Building Athens

A book review by Wor. Bro. Frederic L. Milliken

Building Athens

Building Athens

Coach John Nagy has written a most important book for the Fellow Craft, Building Athens – Uncommon Catechism for Uncommon Masonic Education – Volume 3. It is about the winding staircase with emphasis on the 7 Liberal Arts and Sciences. In case you have forgotten (heaven forbid), the 7 Liberal Arts and Sciences are Grammar, Rhetoric, Logic, Arithmetic, Geometry, Music and Astronomy.

The first three are categorized as the Trivium, the latter four labeled the Quadrivium. The Trivium, Nagy tells us: “ …is to convey to students an understanding of how Words are used as Symbols. Study of such matters includes the eventual ability to decode and encode meaning and intent using Words as a base.” The Quadrivium “… is to convey to the student and understanding of how Numbers are used as Symbols. Study of such matters includes the eventual ability to decode and encode meaning and intent using Numbers as a base.”

But the larger question I am sure you are asking by now is why is the book titled Building Athens? What does Athens have to do with the 7 Liberal Arts and Sciences?

Nagy tells us:

Masons unfamiliar with the legacy of Athens hamper their Masonic progress. To participate in Masonry at the Fellow Craft Level without having knowledge of Athens’ most famous citizens and, more specifically, their Works is to see and experience Ritual as a shadow show likened to that depicted in Plato’s Cave.

Most of us know about Socrates, Plato, Aristotle and Pythagoras. But how many of us have heard of Anaximenes, Heraclitus, Parmenides and Democritus, to name a few?

John "Coach" Nagy

John “Coach” Nagy

Actually, when Nagy first envisioned this book it was going to be more of an explanation of the rich symbolism in the Second Degree but the end result took a turn when reality dawned on the Coach.

First, in observing other Masonic writers he noted how some produced the unfolding of layers of symbolism.

“Through this insight, I realized that these Brothers had constructed writings that hid things in plain view through Symbolic Layering. They Masterfully conveyed Light without hiding it. They shared it knowing that Brothers would see Light that profanes couldn’t. Trained Brothers knew what was conveyed.”

Symbolic Layering is one fascinating aspect of this book and one which the reader must discover on his or her own. That led Nagy to his conclusion that Trained Minds are so important to understanding Symbolic Layering and the meaning of Masonry.

I quickly realized that a Mason’s mind must be first ‘readied’ to receive such information before he can benefit from it. I also realized that no matter how I might go about my initial focus, without a ‘readied mind’, my actions would be equivalent to discussing colors with a blind person. No such sharing would have relatable significance.

But how is this done? How are Freemasons readied to receive this information?

“Fellow Craft Masons that diligently invest in the education pointed toward by Ritual physically reshape their ‘Ashlars’, a.k.a. ‘brains’, toward what is required by the Builder. They furthermore reinforce natural affinities that their brains already have and cultivate interconnections that change how reality is experienced. This training transforms each mind’s ability to sort, uncover, discriminate, differentiate, distinguish, decide, detect, project, create, evaluate and a host of other mental talents that would otherwise lay dormant or poorly used if not otherwise nurtured.”

Once again Nagy emphasizes Trained Minds in Trained Masons.

“Information challenged individuals, unable to deal effectively with information overload, become lost within information. Trained Masons know what is pertinent. They furthermore know how to see through illusions offered up as a fact to see Truths hidden within and fallacies veiled in truth.”

So in Catechism form Coach Nagy sets out to retrain our minds in order that we may separate the chaff from the wheat, see the layering of symbolism and discover the meanings of Masonry and its application to our daily lives.

Nagy talks about the great Greek philosophers and their contribution to symbolic thought and the 7 Liberal Arts and Sciences.

In regards to Plato, Nagy tells us that,

Plato was influenced by Socrates, along with Pythagoras, Aristophanes, Protagoras, Homer, Hesiod, Parmenides. Aesop, Heraditus, and Orphism

As we start into the specifics Nagy tells us,

Masonry is a training ground for Symbolic understanding. Without an intimate knowledge of Symbols, Masons become malnourished by the inability to absorb what is presented.

Nagy talks a lot in the book about Shibboleths which he defines as “a word, phrase, motto, slogan, or saying used by adherents of a party, group, sect, organization, or belief, also a widely held belief, truism or platitude which can be a linguistic tool that allows for identification of a specific group based upon pronunciation  of specific words.”

The subsequent chapters of the book take each of the 7 Liberal Arts and Sciences in detail.

“Grammar is many things. It is the Strength aspect of the study of Symbols as words. It is a fingerprint, identifying sources with such pinpoint accuracy that no masking can obscure it. It tells its observer the history, culture and attitude of its source. It develops the left Temporal, Occipital and Parietal lobes of the brain thus providing pattern recognition skills to those developed. As a Mason, I recognize that Grammar knowledge allows Masons to Travel in directions that hold back illiterate men.”

“Rhetoric is the Beauty aspect of the study of Symbols as words. Moreover, as only things of Beauty can do, it invites those affected to experience its Beauty by merely taking in what is offered. Any Persuasion that occurs is not forced though; it is not put upon those so invited. It is put forth to partake in and its recipients are wholly responsible for what they do with it.”

“To Master influences such as these, Masons must know what persuades. Rhetorical study cultivates understanding, insight and planning into this. It also requires Craftsmen to know what future such Work shapes. With such training Masters duly Craft its ends. As Centers of Influence, their Work creates Spheres of Influence.”

“Logic is essential in Building anything having Integrity. Non-reason condemns people to unnecessary, damaging and life-threatening conclusions. Ritual informs Masons that Logic is important. Masons must apply Logic in their Work to assure that what they have wrought is both sound and viable in supporting their aims. Sadly, Masons receive only a shadow of what is required Logically to Raise them Above the norm.”

“Logic is the Wisdom aspect of the study of Symbols as Words. Logical abilities allow Masons to discern Truth from fallacy. The power of right reasoning is deemed essential to Masons. Without Logic, Masons cannot comprehend their rights and duties. Without Logical faculty, men are considered insane; viewed as madmen and idiots; and denied admission into the Masonic Order. Lack of Logic also limits Travel.”

“Arithmetic lets Masons see the world in such dramatic detail that they appear to be sighted to the blind untrained. It requires foundational understandings of how Numbers manifest and what can be done with them. Arithmetic is the Strength aspect of the study of Symbols as Numbers. Through Arithmetic, the world becomes a familiar place.”

“How does this happen? Arithmetic study develops the abilities of Masons to recognize relationships and reveal patterns. Its study also forces Masons to understand, confront and deal effectively with concepts related to zero and infinity. Through its Strength, Arithmetic enables Masons to have real impact through development of analogy.”

“Geometry is one of two Wisdom aspects of the study of Symbols as Numbers. Geometry puts dimension to those concepts revealed and accepted during Arithmetic study. It also facilitates dealing with irrational quantities. Geometry trains the mind to imagine things that exist, things that may exist and things that will never exist. It’s amazing how much Geometry is part of our world.”

“Masons studying Geometry bring ordered thinking to their physical world. It also hones their critical thinking; sharpness portable to other disciplines such as Music and Astronomy. Of all the aspects of Masons developed by such study, the one applied toward the measure of man may very well be its most important.”

“Music is intimately dependent upon Arithmetic and Geometry. There is Logic behind its construction. Music has both a Grammar of its own and it is itself the Grammar of sound! Most importantly, its purpose is identical to that of words when employed as Rhetoric, through its use, it persuades. Lastly, understanding of Music supports a Mason’s understanding of Astronomy.”

“Music relates to internal and external motion and requires a firm understanding of how motion Works under certain conditions. Builders who know these basics can then both evaluate and devise systems that employ such motion.”

“Ultimately, the capstone of Liberal Art and Science studies opens up a Mason’s ability to seriously study of Theology and Philosophy. Astronomical information is often times conveyed within such texts and it takes a trained individual to identify when such information is present. This requires all the skills developed by Liberal Art and Science study.”

Building Better BuildersThese are only the chapter headings – a tease. Where you mind really gets challenged is in the catechism of each chapter. There is where the general becomes the specific; there is where the learning takes place; there is where the mind is expanded; there is where you must commit much time and energy.

Once you have completed this expansion of the mind an overview of the big picture illustrates the importance of such study. Nagy tells us:

“To look deeply without toward what constitutes the makeup of your world is to put forth an effort to see and seed the possibility of knowing the very essence of Creation. Of all the actions that Masons can take, except for ‘sincere and searching self-reflection’, this action has the deepest impact. It permeates everything thereafter done.”

Finally, we are told:

“Next to the Entered Apprentice Degree, no more demanding Work in all of Masonry can ever match what is ordered upon Masons within the Fellow Craft Degree. It’s most unfortunate that the Work specified as important to Masons within the Fellow Craft ritual is ‘skipped over’ by far too many Masons as they pursue the title of that ‘next’ degree. Mentoring Master Masons would do well in tempering the enthusiasm of those Fellow Crafts desiring the next level, as well as their own, especially if they have yet to earn the title.”

Leaping over this specific Work has damaging consequences for the Mason, the Brothers who have to deal with that Mason, the Fraternity as a whole and future Masons who Enter and expect proper guidance from Brothers.

Building Athens is not just an information book but a challenge. I consider myself reasonably well informed, no Rhodes scholar mind you, but time and time again I felt a need to consult further research on some of the points Coach Nagy was making and some of the references he alluded to. This is the kind of book you might want to read twice. Once you mind has been expanded it makes much more sense the second time around and you will “get it” finally.

The only question left: ARE YOU READY TO RETRAIN YOUR BRAIN?

You can find John Nagy’s book, Building Athens – Uncommon Catechism for Uncommon Masonic Education – Volume 3, on Amazon and on his website.

occult, masonic, Mackey

Esoteric Freemasonry

In this edition of Symbols and Symbolism, we look at a reading from Albert G. Mackey’s Encyclopedia of Freemasonry on the subject of Esoteric Masonry.

More installments of Symbols & Symbolism are available here and on YouTube.

That secret portion of Masonry which is known only to the initiates as distinguished from exoteric Masonry, or monitorial, which is accessible to all who choose to read the manuals and published works of the Order. The words are from the Greek, εσωτερικός, internal, and εξωτερική, external, and were first used by Pythagoras, whose philosophy was divided into the exoteric, or that taught to all, and the esoteric, or that taught to a select few; and thus his disciples were divided into two classes, according to the degree of initiation to which the had attained, as being either fully admitted into the society, and invested with all the knowledge that the Master could communicate or as merely postulants, enjoying only the public instructions of the school, and awaiting the gradual reception of further knowledge. This double mode of instruction was borrowed by Pythagoras from the Egyptian priests, whose theology was of two kinds-the one exoteric, and addressed to the people in general; the other esoteric, and confined to a select number of the priests and to those who possessed, or were to possess, the regal power. And the mystical nature of this concealed doctrine was expressed in their symbolic language by the images of sphinxes placed at the entrance of their temples. Two centuries later, Aristotle adopted the system of Pythagoras, and, in the Lyceum at Athens, delivered in the morning to his select disciples his subtle and concealed doctrines concerning God Nature, and Life, and in the evening lectured on more elementary subjects to a promiscuous audience. These different lectures he called his Morning and his Evening Walk.

The Chamber of Reflection

One of the greatest enigmas of contemporary Freemasonry, the Chamber of Reflection is a little-used aspect in the rituals of a newly made Mason. Yet, the symbolism of the Chamber has roots in Hermeticism, Rosicrucianism and other occult traditions.

More installments of Symbols & Symbolism are available here and on YouTube.

In the French and Scottish Rites, a small room adjoining the Lodge, in which, preparatory to initiation, the candidate is enclosed for the purpose of indulging in those serious meditations which its somber appearance and the gloomy emblems with which it is furnished are calculated to produce. It is also used in some of the advanced degrees for a similar purpose. Its employment is very appropriate, for, as Gädicke well observes,

It is only in solitude that we can deeply reflect upon our present or future undertakings, and blackness, darkness, or solitariness, is ever a symbol of death. A man who has undertaken a thing after mature reflection seldom turns back.

Manly P Hall, in his Secret Teachings of All Ages, writes of the use of V.I.T.R.I.O.L. – beginning with the word VISITA and reading clockwise, the seven initial letters of the seven words inscribed in the outer circle read: VITRIOL. This is a very simple alchemical enigma but is a reminder that those studying works on Hermeticism, Rosicrucianism, alchemy, and Freemasonry should always be on the lookout for concealed meanings hidden either in Parables and allegories or in cryptic arrangements of numbers, letters, and words.

Maundy Thursday, Relighting of the Lights, mystical rose

Lux in Tenebris-Maundy Thursday in Freemasonry

Knight of the East and West Morals and Dogma
Knight of the East and West

This seems fitting giving the present state of things in Freemasonry. Lux in Tenebris – From Darkness Comes Light.

Maundy Thursday, or also known as Covenant Thursday or simply Holy Thursday, is the annual Christian holy day that occurs on the last Thursday before Easter. It is a remembrance day for the last supper that Jesus and his twelve apostles, as was described in the canonical gospels, it is also for remembering The Maundy, which was the washing of the feet, particularly the Maundy that Jesus performed.

The moment when the Word was recovered; when the Cubical Stone was changed to the Mystic Rose; when the Blazing Sun reappeared in its entire splendor; the Columns of the Temple were re-established; and the Working Tools of Masonry restored; when True Light dispelled the Darkness and the New Love began to rule upon the earth.

On this day, Christians all around the world take time out of their day to reflect on the life of Jesus Christ, leading up the point of the last supper where he sat down with his apostles and shared food and wine, proclaiming that it was his body and blood.

Maundy Thursday
The Last Supper – Champaigne,Philippe de (1602-1674)

The actual date of Maundy Thursday is between the 19th of March and the 22nd of April, however, these dates can fall on specific days depending on if it was the Gregorian calendar or the Julian calendar that is used. Eastern churches are generally using the Julian calendar and thus, celebrate Maundy Thursday between the 21st of April and the 5th of May.

In Western Churches, Maundy Thursday is when the Chrism mass is celebrated in every diocese, usually held in each diocese’s cathedral. This mass involves a bishop blessing chrism oils, oil of catechumens and oil of the sick. The Oil of chrism and catechumens will be saved until Easter Saturday where they will be used to bless the attendees of the mass.

There is an ancient tradition that on Maundy Sunday, you should visit 7 different churches, this is called the seven churches visitation, and this practice originated in Rome and is now practiced in many countries around the world.

The term Maundy is said to be a corruption of the Latin word mandatum – meaning “command.”

In a Masonic parlance, the Maundy Thursday is envisioned as a ceremony to commemorate the Extinguishing of the Symbolic Light, more specifically the crucifixion of the Christ in the gospel telling. On the immediate Sunday, there is a follow-up observance aptly called the Relighting of the Symbolic Light which marks the resurrection. The key point of this observance is to remember those brethren who have passed on in the preceding year. Where once these events were mandatory attendance events for Knight Rose Croix, in most locations they serve as remembrance events open to all.

Knight Rose Croix

While an observance event, the Maundy gathering in some respect serve to supplement the Rose Croix Chapter of the Scottish Rite in the 17th (Knight of the East and West) and 18th (Knight Rose Croix) degrees, both of which attempt to invest candidates with an understanding of Religion, Philosophy, Ethics, and History. While seemingly a religious (Christian) observance, it’s been written that the observance seeks to “to commemorate the death of our most wise and perfect Master – not as inspired or divine, but as at least the greatest of humanity.” In one description of the event, Arturo De Hoyos says,

The Ceremony of Remembrance and Renewal, including the Mystic Banquet, is not a religious observance.  It is neither the Feast of Passover nor a Sacrament of Holy Communion, although it commemorates the spirit of both days. Annually, the observance is held near the vernal equinox.

From the Builder Magazine, April 1924, the observance is thus described,

sol

The ceremonies of Maundy Thursday made obligatory on each Rose Croix Chapter of the Scottish Rite, is a festival almost as old as the world, for it has been observed in some form or other from time immemorial. It began with early man’s naive wonder at the coming of spring, an event to him of the very greatest importance since it represented the return of the sun god from the death of winter to the resurrection of the vernal equinox. “The years at the spring,” that was his feeling, and this feeling took a thousand forms of expression, some of them magical, some religious, some of them a joyous human merry-making. Whatever the form the kernel of feeling remained the same; the god of light, warmth, and life, whatever may have been his name Mithra, Attis, Cama, Osiris, Ormuzd, Dionysus had been dead through the winter time, and now he had come back to life again, and would bestow life on his people, therefore there were solemn rejoicings.

Of the ceremony itself, it says,

The Symbolic Lights are Re-lighted; it is a time of rebirth, rehabilitation, regeneration and renewal of life and energy. Death and darkness have departed and the earth sings its joy of Love and of Living. What before was desolation of spirit and of thought, has the crucible of Light and the revivification of those for whom life had lost its meaning.

Just as the dark ages in Europe were followed by the Renaissance of learning, so had the new light of Easter come, bringing with it the new life of Love and understanding.

The new Commandment has been fulfilled.

This is a time, then, for each of us to search our Souls and see if we truly and devotedly are living the Life of Love —Not just in mere outward similitude. But in our innermost, personal, private lives. Are we — in business, at home, in our pastimes — living the life of the New Commandment? If we weigh ourselves in its light and find ourselves wanting. Then it is time for us to do something sincerely and devotedly about it.

Let us at the Symbolic Relighting of the Lights, dedicate ourselves to duty, renew our vows, so often repeated in our Rite, and lead the Life of Love, one to another, that our light will shine among men in the world, that we may be known truly as men and as Masons who mean eternal truths learned in our Rituals and who, by our personal acts and conduct, portray those meanings to their ultimate fulfillment.

Brunelleschi’s Dome

I had completely forgotten this gem of a video I had in my collection. It was just sitting there idly until I attended the Festive Board of Lodge Veritas in Oklahoma, where Masonic artist Ryan Flynn was the guest speaker. Flynn, who had studied for a year in Florence, mentioned Brunelleschi’s Dome in his presentation. In fact, Flynn was to comment that the Dark Ages were not so dark in some quarters of Europe, especially Florence.

 

If you are a Freemason you will find an instant affinity with the art of building, especially a work of art. I warn you that the video is long, but one you cannot stop once you start. It is that riveting. So find yourself an uninterruptable hour and bring the pop and the popcorn before getting started.

Here are snippets from an article Tom Mueller wrote for the National Geographic:

Brunelleschi's dome.

Brunelleschi’s dome. (Photo credit: Wikipedia)

In 1418 the town fathers of Florence finally addressed a monumental problem they’d been ignoring for decades: the enormous hole in the roof of their cathedral. Season after season, the winter rains and summer sun had streamed in over Santa Maria del Fiore’s high altar—or where the high altar should have been. Their predecessors had begun the church in 1296 to showcase the status of Florence as one of Europe’s economic and cultural capitals, grown rich on high finance and the wool and silk trades. It was later decided that the structure’s crowning glory would be the largest cupola on Earth, ensuring the church would be “more useful and beautiful, more powerful and honorable” than any other ever built, as the grandees of Florence decreed.

Still, many decades later, no one seemed to have a viable idea of how to build a dome nearly 150 feet across, especially as it would have to start 180 feet above the ground, atop the existing walls. Other questions plagued the cathedral overseers. Their building plans eschewed the flying buttresses and pointed arches of the traditional Gothic style then favored by rival northern cities like Milan, Florence’s archenemy. Yet these were the only architectural solutions known to work in such a vast structure. Could a dome weighing tens of thousands of tons stay up without them? Was there enough timber in Tuscany for the scaffolding and templates that would be needed to shape the dome’s masonry? And could a dome be built at all on the octagonal floor plan dictated by the existing walls—eight pie-shaped wedges—without collapsing inward as the masonry arced toward the apex? No one knew.

The first problem to be solved was purely technical: No known lifting mechanisms were capable of raising and maneuvering the enormously heavy materials he had to work with, including sandstone beams, so far off the ground. Here Brunelleschi the clockmaker and tinkerer outdid himself. He invented a three-speed hoist with an intricate system of gears, pulleys, screws, and driveshafts, powered by a single yoke of oxen turning a wooden tiller. It used a special rope 600 feet long and weighing over a thousand pounds—custom-made by shipwrights in Pisa—and featured a groundbreaking clutch system that could reverse direction without having to turn the oxen around. Later Brunelleschi made other innovative lifting machines, including the castello, a 65-foot-tall crane with a series of counterweights and hand screws to move loads laterally once they’d been raised to the right height. Brunelleschi’s lifts were so far ahead of their time that they weren’t rivaled until the industrial revolution, though they did fascinate generations of artists and inventors, including a certain Leonardo from the nearby Tuscan town of Vinci, whose sketchbooks tell us how they were made.

Having assembled the necessary tool kit, Brunelleschi turned his full attention to the dome itself, which he shaped with a series of stunning technical

Statue of Filippo Brunelleschi near the Duomo ...

Statue of Filippo Brunelleschi near the Duomo Santa Maria del Fiore, looking up at the dome (inset) (Photo credit: Wikipedia)

innovations. His double-shell design yielded a structure that was far lighter and loftier than a solid dome of such size would have been. He wove regular courses of herringbone brickwork, little known before his time, into the texture of the cupola, giving the entire structure additional solidity.

On March 25, 1436, the Feast of the Annunciation, Pope Eugenius IV and an assembly of cardinals and bishops consecrated the finished cathedral, to the tolling of bells and cheering of proud Florentines. A decade later another illustrious group laid the cornerstone of the lantern, the decorative marble structure that Brunelleschi designed to crown his masterpiece.

Mueller writes in another National Geographic piece:

Brunelleschi's Dome

Brunelleschi’s Dome

 

To this day, we don’t know where he got the inspiration for the double-shell dome, the herringbone brickwork, and the other features that architects through ensuing centuries could only marvel at. (Explore the hidden details of Brunelleschi’s daring design.)

Perhaps the most haunting mystery is the simplest of all: How did Brunelleschi and his masons position each brick, stone beam, and other structural element with such precision inside the vastly complex cathedral—a task that modern architects with their laser levels, GPS positioning devices, and CAD software would still find challenging today?

For 40 years, Ricci has tried to answer these questions in the same way that Brunelleschi did:  by trial and error. He has built scale models of Brunelleschi’s innovative cranes, hoists, and transport ships. He has scoured the interior and exterior of the dome for clues, mapping each iron fitting and unexplained stub of masonry and cross-referencing them against the archival documents concerning the dome’s construction.

And since 1989, in a park on the south bank of the Arno River half a mile downstream from Santa Maria del Fiore, he has been building a scale model of the dome that’s 33 feet (10 meters) across at its base and consists of about 500,000 bricks.

“Theoretical models are fine for grasping the dome’s geometry,” Ricci says, “but of limited use in understanding the problems Brunelleschi dealt with while building the dome. And that’s what really matters to me: how Brunelleschi put bricks together.”

In the process of putting together half a million bricks, Ricci may have solved one of Brunelleschi’s biggest secrets: how a web of fixed and mobile chains was used to position each brick, beam, and block so that the eight sides of the dome would arc toward the center at the same angle.

Inspired by documentary references to “the star of the cupola,” Ricci started by suspending a star-shaped hub in the center of his model dome. From the eight points of this star he stretched eight chains radiating outwards and downwards to the walls of his model, attached to hooks in the walls, in the corners of the octagonal plan (similar hooks are present in the dome itself).

Next he linked these eight chains with horizontal ropes, which traced arcs along the eight sides of the octagon where the walls were rising. Seen from above, these ropes resemble the petals of a flower.

After last year’s memorial procession ended, Ricci laid out for me some of the evidence for his theory of the dome’s flower, which he considers to be the breakthrough in his conception of Brunelleschi’s method. “In fact, Santa Maria del Fiore means Saint Mary of the Flower,” Ricci notes. “And the symbol of Florence is a flower, the lily.”

A Great Masonic Lodge, A Great Masonic Guest Speaker Made A Super Masonic Evening

On a weekend late in February of 2016, I traveled to Oklahoma for a special Masonic event. It was the Spring Festive Board (untyled) for Lodge Veritas No 556, Grand Lodge of Oklahoma.

(Turn up the volume full for Bro. Flynn’s presentation)

We met at The Greens Country Club in Oklahoma City in full Masonic dress. There we started off the evening with cigars and the adult beverage of  choice on the deck outside. As the sun slowly faded behind the horizon and the moon readied to take over, we gathered around a table with a mini fire pit and let the brotherly love flow. Some notable attendees were PGM Richard Massad and 33rd Bob Davis.

There Was Camaraderie

What seemed like all too soon, we adjourned to the dining room for toasts, prayer, singing and great food.

Lodge Veritas No 556 Masonic Toast

Lodge Veritas No 556 Masonic Toast

 

Lodge Veritas No 556 Masonic Toast

Lodge Veritas No 556 Masonic Toast

 

Lodge Veritas No 556 Singing

Lodge Veritas No 556 Singing

There Was A Great Gastronomic Experience

The special guest speaker was Masonic artist Ryan Flynn who made an enlightening presentation on art in Freemasonry from the Middle Ages to the present. Flynn showed us how to look for hidden meanings and symbolism and where they were in some of the great works in history.

Masonic Artist Ryan Flynn's Presentation

Masonic Artist Ryan Flynn’s Presentation

 

Masonic Artist Ryan Flynn's Presentation

Masonic Artist Ryan Flynn’s Presentation

 

Masonic Artist Ryan Flynn's Presentation

Masonic Artist Ryan Flynn’s Presentation

 

Masonic Artist Ryan Flynn's Presentation

Masonic Artist Ryan Flynn’s Presentation

 

There Was Masonic Education And Shared Knowledge

After closing the Festive Board we retired once again to the place from which we had started, the deck outside with the fire pit in the table. This time, it was dark. But that did not dampen the Masonic spirit in the slightest. Stories flowed back and forth and for some, new friendships were cemented for time immemorial.

There Was More Camaraderie

This experience was a lesson in how the practice of Freemasonry needs to be complimented. It is how our Masonic ancestors often gathered in taverns many moons ago. It makes the business of the Lodge the opening of the Masonic heart, the inspiring of the Masonic spirit and the sharing of esoteric knowledge to widen the Masonic mind all in a festive, celebratory setting. More Lodges should hold events like this. It is great for Lodge morale and Masonic bonding.