Volume 1 Issue 4 October 2009
Welcome
This month has been a really busy one for me with the ‘opening’ of the new Masonic season I have travelled far and wide on visitations and as I start writing this introduction I am making the final preparations for a trip to visit with brethren in Scotland. To top the face of a busy ‘masonic’ time I also had two bouts of illness within a week of each other maybe I am just getting old. We are blessed again with a great number of articles this month two of which you may recognise. The first being more wonderful art from Bro. Adam Kendall and you will also note I have reprinted the article on the Raigains Masonic rifle. I was contacted by the author (who was delighted we had included it but had a few minor corrections so please do read it again I’m sure you will agree once you’ve done so it will be most worthwhile. Sorry to say I was unable to complete the continuation of the Knights templar in Art series but it will be in the next issue but to keep those Knight fans happy there is a brief article on ‘The Roslin Templar’ Now time for the advert: As always I am in constant need of contributions to the newsletter and leave it up to you to define Art (I wouldn’t be so presumptuous). I am also very happy to let you all know the Masonic Art Exchange webpage http://masonic-ae.com continues to grow and I am also looking for contributions to the site as well.
This months contents:
Cover image: ‘S&C in chains’ by Stephen McKim
Happy Halloween Introduction to Volume 1 Issue 4 Page 3: ‘The Great Archetect of the Universe gave us the canvas What will you paint?’ Page 5: Freemasonry in the Popular Culture. Page 9: The Lost Symbol: A review in two parts. Page 17: Poem to a Newly raised Brother. Page 21: Who is the Rosslyn Templar? Page 19: Adams ‘Photographic’ Art Page 34: The Ragains Masonic Rifle. Page 37: Emile Norman 1918 – 2009 Page 39: Samples
Finally, thank you all for taking the time to support this project and am going to ask you to take careful consideration of the donate button on the webpage a donation as little as €2 each could make this project continue to run and expand. I look forward to hearing from many of you soon. Yours Fraternally David Naughton-Shires Ormonde Lodge #201 (IC) MAE President & Founder
Page 35: Recommendations and end note.
________________________________ The opinions expressed in this newsletter represent those of the individual authors and, unless clearly labelled as such, do not represent the opinions or policies of The Masonic Art Exchange, any Masonic Lodge, Grand Lodge or recognized Masonic body.
Our story begins in 2003, when a new Ford pick-up caught the eye of Steve McKim. As he took in the flowing metal contours and the
gleaming surfaces of this mechanical masterpiece, his eyes landed upon that shining blue oval, bearing the silver signature of the name of the manufacturer. At that moment, he was struck with this thought; “Why is it that the builder of a pick-up truck has such a great logo, when the World’s oldest and most respected fraternity is represented by third rate art?” You have seen his work; on websites, in magazines, on coffee mugs, jackets and T-shirts, even on postage stamps. Those brightly colored, three-dimensional, computer generated Masonic graphics, featuring
the working tools of the operative and speculative Master Mason, or the insignia of the Appendent Bodies, which appear to have been made out polished metal, wood, or stone, and whose mirror-like surfaces reflect all adjoining objects. His work is uncredited and, far too often, it has been appropriated for commercial purposes to which
the “enterprising entrepreneur” has no rights. And just as Woody Guthrie’s music often appears in song books as “American Folk Tune,” so is Steve McKim’s artwork passed back and forth across the World Wide Web, without attribution, as though it merely appeared from out of the ether. The New Testament informs us that a prophet is without honor in his own country and, while Steve McKim is virtually
unknown in his home state of Indiana, he has received honorary memberships and letters of appreciation from Lodges and Grand Lodges throughout the World. As a matter of fact, Steve credits Brothers Duncan Russell of Scotland, and Blake Gardiner of Montana, as the parties responsible for bringing McKim’s Graphics to the Worldwide Web. Stephen McKim was born and raised in Lafayette, Jefferson High School in 1972. He has been married to his wife Deb for 32 years, and they have three (3) adult children who live in Lafayette. For the past fourteen (14) years, Steve has been an employee of Caterpillar of Lafayette, where he makes his living as an assembler of large engines. I was introduced to Steve McKim, via the Internet, through a series of e-mail exchanges initiated by Andy Jackson, in an effort to promote our shared interest in all things Scottish, Masonic and Templar, (and not necessarily in that order). I began signing our exchanges, “Carson the Black,” while Stephen signed his, “Stephen the Arsehole.” One Saturday morning, my phone rang and, when I answered, a deep voice on the other end of the line, in a perfect Scottish brogue, said, “Would this be Carson the Black?” We made arrangements to meet face-to-face at Founders Day 2007. Following our introductions at the Scottish Rite Cathedral, Steve, Wilbur Smith, Joe Korschot and I took an “extended lunch break” at the Elbow Room, where we resolved all of the World’s problems. A few days later, I received a message from Steve saying, “Congratulations, you’re an Honorary Member of Octagon Lodge No. 511.” When I asked why, he simply said, “’Cause we like you.” Hoosier author Kurt Vonnegut once observed that Midwesterners have, by nature, a generous disposition, living, as they do, in what
appears to be an endless Eden, stretching in all directions. That character assessment is certainly applicable when one is introduced to my friend and Brother, Steve McKim. He is Past-Master and Secretary of Octagon Lodge No. 511, which meets in Battle Ground, Indiana. A big man, with a big voice, thinning gray hair, and sporting a beard and mustache, you can easily imagine Steve as a Medieval Knight, a Highland Laird, or a Civil War General. And yet, despite his imposing presence, he carries himself with that self-deprecating, “Aw, shucks, ma’am,” attitude that Americans love in their Matinee Cowboys, and his big heart burns with a desire to simply delight his friends and Brothers with the gift of his own Masonic artwork, for which he has received narry a penny. More than once I have said, “Steve, I want to be your agent,” but we have agreed that 10% of nothing is still nothing. Growing up in rural Indiana where, on a good day, you got three TV channels, the only way to avoid boredom was to be creative. Steve and his brother Mike would spend hours drawing and, as often as not, they would find their inspiration in the comic book heroes of our childhood, Superman, Batman and the entire Pantheon of DC Comics. Not surprisingly, his taste in art trends towards the traditional, the photographic or representational, as opposed to the abstract. Steve credits his parents for instilling in him a willingness to explore new fields, and new areas of artistic expression in particular. While Steve’s father never became a Mason, Steve has often said that he lived his life as an ideal Mason; honest, hard working, firm but fair, and fully persuaded that nothing is impossible. When Steve attended Purdue University in 1973, he took a class in FORTRAN and hated it. He was introduced to his first personal computer when his brother Mike, who made his career in the USAF,
bought a Commodore 64. Steve recalls that it took hundreds of lines of code to make a ball bounce on the screen. As Mike continued to upgrade, Steve acquired his castaways, developing greater and greater degrees of computer proficiency. Steve’s introduction to digital computer graphics came 15 years ago with his acquisition of Corel’s Painter software. In time, he upgraded to the Bryce animation and landscaping program and, despite improvements in his software, Steve continued to use Corel’s Painter to add greater detail to his work. According to Steve, some of his creations can take up to 40 hours to complete. In assisting me in the preparation of this article, Steve asked me to be sure to mention his Uncle Murl with whom he would spend his summers. Murl Sandage is a member of Branchville Lodge No. 496 in St. Croix, Indiana. He is a farmer and a logger, he works long hours in difficult and dangerous conditions, but he always managed to make time for his nephew. Uncle Murl took young Steve with him as he made his rounds. He greeted everyone with a broad smile and “a
funny handshake.” Steve recalls, “You would be surprised how many men in Perry County were named Hiram.” And, although Steve credits his Uncle Murl as the reason he became a Mason, he calls his wife Deb his muse and his inspiration saying, "Without her love and patience, there would be no McKim’s Graphics." Carson C. Smith, Worshipful Master Century Lodge No. 764 F&AM
References to Freemasonry in movies, books and television have a wide range of appearances from humorous or heroic to evil. Mostly they are merely misinformed allusions from which Freemasonry. Most recently television shows such as Vanished and Bones on the Fox Network have aired references to Freemasonry. Several years ago the cartoon Simpsons had a parody on a Masonic Lodge. Recent popular movies such as National Treasure and The Da Vinci Code have had Masonic themes. Few people realize that Freemasonry has often been referenced in movies, almost as long as movies have been around. In Bobby Bumps Starts a lodge (1916) young Bobby Bumps plays a trick on his friend who wants to be initiated into his lodge. When his friend outsmarts him and saves his life, they both agree to be initiated into the lodge together. Reference is made to a lodge apron, riding the goat and the third degree.
In Across the Pacific (1942) Humphrey Bogart is an American Army officer expelled on false charges of treason. In a shipboard scene, ju-jitsu exercises performed by Chinese sailors are compared to the initiatory nature of Freemasonry. In L'Ă‚ge d'or (1930) to avoid arrest, Gaston Modot, as "the Man", produces a special delegate certificate, given to him by the International Goodwill Society. Although not immediately recognizable by the non-mason, it clearly displays a Masonic design with an all-seeing eye in a radiant glory, two pillars with globes as well as three candlesticks on a checkerboard flooring. The Man Who Would Be King (1975) Based on a Rudyard Kipling story. Mercenary soldiers convince Kafiristan tribespeople that they are gods after discovering masonic symbols on religious artifacts. During Who Framed Roger Rabbit (1988) Roger hides out in a theatre house, and sees a news reel high -lighting a Shriners parade. What Planet Are You From? (2000) Garry Shandling plays Harold Anderson who is an extraterrestrial working as a loans officer in a bank. His manager, Don Fisk played by Richard Jenkins, wears a Masonic lapel pin.
In Dolores Claiborne (1995) Delores' bank manager who is wearing a square and compasses lapel pin tells her that her husband has emptied their joint savings account. During The End of Days (1999) Arnold Schwarzenegger plays a former police officer who carries an amulet. At one point he says "Now this amulet is from a Masonic order in the former subheredom of the Vatican Knights, the Knights of the Holy See. They await the return of the dark angel to earth."
In the movie, League of Extraordinary Gentlemen (2003) The square and compasses appear four times: twice in close-ups of an oversize Masonic ring worn by the Phantom, a villain who tries to ignite a world war at the turn of the last century in order to create a market for his futuristic weapons and once on the office doors of the founder of the League, "M", who is later revealed to be the same person. No other reference is made to Freemasonry. A shot of the square and compasses—four big shiny ones that flash and sparkle in the light as the door on which they're mounted closes—also appears in the trailer.
Tombstone (1993) is a retelling of the gunfight at the OK Corral and its aftermath. Jon Tenney, as John Behan, Cochise County Sheriff wears a square and compasses watch fob. Also in Tombstone, Buck Taylor, as Turkey Creek Jack Johnson, wearing a square and compasses pendant responds to Val Kilmer’s Doc Holliday saying he has no friends by saying, "Hell, I've got lots of friends." Movies, books, and television shows frequently have and continue to use Masonic references. This may be used to justify a position, such as banker’s being upstanding members of society and thus Freemasons or an evil mastermind trying to take over the world. It could simply be
Volume 1 Issue 1
Welcome
May freedom, harmony and love Unite you in the grand design, Beneath th' omniscient Eye above, The glorious Architect divine; That you may keep the unerring line, Still rising by the plummet's law, Till order bright completely shine, Shall be my prayer when far awa'. Adieu, A Heart-Warm, Fond Adieu Robert "Robbie" Burns (1759-1796) Faรงade of the Freemasons Hall, Molesworth Street, Dublin. Photo by D Naughton-Shires
Part 1 The Lost Symbol – a review. This article first appeared on the Masonictraveller Blog on September 21, 2009 and we have been kindly given permission to reproduce it here. I need to approach this review in two parts, one from a reader lay perspective, and one from a Masonic perspective. The Masonic perspective can be found at the latter end of this article. Dan Brown’s new book, The Lost Symbol, reminded me of a parable. A parable is a story embellished with perhaps some grains of reality to convey a broader idea of truth. Dan Brown in his new book, The Lost Symbol, has artfully woven an update of an ancient parable into a modern suspense novel that features prominently the one group that should be most apt to see the connection, the Freemasons. Freemasonry, a fraternity “veiled in allegory and illustrated by symbols”, is central to the plot under pinning’s, but by its end, merely the back drop by which the modern parable is played out. Brown, at his finest, is a genius at writing parables. ‘The Da Vinci Code’ is a prime example, the telling of the story of the Christ, but not as a divine emanation of God, but rather a mortal man who walked the earth like the rest of us. Brown’s novel was a work of fiction then, just as it is now with his release of ‘The Lost Symbol’. But artfully, he weaves in elements of reality and fact, so as to set his stage onto which the story unfolds, perhaps to give it a greater link into reality, or to simply paint enough real figures into the work so the less (or not real) elements blend in to diffuse with the rest. The more believable the story, the more real it feels for the reader.In his latest book, The Lost Symbol, Brown brings the story immediately to your feet, sweeping the reader into the air with anti-hero Robert Langdon. These first steps, however are only after a mysterious initiation with libations from a skull. Better to start the mysterious early. With this rapid start, and dubious ceremony, Brown wastes no time in introducing the cast of players and introducing suspicions of who is and who isn’t to be trusted. It works for Brown’s novels; they are after all suspense thrillers. With our cast in place, the story then begins to unfold at whip shot pace.
I do wonder if the book was conceived on a walking tour of Washington , as in the unfolding pages, the actions and activities seem to be bullet points on a map of D.C. rather than more well thought out (or conceived) stages. It seems most of Langdon’s ah-ha moments happen in the less important rooms of these Washington landmarks. Sub sub basements, kitchens, and church offices hardly seem as sexy as the Vatican library, but their mundane setting is really the same places all of us have time to reflect and think in our day to day life. This secondary settings may be a clever illusion to the importance of the idea of discover of the inner sanctum to which we each must travel for our own discoveries, but again, this is Dan brown, and he is writing about the allegorical and symbolic Masons, so you must treat the text with just as much symbolic verve. And Brown’s use of these locations give clues to the broader idea of the story too, the chamber of reflection in the U.S. Capitol (inner journey), the Library of Congress (learning, knowledge), and the National Cathedral (where church and state meet). Science plays an interesting role in this book too, and with another Masonic twist. The nascent field of Noetic Sciences features large here, but not in a first person the reason de etre way, but in a “this is similar to this” allegorical way. Religious mysticism (of all religions) is really at the core of this new science, but besides being an early plot point and step stone to link Freemasonry, mysticism, and Noetic Sciences , the new science field really doesn’t come into play, in the same way it did in Angels and Demons. It was, almost, another symbolic back drop to the whole story, interesting, and connective, but not vital, not the story itself. As I mentioned, this review will be split in two, and the goal of the 2nd is to look more at the Masonic connections and connotations. But as the book itself was about Freemasonry, it is important to note that Brown’s treatment of Masonry was very tender, almost too much so. Early on, Brown goes to GREAT lengths to debunk and say what Freemasonry isn’t, covering the “is masonry a religion” issue, and even guffawing at the notion of secret geometric grids in the streets of Washington.
Even the infamous MASON on the great seal on the back of the 1 dollar bill gets a quick walk on, only to of been used as a dodge for something else. Brown really did write this book with the fate of Freemasonry in mind, in parts almost writing as if he were creating one of our own brochures (perhaps off which he copied his passage) saying very strongly in his main character’s voice “In this age when different cultures are killing each other over whose definition of God is better, one could say the Masonic tradition of tolerance and open-mindedness is commendable.” Brown does go out of his way to weave in all manner of Hermetic, Gnostic, Rosicrucian, and Cabalistic ideas into the offering, but not in a way to dominate the reader into submission of belief, but to paint the picture that the ideas of Freemasonry, in their age and wisdom, are not wholly a Judeo-Christian construct, more on that in a bit in part 2. Like past Brown novels, the story soon out paces the stage settings and takes over as a thriller and this book is no different. Its pace reaching a fever pitch of intrigue, manipulation, and murder, while embroiled in the ancient mystery of a “Masonic pyramid”. There are a few gasp moments for the reader, and plot spins that I didn’t see coming until hit square in the face by them. And the story winds out with a tragic dilemma, which brings me back to the idea that the story itself was a modern retelling of an ancient parable.
SPOILER ALERT The parable I mention is from the bible. In that sacred text, very early in Genesis (chapter 22 to be exact) Abraham is commanded by God to sacrifice his son Isaac as a show of his allegiance to his faith in God. In that past parable, the test of faith is tremendous as the eldest born of Abraham is the greatest sacrifice that he can give, and give he does, willing at the command of God. In the very last seconds, Abraham is spared, his faith proven, and a ram is substituted for his son.
Caravaggio (1573-1610) The Sacrifice of Isaac
In the climax of The Lost Symbol , that same test of faith is presented, but for a different outcome. As Abraham was to be the one giving sacrifice, the protagonist of the story, Peter Solomon is in that Abrahamic position, and knowing what the consequences were for the sacrifice he was forced to make, he still chose to not make that sacrifice, choosing to follow his heart. Symbolically, in a book about allegory and symbol, it stuck me that the story was alluding to a transition from one of Abraham’s blind faith (as an external salvation, doctrinal, dogmatic, and absolute), to man believing in the faith within us, that by our acts and intentions we were communing with the divine, which is a Gnostic outlook that sacrifice, in totality, is not necessary and in the end destructive. The reason for this conclusion seems to me to be based in the preceding pages as repeatedly the ideas of the Hermetic law were repeated and stressed (As Above, So Below) and the bomb of the protagonist was not one of physical destruction, but of ideological chaos. To sacrifice the son would still bring chaos, absolute destruction, personally and publically. The story wraps up and all the loose ends become tied in the neat bows that Brown manages to make following so many leads and loose ends. But the way in which the book reached its crescendo, not in a fiery explosion or an earth shattering revelation of biblical purport, was lack luster. The inclusion of the CIA, the cavalcade of 33rd degree masons and publicity of the who’swho of Washington seemed to me an interesting plot point, but hardly reason to blow up historical property, and murder several innocent bystanders, but then, this is a suspense novel, and this ‘YouTubian’ plot device was just as much a stage setting as the Masons themselves (twitter even got a mention to put the story in a contemporary but soon to be outdated setting). Really, would the world be so traumatized to see people, who are already pretty open about being Masons, being Masons? In the end, it was a good book, fun, flighty, suspenseful, with a few a-ha and gasp moments. Was it worth the 5 year wait, I’ll let you be the judge, but it was a nice testament to Freemasonry, and very tasteful in its portrayal of the ancient and honorable fraternity, to which I say thank you to Dan Brown. I give the book 7.5 out of 10 stars, and can say that I enjoyed reading it, and I think that you will too.
The review CONTINUES AFTER THE ADVERT ON THE NEXT PAGE……
Part 2 The Lost Symbol – it’s the symbol of the symbolism. The reason to approach the review in 2 parts is that in the aftermath of National Treasure , Freemasons were well versed to talk about the founding fathers and the Knights Templar. With the lost symbol, lodges and individual Masons need to be just as prepared to talk about Hermetica, Gnosticism, and symbolism, especially as the book speaks to the wide tolerance of the fraternity to all faiths. Key points brought up in the book start at the very prologue in the Quote from Manly P. Hall’s The Secret Teachings of All Ages when he quoted “To live in the world without becoming aware of the meaning of the world is like wandering about in a great library without touching the books.” Brown circumvented the patriotic picture of Washington (the man) and went directly to the post war enlightenment that tapped into the ideas of Francis Bacon’s New Atlantis and Hermetica ’s deism (all faiths beginning at one source). In The Lost Symbol, Pike gets a quick mention, but the Scottish Rite’s deep resonance with the ancient mystery schools was very clear and it is my supposition that those who are attracted to the fraternity following this book will come with those things in mind, and in coming, they will want to talk about and find resonance with the fraternity. So, to the question, is the symbolism right, did Brown get the symbolic connections remotely correct, or did he tap into the wide field of myths and supposition that exists at the foot of the “Masonic pyramid?” Often, that answer is an individual one, that many tend to think totally out of line with what the modern fraternity represents. It is more social than esoteric, the symbols are just that symbolic, and no further reading need be made into them. Or even harsher, that the symbols were important in the past, but today they are meaningless. I think the answer lies in the school of Masonic thought that you find yourself in. Some of the Key texts that Brown refers to are the Kybalion, written by br. Paul Foster Case under the pseudonym the Three Mystics, The New Atlantis, mentioned above, by Francis Bacon , a mere 6 years following the founding of the “new world” and the landing at Plymouth Rock in 1620.
He also references Albrecht Durer, the prolific artist of the Renaissance who created many images, including Melencolia I, often seen as the height of the Christian Mysticism in art, as it depicts the confounded and pondering mystic and the materials of his practice. Each of these are bits and pieces outside the sphere of the three degrees, but still factor large (or should) in the study of Freemasonry.
One element that Brown focuses on is the alchemical symbol of gold, something in Masonic circles is referenced to as the point within the circle, what Brown calls the circumpunct, that all Masons recognize as being flanked by the Holy Saint John’s and crowned with the Volume of the Sacred Law. The individual symbols are not so much the concern from the book, but the level of readiness over the ease of disregarding them and the discussion of their meaning. Is the lodge room ready to talk symbolism and its speculative nature? Are you, reading this now, ready to dialog with an interested party on the symbolism even on a surface level? I think all will agree that the book is a work of fiction, but even a work of fiction unless wholly constructed with imaginary creatures and alien landscapes will still speak to and communicate a message, and Freemasonry needs to be ready to speak to that message even if it includes flights of fancy and imagination. Central in Brown’s fiction is Freemasonry’s connection to the ancient mystery schools, and like it or not, that will be the message that those who have read the book will come to the lodge seeking.
Few will likely come away with the greater subtext of the fraternity and the its more visceral purpose, the unification of like minded men, the sincerity of the belief that Masonry teaches something deeper than an inexpensive spaghetti dinner and some handshakes between strangers. The Lost Symbol will ultimately be a good opportunity for Freemasonry to shine and inspire those new to its doors to seek out more. But it will definitely require us to be on point and be able to answer the questions put forth by those newcomers.
Brown mentioned it at the end of his book, the words on the back of the tylers chair at the House of the Temple, “Know Thy Self�, but I would add, in knowing our self, we will know the divine.
With cheerful and honest heart, Accept the honors and the signs. Remember those who came before, Apply the lessons to your life. The oath taken solemnly, Is yours to hold and keep. An honor like no other, As a snow-white field is deep.
Kevin Noel Olson is the accomplished Author of many children's fantasy and retro adventure fiction books he is the Worshipful Master of Butte Lodge #22 A.F. & A.M. – Montana, and a member of Mullen Pass Historic Lodge #1862 and 32nd Scottish-Valley of Butte York Rite. He is also an active member of The Masonic Society He has written many pieces of poetry some of which he has kindly said we can present in coming months. This month we are presenting ‘Poem to a newly made Brother’ I was privileged enough this month to be present and take part in the Entered Apprentice Degree of my Brother in Law and have a great respect for this poem. He was received into the Lodge by his Father which made for a great celebration.
The working tools now learned, Are indispensable to your labors. Use as guides to perfect the works, That among Masons you find favor. You set a foot upon a path, To journey toward achievement. For you, no blazed trail or map, Your journey is unwritten. With free mind you will find, A rugged stone to build, A Temple unseen heretofore, To adorn the rocks and hills. You'll travel through your time, And hew away the edges. Until it is pleasing and fit, To fairly please the judges. You have taken one bold step, As another said before. No small step for man, It be one great leap forward. So I leave you my brother, To learn and contemplate, The lessons and their meanings, In this Masonic state. A fealty of us you ask, And one you rich deserve. Learn from the teachings, For those as guides will serve. So take this token offered, Plant the seeds in mind. Nurtured it will grow, The fruits will treat you kind. My brother, I further propose, That you further seek and delve. finding you had no ounce, And richer you found; YOURSELF. If this poem is not clear, I offer hope it will be. In future times you look, Through the mists of mystery.
We are always looking for submissions if you have any poetry you’d like to submit send it to us at subs@masonic-ae.com
My brother now I make a prayer, 'Lord, offer guiding light. For this seeking Brother, Sets out this very night.' AMEN
Poem To a Newly-Made Brother
My Brother I now address you, How clear the words ring in my heart. Remember the lessons you have heard, It is now your duty to protect the arts.
A warrior lost in time..... charged to travel from era to era always alone, protecting, laying down his life. From the battlefields of the Holy land the unknown Knight is thrust into an eternal battle, a battle that must be won to save humanity. 'The Templar' is a six part graphic novel starting in the autumn of 2009 http://templarcomic.com
With the publication of its 5th Journal ‘The Masonic Society’ has entered it’s second year. For more information on this great publication see their website: www.themasonicsociety.com
Rosslyn Chapel Tour (Half Day) Our most popular tour Rosslyn Tours offers you the convenience of a courtesy pick-up from your accommodation in luxury transport where we travel 7 miles south of Edinburgh to the 15th century medieval Rosslyn Chapel. You will receive a full guided tour with our local, friendly and knowledgeable tour guide who will enlighten you in the mysteries of the Knights Templar and the many secrets surrounding Rosslyn Chapel, as well as the historical facts. We give you the opportunity to browse the shop and relax in the tearoom for refreshments if desired. There is also a small trail through Rosslyn Glen leading to Rosslyn Castle where you can admire spectacular views of the rich wooded glen from the ruins of the castle (optional and weather permitting). The comfort of luxury transport back to your accommodation or city centre drop-off then awaits you.
Rosslyn Chapel Guided Tour ONLY (Half / Full Day) If you are making your own way to the chapel, our guide can arrange to meet you there for a full tour as per a half-day tour.
Rosslyn Chapel & Templar Tour (Full Day) This full day tour allows you to investigate Rosslyn Chapel in the morning as per the ½ day tour above. We will then move on to the village of Temple (Balantradoch) to visit an old ruined chapel and burial site where the Knights Templar based their headquarters in the 12th century. This tour is suited to those who want to investigate the Knights Templar beliefs further with a stop-off for lunch at the medieval 15th century Dalhousie Castle or the 5 star Melville Castle set in acres of woodlands. Seton Collegiate Church on the beautiful east coast of Edinburgh is also included in your full day tour from April - October.
Rosslyn Chapel & Borders Tour (Full Day) Visit Rosslyn Chapel in the morning followed by lunch, we then head South to the beautiful Borders town of Melrose to visit the 12th century abbey, where Robert the Bruce's heart is said to be buried. We then travel onto Abbotsford House the home of Sir Walter Scott, the 19th Century novelist, who was fascinated with Rosslyn Chapel. He wrote of the 20 barons that lie beneath Rosslyn Chapel referred to, in his work titled 'The Lay of the Last Minstrel'. Many believe Scott took the secrets of the Grail to his grave. We visit the house, grounds and the library which is filled with Masonic symbolism.
Rosslyn Chapel & Glen Full Day Tour (April-October) (Half / Full Day) Visitors requesting a longer stay in Roslin can opt for the morning Rosslyn Chapel ½ day tour then explore Rosslyn’s rich wooded glen in the afternoon with lunch nearby.
New Tour For 2008 - 'Rosslyn Chapel & Gilmerton Cove' Gilmerton Cove is a series of hand carved passageways and chambers that lie below ground to the south of Gilmerton crossroads. The entrance to the Cove is through a visitor centre adapted from a traditional mining cottage. This cottage houses imaginative audio and visual displays that depict the various theories behind the origins of Gilmerton Cove which, after extensive archaeological and historical research, still remain a mystery. These include theories that it was the unique work of an 18th century local blacksmith George Paterson, a drinking den for gentry, a refuge for persecuted Covenanters, a Knights Templar hideout and a smugglers lair. Decide for yourself what secrets this curious place still holds. As featured in ‘Cities of the Underworld’ and ‘Scotland’s Sin City’ DVD.
Our expert guide will advise on Roslin’s rich variety of woodlands and wildlife. You can explore the ruins of Roslin’s explosive past where the old gun power mill lies. For the more active – Wallace’s Cave is situated nearby where it’s said, William Wallace hid up to 70 men during the Battle of Roslin in 1303. Alternatively, enjoy the light trails that surround Roslin Glen Picnic Park and take a short stroll to admire the beautiful River Esk.
We can be contacted on 0131 440 3293. Alternatively, you can write to us at: Rosslyn Tours, 3B Station Road, Roslin, Midlothian, EH25 9LP, UK. info@rosslyntours.co.uk
Further information and a video clip can be viewed at www.gilmertoncove.org.uk
In his new book ‘The Rosslyn Templar’ Ashley Cowie enters into quite a deep examination of the image and relates it to the many orders who currently use the title ‘The Knights templar’ and from his examination he concluded the image depicts a man who is dressed in a combination of uniform derived from many sources. An interesting point in the image is the placing of a staircase in the Lady’s chapel which ‘could’ lead to the question, is it the entrance to the much sort after treasure of Rosslyn chapel or just a misplacing of the staircase which leads to the crypt which is still in use today by the many visitors to the famous chapel? These questions and many more have been studies over the years and many different conclusions have been reached some plausible some possible and some just a joke (as a side note I would recommend any true student of Rosslyn Chapel to read the book by accomplished author Robert L. Cooper ‘The Rosslyn Hoax’ for one of the best researched and written books on the subject of the chapel to ever, in my humble opinion, to have ever been written). The question I asked at the start of this short article was ‘Who is the Rosslyn Templar?’ again Cowie touches on this subject in the book and puts forth the possible candidate as a member of the Dalhousie family, one James Andrew Broun Ramsay, 10th earl of Dalhousie.
A picture of a man dressed in white stood in the familiar surroundings of one of the most famous buildings in Europe, hangs on the wall at Ye Olde Original Rosslyn Hotel in the historic village of Roslin just outside of Edinburgh. But who is this man and why is he wearing the garb of a Knight Templar, the original image ‘Knight Templar at Roslin Chapel’ was painted by artist R.T.McPherson in 1836 and was auctioned in Edinburgh in 2005 and bought by Niven Sinclair, who commissioned Ashley Cowie to study it. The image is a study in pastels and shows many features of Rosslyn Chapel, it is signed and dated by the artist himself and remains a bright and colour image even after over 170 years. Once belonging to the Dalhousie family collection it now finds its home in the Scottish National Portrait Gallery and the Royal Scottish Academy who didn’t know of it until it was presented to them in February of this year. The artist of the piece is one Robert Turnbull McPherson who was known to have been active between 1835 and 1837 his work focused on the portraits of aristocracy and their pets. Not much is known about the life of this Edinburgh based artist, but it is known that he painted 11 works while he lived at 33 Montague St, which were exhibited at the Royal Scottish Academy.
Comparison images of the 10th Earl Of Dalhouise? Those of you with knowledge of Scottish masonry will know that in the year the painting was executed (1836) Ramsey became the Grand Master Mason of the Grand Lodge of Scotland. In the few pictures available of the Earl the features although not a perfect match could be said to match but why have his image painted in Rosslyn Chapel. According to Cowie Francis Ramsey (Dalhousie) was married to Alexander Sinclair the descendent of the builder of Rosslyn chapel and she herself was ‘probably’ the aunt of the 10th Earl of Dalhousie. As well as holding the highest rank in Scottish Craft Masonry at the time he also held many chivalric orders such as Grand master of the Order of the Star and received the prestigious accolade of the Knight of the Thistle. So it would have more unusual for him not to have held the ‘higher’ degrees in Freemasonry such as Knight Templar than to have held them. As with many of my articles I hope to produce an interest in a subject rather than try to be a teacher and hope this brief note has woken an interest in you I would recommend reading Ashley Cowie’ book ‘The Rosslyn Templar’ and from it form you own opinions on this fascinating painting.
As I arrived outside our meeting place I saw the man climb from a car and approach me. Both dressed in black suits, we carried small briefcases and traversed the car park like a scene out of a mobster movie. Extending my arm, I grasped the man’s hand in mine and felt a familiar grip. I had communicated with Bro. Adam via the Masonic Society for a few months, and when I finally met him he had traveled from San Francisco, via Ireland, to attend the International Conference on the History of Freemasonry in Edinburgh, Scotland. This was the first time I had the opportunity to put a face to a name. In one hand was his regalia case and over his shoulder, on a strap, was hung another small black pouch. Last month we were introduced to W. Bro. Kendall where we discovered his wonderful talent for illustration. But his talents don’t stop there: in the small black case slung over his shoulder was his constant companion, his camera. With an obvious artistic eye for composition and balance Bro. Adam shares with you a collection of wonderful images from his travels across the globe. Bro. Kendall serves as the Collections Manager, Curator of Exhibits, Librarian and Archivist for the Henry W. Coil Library and Museum of Freemasonry at the Grand Lodge of F. & A.M. of California in San Francisco. Looking at the web site found at www.masonicheritage.org we see his talent serves him well.
Operative Mason’s; Wright’s; or Cooper’s, gravestone found in Galway,Ireland Bro. Adam maintains his own art website, www.adamsartwork.com, but prefers to be contacted through his work email, akendall@freemason.org or akendall45@yahoo.com
Adam G. Kendall is a Past Master of Phoenix Lodge No. 144 in San Francisco and a founding member of Academia Lodge No. 847 in Oakland, where he currently serves as Senior Warden.
Bro. Kendall serves at the Collections Manager, Curator of Exhibits, Librarian and Archivist for the Henry W. Coil Library and Museum of Freemasonry at the Grand Lodge of F. & A.M. of California in San Francisco. This library and museum’s collection can be viewed at www.masonicheritage.org
He is an original member of the Masonic Formation Task Force and has worked on several projects for that group, most notably the creation of an educational DVD for Entered Apprentices and as an instructor for Masonic Formation Classes.
He has traveled consistently over the past three years both stateside and abroad as a featured speaker on Masonic topics. In 2009, he presented a paper at the International Conference on the History of Freemasonry. He has also acted as an editor and private consultant for several Masonically-themed exhibits and publications.
Bro. Kendall is a Founding Fellow of the Masonic Society.
Web & Cross. Cong Monastery, Co. Mayo, Ireland
The Burren. Co. Clare, Ireland
Mt. Ben Bulben. Co. Sligo, Ireland
Neolithic Dolmen. The Burren, Co. Clare, Ireland
Clonmacnoise Monastery/Cemetery. Co. Offaly, Ireland
Charleville Castle. Co. Offaly, Ireland
Mitla and the Red Umbrella Lady. Mitla, Mexico
Pyramids at Sunset. Giza, Egypt
Obelisks. Karnak Temple, Luxor, Egypt
This Road Leads to Heaven. Bavaria, Germany
Weeping for the Infinite. Clonmacnoise Monastery/Cemetery, Co. Offaly,
As Above, So Below. Aufkirchen Friedhof, Germany
Etruscans. Staatlich Antikensammlung, Munich, Germany
Portal. St. John’s Chapel, Edinburgh, Scotland Rosslyn is probably the most famous Medieval ecclesiastical building in Scotland. Its fame used to be based on its extraordinary carvings, now it is even better known for its part in Dan Harris’ novel The Da Vinci Code (2003). Begun around 1450, this was an extremely costly work. Rosslyn’s Gothic columns, arches and beams are encrusted with naturalistic carving. Unprecedented in Scotland, this is more like a barnacle-covered boat, or coral forest under the sea than a conventional church. Rosslyn’s architecture is extraordinary, its history equally so. Left incomplete at the Reformation, it suffered under the hands of the reformers. Such an ornate declaration of God’s creative powers was at odds with the Calvinistic doctrine dominating Scotland from 1560 onwards. After 1592 the church was closed, becoming an empty shell, open to the elements, used even as a stable. Restoration, thankfully, began in 1730, and continues today. Billings’ image concentrates on the emptiness of Rosslyn: chairs and altars are missing; niches, where statues once stood, vacant; and no visitor stirs the silence. The building is a wonder, but only that. How different this is to the plain Presbyterian chapels built from the Reformation onwards. http://www.architecture.com/HowWeBuiltBritain/HistoricalPeriods/Scottish/KirksThroughoutTheAges/RosslynStMatthew.aspx
The Ragains Masonic Rifle
This article appeared in last months newsletter since when we have been contacted by the author who requested we make a few changes and we are delighted to do so. “I am Luke Sterling Jr., P.M., Texas City Lodge 1118 of the Grand Lodge of Texas. I am the Great, Great Grandson of the original owner of the "Ragains Rifle". It was made for him in the shop of J. Belau in 1858.
CAPTAIN DAVID ABRAHAM RAGAINS (1812-1887)
Frank Ragains (1884‐1959)
Pleasant Green Ragains (1852‐1932)
Frank Edward Ragains
James Edward Ragains
(1918‐1975)
(1936‐1996)
Charles Sterling Ragains Family Historian
The RIFLE is now being displayed in the Grand Lodge of Texas Library and Museum in Waco, Texas. It is also available for viewing on their website. Below is a link to the RIFLE at the Grand Lodge of Texas. It might be helpful. It would be nice if you also included it into the article. http://grandlodgeoftexas.org/history/Regains/ragains.phpF & S, Luke Sterling Jr, P.M.” There is little doubt that David Abraham Ragains acquired his "Masonic" rifle before the Civil War. David joined the 60th Illinois Infantry Regiment on January 7, 1862 as a private in the Union Army. The following month, he was promoted to Captain in command of Company H. It is unlikely that Captain Ragains carried this rifle with him when the 60th Illinois Infantry Regiment entered the war. The 60th Illinois Infantry Regiment joined forces with the U.S Army of the Mississippi in capturing the strategically important Island Number Ten, on the Mississippi River. After the capture of this island, David participated in the siege of Corinth and led his Company in several clashes with the enemy. Unfortunately by February of 1863, the 50 year old Captain was forced to resign his commission because of poor health. Hemorrhoids, caused by dysentery, had become so painful that he could no longer perform his duties. Patriotism and personal sacrifice were deeply engrained in David's soul. Two of David's grandfathers, Thomas Ragains and William Hargiss, and one of his great‐grandfathers, James Jay, were Patriots in the Revolutionary War. Another of his great‐grandfathers, Gabriel Ragains, served as a Gentleman Soldier, under George Washington, during the French and Indian war. Gabriel was killed by" friendly fire", when two scouting parties mistook the other for the enemy. David's 5th great‐grandfather, Robert Bartlett was one of five Pilgrims killed by the Indians during the hostilities known as "King Phillip's" war. David's 6th great‐grandfather was a passenger on the "Mayflower". David was born in South Carolina, lived in Tennessee, Kentucky and Georgia before settling in Pope County, Illinois. At the beginning of the Civil war David was supporting a family of eight children by working his small farm. He supplemented his income as both deputy clerk and deputy sheriff. While serving his community as a clergyman, he founded County Line Baptist Church. This church came by its name because it was located on the Pope and Johnson County Line. This little church is still going strong after 150 years. During his lifetime, David had seven wives and twenty children. He died on February 17, 1887 at age 74. He was a member of the Vienna, Illinois Lodge No 150 A.F. and A.M. David left his rifle to his son, Pleasant Green Ragains. The next owner was P. G.'s son, Frank Ragains who was a member of the Bokoshe, Oklahoma Lodge No. 358 and Murrow Lodge No. 49 in Spiro, Oklahoma. The next owner was his son, Frank Edward Ragains The gun then went to his son, James Edward Ragains and then to his son, James Grant Ragains. David Ragains' gun has been in the Ragains' family for over 150 years. Charles Edward Sterling February 5, 2009
David Ragains' Military Heritage On the 7th of April 1862, David Ragains answered Abraham Lincoln's call to arms by joining Company H, 60th Illinois Regiment as a private. In recognition of his maturity and ability to lead men, he was promoted to Captain and placed in charge of a newly formed company. Despite the fact that he was almost fifty, David felt compelled to join the struggle to preserve the Union. David's loyalty and enthusiastic patriotism can be traced to his grandfather Thomas Ragains' and his great grandfather, Gabriel Ragains' records of military service. Gabriel was a "Gentleman Solger" on call to the North Carolina Militia. When the French and Indian War erupted, Gabriel's unit was activated and made part of the Virginia Regiment under Colonel George Washington. Gabriel's service ended abruptly when he was killed by friendly fire near Fort Ligonier in western Pennsylvania. Gabriel was survived by his wife, Susannah Gandy and his five year old son, Thomas. When Thomas was twenty‐three years old, he married thirteen year old Elizabeth Featherkille on Valentines Day in 1776. Thomas and Elizabeth enjoyed a short honeymoon before he marched off to war. Thomas survived the war suffering only a minor leg wound. He served one year as a private and another two years as a sergeant. During his three years of service, he managed to obtain enough furloughs to father two sons. After the war he and Elizabeth went on to have six more sons and three daughters. It is likely that David grew up listening to his grandfather, Thomas, recalling his military experiences. Thomas probably told of his father Gabriel's military valor also. David Ragains was twenty‐three when his grandfather, Thomas, died. The following quote was written by Grant Ragains who is the grandson of Capt. David Abraham Ragains, “The gun (cap and ball) was made in a country shop by J. Belleau, a gun & locksmith and a master mason. He was evidently a modern tubal cane. This word has no meaning to you but it means a lot to me. A mason could give a chart lecture off it. It was made for my Grandpa Ragains (David Abraham) then passed to my father (Pleasant Green) and I want it to pass to James’ son (James Grant Ragains who I received it from). I would like for him to someday learn the meaning of all those emblems. The stock of this gun is made of wild cherry by a wonderful workman. I have taken this gun to several Masonic lodges and it was considered the wonder of the ages. Grandpa Ragains was both a master mason and a royal arch mason and naturally praised the gun very highly.”
A young man grew up on a walnut farm in rural California, surrounded by beauty as a youth he went on to produce some of the most beautiful creations over the years. Emile Norman was born on April 22, 1918, in San Gabriel, California. Growing up during the great depression Emile is known to have said,
“we didn't starve, there was plenty to eat on the farm." Growing up surrounded by nature the young man started creating art, at the age of 11 he carved his first piece from a riverside rock during which process he destroyed his fathers chisels but gained his admiration age 16 he created a remarkable sculpture illustrating the myth of Prometheus, using concrete and the broken pieces of his father's beer bottles. When he attended art school he lasted exactly one day and quit when his teacher told him he was, “doing it the wrong way”.
In the late 1950’s Norman created one of his arguably most famous piece the huge 4 story window mosaic found at the entrance to the Masonic Memorial Temple on San Francisco's Nob Hill.San Fransico. To create it, Norman used a technique he developed and named "endomosaic." The process involved suspending crushed glass and other materials -- such as metal, fabric, shells and dirt -- between clear sheets of translucent plastic. He was also given the task of creating the sculptural reliefs in the marble on the outside of the Masonic building On September 27th 2009 at the age of 91 Emile Norman passed away, he left a legacy of art which will be admired for many years to come.
Becoming a commercial artist he moved to New York and had his work featured in Vouge his first major non-commercial presentation was in 1951 at the Feingarten Gallery in New York, where his marble sculptures of animals and abstract organic shapes displayed his…’signature blend of meticulous detail and a generous, sweeping lyricism’.
1. 2.
http://www.latimes.com/news/obituaries/la-me-emile-norman27-2009sep27,0,4662372.story http://www.emilenorman.com/bio.html
MAE member who uses the Facebook name Hiram Abiff tells us of this image… “This is an oil painting based on the Port Adelaide Masonic Centre, Number Two Lodge of South Australia. I wanted to do a series of paintings about temple entrances as I am interested in what this symbolises. I left MAE member uses the Facebook Hiramand Abiff tells uspartly of this some of who the smaller details out, likename the square compass, outimage… of choice, and partly because my college principal took issue with me showing work like this. (I can sort of understand but I have the freedom to “This ispaint an oil painting based on the Port Adelaide Masonic Centre,concepts Number Lodge of South anything I like.) Anyhow I was more interested in the broader of Two the architecture itself. Though Australia. to doI am a series of paintings about temple entances as I am what this my not aI wanted mason myself very interest in all the words religions, and cultures and interested their origins.inI discovered grandfather a Mason few years ago and thislike started huge thirst knowledge…..” symbolises. I left was some of theasmaller details out, the asquare andfor compass, partly out of choice,
and partly because my college principal took issue with me showing work like this. (I can sort of understand but I have the freedom to paint anything I like.) Anyhow I was more interested in the broader concepts of the architecture itself. Though not a mason myself I am very interest in all the words religions, and cultures and their origins. I discovered my grandfather was a Mason a few years ago and this started a huge thirst for knowledge…..”
To the left and on the next page are some of the images posted in the Facebook site, and below are the rules just for your own information particularly if you have been forwarded this from a friend in the group and haven’t popped in yourself. If you have not and you’re not a ‘facebooker’ there is the option of joining the forum that can be found by going through the web site:
masonic-ae.com The Rules: POSTERS 1. The work MUST be yours (if you post someone else’s work as yours you will be asked to remove it and may have it removed if the admin feels it is necessary) the work remains yours. 2. If you post you must be prepared for others to use the artwork. USERS 1. If you use someone’s work you MUST inform them where it is being used. 2. CREDIT them 3. If required provide a copy of the publication i.e. Tresleboard it's being used in. 4. The work is to be used for non-profit publications etc unless agreed with the artist. 5. The MAE will do it's best to' police' the copyright of images however any issues of copyright usage is the responsibility of the 'creator' and should be taken up with the ‘creator’ of the images in the first instance. If you want to request artwork please leave a request in the discussion wall in either the Facebook Group or forum or email us at info@masonic-ae.com PUTTING/LINKING YOUR ARTWORK TO THIS GROUP [FORUM,FB GROUP OR NEWSLETTER]CONSTITUTES THAT YOU AGREE TO THE ABOVE RULES [UNLESS OTHER COPYRIGHT AGREEMEMNTS HAVE BEEN REACHED AND CLEARLY POSTED]
‘Collars of office’ by David Naughton-Shires
THE ARTWORK CAN NEITHER BE USED FOR NOR DEPICT ANYTHING CONSIDERED TO BE INFLAMITARY TO FREEMASONRY OR SOCIETY IN GENERAL. THE ADMINS DECISION IS FINAL IN ANY DISPUTE. PLEASE CHECK BACK OFTEN FOR UPDATES. FINALLY The opinions expressed on this groups webpage, forum, and it's newsletter represent those of the individual authors and, unless clearly labelled as such, do not represent the opinions or policies of any Masonic Lodge, Grand Lodge, recognized Masonic body or other individual.
From the set called ‘BLACK AND WHITE by Clercq Art
The Craftsman's Moral Compass...
"Tenets of My Profession"by Antonio Box Caffey
Each newsletter we will highlight one Facebook group you may be interested in joining all you need to do is go to your groups (click the group’s icon on the menu bar at the bottom of the page) and search for the groups by name in the search bar in the group’s area.
One of the smaller groups on Facebook this group of people have come together to share a common interest in the creation of Masonic Regalia of all styles. Members include two previous contributers to the MAE Newsletter. Take a few moments to pop in and say hello. http://www.facebook.com/group.php?gid=121235 679924#/group.php?gid=121235679924
This is the end of the forth Masonic Art Exchange Newsletter this issue was hard work as I did have to work through an illness and am quite disappointed I was not able to present the second part of the Knight Templars in Art series. But it will be here next time that issue will be publish in time for Christmas. As always I hope many of you will take a few moments to put pen to paper or fingers to keyboard and send something in even if it’s just a letter of comment everything is received with great thanks. On this final page I am again going to place a few links to ‘good’ sites, and other groups in Facebook that may be of interest and contact details.
Each newsletter we will also aim to highlight a website which may be of interest to the members of the MAE their friends and colleagues if you have any recommendations for sites to appear here or on the forum contact me at info@masonic-ae.com please include: ‘MAE recommendation’ in the subject line.
PLEASE PLEASE PLEASE get in contact whether it is to tell us how fantastic the newsletter was or alternatively to give us much needed critique on how to improve what we are doing after all that IS what we are here for. We will see you on the web and pray the Great Architect watches over you. Sincerely and fraternally,
My choice of website this month is of a Lodge in MINNEAPOLIS this website portrays a wonderful camaraderie within its pages sharing an image of Lodge life which is fun and enjoyable. One of my favourite pages is the image gallery of their past masters. If you are thinking of designing or revamping your lodge website you could do worst than have a look at this one and work some of it’s aspects into yours. http://www.mpls19.org/
Contact details: info@masonic-ae.com
David Naughton-Shires
info@masonic-ae.com (please remember to put MAE in the subject line)