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Article GOTHIC ARCHITECTURE AND FREEMASONRY. Page 1 of 1 Article GOTHIC ARCHITECTURE AND FREEMASONRY. Page 1 of 1
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Gothic Architecture And Freemasonry.
GOTHIC ARCHITECTURE AND FREEMASONRY .
BY R . W . WILLIAM T . E . MARVIN D . D . G . M . FKOM "THE NEW ENGLAND FREEMASON . " IT has been remarked that the various Cathedrals of tho Continental cities bear intrinsic evidence of their origin from a single mastermind , in the " unity in diversity" which characterises them all . Historic evidence , no less than tradition , declares them to have been the work of the travelling Freemasons of the middle ages , through
whom the " royal art , " with its mysteries and all its varied symbols , has been transmitted to our own times , and to the brethren of our Lodges , wherever dispersed . Who it was that drew the plans of these magnificient edifices is not certainly known . Tradition assigns the honour to various architects ; but the claim of each has been denied , and it is too late to hope for a decision that shall be final and
indisputable . The same spirit of devotion which lavished its wealth in building these glorious temples kindled a flame in tho hearts of those who worshipped in them ; and inspired St . Hildebert to write his glowing hymn , and St . Bernard to pour out his sonl in the triumphant strains describing " Jerusalem the Golden , " that anthem of the church militant which will be sung until
" The morning shall awaken , Tho shadows pass away , And each true hearbed servant Shall shine as doth the day . " The architect , no less than tho poet , tho painter , or the priest , caught tho enthusiasm of the age , and the achievements of his genius
stand to-day in a strength and beanty that havo never been surpassed , if indeed they havo been equalled , by any efforts of modern times . "The Italian basilica , an immense cube , with a triangular pediment , is fixed like a crystal , and if it is nob finished ib is unmeaning . " The Gobhie Cabhedral , on the other hand , has in it , as has been truly said , " the forest ' s life and voice , and if a day should come when we could
say * it is done , ' why then we should seem to say , 'it is dead . ' " The wriber just quoted gives us , in a recent number of Lippincott ' s Magazine , the following description of the vision which greeted him on eubering one of these brilliant Cathedrals : "The scene , " he says , " was a rare one . I looked around me in the golden altar-lights ; I thought I was in a forest , —a forest at sunset . The choir was almost
filled with rising incense , touched with the yellow flare of tho tapers ; and it seemed , through the columns , like a vista into the clouds . The grand stems of the arcades were thickl y crowded ; only they fell into a natural order and alignment , like the trunks of pines ; overhead they rolled to meet each other , breaking out everywhere into stiff , thickset needles and tnfts of Gothic work . Yasb patches and shields of
prismatic hues lay rounded against their mighty cylinders . But this forest was not a solitude ; it was crowded with speechless figures , thick as thoughts . And it was not silent or simply whisper haunted , like the real woods . It was all inflated , and swelled , and dazzled , and broken with pomps of organ-music thab almost overcame the hearb , and made bhe pillars seem to reel , and the painted windows to rock , in tho Jovo-like storm . "
We leave to other hands the task of tracing out the intimate connection between the symbolic teachings of the Cathedral architecture and the imposing ritual which enshrines itself amid such surroundings . No one who has ever given a thought to the subjecb can have failed to recognise bhe facb that the whole structure is full of symbolism , and every portion of ib enforces its own peculiar lesson . Wherever
we go , into whatever temple of this Gothic order wo enter , tho same spirit meets us on the threshold , lingers with us along tho aisles , bends beside us at the chancel rail , and whispers ever to us bhe same inysbic language , eloquent with meaning to the ear that will listen to it . When we see them all , from the ruined arches of Melrose and Kilwinning to the still unfinished towers of Cologne , suggesting the
same teachings in a manner so peculiarly their own ; not obstrnsivelyrather indeed concealing them from the careless eye , yet opening readily to our thoughtful study , when once we have learned how to interpret them ; when we realise tho harmony which exists bebween them all , and the intrinsic evidence pervading them all , Ave can no longer resist the conviction that they had their origin in one
mastermind , inspiring his brethren with the glow of his own enthusiasm , imprinting on their memories and pouring into their hearts his own immortal genius . It requires no very vivid imagination to trace a close connection , also , between the magnificent and imposing ritual of the Cathedral service and the not less impressive and beautiful yet simple ritual of
that Lodge which does its work in strict conformit y to ancient usage , with those additions of musical harmony which so fittingly supplement the harmony of brotherly emulation . The majesty of " the Cathedral has infused itself into those peculiar ceremonies which have at length become inseparably connected with the edifice ; while the simpler rites and modest symbolism of our Order have crystallized themselves ,
as it were , and remain essentiall y unchanged . The traditions of the Institution , tho language employed , with its quaint titles , its obsolebe words , and its antique setting , are sufficient evidence of this , were any needed . Our altar stands before the neophyte , nnsurrounded by chaucel . rail . and tho humblest brother may kneel at its steps , without priestly absolution , and receive the pledge of fraternal love . Upon ib lies the
Book of Holy Scripture , the great light of Freemasonry . Not a word of human gloss or comment defaces it , or explains away the sin-uificance of its teachings , or in any way influences whoever desires b stud y its pages . The emblems that rest upon it have each their leseon , which he who beholds them cannot fail to understand . The square admonishes him , " Let virtue and integrity guide you , " and the compasses respond , "Eeinember the great circle of humanity ,
Gothic Architecture And Freemasonry.
composed of individuals like yourself , not one of whom is nearer or more remote from the Great Centre of all being than aro yon . " These emblems are no less constantly or conspicuously displayed upon our altars than those hallowed and far more sacred symbols that are elevated before adoring eyes by the consecrated hands of a piiesthood ; concerning them no controversy is likely to arise—the
real presence of the thing signified must bo in the heart of him who seeks to read their lesson , or their teaching is profitless and vain . The two lighted tapers npon the Cathedral altar symbolised the double nature of the Saviour , as both human and divine—the light which lighteth every man that cometh into the world—or tho two Sacraments of the Christian Church ; Baptism and the Eucharist ; aud
though their flames have been multiplied till their brilliancy dazzles tho eye , the significance of the emblem remains unchanged . Around our altar stand its burning tapers , no less eloquent iu their teaching of that order and harmony which should preside over aud characterise the assembly of brethren . The clustering pillars bearing up the wide-spreading arches , and
stretching out in seemingly endless vistas , yet ever bending beneath their burdens , remind us of the Man of Sorrows , bowed by the agony of his ineffable sufferings ; and while they seem to sympathise with his passion , they whisper words of comfort from above to every sorrowing human heart . Our pillars are but three , and yet they point as plainly to the Grand Master of all , whose wisdom is infinibe , whoso
strengbh is omnipotent , and whose beanty shines iu every star . From censers swung by chanting priests , the thick and fragrant cloud arises , symbolising on earth that heavenly incenso offering which the Apocalypse declares typified the prayers of the saints . Our " pot of incense " is tho emblem of a pure hearb , no less an acceptable sacrifice , no less fragrant or grateful to Him before whom " all
hearts are open , all desires known , and from whom no secrobs are hid" by clouded canopy or fast tiled door . The " fretted vault" and chancel arch of the Cathedral aro often studded with glittering stars , emblematic , like tho covering of our Lodges , of" tho starry-decked heavens " where all good Masons hope at last bo arrive .
The gorgeous hues and sun-set dyes which fall from rose-window or lancet upon the Cathedral ' s kneeling worshipper , remind him of the saintly lives and exalbed virtues , the horoic deeds and glorious deaths of the goodly fellowship of the Church triumphant , whoso toils aro ended , and whose crowns are won . We , too , have bright and shining examples of fidelity under persecution , of heroism under trials , and
of truth and faithfulness glowing with immortal radiance , aud even though suffering the bitterest pangs and reproaches , unyielding to the end . And so we might go on , pointing oub in many and even more sbriking ways how the inspiration which built these venerable piles has infused itself into their worshippers , and elaborated those solemn and
impressive services which find their congenial home within Cathedral walls . Is it too much to claim that this is the unconscious outgrowth of a secret principle whose interpretation by tho profane is more difficult than any hieroglyphics of Egyptian priests , or Cabbala o £ Jewish rabbins , but to the skilful craftsman is an open book ? Tho Scripture lesson , tho prayer , tho solemn vow , tho light out of
darkness , the charge , tho anbhems of praise—it were well nigh an endless task to follow out the parallel . We are taught that bo the Greeks is duo all that "is great , judicious and distinct in architecture . " Is it not time that the testimony of truth be incorporated into our trestle-boards , and that our candi . dates henceforth be taught thab bhe Gothic architecture , not less
ornamental than the Composite order , not less beautiful than tho Corinthian , not less graceful than the Ionic , possessing no less strength than the Doric or the sturdy old Tuscan—combining all their charms while avoiding bhoir defects ; adapting itself to every requirement of the architect ; now springing spirit-like into the air to form a flying
buttress or a cresting pinnacle , now bearing up with massive masonry the weight of frowning battlements and tower of lofty spire or arching dome , and now stretching its seemingly endless colonnades like a labyrinth before us , —that the Gothic system , having a character so complotly its own , was tha invention of our ancient brethren , the travelling Freemasons of the middle ages ? " Thoy dreamed not of a penshab o home Who thus could build . "
IHE MARINE ENGINE or TO-DAY . —So far as economy in actual working is concerned , it appears , therefore , that superheating or drying , wherever it can safely be resorted to , is quite- as capable of application to the simple engine as to the compound ; that I lie jacket can bo used on the simple engine and on the lev-pressure cyhnilo" > f the compound engine , but that its use on ihe hh ; h-pressuiv e . \ l whv
is objectionable , and that while increased economy may bo exposed from increased speed in both engines ( aud certainly so in the ca-e ot unjacketed cylinders ) , high speed is accompanied by an increase of the loss between the cylinders of the compound engine , the loss varying with the nature of tho passages according to the form of engine . The most important lesson definitely taught by the American experiments is that which we havo already indicated
namely , that expansion cannot bo carried in jacketed cylinders with increased economy to so great an extent as has been supposed . In tho simple engine tried , no provision against loss from the clearance ¦ spaces by cushioning in the exhaust was made , and the maximum jflioieucy of the steam was therefore reached ab a lower grade of ¦ xpansion than would have been the case had cushioning been provided for . — " Naval Science " for July .
Comp . Albert G . Mackey , Push Grand High Priest cf the Grand Chapter of South Carolina , has lately received very chaste P . G tliirh Priest ' s Jewel , ns a testimonial , voted to him by that body , — The Keystone ,
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Gothic Architecture And Freemasonry.
GOTHIC ARCHITECTURE AND FREEMASONRY .
BY R . W . WILLIAM T . E . MARVIN D . D . G . M . FKOM "THE NEW ENGLAND FREEMASON . " IT has been remarked that the various Cathedrals of tho Continental cities bear intrinsic evidence of their origin from a single mastermind , in the " unity in diversity" which characterises them all . Historic evidence , no less than tradition , declares them to have been the work of the travelling Freemasons of the middle ages , through
whom the " royal art , " with its mysteries and all its varied symbols , has been transmitted to our own times , and to the brethren of our Lodges , wherever dispersed . Who it was that drew the plans of these magnificient edifices is not certainly known . Tradition assigns the honour to various architects ; but the claim of each has been denied , and it is too late to hope for a decision that shall be final and
indisputable . The same spirit of devotion which lavished its wealth in building these glorious temples kindled a flame in tho hearts of those who worshipped in them ; and inspired St . Hildebert to write his glowing hymn , and St . Bernard to pour out his sonl in the triumphant strains describing " Jerusalem the Golden , " that anthem of the church militant which will be sung until
" The morning shall awaken , Tho shadows pass away , And each true hearbed servant Shall shine as doth the day . " The architect , no less than tho poet , tho painter , or the priest , caught tho enthusiasm of the age , and the achievements of his genius
stand to-day in a strength and beanty that havo never been surpassed , if indeed they havo been equalled , by any efforts of modern times . "The Italian basilica , an immense cube , with a triangular pediment , is fixed like a crystal , and if it is nob finished ib is unmeaning . " The Gobhie Cabhedral , on the other hand , has in it , as has been truly said , " the forest ' s life and voice , and if a day should come when we could
say * it is done , ' why then we should seem to say , 'it is dead . ' " The wriber just quoted gives us , in a recent number of Lippincott ' s Magazine , the following description of the vision which greeted him on eubering one of these brilliant Cathedrals : "The scene , " he says , " was a rare one . I looked around me in the golden altar-lights ; I thought I was in a forest , —a forest at sunset . The choir was almost
filled with rising incense , touched with the yellow flare of tho tapers ; and it seemed , through the columns , like a vista into the clouds . The grand stems of the arcades were thickl y crowded ; only they fell into a natural order and alignment , like the trunks of pines ; overhead they rolled to meet each other , breaking out everywhere into stiff , thickset needles and tnfts of Gothic work . Yasb patches and shields of
prismatic hues lay rounded against their mighty cylinders . But this forest was not a solitude ; it was crowded with speechless figures , thick as thoughts . And it was not silent or simply whisper haunted , like the real woods . It was all inflated , and swelled , and dazzled , and broken with pomps of organ-music thab almost overcame the hearb , and made bhe pillars seem to reel , and the painted windows to rock , in tho Jovo-like storm . "
We leave to other hands the task of tracing out the intimate connection between the symbolic teachings of the Cathedral architecture and the imposing ritual which enshrines itself amid such surroundings . No one who has ever given a thought to the subjecb can have failed to recognise bhe facb that the whole structure is full of symbolism , and every portion of ib enforces its own peculiar lesson . Wherever
we go , into whatever temple of this Gothic order wo enter , tho same spirit meets us on the threshold , lingers with us along tho aisles , bends beside us at the chancel rail , and whispers ever to us bhe same inysbic language , eloquent with meaning to the ear that will listen to it . When we see them all , from the ruined arches of Melrose and Kilwinning to the still unfinished towers of Cologne , suggesting the
same teachings in a manner so peculiarly their own ; not obstrnsivelyrather indeed concealing them from the careless eye , yet opening readily to our thoughtful study , when once we have learned how to interpret them ; when we realise tho harmony which exists bebween them all , and the intrinsic evidence pervading them all , Ave can no longer resist the conviction that they had their origin in one
mastermind , inspiring his brethren with the glow of his own enthusiasm , imprinting on their memories and pouring into their hearts his own immortal genius . It requires no very vivid imagination to trace a close connection , also , between the magnificent and imposing ritual of the Cathedral service and the not less impressive and beautiful yet simple ritual of
that Lodge which does its work in strict conformit y to ancient usage , with those additions of musical harmony which so fittingly supplement the harmony of brotherly emulation . The majesty of " the Cathedral has infused itself into those peculiar ceremonies which have at length become inseparably connected with the edifice ; while the simpler rites and modest symbolism of our Order have crystallized themselves ,
as it were , and remain essentiall y unchanged . The traditions of the Institution , tho language employed , with its quaint titles , its obsolebe words , and its antique setting , are sufficient evidence of this , were any needed . Our altar stands before the neophyte , nnsurrounded by chaucel . rail . and tho humblest brother may kneel at its steps , without priestly absolution , and receive the pledge of fraternal love . Upon ib lies the
Book of Holy Scripture , the great light of Freemasonry . Not a word of human gloss or comment defaces it , or explains away the sin-uificance of its teachings , or in any way influences whoever desires b stud y its pages . The emblems that rest upon it have each their leseon , which he who beholds them cannot fail to understand . The square admonishes him , " Let virtue and integrity guide you , " and the compasses respond , "Eeinember the great circle of humanity ,
Gothic Architecture And Freemasonry.
composed of individuals like yourself , not one of whom is nearer or more remote from the Great Centre of all being than aro yon . " These emblems are no less constantly or conspicuously displayed upon our altars than those hallowed and far more sacred symbols that are elevated before adoring eyes by the consecrated hands of a piiesthood ; concerning them no controversy is likely to arise—the
real presence of the thing signified must bo in the heart of him who seeks to read their lesson , or their teaching is profitless and vain . The two lighted tapers npon the Cathedral altar symbolised the double nature of the Saviour , as both human and divine—the light which lighteth every man that cometh into the world—or tho two Sacraments of the Christian Church ; Baptism and the Eucharist ; aud
though their flames have been multiplied till their brilliancy dazzles tho eye , the significance of the emblem remains unchanged . Around our altar stand its burning tapers , no less eloquent iu their teaching of that order and harmony which should preside over aud characterise the assembly of brethren . The clustering pillars bearing up the wide-spreading arches , and
stretching out in seemingly endless vistas , yet ever bending beneath their burdens , remind us of the Man of Sorrows , bowed by the agony of his ineffable sufferings ; and while they seem to sympathise with his passion , they whisper words of comfort from above to every sorrowing human heart . Our pillars are but three , and yet they point as plainly to the Grand Master of all , whose wisdom is infinibe , whoso
strengbh is omnipotent , and whose beanty shines iu every star . From censers swung by chanting priests , the thick and fragrant cloud arises , symbolising on earth that heavenly incenso offering which the Apocalypse declares typified the prayers of the saints . Our " pot of incense " is tho emblem of a pure hearb , no less an acceptable sacrifice , no less fragrant or grateful to Him before whom " all
hearts are open , all desires known , and from whom no secrobs are hid" by clouded canopy or fast tiled door . The " fretted vault" and chancel arch of the Cathedral aro often studded with glittering stars , emblematic , like tho covering of our Lodges , of" tho starry-decked heavens " where all good Masons hope at last bo arrive .
The gorgeous hues and sun-set dyes which fall from rose-window or lancet upon the Cathedral ' s kneeling worshipper , remind him of the saintly lives and exalbed virtues , the horoic deeds and glorious deaths of the goodly fellowship of the Church triumphant , whoso toils aro ended , and whose crowns are won . We , too , have bright and shining examples of fidelity under persecution , of heroism under trials , and
of truth and faithfulness glowing with immortal radiance , aud even though suffering the bitterest pangs and reproaches , unyielding to the end . And so we might go on , pointing oub in many and even more sbriking ways how the inspiration which built these venerable piles has infused itself into their worshippers , and elaborated those solemn and
impressive services which find their congenial home within Cathedral walls . Is it too much to claim that this is the unconscious outgrowth of a secret principle whose interpretation by tho profane is more difficult than any hieroglyphics of Egyptian priests , or Cabbala o £ Jewish rabbins , but to the skilful craftsman is an open book ? Tho Scripture lesson , tho prayer , tho solemn vow , tho light out of
darkness , the charge , tho anbhems of praise—it were well nigh an endless task to follow out the parallel . We are taught that bo the Greeks is duo all that "is great , judicious and distinct in architecture . " Is it not time that the testimony of truth be incorporated into our trestle-boards , and that our candi . dates henceforth be taught thab bhe Gothic architecture , not less
ornamental than the Composite order , not less beautiful than tho Corinthian , not less graceful than the Ionic , possessing no less strength than the Doric or the sturdy old Tuscan—combining all their charms while avoiding bhoir defects ; adapting itself to every requirement of the architect ; now springing spirit-like into the air to form a flying
buttress or a cresting pinnacle , now bearing up with massive masonry the weight of frowning battlements and tower of lofty spire or arching dome , and now stretching its seemingly endless colonnades like a labyrinth before us , —that the Gothic system , having a character so complotly its own , was tha invention of our ancient brethren , the travelling Freemasons of the middle ages ? " Thoy dreamed not of a penshab o home Who thus could build . "
IHE MARINE ENGINE or TO-DAY . —So far as economy in actual working is concerned , it appears , therefore , that superheating or drying , wherever it can safely be resorted to , is quite- as capable of application to the simple engine as to the compound ; that I lie jacket can bo used on the simple engine and on the lev-pressure cyhnilo" > f the compound engine , but that its use on ihe hh ; h-pressuiv e . \ l whv
is objectionable , and that while increased economy may bo exposed from increased speed in both engines ( aud certainly so in the ca-e ot unjacketed cylinders ) , high speed is accompanied by an increase of the loss between the cylinders of the compound engine , the loss varying with the nature of tho passages according to the form of engine . The most important lesson definitely taught by the American experiments is that which we havo already indicated
namely , that expansion cannot bo carried in jacketed cylinders with increased economy to so great an extent as has been supposed . In tho simple engine tried , no provision against loss from the clearance ¦ spaces by cushioning in the exhaust was made , and the maximum jflioieucy of the steam was therefore reached ab a lower grade of ¦ xpansion than would have been the case had cushioning been provided for . — " Naval Science " for July .
Comp . Albert G . Mackey , Push Grand High Priest cf the Grand Chapter of South Carolina , has lately received very chaste P . G tliirh Priest ' s Jewel , ns a testimonial , voted to him by that body , — The Keystone ,