the angry clouds and the vivid lightning, they step into the shadow of the cross. . . . 

THE SACRIFICIAL OFFERINGS

Coming down the stream of time, we have . . . the sacrifice offered by Abel, who presented a lamb, which shadowed forth the death of Christ. . . . 

THE FAULT IN THE SACRIFICE OF CAIN

The failure of Cain to exercise faith in Christ is attested by the fact that his sacrifice was devoid of blood, or life, and by his anger at the acceptance of Abel's sacrifice and the rejection of his own. . . . He slays his brother, who falls in the shadow of the cross. . . . 

THE TYPES AND SHADOWS

Coming yet nearer the cross, . . . we find the system of types and shadows which . . . exemplify an active faith in the gospel. . . . We here have the penitent, confessing his sins on the head of the victim, showing his faith in the transfer of his sins to Christ by confession, in this figurative transfer to the typical offering. Realizing that the immutable law of God demands the life of its transgressor, he thus shows his faith in the promise of Christ to take upon Himself the sins of His people, and bear them "in His own body on the tree" (1 Peter 2:24). 

THE WORK OF THE PRIESTHOOD

We have, also, the advocacy of the priest, who, in behalf of the sinner, points to the offered sacrifice with one hand, forward to the cross with the other. . . . This also suggests the additional office of Christ as a priest . . . and connects the earthly sanctuary with the heavenly, from which, as Paul states in Hebrews 9:23, the sins of the people are purged "with better sacrifices" than the blood of bulls and goats, viz., that of the Son of God Himself.

Reaching the foot of the cross, the shadow ceases. We come now to the 

SUBSTANCE WHICH CAST THE SHADOW

Or, in other words, the event toward which the types and shadows pointed. These all ceased at the cross. . . . 

DECLINE OF PAGANISM

In the middle distance of the picture are seen the ruins of pagan temples and relics of heathenism, showing the decline of false religious before the true. . . . 

GOSPEL MEMORIALS

At the right of the cross the scene changes. No longer in the dispensation of types and shadows, we have in their stead the memorials of the Gospel, baptism and the Lord's supper. . . . 

They are placed at the right of the cross, in the picture, as showing their purpose in the Christian dispensation. The ordinance of baptism, performed once for the believer, at the death of the "old man" of sin, and his "putting on the new man," shows his death to the world, and exhibits his faith in the death, burial, and resurrection of Christ. The Lord's supper, to be celebrated at frequent intervals in the church, is emblematical of the broken body and spilled blood of the Divine Sacrifice for man; by which, "as often" as it is observed, the believer shows "the Lord's death till He come" (1 Cor. 11:26). 

WITH THAT COMING

is the glorious consummation which the artist has endeavored to present in the upper right hand corner of the picture. "In my Father's house," said the Saviour, "are many mansions." "I go to prepare a place for you; and if I go and prepare a place for you, I will come again, and receive you unto myself, that where I am, there ye may be also." Glorious promise! Paradise regained! The "many mansions" glisten in the light of the heavenly glory.

Looking back over the journey already trod, the "redeemed of Zion" esteem all their trials as but "light afflictions" in view of the "eternal weight of glory" to be realized in PARADISE RESTORED. 

See the 1873 original version and the 1876 revision (–above)

and the modern 1980 version (–below)

"Christ, The Way of Life"

1980 Elfred Lee, Artist

In the spring of 1980 the staff of the Ellen G. White Estate commissioned Adventist artist Elfred Lee to render the "Way of Life" picture yet again. Working in the Auburn, California, church, Mr. Lee created a mural seven feet [2.1 m] tall and ten feet [3 m] long, which became the centerpiece of the White Estate display at the 1980 General Conference Session in Dallas, Texas. 

After the conference, the mural was placed on permanent display in the Ellen G. White Estate offices at the General Conference in Washington, D.C. In 1989 it was moved to the new headquarters building in Silver Spring, Maryland, where thousands of visitors enjoy its striking beauty and take in its spiritual lessons. 

Reproductions of this mural, as well as the engravings copyrighted by James and Ellen White, are available from the Ellen G. White Estate.