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Article ON THE INSTITUTION OF FREEMASONRY.* ← Page 11 of 13 →
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On The Institution Of Freemasonry.*
Lucifer ancl his fiends , with a view to prevent the consummation of their purpose ; and here the men are seen employed in raising the stones to the top of the building by means of pullies and windlasses , while others are moving the larger blocks with levers and rollers . The instruments used bthe men who are mixing the mortar and raising it
y into a heap are precisely similar to those at present employed , as are the tools seen in the hands of the Masons who are carving the ornamental portions . From all that can be gathered , the Freemasons appear to have worked with the most persevering industry , applying their whole energy and skill to the task in hand ; ancl Wren ,
who in after times was himself a Master of the Craft , says , " Those wdio have seen the accounts in records of the charge of some of our old cathedrals , near 40 !) years old , cannot but have a great esteem for their economy , and admire how soon they erected such lofty structures . " ( "Parentalia , " p . 306 . ) From various circumstances , many have supposed
that the use of detailed drawings , for the guidance of the workman in the construction of a building , is of comparatively recent origin ; or , at all events , that it was not common
among the Freemasons of the middle ages : the general design was described by him from whom the idea emanated ; and the filling up , the nature of the ornaments , & c , were left , they have supposed , to the skill ancl caprice of the various artificers employed ; whence , say they , the infinite variety to be found in their buildings . This , however , was
not always the case , as there are many documents remaining to attest . Even so early as the building of the Temple , we find David giving to Solomon , his son , a pattern for the porch , and others for the treasuries , the upper chambers , and inner parlours . ( 1 Chron . xxviii . ) Carter , in his " Architecture of England" says there is a basso relievo of
, high antiquity in the Cathedral of Worcester , in which is represented an architect presenting his plan , marked on a tablet , to the superior of a monastery ; and we find in Henry the Seventh's will , as quoted by Britton ( " Architectural Antiquities , " vol . v . ) , that the Prior of St . Bartholomew is expressly called " Master of the works" with reference to
, his chapel ; and mention is made of the designs for images in picture delivered . To crown all , however , there is to be seen , among the archives at Darmstadt , the original drawing for that splendid promise , Cologne Cathedral , in which every ornament , however minute , is scrupulously
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
On The Institution Of Freemasonry.*
Lucifer ancl his fiends , with a view to prevent the consummation of their purpose ; and here the men are seen employed in raising the stones to the top of the building by means of pullies and windlasses , while others are moving the larger blocks with levers and rollers . The instruments used bthe men who are mixing the mortar and raising it
y into a heap are precisely similar to those at present employed , as are the tools seen in the hands of the Masons who are carving the ornamental portions . From all that can be gathered , the Freemasons appear to have worked with the most persevering industry , applying their whole energy and skill to the task in hand ; ancl Wren ,
who in after times was himself a Master of the Craft , says , " Those wdio have seen the accounts in records of the charge of some of our old cathedrals , near 40 !) years old , cannot but have a great esteem for their economy , and admire how soon they erected such lofty structures . " ( "Parentalia , " p . 306 . ) From various circumstances , many have supposed
that the use of detailed drawings , for the guidance of the workman in the construction of a building , is of comparatively recent origin ; or , at all events , that it was not common
among the Freemasons of the middle ages : the general design was described by him from whom the idea emanated ; and the filling up , the nature of the ornaments , & c , were left , they have supposed , to the skill ancl caprice of the various artificers employed ; whence , say they , the infinite variety to be found in their buildings . This , however , was
not always the case , as there are many documents remaining to attest . Even so early as the building of the Temple , we find David giving to Solomon , his son , a pattern for the porch , and others for the treasuries , the upper chambers , and inner parlours . ( 1 Chron . xxviii . ) Carter , in his " Architecture of England" says there is a basso relievo of
, high antiquity in the Cathedral of Worcester , in which is represented an architect presenting his plan , marked on a tablet , to the superior of a monastery ; and we find in Henry the Seventh's will , as quoted by Britton ( " Architectural Antiquities , " vol . v . ) , that the Prior of St . Bartholomew is expressly called " Master of the works" with reference to
, his chapel ; and mention is made of the designs for images in picture delivered . To crown all , however , there is to be seen , among the archives at Darmstadt , the original drawing for that splendid promise , Cologne Cathedral , in which every ornament , however minute , is scrupulously