Masonic Art Exchange Newsletter

Volume 1 Issue 6 February 2010

Welcome Welcome to the first issue of the Masonic Art Exchange Newsletter for 2010 it is coming to you a little later than originally intended, it was going to be the Valentines issue but the 14th has been and gone, we hope you had a good day with your loved one.

This year so far has been quite busy for me with a few things happening. I presented a short presentation to the Internet Lodge of Research of the Grand Lodge of Alberta on ‘Masonic Art: and the formation of the MAE a brief introduction’ which I hope was well received and I have presented the text here for you to have a read of.

The organisation behind the upcoming UK-IRELAND Symposium is going very well and if you are intending to join get your application in soon (can be found at www.masonicae.com/tms ) In the next issue which we aim to ‘publish in mid April we will give a brief history of the Royal Society and are delighted to say this month we are able to present and article by one of the speakers Robert L D Cooper the curator of the Grand lodge of Scotland’s Museum and Library who shares with us why there can never be a Masonic Tartan.

This months contents: Cover image: ‘Love on the Square Introduction to Volume 1 Issue 6

Once again author of ‘The Genesis of Freemasonry’ David Harrison gives us a submission on Symbolism and Architecture.I am hoping some of you may contact me over the next few week with an opinion of whether I should change the name to the Journal or Review instead of Newsletter.

Page 3: Masonic Art and the formation of the MAE a brief introduction.

Enjoy this issue and please give us some feedback’

Page 7:The order of DeMaloy.

Yours Fraternally David Naughton-Shires Ormonde Lodge #201 (IC) MAE President & Founder

Page 9: The Alchemical Keys to Masonic Ritual a review Page 11: Architecture, Symbolism and Freemasonry, David Harrison Page 21: A Warm Masonic Tale Page 23: Be A Mason (and take it by degrees) Page 27: The Medal and Jewels of british Freemasonry (A review) Page 29: Why no Masonic Tartan?

Page 31: Templar tarot a review Various adverts Page 35: The raising of a Masonic Artist Page 39: 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.

college it was often art

This article by David Naughton-Shires was presented to the Internet Lodge of Research in Alberta, Canada on Saturday 20th Feb via the internet.

Masonic ritual defines Freemasonry as:

"a peculiar system of morality, veiled in allegory and illustrated by symbols".

For my part today I want to concentrate on the later part of that statement:

‘illustrated by symbols’ The Encarta World Dictionary defines symbol as:



SOMETHING THAT REPRESENTS SOMETHING ELSE something that stands for or represents something else especially an object that represents an abstraction;

Edward Prince of Wales (soon to be King Edward VII)

Basically a pictorial or physical representation of something else. which first caught my eye in any situation.

Within Freemasonry we are surrounded by symbols in everything we do but for me they are in themselves like Freemasonry an art form.

The dictionary defines ART as:



THE CREATION OF BEAUTIFUL THINGS the creation of beautiful or thought provoking works e.g. in painting, music or writing.

And what is more beautiful than freemasonry itself a system by which we create ‘beautiful things’ I was first introduced to Freemasonry by the art of the craft as a young man of just 22. I became employed as a security officer in the Masonic Hall in Nottingham England having just finished as a Nottingham Masonic Hall

student

at

the

art

At that time on one of the main stairwells was a huge painting of an old mason (I later discovered he wasn’t that old as it was the Edward the Prince of Wales who later became King Edward VII) he was dressed in the regalia of a Grand Master with all its symbolism and its connected beauty. I would patrol the building at night and be surrounded by the mysterious pieces of furniture with strange engravings and it made me ask questions of the local Freemasons.

At that time I never thought of becoming a mason as I mistakenly believed it to be ‘above’ a mere security office but I did continue to read about and in particular be grabbed by the ‘pictures’ I found, and here I am nearly 20 years later still fascinated by the art of the craft.

There is no way in this short amount of time we have to share I could even do justice to the subject of Masonic Art however what I aim to do is wet you appetite in the same way mine was those few years ago and maybe encourage you to delve into this wonderful subject. I came to the conclusion maybe the best way to do this was to share with you a few of my favourite pieces of Masonic Art covering a few different styles.

William Hogarth (1697 – 1764) was a painter and Freemason who was active at the time of the famous meeting in the Goose and Gridiron. In his illustration Night (1738)1

commemorated the restoration of Charles II to the throne. It may be of interest this night was also known as collar night one of 32 nights on which knights of the realm could wear their collars of office in public.4 The scene is set in Hartshorn Lane Charing Cross, in sight of the equestrian statue of Charles I. At this period the street was narrow and was furnished on one side with the Rummer & Grapes Tavern, the meeting place of one of the 4 Lodges that joined to for the Regular Grand Lodge of London in 17175 On the opposite side of the street we can clearly see a sign for a Bagnio6 (a tavern that doubled as a brothel.)

Night - William Hogarth 1738

we see the Worshipful Master of a Lodge (possibly Sir Thomas de Veil, a member of Hogarth’s first Lodge) who looks a little worse for wear after his festive board being escorted home by a fellow mason carrying a sword, maybe the Tyler of the Lodge and could be Bro. Montgomerie, the Grand Tyler of the time. 2 Although now no longer done the wearing of oak leaves3 in the masters hat, the oaken boughs on the sign, and the blazing bonfire indicate that this is the night of 29th May, on which night was

The Salisbury coach that has just set out has been overturned and the passengers look terrified, to add to their fears a young boy carrying a wooden sword has thrown a firework into the carriage. Also take note of the figure in front of the coach holding a mop, a possible allusion to the practice of drawing symbols on the lodge room floor and washing the m off when the lodge was closed.

Through the open window we see a man being shaved he also seems to be losing some blood at the same time, as the sign indicates ‘Shaving, bleeding, teeth Drawing’. The general impression is that night time in Hogarth's London was not a very wonderful experience.

1

Ars Quatuor Coronatorum, vol. ii. pp. 116-17, 146-55. A plate facing page 90 AQC vol. ii, reproduces an original print in the British Museum "Invented, Painted Engraved & Published by Wm. Hogarth March 25, 1738" 2 Ars Quatuor Coronatorum, vol. ii. pp. 116-17, 146-55 3 Fraser, Antonia (1979). King Charles II. London: Weidenfeld and Nicolson. ISBN 0297775715. p118

4

http://en.wikipedia.org/wiki/Collar_Day Article by T. O. Haunch "The Formation: 1717-1751" in Grand Lodge 1717-1967 pp. 47-49.

6 http://en.wikipedia.org/wiki/Bagnio 5

symbolic meaning in the ritual work of Freemasonry.

The three dogs sitting to the left at the desk I believe indicate the three principal officers of any Masonic Lodge the collars they are wearing are the kind that would hold the jewels of their respective offices, the St Bernard in the centre is obviously holding the power of his office of Worshipful Master, the gavel.

My second image brings us forward a few years to the Cassius Coolidge dog picture of "Riding the Goat" Cassius Marcellus Coolidge (1844 –1934) was a cartoonist and is most famous for his paintings of Dogs Playing Poker. The painting can be interpreted as Masonic in nature and the myth of a Masonic Lodge Goat has sometimes been used as a minor form of hazing between members and potential members (though never proved to be used in Freemasonry but with a direct link to that other Fraternal group the Woodmen of America.

The dog to the right of the three at the desk is wearing a red cap.

In Scottish Rite Masonry this cap is the emblem of a KCCH (Knight Commander of the Court of Honour) Mason and the fact he is holding pen and scribbling fervently he holds the much unappreciated office of lodge secretary. We also see one of the

1Cassius Marcellus Coolidge (1844 –1934)

The dog riding the goat is wearing a blindfold or hoodwink and as we know the hoodwink is an important part of the degrees of Freemasonry and has a specific and symbolic meaning in each degree. The rope around his neck we know as the "cable toe" and it too has a particular, significant and

dogs in the onlookers who is wearing a blue cap that in Scottish Rite Masonry is representative that he is fifty-year mason (meaning he has been in the order for at least fifty years)7.

So as you can see, there are things in the picture that any Mason can clearly see. However as a ‘Masonic’ Picture there are many inconsistencies that would indicate that is not only Masonic and maybe should be labelled as Fraternal.

Stephen McKim 7

It is not only in the past that we see the use of Masonic imagery in art Brother Stephen McKim of Indiana saw definite ‘gap in the market’ when it came to Masonic images that were available to

http://www.scottishritecalifornia.org/scottish_rite_caps.htm

brethren across the world in an article in the Masonic Art

Exchange Newsletter8 Brother Carson Smith also of Indiana shares with us a quote from Brother Stephen, which he had shared after seeing a really nice pick-up truck driving down the road, “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?”

logos for various research groups. Although one of the more popular ‘modern’ Masonic artist Bro McKim is not the only one out there and one of my favourites is Bro Ferenc SEBÖK of Budapest, Hungary.

Bro Ferenc SEBÖK has a fluid and almost childlike style to his painted work unlike McKim's digital work which is precise, crisp, and clear and in many ways very defined in its possible interpretations SEBÖK’s work can be viewed in many different ways by those looking at it.

Brother McKim went onto do something about this and started on a quest to improve the level of available art for brethren worldwide.

Of this image by Bro. McKim he tells us on his web site9

“…took more than 100 hours to complete. Again each object in this image is a picture in itself.”

The image is absolutely jammed with Masonic imagery and symbolism and I am sure you will know most if not every piece included.

It is not the aim of this introduction to explain the meaning of each symbol in a piece such as this, each telling a story in own right but combined they show us how full of imagery our craft is.

Bro McKim has gone onto to produce hundreds of pieces since that day he saw the pick-up in 200310 for many different brethren and has worked to improve the standard of Masonic Art in its many guises and his work can be seen all across the world wide web, as illustrations on book covers and even as 8

WBro. Carson Smith MAE newsletter V1.4 pp3-4 http://masonicae.com/newsletters/v1i4.html 9 http://www.mckim.nescotland.co.uk/mckim.htm 10 WBro. Carson Smith MAE newsletter V1.4 pp3-4 http://masonicae.com/newsletters/v1i4.html

In this painting entitled “Search and you will find”11 we see many of the expected Masonic symbols presented in a slightly different way. McKim’s work can be quite safe in its execution which SEBÖK’s even at time mixing imagery you would not expect mixed in a Masonic setting as seen in this image called ” Moon at rest” is not he seem to produce imagery that has many personal interpretations for each individual.

These are just a few examples of the many pieces of Masonic Art available out there and are just some of the reasons for the project I started last year The Masonic Art Exchange.

I found the Craft had produced over the years a wealth of fantastic art, and I started to collect what I could find that fell within my budget. This consisted of items such as Ladies Festival Menu cards, lodge summonses, and certificates. From time to

11

http://www.sebok.be/peinture/symbolisme.htm

time I came across a beautifully illustrated book or two, and as I continued to collect I noticed there was a lack of current art for Freemasons available and what there was, well hidden within the Craft with the exception of the wonderful art of brethren such as Brothers McKim and SEBÖK. Also the standard of publications being produced internally and externally was not always inspiring.

I asked myself the question why was this and how could this be resolved? I know that many Lodge newsletters and other similar publications were produced by very well meaning Brethren with only limited experience and knowledge of design that under increasing pressure produced the best they could, and I came to the conclusion they needed help not criticizing.

The aims of the MAE can be read at the web site and also in each newsletter I produce but in a nutshell the aim is to create a hub or community where brethren from all over the globe can come together and ask questions about the art of our craft. I have never considered myself a public speaker but I do have a great interest in art and freemasonry and it just made sense to me to combine the two in this project.

I have purposely created a group to which anyone can belong Mason or non-mason male or female young or old because in my opinion art is there for all to share that being said I am always careful to ensure that any art used in conjunction with the MAE is either copyright free or we obtain the permission of the holder as is the case today with both SEBOK’s and McKim’s art (the other images come from that great online source wikicommons12) Since forming the group sometime last June it has grown into an ever increasing resource and I have also been able to help on several occasions with personal request by designing logos (not to Bro Stephens level of course) and producing templates for lodge newsletters) My long term aims for the group are to continue to produce the newsletter (in print one day would be wonderful) and develop the forum and web site to create a place where brethren can post an enquiry or question and have it answered within hours.

In conclusion: This is just a brief introduction of some of the many pieces of beautiful art out there and I hope it will encourage you to look differently at the art used in the craft and aim that little bit higher when it comes publications created for use in the order, be they internal or external.

12

http://commons.wikimedia.org/wiki/Main_Page

The Order of DeMolay has what is probably one of the most instantly recognisable and beautiful insignias of any of the orders of Freemasonry. It was not created on a whim but is made up as is most everything in Freemasonry of many parts each being symbolic and have much meaning The insignia was designed by the founder of the Order, Frank S. Land who is often referred to as ‘Dad’. It was designed as a pin and symbol that shows who is and who is not a DeMolay. This emblem can only be worn only DeMolays and their representatives and is guarded as closely as a logo as is that of huge corporations such a Coca Cola and Disney. Every part of this insignia has a particular significance, and a DeMolays is expected to know them by heart.

The insignia is made of 10 defined parts and there is a recognised ‘mantra’ which is often memorised for the DeMolay to share.

The CROWN is symbolic of the Crown of Youth and is supposed to remind a member of the order of the obligations he has taken and the seven precepts of his Order: Filial Love, Reverence for Sacred Things, Courtesy, Comradeship, Fidelity, Cleanness and Patriotism.

Set into the CROWN are TEN PRECIOUS STONES these represent the founder, Frank S. Land and the nine youths whose first formed into a group and created of the Order of DeMolay. Pearls represented those living members of the original nine DeMolays and The Red Rubies honor those who have passed away. When one of the original members pass a red ruby took the place of a pearl.

Mounted on top of the CROWN is a HELMET which is emblematic of chivalry which as DeMolays the member strive to show through their courtesy and respect for women, as with many of the orders there are secrets of the Order and an requirement to guard the confidences of friends and this is represented by the CRESENT. The STARS surrounding the crescent are symbolic of hope and are there to remind the member of those obligations and duties which one brother of the Order owes to another. Behind the CRESENT and STARS is a five-armed WHITE CROSS that symbolizes the purity of the intentions of a DeMolay to always remember the motto of their Order, "No DeMolay shall fail as a citizen, as a leader and as a man."

The crest as a whole rests over two CROSSED SWORDS which the order says denote justice, fortitude, and mercy. They symbolize the symbolic warfare of DeMolays against arrogance, despotism, and intolerance. Each DeMolay is charged to: “…….. wear this insignia proudly, whether it be on a pin or a crest.

Don’t wear it any place where you would be ashamed to take your mother or your sister. Remember, in all humility, when you wear this emblem, you are representing and speaking for over three million other DeMolays scattered throughout the world, who cannot, for the moment, speak for themselves.”

INTERNATIONAL CONFERENCE ON THE HISTORY OF FREEMASONRY

INTERNATIONAL CONFERENCE ON THE HISTORY OF FREEMASONRY

The George Washington Masonic Memorial, Alexandria, Virginia.

Public ANNOUNCEMENT

The International Conference on the History of Freemasonry (ICHF) promoted by Supersonic Events Ltd. is pleased to announce The George Washington Masonic Memorial, Alexandria, Virginia, will host the event in 26 -30 MAY 2011.

STATEMENT OF PURPOSE By holding a biennial conference open to the public, the main purpose of the ICHF is: • to promote Freemasonry as a subject for academic study.

• to present and debate relevant contributions in this area of research.

• to create a forum for interactions between researchers, experts and a wider audience.

• to encourage individuals to take an interest and participate in an active exchange of knowledge in the area.

The ICHF is a non-profit making, privately owned event and brand, sponsored by Supersonic Events Ltd. with no formal affiliation to any masonic or academic body. On each occasion a leading academic is appointed to convene a specialist committee responsible for the selection of suitable presentations. Any surplus generated by the ICHF will go to support young researchers and academics pursuing research in the topic and other relevent masonic projects.

The first conference was held in Edinburgh, Scotland, in 2007 and was judged so successful, as to merit a second conference.

ICHF was again held in Edinburgh in May 2009 primarily because this was the 250th anniversary of the birth of Brother Robert Burns, thus allowing ICHF not only to celebrate Burns but also Freemasonry in all its diversity. However, the ICHF was never envisaged to remain in one place for all time.

It was planned that ICHF would travel to different Masonic venues around the world. This would enable people in the host country and those nearby easier access to the conference and allow participants to visit new sites and cities.

The conference will be additionally attractive as several cultural and social events will be associated with the event.

Both 2007 and 2009 conferences were held immediately after a major cultural event – the Young Musicians Of The Year Awards. This linkage between Freemasonry and culture, in this instance supporting the young rising stars of classical music, is an important aspect of ICHF. We are planning another major cultural event for ICHF 2011.

In addition to the cultural dimension the social aspect ought not to be ignored. It has been seen that Gala Dinners, usually held on the Saturday night of the conference, have been very successful with delegates and often their wives attending.

The opportunity has also been taken to hold a special Masonic event specifically for the Freemasons who are in attendance at the conference. In 2009 this took the form of a special meeting when a candidate was initiated into The Lodge of Edinburgh (Mary’s Chapel), No.1. This was an international Masonic gathering of the highest quality and attended by Freemasons from every continent. It is anticipated that another ‘one off’ Masonic event will be held the day after the conference closes in 2011.

Please also be aware that there are numerous opportunities to visit other nearby sites and museums of Washington DC, including George Washington’s Mount Vernon.

A timetable is in the course of preparation and will be made available in the near future.

Please do keep watching for further news about ICHF at the GWMM in 2011. Below are several web sites that you might wish to bookmark for future reference.

The George Washington Masonic Memorial web site: www.gwmemorial.org The ICHF web site: www.ichfonline.org 1910 - 2010 100th Anniversary www.gwmemorial.org

The Grand Lodge of Scotland news pages: www.grandlodgescotland.com

comprehend and understand. The pictures in this book are of

This book is a gold mine!

V

aluable as informative in its esoteric knowledge. This book gives a thorough explanation in minute detail of the process of alchemy. It ties in chemical to spiritual alchemy and the direct path extracted in the Masonic Rituals.

Timothy Hogan delivers an extensively detailed and easy to understand explanation of the keys to understanding Masonic symbols and alchemical symbols and practices that are presented symbolically in Blue Lodge Degrees, Upper Degrees and especially the Initiation Process. This book also covers in great detail historical and religious aspects of alchemy and once again show the connections to Masonic symbolism and ritual that is easy to

minute detail at every angle, full of Masonic symbolism just crying out for the reader to look further.

Quoted from the book:

“I hope I have demonstrated that nearly all of the symbolism in Masonry, while at first glance appearing to be building symbols, are actually referring to the more hidden and esoteric craft of alchemy.�

In my honest opinion, Hogan has achieved this with a detailed yet understandable narrative process.

This book made me feel like I found the golden key that opened the door of my mind. I think that your next Lodge meeting will be more colorful after reading this book. Your eyes will be more open as your mind. I finally found the knowledge to tie it all together.

Thank you so much Bro. Timothy Hogan for this great extensive research and contribution to Freemasonry !!!

Cassondra DeMolick Kuros (you can buy your copy of Brother Hogans book via the link on the MAE web site.)

PRAISE FOR:

‘The Genesis of Freemasonry’ by David Harrison ‘An excellent read’ Mike Chapple, The Daily Post ‘Dr. Harrison is a workman of proven skill in the craft of roughing primary and secondary sources into a smooth thesis’ Gerald Reilly, Pietre-Stones ‘I can commend its purchase to any curious and enquiring reader’ John Belton, The Square Magazine The Genesis of Freemasonry by Dr. David Harrison - ‘A unique insight into the mysterious history of Freemasonry’ available at all good book outlets.

Published by Lewis Masonic: www.lewismasonic.com

Lord Burlington and Chiswick Villa

The villa has at least two rooms which clearly reflect Masonic symbolism; the Red and Blue Velvet Rooms.

Both rooms reveal an array of distinctive Masonic Certain grand houses from the eighteenth and early symbols and have their ceilings adorned with nineteenth centuries vividly feature the influence of representations of the Heavens. The Blue Velvet Freemasonry, one such popular example is Chiswick Room, in particular, focuses on divine architecture, Villa, near London, actually displaying designed by Lord ‘architecture’ as a Goddess Burlington in 1725. residing in the heavens, Though no record holding the compass, exists of Burlington as accompanied by three cherubs, a Freemason, he was each holding Masonic tools. listed in Anderson’s The Goddess is also holding a Constitutions as plan of the Temple of Fortuna ‘displaying the Art’,1 Virilis after Palladio, and is and his ‘circle’, which similar to Villalpando’s included the architects reconstruction of the inner William Kent and sanctum of the Temple, Colen Campbell, was Burlington having his threeresponsible for volume work in his library numerous publications The ceiling of the Blue Velvet Room in Chiswick Villa, focuses on divine inventory.

The room’s on the designs of architecture, displaying ‘architecture’ as a Goddess residing in the heavens, measurements resonate holding the compass, accompanied by three cherubs, each holding Masonic Palladio and Inigo Masonic influence, being 15 x The Goddess is also holding a plan of the Temple of Fortuna Virilis after Jones.

Whether tools.

15 x 15 feet, a perfect cube, Palladio, and is similar to Villalpando’s reconstruction of the inner sanctum of the Burlington was or was Temple, Burlington having his three-volume work in his library inventory. (Many reflecting perfect architecture, not a Freemason, he thanks to Ricky Pound for supplying the photograph). and again having similar certainly knew many proportions to Villalpando’s Freemasons, such as the poet Alexander Pope and and Newton’s versions of Solomon’s Temple. architect Nicholas Hawksmoor. He socialised with Grand Masters such as the 2nd Duke of Montagu and The actual design of the villa was inspired by discussed Roman architecture with York Grand Master Palladio’s Villa Rotonda near Vicenza, the square plan Dr. Francis Drake, even one of Burlington’s and layout not only bearing a remarkable resemblance draughtsmen, Samuel Savill, belonged to a lodge that to Villalpando’s plan of the inner sanctum of 2 met at the Cock and Bottle in London’s Little Britain.

Solomon’s Temple, but also representing a set of proportions which fuelled Burlington’s taste in classical architecture. Burlington had witnessed first hand the classical architecture of Italy during his 1 James Anderson, Constitutions of the Ancient & Honourable Grand Tour, and quickly became what was termed the Fraternity of Free & Accepted Masons, (London: G. Kearsly, High Priest of Palladianism. He had studied in depth 1769), p.212.

2 the divine measurements as used by Palladio, For the lodge at the Cock and Bottle, London, see John Lane’s Masonic Records of England and Wales 1717-1894 online: <http://www.freemasonry.dept.shef.ac.uk/lane/> [accessed July 17 2007] and John Pine, A List of Regular Lodges according to their Seniority & Constitution. Printed

for & Sold by I. Pine, Engraver, (London: Little Brittain end in Aldergate Street, 1735).

incorporating meticulously the measurements used in Palladio’s Rotonda in his design of the villa. The Rotonda was Palladio’s ideal villa, and best represents the relationship between Palladio and the Ancients.

Here Solomon’s Temple was considered the ultimate source for the Greek and Roman orders, with Villalpando describing it as an embodiment of classical harmony that God had disclosed to Solomon.

This harmony was thought to be the form of musical harmony which both Pythagoras and Plato had discovered, a belief, which Villalpando disclosed in his writings. Burlington also designed the Assembly Rooms at York, which had been based on the ‘Egyptian Hall’ of Vitruvius, as interpreted by Palladio, the Rooms symbolising and celebrating the ancient classical architecture of York. Campbell, Burlington’s architectural cohort, also designed the grandest Palladian house of them all; Walpole’s Houghton Hall, which he began in 1722, Houghton Hall being the setting for the initiation into Freemasonry in 1731 of Francois, Duc de Lorraine, the representative of the Emperor of Austria Charles VI, and the future husband of the Empress Maria Theresa of Austria.3

‘You too proceed! Make falling arts your care, Erect new wonders, and the old repair; Jones and Palladio to themselves restore, And be whate’er Vitruvius was before:’4 In contrast, Pope satirises the architectural bad taste used on other estates, suggesting that certain people did not understand the true Nature of architecture, and that the best examples and rules of architecture were perverted to create something absurd.

Pope’s examples of bad taste can be identified as Walpole’s Houghton Hall and the Duke of Chandos’ residence at Cannons was thought to have been earmarked for criticism, though at the time Pope denied any hidden reference to Chandos, probably because he had been under his patronage. Pope ended the poem with a message for architects to build a better world, to construct flood barriers, roads, harbours, bridges, and temples worthier of God.5 This idealism perhaps captures the ethos behind the projectors of the York Buildings, the poem suggestive of the work of Desaguliers and Chandos in the investment and design of water pumps and water supply which can all be seen as integral to building a better world.

The ‘Wicked’ Grand Master and Newstead Abbey

The Freemason Alexander Pope, like Francis Drake, admired Burlington’s good taste in architecture, and honoured him in his Epistle to Burlington in 1731, the poet praising Burlington as a new Vitruvius:

The Romantic poet Byron, whose great uncle, the fifth Lord Byron, had been Grand Master of the ‘Moderns’ from 1747-51, also celebrated classical architecture in his work, discussing the many Temples of antiquity.

Byron praised the lost knowledge of the ancient world, and in his epic poem Childe Harold’s Pilgrimage, he attacked Lord Elgin for his plunder of the Parthenon, and expressed the hidden mysteries held within the classical Temples: ‘Here let me sit upon this massy stone, The marble column’s yet unshaken base!

Here, son of Saturn! Was thy favourite throne:

3

4

A print of Houghton House, scene of the initiation of Francois, Duc de Lorraine in 1731. (© Dr David Harrison)

Many thanks to Ricky Pound for the information on Chiswick Villa. Ricky Pound is the Visitor Operations Site Supervisor at Chiswick House (English Heritage) in west London.

Joseph Warton, The Works of Alexander Pope, Volume III, (London, 1822), p.289.

5 Ibid., p.290.

Mightiest of many such! Hence let me trace The latent grandeur of thy dwelling-place.

It may not be: nor even can Fancy’s eye Restore what Time hath labour’d to deface.

Yet these proud pillars claim no passing sigh; Unmoved the Moslem sits, the light Greek carols by.’6 Byron’s great uncle, the ‘Wicked’ Lord, had hosted ritualistic weekend parties on his estate, Newstead Abbey, in a similar fashion to Dashwood’s Hell Fire and Dilettanti meetings. Newstead Abbey is covered

Colonel Thomas Wildman, a Freemason and an old school friend of Byron’s from Harrow, who eventually purchased the estate from the cash-strapped poet in 1818. Byron however was aware of Freemasonry, and commented on the aristocratic networking aspects of the Craft in Canto 13 of his poem Don Juan: ‘And thus acquaintance grew at noble routs And diplomatic dinners or at other – For Juan stood well both with Ins and Outs, As in Freemasonry a higher brother.’7 Byron then touched upon the Craft once more in Canto 14 of the same poem, compounding his interest with Freemasonry, commenting on the mysterious and mythical Masonic ‘history’: ‘Lowered, leavered like a history of Freemasons Which bears the same relation to the real’8 Wildman became Provincial Grand Master for Nottinghamshire, and was a close friend and equerry to the Grand Master the Duke of Sussex, who visited Newstead on several occasions. Wildman constructed the Sussex Tower at Newstead in honour of the Grand Master, and improved the Chapter House as a private family chapel. Wildman also founded the local Royal Sussex Lodge in 1829, and an earlier lodge which was founded in 1755, became known as the Newstead Lodge in honour of Wildman. This early lodge would certainly have been known by the ‘Wicked’ Lord Byron, who may also have visited it.

The drainpipe of Newstead Abbey, decorated with Masonic symbols. This was part of Col. Thomas Wildman's re-construction of the Abbey after purchasing it from the cash-strapped poet Lord Byron. Wildman was Provincial Grand Master for Nottinghamshire. (Photo by Dr David Harrison).

with Masonic symbolism, for example, the guttering is continuously engraved with the Solomon’s Seal. In this case however, they date from the occupation of Lord Byron, Childe Harold’s Pilgrimage, (London: Charles Griffin & Co.), p.54.

6

When Wildman died in 1859, the estate was purchased

by William Frederick Webb, who had the chapel redecorated, and in memory of Wildman, Webb had a stained glass window designed with the Masonic theme of the construction of Solomon’s Temple, which probably drew upon the building work that Wildman undertook at Newstead. Masonic services are still held at the chapel. The Masonic symbolism displayed at

7

Leslie A. Marchand, (ed.), Don Juan by Lord Byron, Canto XIII, Stanza XXIV, (Boston: Houghton Mifflin Company, 1958), p.361.

8 Ibid, Canto 14, Stanza XXII, p.385.

Newstead, along with the Solomon’s Temple scene on display in the stained glass window, would be instantly recognisable to the initiated, the power and status of both the ‘Wicked’ Lord Byron and Colonel Wildman within Masonic circles being openly apparent.

Sir Francis Dashwood, Hell-Fire, the Masonic Room and West Wycombe Byron’s estate was a celebration of medieval Gothic architecture, while Sir Francis Dashwood’s estate celebrated classical architecture. Dashwood became personally involved in the design of his mansion at West Wycombe, which had two Palladian Portico’s and boasted a number of small temples within the estate. The Hall also had a mysterious ‘Masonic Room’, which is still a private family room, though as the name suggests, strong traditions of Masoniclike secret societies were present within the family.

There is no written evidence that has yet come to light suggesting that the room was used for Masonic meetings, but it certainly celebrates the symbolism of Freemasonry, with the eighteenth century plastered ceiling of the room decorated with prominent Masonic imagery, such as the compass.

This decoration is very similar to the ceiling

The stained glass window in the chapel of Newstead Abbey depicting the building of Solomon's Temple. When Wildman died in 1859, the estate was purchased by William Frederick Webb, who had the chapel re-decorated, and in memory of Wildman, Webb had a stained glass window designed with this Masonic theme, which probably drew upon the building work that Wildman undertook at Newstead. Masonic services are still held at the chapel. (Photo by Dr David Harrison).

decoration of the The ceiling of the library at Shugborough library at depicting the compass with what is believed be Euclid. Shugborough was owned by Shugborough Hall in to Thomas Anson, a friend and associate of Sir Staffordshire, with Francis Dashwood, both sharing a the compass again fascination of the classical architecture of being a prominent the ancients. (Photo by Dr David Harrison). symbol.

Shugborough was owned by Thomas Anson, a friend and associate of Dashwood, both sharing a fascination of the classical architecture of the ancients.

Dashwood’s ‘Hell Fire Club’ had met at the hauntingly gothic Medmenham Abbey, which, like

Newstead Abbey, was a medieval Abbey that had been rebuilt after the Dissolution. This rebuilding had been directed by Dashwood himself, who had classical temples and naked statues erected in the ‘pleasure gardens’, and had secret caves dug, in a similar fashion to the caves he would construct at West Wycombe.

There was a Roman Room, in which hung portraits of famous prostitutes, and two marble pillars were constructed, similar to the two pillars of Boaz and Jachin symbolised within Freemasonry, except the pillars at Medmenham Abbey were adorned with pornographic ‘bastard Latin’ inscriptions. The Abbey was the scene of secret sexual and ritualistic enjoyment by the ‘Monks of Medmenham’, with prostitutes and local girls dressed as Nuns, Dashwood’s ‘Monks’ indulged themselves accordingly.9 The Hell Fire gatherings finally moved to West Wycombe after complaints by the suspicious locals.

These ritualistic parties, set within a landscape which celebrated the divinity of architecture, embodied the celebration of Nature, and the Deistic and Enlightened spirit of natural pleasures that reflected the Roman orgies of antiquity. It seems that radicalism during the eighteenth century was entwined with a rebellious attitude towards morality, the Hell Fire Club symbolising a fashionable celebration of liberty.

Dashwood’s gatherings influenced other country estates such as John Hall Stevenson’s Skelton Castle in Yorkshire, which he renamed Crazy Castle and founded the Demoniacks Club there. Thomas Anson of Shugborough in Staffordshire, who also co-founded the Dillettanti Society and the Divan Club with Dashwood, introduced the infamous Shepherds Monument to his gardens, which like the monuments around Medmenham and West Wycombe, displayed classical and Masonic overtones, presenting a secret puzzle in the form of an encrypted Latin code.10

Sir Watkin Williams Wynn, Jacobites, Welsh Freemasonry and Wynnstay Wynnstay, the family seat of the Williams Wynn family, situated near Wrexham in north-east Wales, was also designed in a Palladian style, with a Pleasure Garden designed by Lancelot ‘Capability’ Brown.11 ‘Capability’ Brown also designed a Temple Dairy to overlook the Pleasure Garden, and the east entrance of the estate also boasted an imitation Temple ruin. The Pleasure Garden Temples expressed an enlightened vision of the cult of architecture, a sense of learning and status being projected. Sir Watkin Williams Wynn, the third Baronet, was a hardline Tory and a well-known Jacobite who disliked Walpole and stood against the Whig oligarchy. Wynnstay became the meeting place for the Jacobite ‘Circle of the White Rose’, though Williams Wynn failed to join the uprising, being referred to by Chevalier Johnstone in his Memoirs of the Forty Five as one of the ‘persons of distinction’ that ‘had yet to declare himself for the Prince’.12 The family subsequently became the leading ‘Masonic gentry family’ in the area, with the sixth Baronet becoming Provincial Grand Master for North Wales and Shropshire in 1852. The Hall had witnessed the founding of two Masonic Lodges in the later eighteenth century and a Masonic banquet in 1851 to celebrate the sixth Baronet’s instalment as Master of a local lodge. After a fire in 1858, which saw the Hall nearly destroyed, a meeting of the Provincial Grand Lodge of North Wales and Shropshire was held there to celebrate its rebuilding in 1864.

See T.W. Pritchard, ‘Architectural History of the Mansion of Wynnstay’, DHST, Vol.29, (1980), pp.10-17.

12 Chevalier de Johnstone, Memoirs of the Forty Five by Chevalier de Johnstone, 2nd Edition, (Oxford: Alden and Mowbrey, 1970), pp.15-16.

11

9

See Geoffrey Ashe, The Hell Fire Clubs, (Stroud: Sutton Publishing, 2000).

10 Ibid.

Universe, which was clearly informed by the design of lodge rooms in Masonic Halls from this period. This

The rebuilding of the Hall resulted in a curious blend of Gothic and Neo-Classical styles, and in 1876, a chapel was designed in an Italian Renaissance style, the interior in the image of Solomon’s Temple.

The arched doorway- showing two pillars at the entrance of Wynnstay Chapel. The painted gold stars can be seen on the ceiling. The Williams Wynn family featured prominantly in local Freemasonry, with lodges meeting in the Hall. (Photo by Dr David Harrison).

Two pillars, imitating Boaz and Jachin, were situated at the east entrance, overlooking the Pleasure Garden, and the ceiling was hand painted, revealing yellow stars on a deep blue background, representing the

family Masonic Temple within Wynnstay Hall is paralleled with the Masonic Room of West Wycombe, both representing a Masonic Temple within the Classical Temple of the country estate. The Williams Wynn family were related to Lady Margaret Willoughby de Broke, who built the gothic St. Margaret’s Church in Bodelwyddan in North Wales in 1855 in memory of her husband. One of the main features of the church is its imposing stain glass windows, two of which are designed in the shape of the Solomon’s Seal.

The melancholy inspirations of eighteenth century poets such as Pope and Byron captured the Masonic symbolism of Beauty and Nature, the new fashions of landscaping the gardens of the Palladian country houses, such as West Wycombe, Wynnstay and Shugborough, representing an imitation of the decaying classical ruins of antiquity, as seen by the owners on the Grand Tour. The merging of gothic and classical created a sense of being at one with the secrets of Nature, the gothic and classical follies, covered in ivy, indicating that the building, created by God, is slowly returning to Nature, and returning to God himself.

Alexander Pope had stated that ‘gardening was landscape painting’, and in this sense, the gothic ruins, temples, lakes, and landscaped hills all represented the ethos of Freemasonry, symbolising Nature and God’s design within the pleasure gardens of the Palladian and Neo-Classical country estates.

The fifth Lord Byron’s estate at Newstead captured the essence of Gothic architecture. The medieval Abbey, which had been extensively renovated, witnessed wild weekend gatherings, the centre of which was a specially built miniature castle, situated in the woods surrounding the estate. Like Dashwood at his estate at West Wycombe, mock sea battles were held on the lake at Newstead, complete with miniature canons.

His heir, the poet Byron, who was influenced by the romantic, haunting gothic architecture of Newstead, linked it to a religious, classical beginning in Canto 13 of his epic poem Don Juan: ‘A glorious remnant of the Gothic pile,

(While yet the church of Rome’s) stood half apart In a grand Arch, which once screened many an aisle.

These last had disappear’d – a loss to Art: The first yet frowned superbly o’er the soil, And kindled feelings in the roughest heart, Which mourn’d the power of time’s or tempest’s march, In gazing on that venerable Arch.’13 The celebration of the arch is a reminder of the fascination of ancient architectural wisdom during this period, and reveals how Freemasonry may have been attractive to the poets, artists and writers of the time.

Byron had also paid pilgrimage to the garden in Lausanne where the Freemason Gibbon had completed his Decline and Fall of the Roman Empire, which was one of Byron’s favourite works. Another Freemason, Goethe, also found inspiration amongst the ruins of classical Italy, residing for a time in Rome. For Freemasons, the beauty of architecture was a reminder of its ancient divinity, holding the sacred secrets of hidden knowledge.

The De Tatton Egertons, The De Tabley’s and Provincial Freemasonry in Cheshire Tatton Park in Cheshire, which was rebuilt in the late eighteenth and early nineteenth centuries, was also designed with a Portico reminiscent of Palladianism, the Hall being the home of the Egertons, who were also a family with Masonic traditions. Many members of this extended Cheshire family, such as Sir John Egerton and later, Allen De Tatton Egerton were

13

Marchand, (ed.), Don Juan by Lord Byron, Canto XIII, Stanza LIX, p.369.

Provincial Grand Masters of Cheshire. The De Tatton Egertons were involved in the founding of Masonic Lodges within the Cheshire province in the later nineteenth century, and had a number of Lodges named after the family, such as the Egerton Lodge of New Brighton in 1885, and the De Tatton Lodge of Altrincham in 1886.

As in the case of West Wycombe, Wynnstay and Houghton Hall, Tatton Park also held Masonic meetings. Samuel Egerton, who had been influenced by classicism and Italian art during his Grand Tour, had first commissioned the Neo-Classical alterations to the Hall by Samuel Wyatt in 1774. They were continued by Samuel Egerton’s nephew, William Tatton Egerton. A classical Temple was added in the gardens, and a Doric Triumphant Arch was built at the Knutsford entrance to the Park. The London residence of the Duke of Wellington, Apsley House, built by Robert Adam in 1778, was later improved by James Wyatt, and boasted a Corinthian Portico. Wellington bought the house from his elder brother, the 2nd Earl of Mornington, both being Freemasons.

Another country estate within Cheshire that was owned by a family with Masonic associations was Tabley House, completed in 1769. Tabley House was designed by John Carr of York in the Palladian style for Sir Peter Byrne Leicester, whose son, Sir John Fleming Leicester, became the first Lord de Tabley.

The second Lord de Tabley became Provincial Grand Master of Cheshire in 1865, and there were De Tabley Lodges founded at Knutsford in 1862 (co-founded by Lord De Tabley, Wilbraham Egerton, and Cornwall Legh), and at Frodsham in 1888, Lord de Tabley also constituting other Cheshire Lodges, such as the Earl of Chester Lodge at Lymm in 1875.14 The Leicester’s were related to the Byron family, another family who, as we have seen, were closely linked to Freemasonry.

In a similar fashion to Newstead, a castle-like-tower 14

John Armstrong, Freemasonry in Cheshire, (London: Kenning, 1901), pp.384-5 and p.390.

was constructed and a lake created, the tower containing canons for possible mock battles during weekend parties. A chair also exists at Tabley, dating

to 1704, which has symbols similar to the square and compass which may be interpreted as Masonic.

The chapel of Tabley House was built in 1678, and was originally built on an island, next to the old Hall in Tabley Moat, but was moved piece by piece to a position next to the Palladian House in 1927. The chapel of Tabley, as with the chapel of Wynnstay and the Masonic Room of West Wycombe, reveals strong Masonic features, and has a series of pentagrams displayed on the arch above the main entrance, and the pews inside the chapel are arranged to face each other on the opposite walls, which is reminiscent of the layout of a Lodge.

Two pillars adorn the entrance, and the ceiling was painted with stars, similar to the Wynnstay chapel.

A stained glass window revealing a Templar Knight is displayed in the Tabley chapel, which was dedicated to Lord de Tabley in 1956, who was Head of the Order in Cheshire. This also

Arch Chapter using the chapel regularly from the later part of the nineteenth century.15 Masonic symbolism also occurs in the old Tabley Hall, with pentagrams being displayed on the entrance in a similar fashion to the chapel. Though originally built in the 1380s, the old Hall was renovated at the same time as the chapel was built. As in the case of Wynnstay, West Wycombe, Newstead, and Tatton Park, Masonic traditions were strong at Tabley, though the familyâ&#x20AC;&#x2122;s association with the Craft are only recorded in the later half of the nineteenth century, there are Masonic traditions dating from the late seventeenth century.

The classical architecture and the fashionable interest in Greek and Roman antiquity, as shown in the popularity of the Grand Tour - and in the adoption of Palladianism by the Whig oligarchy as the new national architecture of post revolution England, attracted artists, poets, writers and politicians to Freemasonry, which seemed to represent an intellectual pathway to the search for hidden knowledge.

Apart from a small number of Masonic Halls, such as Freemasons Hall in Great Queen Street in London and

has clear parallels with The stained glass window in Tabley Chapel showing a Knights Templar on the Halls in towns like Weymouth the Masonic stained left hand side. The last Lord De Tabley was a member of the Order. (Photo by Dr and Kingston-upon-Hull, the glass window in David Harrison). concept of a central Hall in a Newstead chapel, town for local Masonic lodges which had been dedicated to Thomas Wildman, who to meet was rare. Masonic Halls only became like the second Lord de Tabley served as Provincial Grand Master. Masonic meetings took place in the 15 Ibid. Papers and documents belonging to the De Tabley Lodge chapel, the Knutsford De Tabley Lodge and its Royal No. 941, Knutsford Masonic Hall. Not listed.

Also see Armstrong, A History of Freemasonry in Cheshire.

common place in the later half of the nineteenth century, many being purposely built to incorporate Masonic symbolism and having neo-classical architectural features. The majority of English and Welsh lodges in the eighteenth and early nineteenth centuries, both ‘Antient’ and ‘Modern’, met in taverns and Inns, but for a lodge to be deeply connected to a prominent local aristocrat, it was symbolic of status for that lodge to meet at his residence, providing a much more elitist and private meeting place.16 The residences of these important Freemasons became a status symbol proudly boasting the owners Masonic beliefs through the display of symbolism and became home to local lodges, lodges which the owners controlled. When fellow Masons visited the Hall, they could recognise the symbolism instantly, and also recognise the Masonic status of the owner. Houses such as West Wycomb, Wynnstay, Newstead, Tatton Park and Tabley, celebrated architecture within the framework of Freemasonry, all of these aristocratic families becoming central to Freemasonry in their area, serving as Provincial Grand Masters, and all founding their own prestigious lodges.

These lodges would at times meet within the house itself, the lodge room becoming a reconstruction of Solomon’s Temple, a plan of the Universe itself residing within a Palladian or gothic structure.

Masonic features within the house would also be of significance to the Freemason, certain architectural features such as the two pillars by an entrance or certain recognisable symbols would express hidden meaning. The actual structure and décor of the house was a celebration of God’s divine wisdom in architecture and geometry, and was therefore sacred to the Freemason. This architecture held a greater 16

For a the development on the building of Masonic Halls in the later nineteenth century in England see Andrew Prescot, The Study of Freemasonry as a new Academic Discipline, University of Sheffield, pp.6-7, <http://freemasonry.dept.shef.ac.uk/pdf/ovn.pdf?PHPSESSID=bf 5645aae288a112e6c99cacdca85a90> [accessed July 17 2007]

meaning for the initiated, emulating the search for the lost knowledge of the ancients, the balance and harmony of the Universe, and God’s mathematical design, revealing the secrets of Nature itself.

seven stars painted on the pulpit - all that remains of the star covered ceiling on the Tabley Chapel. Masonic services took place in the Chapel. (Photo by Dr David Harrison).

Dr David Harrison has written many articles and papers on the history of Freemasonry for a number of magazines and journals. He has worked as a history lecturer for over ten years and researched the complex and hidden history of English Freemasonry for his Phd, which was published by Lewis Masonic and titled The Genesis of Freemasonry.

He has written extensively on the Liverpool Masonic Rebellion and the Wigan Grand Lodge, with a number of articles on the subject appearing in Freemasonry Today.

The Genesis of Freemasonry

By Dr David Harrison If you really wish to know the origins of Freemasonry then make space under the Christmas Tree for this beautifully researched book.

give you all the answers, you just need to think of the questions!

The Genesis of Freemasonry takes us on a journey of exploration through the early years of Freemasonry, Harrison carefully deconstructs a number of existing myths and cleverly shows where the roots of Freemasonry are firmly planted.

The book carefully looks at where modern Freemasonry comes from and the developments before and after the formation of the first Grand Lodge in London; learn about those responsible for creating the first Grand Lodge in 1717 and their motivation.

Considering the book was written from an Academic point it is remarkably easy to read and would suit all those interested in Freemasonry and its origins. A wonderfully detailed look at the development of modern Masonic Ritual, the Freemasons search for knowledge, the balance between the new sciences of The Royal Society and magic, alchemy and necromancy, all of this peppered with dashes of rebellion, politics, civil war and religion this book really does

What others have to say.

“This book is a revealing but thoroughly enjoyable journey through the intricate history of English Freemasonry. Historian Dr David Harrison reconstructs the hidden history of the movement, tracing its roots through a mixture of mediaeval guild societies, alchemy and necromancy. He examines the earliest known Freemasons and their obsessions with Solomon’s Temple, alchemy and prophecy to the formation of the Grand Lodge in London, which in turn led to rebellions within the Craft throughout England, especially in York and with the formation of the ‘antients’. Harrison also analyses the role of French immigrant Dr Jean Theophilus Desaguliers in the development of English Freemasonry, focussing on his involvement with the formation of the mysterious modern Masonic ritual.”

Lewis Masonic Web site You can order a copy of The Genesis of Freemasonry through the MAE web site http://masonic-ae.com/newsletters/v1i5.html

In a recent conversation it was highlighted to my total agreement that Masonic Art should include music and then within hours my attention was brought to this wonderful cover for a piece of sheet music.

A lot of people believe that the media coverage of Freemasonry is a part of modern pop culture but a quick search on the net will show you that Freemasonry isn’t only found in the likes of the movie National Treasure and Dan Brown's latest novel, The Lost Symbol.

Freemasonry's appearance in popular culture is nothing new.

Pictured here to the left is the cover of a piece of sheet music from 1916 for the song Be a Mason (And Take It By Degrees) The music is

by Albert von Tilzer, who was a well-known composer of the time who is probably best known for his piece Take Me Out to the Ballgame. (sheet music cover pictured above right) After a quick search I have not been able to discover any connection with Freemasonry for either von Tilzer or the writers McCarron and Dillion; but it seems they have a small if slightly irreverent understanding of Freemasonry. The song draws on a general familiarity with Freemasonry at the time and doesn’t actually address anything to do with the fraternal or brotherly side of Freemasonry or even as the title may make you believe encouraging a young man to become a member of the Craft.

Be a Mason (And Take It By Degrees). Cover illustration by Andre C. De Takacs. New York: Broadway Music Corporation, 1916. National Heritage Museum, Van Gorden-Williams Library and Archives, 79-1179SC, Museum purchase.

It is actually the subtitle that go further in explaining a little more about the song than the main title it is a song of the tale of how a man is encouraged to seduce a woman by the three degrees not as we as Freemasons would understand but in a more colloquial manner using the phrase ‘by degrees’ to mean taking small steps toward the ‘prize’: Be a Mason, take it by degrees Be a Mason, and you'll be sure to please A little bit now, a little bit then When you want some more, come back again...

If you're interested in more references to Freemasonry in music, be sure to check out the page put together by Grand Lodge of British Columbia and Yukon, and also the fantastic site at The Music Of Freemasonry which has a wealth of information on many aspects of music by and used in Freemasonry from the well knows such as Mozart and Sousa to appropriate music for Masonic Festive boards and Funerals; and finally for you single men reading in search of a wife who may not be in the craft with tongue in cheek I say: Take your time and give her the sign.

Join the Order and get yourself a girl.

If you ever have opportunity to play this piece why not record it and send me a copy to put up on the site!!

In The Medals and Jewels of British Freemasonry, noted collector and W. Bro. Trevor Harris of England presents over 650 full-color examples of breast jewels, medallions, collar jewels, tokens, and assorted documents that vividly illustrate— really for the first time in an accessible, printed format—the impressive diversity and distinct historical significance of these gems of the Craft. Included are items strictly from Craft Freemasonry, the Holy Royal Arch and the Mark and Ark Mariner degrees.

That so many Freemasons outside of the UK have never heard about the release of this book is quite regrettable. There are all too few books that focus upon Freemasonry’s artwork, and even fewer that do it so lavishly. The book is presented in hardcover, approximately 8.5x12 inches, and printed in full color throughout. The most important reason for this attractive format is the reproduction of most of the specimens at actual size. This supports a dual purpose: for collectors, it permits a more expedient identification of pieces, while for the general student it allows for an immediate and realistic understanding of the physical presence of these treasured artifacts.

Here is a window into a time when Masonic jewelers like Thomas Harper and Paul Revere creatively interpreted the symbols of the Craft into cunningly executed works of art.

Also featured are hundreds of examples of lodge jewels and commemorative medals issues by various Grand Lodges and Masonic charities.

The work, of course, is not without flaws. It is true that detail in some of the images is sadly obscured, owing generally to the

natural discoloration of a given item over time—and the fact that aficionados generally prefer not to polish or restore antiques, but rather to preserve them with all the marks of age. Most of the reproductions, however, are exceptionally clear, and many of them convey an almost tactile sense of the items.

My fellow Masonic traditionalists will be especially interested in this book as an essential resource for early Masonic iconography and as an invaluable sourcebook for the potential creation of similar works of art in the future. Only lately, in terms of the Masonic timeline, did the tradition of lodge jewels fade in the United States (to be replaced by the ubiquitous lapel pin). As many lodges have begun to show an interest in the creation of custom tokens and jewels once again, Bro. Harris’ book will serve as a fundamental source of inspiration.

Proceeds from the book benefit the United Grand Lodge of England’s Library and Museum at Freemasons Hall in London. This is a very worthy cause, as many of the Craft’s most important records and relics are kept there. Obtaining the book in the United States is, unfortunately, not as simple as checking amazon.com.The easiest way to obtain it is to order it directly from Bro. Harris, who informs us that he can accept payment by Paypal or by check in us currency. The cost is £39.95 for the book plus £12.95 for overseas shipping— approximately $86 total (but always check current exchange rates before you place your order). Those interested should visit his website at masonicmedals.net for details, and to browse his selection of jewels for sale.

Trevor I. Harris Publications, 2007 ISBN 978-0-9554447-0-8 140 pages, £39.95 UK (approx. $60.00 USD) Reviewed by Shawn Eyer in Philalethes: The Journal of Masonic Research and Letters.

Reprinted by permission, article © 2009 The Philalethes Society.

Subscription is $50 in U.S. & Canada, $60 worldwide.

Visit http://freemasonry.org/design/

Lodges which had existed prior to the formation of the Grand Lodge retained many of their local practices and traditions, which nearly always differed from place to place. This is one reason why Scottish Lodges have the right to devise their own

W

hen the Grand Lodge of Scotland was founded in 1736 there were approximately 100 Lodges in existence, scattered across Scotland. These were mainly stonemasons’ lodges, although there were a few with a mixed membership and at least one that had no stonemasons at all as members.1 Scottish Freemasonry in the form of The Grand Lodge of Scotland was confronted with difficulty from the outset as it attempted to regulate the affairs of so many independent Lodges. Indeed, support for the new body appeared to be lukewarm at best. All known Lodges were invited to attend the inaugural meeting held on 30 November 1736 in Edinburgh.2 Only 33 attended or sent representatives to that meeting. Of those, 12 decided not to pursue membership of the new body any further and never became part of the Scottish Grand Lodge 'system'. 3

ritual — within reason, of course! There is no such thing as a ‘standard’ Scottish Masonic ritual, and in theory there could be as many rituals as there are Lodges, although in practice Lodges adopt an existing ritual and adapt it to suit their aspirations.7 Given that all Scottish Lodges had this amount of independence before Grand Lodge, then Lodges founded after 1736 expected and gained - the same degree of independence. This applied not only to Lodges in Scotland but also to those in other parts of the world such as the United States of America and Canada where many Scottish Lodges were established.

This local autonomy manifested itself not only in wide variations of ritual but also had an effect on many other aspects of Lodge organisation and practice.8 The most obvious difference is Scottish regalia, particularly aprons. A Lodge in It was not until 1891 that the last of these one part of the country may have used independent Lodges became a Daughter Lodge of red for its aprons and other regalia, 4 the Grand Lodge of Scotland. In order to be whereas a Lodge on the other side of the accepted as the governing body, the Grand Lodge country may have used blue or green or Master Mason's apron Lodge Celtic, of Scotland had to compromise on many issues, and a combination of colours. With no No.291 (Royal Stewart Tartan) it is those compromises which make Scottish standard colours imposed on daughter Freemasonry unique in world Freemasonry. The new Grand Lodges, they continued with existing designs.9 For this reason, all Lodge of Scotland ‘granted’ a great deal of power to existing Scottish Lodges can choose which colour(s) to use for their Lodges - it could not do otherwise, as such lodges preceded it by regalia. many years and already had such powers.5 For this reason, Lodges under the Scottish Constitution are independent, The reasons for the choice of colour might be obscure, but more sovereign, bodies in their own right, and Grand Lodge has quite a often than not there is a conscious decision taken by the founder different relationship with its daughter Lodges than other members when choosing a particular colour or combination of Constitutions have with theirs. That relationship, together with colours. For instance: Lodge Tullibardine-in-the-East, No.1118 the culture and history of the Scottish people, has ensured that (Kuala Lumpur, Malaysia) chose Murray Tartan as this was the Scottish Freemasonry has a very different character from other clan tartan of the Dukes of Atholl, and John George Murray, forms of Freemasonry. Perhaps these are some of the reasons Marquis of Tullibardine, was Grand Master Mason at the time why Scottish Freemasonry is so attractive to men outwith the lodge was founded (1913).10 Lodge Celtic No 291, founded in Scotland.6 1821, uses Royal Stewart tartan, and one of the Lodge’s avowed intentions was to ‘promote the wearing of tartan within the Scottish Craft’. This was a romantic - and late - reaction to the repeal of the Act of Proscription of 1746, which, among other 1

The Lodge at Aberdeen (1670) is an example of the former, and the Lodge at Haughfoot (1702) an example of the latter.

2 St. Andrew’s Day - the Feast Day of the Patron Saint of Scotland.

3

Most of these were stonemasons’ Lodges, with the notable exception of the Lodge at Haughfoot (1702).

4 The Lodge of Melrose St. John No.12.

5

The Lodge of Aitcheson’s Haven (1599) is another example of a Lodge in recorded existence for almost 140 years before the creation of the Grand Lodge of Scotland.

6 There are a number of Scottish Lodges which do not have a Charter (Warrant) because they existed prior to the formation of the Grand Lodge of Scotland.

7

The Grand Lodge of Scotland has approximately 600 daughter Lodges furth of Scotland.

8 This is also one reason why many commentators unfamiliar with Scottish Masonic history and practice make some elementary errors when writing on Scottish Freemasonry.

9 Within reason, of course. Day-glo pink is definitely out!

10

He later became the 8th Duke of Atholl.

things, had banned the wearing of tartan and the playing of bagpipes.11

has it: ‘It's the same but different’. In other words, the whole world is out of step with Scotland - and we are okay with that!

The choice of a tartan for Scottish Masonic regalia can, like other colours, be for a number of reasons but, because tartan is uniquely Scottish, several specific reasons for their selection can be identified:

Given that Scottish Lodges, not only in Scotland, enjoy the ability to express their individuality at Lodge (rather than state or country level) in terms of Regalia, Ritual and Regulation (the three Scottish Masonic R’s), the reader might well understand the Scottish Masonic ‘shudder’ at the thought of the ‘invention’ of a Universal Masonic tartan, for that would herald the introduction of the kind of Masonic standardisation alien to Scottish Freemasons and this is why, ultimately, there can be no such thing as a standard, universal, Masonic, Tartan.

 The use of a clan tartan by a Lodge which is located in the clan’s area.  The use of the tartan of a particular Freemason, e.g. the Grand Master Mason at the time a Lodge was founded,  The clan tartan of the Founding Master.  The Tartan used by the majority of members, e.g. a Lodge founded by members of the Black Watch  The selection of a tartan for ‘romantic’ reasons; e.g. one associated with Bonnie Prince Charlie - the Royal Stewart tartan.  The Founder Members of the lodge simply liked the colours!12 What becomes clear from this very brief investigation of the use of tartan by Masonic Lodges is that Scottish Lodges have never thought, nor wanted, to have a ‘common’ Masonic tartan.

Instead, they have deliberately chosen to use existing tartans as this permits enormous choice. This is entirely in accordance with the Scottish mentality of ‘non-standardisation’ - a peculiar concept in this world of ever-increasing conformity and standardisation. The Scottish Masonic mentality abhors this process of standardisation - certainly within Freemasonry. That is not a criticism of other Constitutions, but simply an observation of the differences between Scottish Masonic practice and that which pertains elsewhere. Scottish Lodges revel in their differences, one from another, and this is manifested visually by the ‘colour’ of regalia. The choice of colours, combinations of colours, and the use of tartan is sufficient evidence of this independence of mind. This independence in terms of Ritual, Regalia, Colours, Officers, and Symbolism does not mean that there is a fundamental difference between Scottish Freemasonry and other forms of Freemasonry.13 As a colloquial Scottish saying

11

The Act was repealed in 1782, but the use of tartan within Scotland remained out of favour for many years after.

12 Lodge Celtic No. 291 almost certainly falls within this category.

13

It is not possible to discuss is this short article the differences of Scottish Masonic symbolism, etc.

Robert L. D. Cooper, Curator, The Grand Lodge of Scotland Museum and Library (The views expressed in this article are those of the author and are not necessarily the views of the Grand Lodge of Scotland).

I

t is really rare that you see something as new and as exciting as Templar Tarot: The Journey published by Allen Chester and although it has no direct relationship to the Craft the breathtaking use of symbolism and the romantic history of the Templars has Brothers buying up copies of this deck. The release of this deck has sent hidden waves through online communities of Freemasons due to the addition of celebrated Templar/Masonic author Stephen Dafoe.

The first release of Templar Tarot was 2001 and contained Allen Chester's artwork of the traditional 22 major Arcana cards depicting A.E. Waite's Fool's Journey and the standard 56 minor Arcana of Cups, Disks, Swords and Wands or Staves (Shepherd crook) plus the addition of a card called the Magic Flute. This deck was painted by Allen Chester and the cards interpretations were written by Daria Kelleher long time Tarot reader and Templar history buff as per the decks companion guide. This new deck is a sequel and comes in a beautiful box with the cards split in two stacks and a very sharply printed compendium book. It containing the previous 79 cards with an additional 22 major Arcana cards bringing the total amount to 101 amazing and breathtaking works of art. This addition of 22 major Arcana is the Templar Journey and is the artists symbolic tutorial of the rise and fall of the militant monk order and is historically and divinationly interpreted by Stephen Dafoe in the companion book.

The new major Arcana are split into three distinct groups which are the fundamental Trimurti of all life's pursuits and is especially related to the three Craft degrees of Freemasonry Birth, Life and Death, each group containing seven cards. Stephen Dafoe writes about 3-4 pages about each card and if you only buy the deck so you can have a history of the Templars veiled in allegory and hidden by symbols you will have already got your monies worth.

I personally love the deck and deeply enjoy the artist use of colours, texturing and symbols in the cards and was so drawn into this that I completely overlooked the overall tone of the deck. After receiving the deck I took it to three different friends who read Tarot and each of their comments were the same after slowly viewing all 101 cards independently. That the deck is overly dark and depressing with all of its characters frowning or crying, an overuse of some of the same symbols such as anchors, skeletons,

wings and antlers. Traditional Tarot decks have a loose balance of good and bad in varying degrees which makes reading them for divination easier because most can relate easily with the visualization of smiles and frowns. I spent a great deal of time studying the cards and meditating why I liked the deck and didn't find it to be depressing as others did. I believe that the happiness and joy in the cards can be read in the work of the artist and perhaps not in the symbols themselves.

I also feel that the depressive nature of the deck is because of how well the author was able to capture the essence of the Knights Templars and the period of which they lived 1129 to 1307 when everyone was very focused on death and unhappiness. It is obvious from the historical writings of Stephen Dafoe in the compendium book that the life of the Templars was one of rigorous military exercise and arduous religious practises.

So it makes sense that the deck would reflect the time period it was created for rather than what traditional Tarot decks have done. But I certainly believe that you need to be a "cup is half full" person to actually enjoy the deck and would caution anyone apt to depression to stay away from it.

My final complaint about the deck is ironic because I LOVE how many new cards there are and I LOVE that they are printed on the most amazing quality 31/2 X 5 inch cards but when they are all combined they create a 13/4 inch stack which is stiff and nearly impossible to shuffle or handle. I have found that I like removing one of the Major Arcana decks and shuffling/reading with just the standard 78 cards. So you can pick your trump cards which you won't get with any other deck.

If asked I would recommend the deck to everyone on the simple notion of how beautiful all the paintings are and at a cost of $50 USD you are getting a 101 small paintings for about 50¢ each and a bonus book to detail them all.

Although I enjoy dealing the cards and reading them for divination purposes it is not a simple or easy deck to read. But if you framed them all it would make an amazing wall display which would mesmerize viewers for hours or is a brilliant meditative tool to just sit quietly and review the cards yourself and allow their meaning and symbols to penetrate your heart and mind allowing them to take you on your own Templar Journey.

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

John Haskin

I am a Master Mason. I grew up in a Masonic family. My Brothers, Dad, Aunts, Uncles, Grandfather and Grandmother, great-grandfather and back many generations were Masons and O.E.S. Last year, to my great pleasure, my son became a Master Mason. With that kind of Masonic activity in your life you start to take everything Masonic for granted.

When I graduated from high school, our class prom was held in the formal ballroom at the Masonic Temple in Detroit. http://themasonic.com/history.html I can barely remember

same benevolent explanations, never really saying what goes on, but not trying to hide anything either. I sat there, looking my brother in the eye. He looked different, more sure of himself than just moments ago. He smiled, I said “How do I join?” He pulled out a piece of paper folded twice and rounded in the shape of his back pocket. “I knew you would ask.” he said. It was a petition to the oldest fraternity in the world. It was already signed by my brother and my dad. WOW! Within a few days I found my older brother Jay had asked to join too. The two of us did all three degrees together, witnessed from the sidelines by my little brother.

My Grandfather approached me with a finely crafted little box. He made a heartfelt speech and asked me for a memento, that I was herein made a Mason. What? He opened the box and said “A quarter of a dollar?”

He was dead serious. “A dime?” I just stared at that empty box. He slowly turned away and I felt really bad. I had let my Grandfather down on this important night.

He turned back and my heart leapt.

With a desperate crackle in his voice and I swear a tear in his eye “A penny?” DAMMIT! I just had a whole pocket full of penny’s! My conductor tightened his grip.

Crystal Ballroom at The Detroit Masonic Temple

what the girl I escorted looked like, but I will never forget the amazing building we went to. The art and architecture were incredible and mysterious. It really piqued my interest in things' Masonic. Shortly thereafter I asked my father what the Masons were all about. At that time (late sixties) Masons were not permitted to approach someone about entering the fraternity. It was necessary for one to ask to join. I didn’t ask to join. I was just curious. He gave me the usual cryptic explanation of why he became a Mason and how the lessons he learned in his lodge provided him a moral compass that guided his life.

Nothing I could really grab onto and say, okay, I get it. So, I went to my Grandfather. We pondered life’s big questions, explored his wine cellar, laughed and got to know one another a little better. Still, no clue. My twenties were consumed with art school, military, newly married, firstborn and buying stuff, not thinking much about the Mason’s or becoming one. Then two really profound things happened to me. I found myself back at the Masonic Temple in Detroit for a concert in the beautiful Masonic Auditorium and my younger brother joined the Mason’s. “WOW, this place is incredible and WOW you joined the Mason’s???”

Finally, I thought, here’s someone who will give me the scoop on what the Mason’s are all about. My little brother Gary, I can throw into a headlock and get anything out of him. Not so. The

I was thoroughly impressed. My older brother and I stood in the Northeast corner of the lodge and beamed. Everything was right.

I listened to the lecture with such clarity, every word full of hidden meaning. We all left the lodge shaking hands and patting backs. The Worshipful Master came up to me, gripped my hand, and said “See you tomorrow”. What? “Yes, I will see you tomorrow at five for your first class.” The secretary of the lodge came up behind me, tapped me on the shoulder and handed me a little black book. I opened the book and slowly thumbed through it. Nothing in it made any sense to me what so ever. My first look at the one letter code.

I sat in class with brothers at all different stages of learning. My goal...learn the EA lesson word for word by Fellowcraft night the following month. Five minutes into class my head was about spin off. One letter code. How can I memorize something I can’t read?

There is something odd about how Mason’s speak.

As it turned out, this is a good way to learn. You get to know the older brothers in the lodge, you form a bond with the new brothers, you find out your all in the same boat. Most of the words come to you pretty fast. A few are excruciatingly hard to remember.

The lodge opened on the Entered Apprentice Degree. Five of us were marched into the lodge with our flaps turned up to be examined. We had to recite alternating lines until we got to the

obligation. Each one of us were required to recite the obligation then back to alternating lines. I sweated my way through it, but I was duly and truly prepared. We were marched out. Word came from within the lodge that we had all made suitable proficiency in the Entered Apprentice Degree. Along with the good news came some bad. Three would be passed to the Degree of Fellowcraft, two would be going home until next month. I stayed.

Another night to remember!

As it turned out I got much more bonding time with my Masonic mentors. My lodge strongly encouraged new Master Masons to become MM proficient. It was left for us to do, on our own, at our own pace. I recommend that all new Masons study and become MM proficient. It will round off your lodge knowledge and will help prepare you to take an active part in degree work.

At the time I became a Master Mason, my wife and I had one boy and another on the way. I had been working as an artist in the advertising business for about ten years. I was trained to take a critical look at all art and design. I began to notice a stark contrast in the art and design surrounding us on the walls and architecture to the drab and amateur art on our communications and literature.

Even the door knobs on our lodge were more decorative than our papers. After taking an oath promising not to w, p, p, s, s, c, c, m n e t, I wasn’t about to bring up the subject of bad art even if the penalty was ancient and symbolic.

But we work in speculative Masonry only and the brother’s needed good art. From time to time I would be asked by brother Mason if I knew of any available Masonic clipart. I was always on the lookout for any kind of Masonic art. When I found some I would make a photo stat copy with a graphic art camera, then take a T-Square and Triangle, Rapidograph pens and start cleaning up thirty year old art that has been copied over and over again. You see, the really good art is owned by lodges and individual’s who generally don’t want to share it.

It was in the late 90’s when a brother Mason asked me to design and produce a certificate for a really special brother they were

honoring for his achievements. I worked very hard to create and produce a certificate worthy of this brother. I received many compliments on the work. The best Square and Compass art they had ever seen. It wasn’t hard to out do the poor quality art available. The same brother suggested to me that I should sell the certificate to brothers at other lodges. I wasn’t sure how to approach this idea. There are many companies that have been selling Masonic rings, watches, lapel pins etc. But at that time something didn’t sit right with me making profit off my fellow brother Mason’s. I let a few more years slip by. About the end of 2001 work had slowed to a snails pace. The economy was reeling from the plunge of tech stocks and the affects of the 9-11 terrorist attack. I needed something to do. I started a search for masonic documents and certificates. At the time there were only a few companies selling some really pathetic certificates. I had found some really beautiful certificates that were produced way back in the 1920-1930 era, but not available to the public. I was called to labor.

When I was raised to the sublime degree of Master Mason, the only thing that I received to mark the occasion was a card that fit nicely into my wallet. The only time anybody ever saw it was if I was visiting another lodge as proof I had paid my dues up to date. I recently chatted with a learned brother who is a member of the Ohio Lodge of Research. He echoed the same sentiments, for all his hard work and accomplishments a dues card is the only thing to mark his achievements.

I decided a Master Mason certificate was something that needed to be done and must be done right.

“A certificate that marks a man’s ascent to the sublime degree of Master Mason.”

I also sell certificates directly to lodges at a discounted rate for multiple orders. Lodges that order direct will usually have something special like their lodge logo designed into the certificate. I have made certificates for “Mason of the Year” and for a brother celebrating 75 years membership.

The bar on this will be set high indeed. It will have to be worthy of hanging on the wall of our Grand Master Hiram Abif. It would have to withstand the test of time. In 2110 or thereafter it is my hope and expectation that this document will give a Master Mason’s descendant’s pleasure in the knowledge that he walked in peace and harmony among brother’s and fellows. I have included some of the working tool’s of Mason’s for those interested in a closer look or just to stand back and enjoy the simple beauty of the square and compass on a bed of blue crystal’s. I think it is important to include the infamous initials F.&A.M. I have been asked what those initial’s stand for many time’s. It is always an honor to say Free and Accepted Mason.

No matter where a Mason’s travels take him it is always the Lodge he was raised in that will be called “his” lodge. So I picked a lettering style that would befit the importance of the lodge name. Some of the ancient documents I studied, even though a thing of beauty, were sorely missing the city in which the lodge was located. With so many lodges having the same name, a genealogist will tell how important a simple fact like location is. Formal Script is an ancient lettering style that never get old. It presents the Master Mason in full Masonic regalia.

Each Mason know’s how important those dates listed below are. That’s the one thing on this document that a brother Mason can call his own. It is the thing that makes his certificate so unique. There is story behind every date. If our travels ever cross brother, I will tell you mine I have been selling certificates from my web site since 2006. www.masonicdocs.com Although the Master Mason certificate is by far the most popular, there are several others that sell well too. The Order of the Eastern Star, Scottish Rite, York Rite to name a few. I am now working on a illustration for a certificate honoring Shriners. That will be finished soon.

Each illustration takes many hours to complete. Because I can sell the art on certificates, the high cost of producing high end art is amortized over a period of time. I have priced the certificate at $18 apiece. At this price I think it is affordable for all Mason’s.

Each certificate is a custom one of a kind, printed on museum quality archival paper. I use a eight color Epson printer, with ink guaranteed not to fade for ninety nine years. If the document is protected it may last several hundred years or more.

Many times a lodge will contact me with special circumstances (like the 75 year member) I feel so moved to be a part in celebrating such an occasion, I will design a special certificate at no extra charge.

It is important that when you are gifted something in life that you be willing to give back. I offer my art to lodges for their internal use for free. Many lodges are now using my art for headers on their web sites or on signage used by the lodge. I have one brother who called to get permission to use the art for a tattoo.

He now has a great looking tat and we have become good friends over the last four years.

If your lodge is in need of art for a project or to enhance your web presence, please write to me and I will send you a letter granting permission for your particular use, and I will send you an electronic file adequate for the project. email me jrhaskin@masonicdocs.com I would also be thankful if any brothers notice anyone using my art for profit or illicit activity (such as anti-masonic web sites) please notify me as soon as possible. If you have any idea’s that you think may benefit the brotherhood, I would love to hear from you.

Brothers, on the level, by the plumb, and part on the square.

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.

My choice for this month’s FaceBook group is the Masonic INK Group which can be found at http://www.facebook.com/group.php?gid=312486915573 there are a great collection of Masonic inspired tattoos to have a look I would advise if you are a Freemason and a fan of INK you should pop along and join.

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 create@theimagedesigns.com please remember to include MAE in the subject line.

The introduction from the web site does a far better job of outlining the Masonic Society than I ever could: What Is The Masonic Society? ™ "The ultimate success of Masonry depends on the intelligence of her disciples." - Albert Mackey A significant group of passionate Masons are coming together to create what aims to be nothing less than the premier North American research society in Freemasonry. Called simply The Masonic Society, we are gathering together brothers who have a deep and abiding desire to seek knowledge, explore history, discover symbolism, debate philosophies, and in short, who will be at the forefront of charting a path for the future of Freemasonry.

As a student of Freemasonry, you are invited to join with us in the formation of this new and exciting organization.

Our name, The Masonic Society, intentionally alludes to the Royal Society, the innovative organization of visionary men who were at the forefront of the Age of Enlightenment, many of whom were present at the formation of what became modern Freemasonry. Likewise, our new Society will be at the forefront of a new age of Freemasonry, and we intend to be a vibrant, active community within the fraternity.

The goal of The Masonic Society is not just to look backward at the history of Freemasonry, but to foster the intellectual, spiritual and social growth of the modern Masonic fraternity.

To that end, The Masonic Society extends the hand of assistance and cooperation to individual Masonic research lodges in North America. It is the desire of The Masonic Society to be a partner with these lodges, to give their members the regular opportunity to publish their papers for an international audience, and to publicize their activities.

Well this brings us to the end of the sixth Masonic Art Exchange Newsletter I know it’s very short and lacking in content but in this first instance it is an attempt to show what we could achieve if we come together and work toward a common goal.

I know in the world of Freemasonry there are a million and one Newsletters, Reviews, Journals, Tresleboards and the like., Some of a very high standard and some not but what we hope to achieve with the MAE is a resource where a brother can come to for advice on how to improve the ‘product’ he is giving out to his brethren whatever form it may take.

On this final page I am going to place a few links to ‘good’ sites, other groups in Facebook that may be of interest and contact details.

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,

David.

themasonicsociety.com

info@masonic-ae.com Contact details: subs@masonic-ae.com.