‘Appointments and disappointments’

The helpful calls and e-mails reminding the Magpie Mason to post information and photos of Masonic Week 2010 cannot go ignored forever (even though I haven’t even been home 24 hours yet and still haven’t unpacked the car!) Here is the first of maybe half a dozen posts on last week’s fun and frivolity. More to come this week and maybe next.

Masonic Week 2010

“It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to heaven, we were all going direct the other way – in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.”

Charles Dickens
A Tale of Two Cities

In previous years, this body of water on the hotel grounds was a bubbling fountain, but last week it was a tundra after 30 inches of snow and bitter cold winds knocked the Washington, DC area off its feet.

The Magpie Mason looks forward to Masonic Week the way a kid anticipates the start of summer vacation. It’s a few precious days of catching up with old friends from across the country and around the world, with countless opportunities to make new friends. Along the way, there are meetings, banquets, hospitality suites, private huddles, lobby networking, secret rituals, public embarrassments, cocktails, venal politicians, egos (both inflated and bruised varieties), and a parade of old white guys whose drawls make Strother Martin sound like Alistair Cooke. In short, a lengthy schedule of appointments (with inevitable disappointments) crammed into four days inside a Hilton.

My coverage of last year’s Masonic Week was entirely positive, but the same will not be said of what you’re about to read. The trouble began with snow, a form of frozen precipitation not unknown to the Mid Atlantic region of the United States, yet still capable of shocking just about everyone there into paralysis. Snow doesn’t hit that area either as frequently or as forcefully as it impacts the Northeast or other regions that are only a degree or three latitudinally north of the Mid Atlantic, but its appearance is not exactly one of the Ten Plagues of Exodus either. I mean, they have snowplows, and shovels, and boots, and gloves, and previous experience with snow. So what’s so confusing? The snow falls, you clear it, and you carry on with life as though it is possible to live with some snow on the ground, because it is possible. Okay, okay, in all fairness we’re talking about record snowfalls landing only a few days apart, but why must the recovery take so long?

What I’m cranky about is the cancellation of the two events that most drew me to Alexandria in the first place, plus some other discouraging events that require cautious explanation. The first event was to have been the “The Art of Initiation” at the George Washington Masonic Memorial. I was very fortunate to have been invited to take part in the planning of this event. Actually, that dates to the summer of 2008, when the original idea was to showcase the practices of Traditional Observance lodges for the attendees of Masonic Week 2009. This was to involve brethren from New York who would give lectures, and a lodge in Washington, DC that would exemplify Emulation ritual. So what happened? The Grand Lodge of New York withdrew its recognition of the Grand Lodge of DC just in time to kill the event, an eventuality resembling an act of God for its sudden and improbable freakishness. Fast forward one year, and this time the event is killed by an actual act of God: 30 inches of snow dumped on a city that wets itself when three measly inches are forecast.

Ever have the feeling the Grand Architect is trying to tell you something?

In February 2008 we sat at this table smoking cigars in the mild weather. No chance of that this year.

There is some vague, noncommittal talk of holding “The Art of Initiation” later this year, perhaps autumn, so maybe we’ll just get some locusts. Anyway, I doubt my New York brethren will have time to visit Virginia for a one-night engagement.

The second event called on account of snow was the annual top secret meeting of The Cabal* at Gadsby’s Tavern. We would have met Thursday at 12:30 p.m., more than 24 hours after the snow stopped falling. Despite that respite from the snow, it was not possible to get the tavern open for business, a situation so foreign to me that I still cannot believe it.

And there was more aggravation. The title of this edition of The Magpie Mason conveys cheeky innuendo understood completely only by myself and two other guys, but your imagination will work. And the final blemish on The Week That Was involves a childish anti-Semitic jape spoken proudly in unmistakable clarity in a group conversation in the middle of the hotel lobby. There we stood: myself, two truly distinguished VIPs visiting from Britain, several other fine Masons we all could look up to, and this other person: an effete little fop.

We were enjoying nostalgic discussion of things British, in the context of quality goods that cannot be had today, specifically a certain style of automobile, when Mr. Fop, in a conspicuously lordly voice as he tried to impress the Englishmen with his Grey Pouponness, says “Surely you know the Jew’s Canoe – the Jaguar!” I directed my eyes to the floor. Everyone else ignored him.

Now, first of all, every third-grade bully knows the proper usage is “Jew Canoe.” There is no possessive form, or any apostrophe at all. The little moron couldn’t get that right, so maybe he’s inexperienced at this, but the next time I hear something like that out of him, I’m gonna grab his little turkey neck and give him the lesson in manners his inbred alcoholic parents should have given him 30 years ago. The little priss will read this eventually, and I’m sure he is bright enough to recognize himself. Selah.

The beautiful scenery outside the Alexandria Mark Hilton.

Oh, and did I mention the hotel bar was closed Friday and Saturday nights?

Sorry for the negativity folks, but venting is cathartic. (Perhaps alchemical?) I promise the forthcoming reportage of Masonic Week will resume in The Magpie Mason’s customary cheerful tone and optimistic outlook. The rest of Masonic Week 2010 was just fine. Or, in other words, “It was the best of times, it was the blurst of times,” but next time it snows, I stay home.


*There is no Cabal.

‘The Secret of Kells’

Magpie coverage of Masonic Week 2010 is in the works, and will be posted serially this week.

Courtesy The Blog of Kells.

A little known film from Ireland that hasn’t even been released yet in America has garnered an Academy Award nomination for Best Animated Feature, and I’d say every thinking Freemason should at least be aware of it. The Secret of Kells tells of Brendan, age 12, an apprentice of sorts who is initiated into the mysteries of the calligraphic art of illumination. His goal is to complete ‘The Book of Kells,’ that publishing marvel from about the eighth century, also known as the Book of Columba. The Catholic Encyclopedia says:

No words can describe the beauty and the extreme splendor of the richly colored initial letters, which are more profuse in the ‘Book of Kells’ than in any other manuscript. The only thing to which they can be compared is a bed of many colored crocuses and tulips or the very finest stained glass window, which they equal in beauty of coloring and rival in delicacy of ornament and drawing. The artist possessed a wonderful knowledge of the proportion of color and the distribution of his material – sienna, purple, lilac, red, pink, green, yellow, the colors most often used – and he managed the shading and tinting of the letters with consummate taste and skill. It is remarkable that there is no trace of the use of silver or gold on the vellum. Sometimes the colors are laid on in thick layers to give the appearance of enamel, and are here and there as bright and soft and lustrous as when put on fresh more than twelve hundred years ago. Even the best photographic and color reproductions give but a faint idea of the beauty of the original. Especially worthy of notice is the series of illuminated miniatures, including pictorial representations of the Evangelists and their symbols, the Blessed Virgin and the Divine Child, the temptation of Jesus, and Jesus seized by the Jews. These pictures reach their culminating point in what is, in some respects, the most marvelous example of workmanship that the world has ever produced, namely the full page monogram XPI which occurs in the text of the Gospel of St. Matthew. It is no wonder that it was for a long time believed that the ‘Book of Kells’ could have been written only by angels.

Not a bad review.

Regarding content, the Encyclopedia says the book is:

An Irish manuscript containing the Four Gospels, a fragment of Hebrew names, and the Eusebian canons, known also as the ‘Book of Columba,’ probably because it was written in the monastery of Iona to honor the saint. It is likely that it is to this book that the entry in the ‘Annals of Ulster’ under the year 1006 refers, recording that in that year the ‘Gospel of Columba’ was stolen. According to tradition, the book is a relic from the time of Columba (d. 597) and even the work of his hands, but, on paleographic grounds and judging by the character of the ornamentation, this tradition cannot be sustained, and the date of the composition of the book can hardly be placed earlier than the end of the seventh or beginning of the eighth century. This must be the book which the Welshman, Geraldus Cambrensis, saw at Kildare in the last quarter of the 12th century and which he describes in glowing terms. We next hear of it at the cathedral of Kells (Irish Cenannus) in Meath, a foundation of Columba’s, where it remained for a long time, or until the year 1541. In the 17th century Archbishop Ussher presented it to Trinity College, Dublin, where it is the most precious manuscript in the college library and by far the choicest relic of Irish art that has been preserved. In it is to be found every variety of design typical of Irish art at its best.

I have not seen this film, nor can I find solid information on any general or even limited release, which is amazing given the Oscar nomination. I really do look forward to seeing this though, because even a quick glance at the website reveals all kinds of esoteric and spiritual imagery and themes. The plot echoes countless hero myths. Its climax drips Manichean thinking. Visit the Image Gallery and behold the numerous depictions of familiar ritualistic elements, all beautifully stylized. There appears to be: sacred geometry (Fibonacci), a circle of union, a wizardly mentor/guide, a challenge to overcome fear and undertake a rough and rugged journey, and even a Jonah-like trial of being swallowed by a beast.

Of the film’s conclusion, the website suspensefully asks “Will Brendan succeed in his quest to illuminate the darkness and prove that enlightenment is the best fortification against barbarians?” Can you say “Rose Croix ritual?”

Disney trailer courtesy of Cartoon Saloon on Vimeo.

The name Brendan is the anglicized form of the Irish name Bréanainn, which in turn derives from the Welsh for “prince.” Saint Brendan, also known as “Brendan the Voyager,” was a sixth century Irish abbot who, legend says, crossed the Atlantic and reached North America with 17 other monks.

‘A King in New York’

     
Thirty-two years ago, the Magpie Mason was the Magpie Elementary School Student, and I was lucky to have gone on a class trip to New York City to view treasures discovered in 1922 inside the tomb of King Tutankhamun. The exhibit left a big impression in my mind, and for many years I re-read the catalogue sold by the Metropolitan Museum of Art, trying to discern what message, if any, from a 3,300-year-old pharaoh might be of value today. I still do not know the answer to that, but Freemasonry has taught me, if nothing else, to observe symbols. So the iconic image of this pharaoh’s coffin, with enigmatic crook and flail, gained a new meaning for me as a Freemason.

Left: The Canopic Coffin of Tutankhamun was one of four miniature coffins that contained the young pharaoh’s internal organs – his heart and vitals, if you will. Tutankhamun, who died at age 18, ruled during the 18th Dynasty of the New Kingdom. Right: The 18° of the AASR is signified by a posture noticeably similar to the coffin’s design. (Watercolor of Knight Rose Croix courtesy of Ancient and Accepted Scottish Rite, Southern Jurisdiction.)

Last July, it was W. Bro. Tim Hogan of Enlightenment Lodge No. 198 in Colorado who showed me the connection. In a thread in the discussion forum of The Masonic Society, he explained how a sign used in the Ancient and Accepted Scottish Rite very closely resembles the placement of hands shown in depictions of pharaohs, like the bejeweled, golden likenesses of King Tutankhamun.

The crook and flail are explained by Dr. I.E.S. Edwards (1909-96), former keeper of Egyptian Antiquities at the British Museum, who authored the catalogue Treasures of Tutankhamun (1976) that documented the Tutankhamun artifacts, the historic tour of which was organized by the Metropolitan Museum of Art. He writes:

“Although the crook and the flail were most often represented as emblems of the god Osiris, they were also carried on some ceremonial occasions, besides the coronation, by the reigning pharaoh. Very occasionally the crook was held by viceroys of Nubia and also by viziers. A painted scene of tribute from Asia in the tomb of Tutankhamun’s viceroy of Nubia, Huy, shows the king holding both the crook and flail in his left hand and the sign for ‘life’ (ankh) in his right, while the viceroy holds a crook, but no flail, in his left hand and a single ostrich plume in his right. Only rarely is the flail shown in the hands of priests or officials and such instances are limited to scenes of royal jubilee festivals. Notwithstanding these sporadic exceptions, the crook and the flail were essentially Osirian emblems, though possibly not so in origin. Osiris is believed to have acquired them from Andjeti, the local god of a town in the Delta named Djedu, who was represented in human form with two feathers on his head and holding the crook and flail in his hands. At a very early date in Egyptian history Osiris absorbed Andjeti and adopted his insignia. Osiris, however, was regarded not only as a god, but also as a deified deceased king and consequently his insignia, particularly the crook and flail, were treated as symbols of royalty.

It is not difficult to imagine how a shepherd’s crook could have acquired the symbolical significance of rulership. Its name in Egyptian is heqat and the most common word for ‘ruler’ is heqa. Not unnaturally it has been compared with the crosier, the Christian pastoral staff. A flail (called nekhakha), however, seems out of character for a kindly and beneficent god like Osiris, and for this reason some authorities prefer to regard it as a ladanisterion, a flail-like instrument used until the present day by shepherds in the Mediterranean region and elsewhere for collecting ladanum, a gummy substance excreted from the leaves of the cistus plant. According to classical writers, it was used in the preparation of incense and unguents. This suggestion, proposed by the late Professor P.E. Newberry who helped in the clearance of Tutankhamun’s tomb, is plausible, but, as yet, there is no clear evidence that the cistus plant grew in Egypt in pharaonic times.”

For its part, the ritual motion affected during the 18° also has significance from symbolic shepherding in antiquity. It is defined in Isaiah: “He shall feed his flock like a shepherd: He shall gather the lambs with his arm, and carry them in his bosom.” (40:11, King James Version).

Anyway, I point this out now because Tutankhamun’s treasures will return to New York in April for a 36-week exhibition at Discovery Times Square Exposition. I plan to visit, and I recommend it to you too. In fact, discounts on tickets are available to groups, so organize your Chapter of Rose Croix and get over there. Tickets go on sale next month. The exhibit will close January 2, 2011.

Hanging in the Hall of Scottish Rite Regalia inside the House of the Temple in Washington are 36 oil paintings by Robert H. White, 32°. Shown here is 18th Degree: Knight of Rose Croix which depicts the apron, collar, and jewel of the degree. Read about its symbology here.

     

‘The Commander and Chief’

John J. Corrigan reads the charter of Northern New Jersey Council No. 10 during his installation as Excellent Chief Thursday night at Pantagis Renaissance in Scotch Plains. From left: Installing Officer Thurman C. Pace, Jr., outgoing Excellent Chief Richard A. Hammill, and Corrigan. (Rich doesn’t usually look so menacing!)

Thursday night was the first meeting of the new year for Northern New Jersey Council No. 10 of the Order of Knight Masons. Time for the installation of officers. Our new Excellent Chief is John J. Corrigan.

This year will be a busy one for Corrigan, who also will be installed as Right Eminent Grand Commander of the Grand Commandery of Knights Templar of New Jersey in March, and who will be coroneted a 33° Scottish Rite Mason in August when Supreme Council meets in Philadelphia.

Our council also celebrated the 86th birthday of Thurman C. Pace, Jr., Past Most Excellent Great Chief of the Grand Council of Knight Masons of the United States (and our “go to guy” whenever it’s time to install the officers of these little known York Rite bodies).

Blowing out the candles - Instead of a globe-warming 86 candles on Thurman’s birthday cake, there was a “mystic nine.”

The Order of Knight Masons is an honorary body within the York Rite of Freemasonry. Membership is invitational and open only to Royal Arch Masons. Created circa 1790, it works the “Green Degrees” of Irish Freemasonry, concerning the Second Temple in Jerusalem. This council and Southern New Jersey Council No. 11, are the two Knight Masons councils in our state, both chartered in 1968.

Our next meeting will be Thursday, May 20.

‘The fruits of labor at Alpha’

     

W. Bro. David Lindez, left, receives the thanks of Alpha Lodge No. 116 from Worshipful Master Kevin and District Deputy Grand Master Fred Waldron Wednesday night. David was Master last year.

We enjoyed a nice evening at Alpha Lodge the other night with a fun, interactive program complemented by a heartfelt gesture by the lodge in salute to its junior Past Master.

The meeting began with Worshipful Master Kevin calling W. Bro. David Lindez to the East, where he was presented with an etched golden plaque commemorating his service to Alpha Lodge in 2009 – when The Magpie Mason conferred upon it the nickname “The Provincial Grand Lodge of Essex County.” If you read this blog with any regularity last year, you learned of the world renowned lecturers and other visitors who made stops at Alpha Lodge, surely testaments to W. Bro. Lindez’s qualities as a man and a Mason. Bro. Rob Morton, Senior Warden, was summoned to the East for the purpose of awarding David his Past Master’s jewel and ring.

The program for the evening was a multifaceted group presentation united under a theme one might term “The fruits of labor.” Five presenters took turns in a kind of show-and-tell format, giving talks and displaying items to make the point that working hard in Freemasonry yields benefits of health and happiness, with the possibility of acceptance into Masonry’s invitational and honorary orders to boot.

Bro. Gerard, recently returned from a trip to the Holy Land, spoke on the Tree of Life, pointing out the parallels between this timeless esoteric map of the spirit to the meaning of Masonry. Wisdom, Strength, and Beauty are not only supports of a lodge; they epitomize vigorous health of psyche, body, and spirit.

W. Bro. Franklin of Nutley Lodge No. 25, also recently passed from the Master’s chair, likewise worked wonders during his year in the East, dispensing Light to the brethren with the help of an impressive itinerary of guest lecturers and with a variety of very enjoyable activities. You may have read about these meetings on this blog also.

Left: W. Bro. Franklin displays his replica George Washington apron.

Right: Bro. Gerard explains the Tree of Life.

Franklin talked frankly about what Masonry means to him, and what he has gained from his experience as Worshipful Master. For “Show and Tell,” he gave the brethren an eyeful of the beautiful apron his lodge gave him. Not the constitutionally mandated lambskin bordered with purple grosgrain–although he got one of those too–but a wonderful reproduction of the apron presented to Bro. George Washington in 1784 by the Marquis de Lafayette.

Bro. José, also from Nutley Lodge, and a newly initiated brother of the Allied Masonic Degrees, spoke enthusiastically of the AMD. Franklin and José are among the charter members of Alexandria Council No. 478, one of the four(!) AMD councils chartered in New Jersey in 2009.

José displayed AMD regalia (aprons, breast jewels, etc.), connecting each piece to its corresponding degree, and explained these time honored degrees, sometimes with the help of W. Lindez.

Bro. José displays the miniature jewels of the AMD.

Yours truly spoke of The Masonic Society, careful to point out how membership is not invitational, and that all that is required is a curious mind desirous of further Light in Masonry. Circulating copies of all six issues published thus far of The Journal of The Masonic Society, I explained the philosophy of the publisher: to offer a top quality periodical that delivers solid scholarship, colorful current events, insightful opinion, fiction, poetry, helpful advertisements, and more – the way the excellent Masonic magazines of the early 20th century did, but this time with state-of-the-art layout and design.

The Magpie Mason does a lot of work in Freemasonry–frankly, more than is healthy–and nothing instills more pride than my association with The Masonic Society. Since introducing ourselves in 2008, membership in the Society has grown to more than 1,000. Issue No. 7 of The Journal is now arriving in our members’ mailboxes, and our on-line discussion forum is buzzing with 650 members discussing 3,300 topics. And we’re getting ready for our second annual Gathering and Banquet on February 12 in Alexandria, Virginia at Masonic Week. In addition, local events, called Second Circle meetings, are taking place all over the United States and Canada, with one in the works for Britain too! It is exhilarating to eyewitness such success.

After my spiel, several other Masonic Society members rose spontaneously to say how much they too love the magazine. José said when he receives each new issue of The Journal, he stays awake late into the night reading it from cover to cover. That was one of the more tame endorsements offered. And then, our Master of Ceremonies thoughtfully held up a stack of Masonic Society membership applications, asking “Who wants one of these?” Nearly every brother in the room stuck out a hand to get one. Thanks for that, guys.

And speaking of our intrepid Master of Ceremonies, it was none other than X who brought us all together, kept us all on topic, and thematically tied together our presentations... with calisthenics thrown in too! (The Magpie Mason is unable to share the memorable photo of the exercising, for fear of being pummeled.) Seriously though, think about that. Imagine a couple of minutes near the start of a lodge meeting devoted to some simple stretching exercises to get the blood circulating, awakening the body and mind. I’m a strong advocate of adding a moment of silence to the early minutes of a meeting for the sake of tranquility, but the perfect complement to this would be, let’s say, a “moment of motion!” Just a minute of stretching arms, legs, back, and neck to maintain alertness. (Or maybe your lodge has no one napping on the sidelines!)

X’s own talk included a show-and-tell display of the replica claymore given to him in thanks by his grateful commandery, the excellent Trinity No. 17. But more importantly he shared with us the numerous pieces of “bling” (his word). In what really could be the most important remarks of the evening, thanks to their candor and brevity, X said these beautiful aprons, medals, jewels, collars, sashes, and swords are not to be treasured for their impressive appearances or intrinsic values, but they must be seen as symbols of the intangible: the spreading of Brotherly Love, the readiness to extend Relief, the resolute upholding of Truth. It was a blunt challenge to our senses of duty and honor which, to be honest, needs to be heard much more often in this fraternity. I’m sure we all have seen instances of titles and privileges being bestowed with undue generosity, which of course devalues the fraternity itself, to say nothing of reducing its regalia to gimcrackery.

Yes, it was a great night at Alpha. As usual.


The Magpie Mason will be the guest lecturer at Alpha Lodge’s Regular Communication of Wednesday, May 26. Topic: “Death: Why I’m Looking Forward to It!”
     

‘Mozart at 254’

Mustn’t let the day end without wishing Bro. Mozart a happy 254th birthday. Also, might as well remind readers of The Magpie Mason in the New York area that Mostly Mozart is coming.

For 22 nights this summer, Lincoln Center’s annual Mostly Mozart music festival will fill the air with our timeless Brother’s immortal music.

Bro. Haydn and others will be included in the festival also.


The complete schedule has been taken down from the Lincoln Center website, but tickets will become available before too long. It had been announced that ticket holders will have the added benefit of taking in free recitals and lectures almost every night before the concerts, so make a full night of it by having dinner a little earlier. (Tragically, Café des Artistes closed last August, but of course plenty of excellent restaurants in the neighborhood remain.)

Of Mozart’s Masonic music, both the July 31 and August 1 concerts in Avery Fisher Hall will begin with the Overture to The Magic Flute, featuring Piotr Anderszewski on piano.

The August 16 performance (seating at 3 p.m.) of the Orchestra of the Age of Enlightenment will feature his very well known Piano Concerto No. 22 in E-flat major, K.482. The composer debuted this piece in December of 1785, reportedly at a musical academy sponsored by a Masonic lodge. Specifically it is the piece’s third movement that everyone is bound to recognize.

‘Daniel D. Tompkins remembered’

“The Best of the Rest of 2009” continues on The Magpie Mason. I’d better wrap this up before the end of the month, eh?


On Monday, November 9, the New York City Chapter of U.S. Daughters of 1812 hosted its service of commemoration and grave-marking to honor Daniel D. Tompkins (1774-1825). The U.S. Daughters’ interest in Tompkins stems from his service as Governor of New York, and Vice President of the United States, and as a crucial financier of the American war effort of 1812. This historical society had held a similar ceremony 70 years earlier, almost to the day, when it dedicated a bronze bust of Tompkins in the yard at St. Mark’s Church-in-the-Bowery, where he is laid to rest.

Was Tompkins a Freemason? Not only was he a Mason, he was Grand Master of New York, and the first Sovereign Grand Commander of the Ancient Accepted Scottish Rite of Freemasonry (Northern Masonic Jurisdiction).

Freemasonry became involved, if I understand it correctly, almost by accident. Bro. Isaac Moore of Mariners Lodge No. 67 in New York City happened upon Tompkins’ gravesite one day. Struck by the neglected condition of the burial place, he let the brethren know how this illustrious Mason’s final resting place could benefit from some rehabilitation. One of the Masons Isaac had spoken to was Cliff Jacobs, 33° of St. John’s Lodge No. 1 and the Valley of New York City. Ill. Cliff discovered the U.S. Daughters’ project to fix up the gravesite, and the Daughters welcomed the brethren into the endeavor.

The affair on November 9 was a very special and memorable occasion, as I hope these photos will convey.

The final resting place of Daniel D. Tompkins. Governor of New York. Vice President of the United States. Grand Master of New York. Sovereign Grand Commander of the Ancient Accepted Scottish Rite of Freemasonry.

The Veteran Corps of Artillery, State of New York, founded in 1790, served as the color guard for the ceremony.

Freemasonry was represented in numbers that day. That is John Mauk Hilliard at left, accepting a presentation from Anne Farley, Mary Raye Casper, and Emily Malloy of U.S. Daughters of 1812. Also present were Peter Samiec, 33°, Deputy for New York; RW Vincent Libone, Deputy Grand Master of New York; W. Kenneth Lorentzen, Master of Tompkins Lodge No. 471; and several dozen others. Malloy was chairman of U.S. Daughters’ Tompkins Commemoration Committee.

Participants and guests gather outside the church at the gravesite for prayer and the rededication.

Left: Brian G. Andersson, Commissioner of the New York City Department of Records and Information Services, presented a proclamation from Mayor Michael Bloomberg. Right: Dr. George Hill is a descendant of Daniel D. Tompkins.

The Rev. Michael Relyea of St. Mark’s Church-in-the-Bowery reflected on the life of Daniel Tompkins, crediting him with outspoken support of Abolition, scores of years ahead of the Civil War, which Relyea attributed to the reversals of fortune Tompkins suffered at the end of his life.

Ill. John William McNaughton, 33°, Sovereign Grand Commander of the AASR-NMJ, saluted his predecessor’s service to the American people and to Freemasonry.

 
 
 
 
 
 
 
 
 
 
 

 

St. Mark’s Church-in-the-Bowery is located in the Lower East Side of Manhattan. Its yards contain the burial places of a number of early Dutch settlers of New York, most notably Petrus ‘Peter’ Stuyvesant, Captain General and Governor in Chief of Amsterdam in New Netherland (New York) and the Dutch West India Islands (1612-72).

‘Sacred Spaces at MOBIA, Part II’

     

Dr. Klaus Ottmann and artist Tobi Kahn at the Museum of Biblical Art in New York City Thursday night. Ottmann lectured on ‘Faith, Spirituality and Sacred Spaces in Contemporary Art,’ the last of three lectures offered in connection with MOBIA’s exhibit of Kahn’s work ‘Sacred Spaces for the 21st Century’ which closes on Sunday.

‘Portrait of the Artist Studio
as Spiritual Space’

Thursday night, the Museum of Biblical Art hosted the final of three lectures addressing the topic of sacred spaces in conjunction with its exhibit of artist Tobi Kahn’s work titled “Sacred Spaces for the 21st Century.” Our teacher, Dr. Klaus Ottmann, brought the lecture series full circle; what began last month with a discussion of the evolution of sacred spaces from Temple-era Israel through the Renaissance and into modern times, concluded here with Ottmann defining the artist studio as spiritual space where philosophy, language, and religion are amalgamated in certain works of contemporary art.

Not the Magpie Mason’s field of expertise, which made the experience all the more fascinating. Furthermore, if my colleagues at the Rose Circle happen to read this, I hope they will jot down Dr. Ottmann’s name, and consider inviting him to speak at one of our conferences, where he can contribute much to the members’ stock of knowledge as he is a sound choice to discuss these matters.

Ottmann earned a Master of Arts degree in 1980 from Freie Universität in Berlin, and his Doctorate in Philosophy from the Division of Media and Communications at the European Graduate School in Switzerland in 2002. Today Ottmann serves as the Robert Lehman Curator for Parrish Art Museum in Southampton, New York and also teaches art history at the School of Visual Arts. A prolific author of books and catalogs, Ottmann also is editor-in-chief of Spring Publications, Inc., which publishes books on psychology, philosophy, religion, mythology, and art. One of its books is Ottmann’s translation (from German) of Gershom Scholem’s Alchemy and Kabbalah (2006).

He has curated more than 40 exhibitions including Life, Love, and Death: The Works of James Lee Byars at the Schirn Kunsthalle in Frankfurt, and the Museum of Modern and Contemporary Art in Strasbourg (2004), and Wolfgang Laib: A Retrospective, which traveled from Washington to five other museums around the world (2000-02). His recent curatorial projects include exhibits of Willem De Kooning and Chloe Piene; future shows of Rackstraw Downes and Jennifer Bartlett will open at Parrish Art Museum this year and next.

His curriculum vitae is extensive, and can be read here.

Ottman spoke too briefly yet managed to cover a variety of artists, the philosophers who inspired them, and the spiritual images created thereby. In only about 40 minutes, Ottman, taught us about more than half a dozen artists of the 20th century, and even one painter from 15th century Russia.


Ottmann began his talk quoting Immanuel Kant’s three fundamental philosophical questions:

What can I know?

What ought I to do?

What may I hope for?

His point was to explain that man seeks an ethical grounding in life. There are those who rely on meditation and prayer; others take to political activism; some look for fulfillment in material possessions. Their quest is for the inexpressible, what Ludwig Wittgenstein described as “running against the boundaries of language.” Or, as F.W.J. Schelling put it (Ottmann again quoting): “Each of us is compelled by nature to seek an Absolute.” (Ottmann also is the translator of Schelling’s soon-to-be published Philosophy and Religion.) This can lead to a harmonious, but deep, connection between religion and art. To wit: Chartres Cathedral, an almost limitless creation of material wonder (architecture, statuary, stained glass, etc.) that has become a destination for spiritual seekers of all kinds.

With these firm philosophical and artistic footings, Dr. Ottmann lead us forward into the fine arts, screening for us a few minutes of the film Andrey Rublyov (1966) by Andrei Tarkovsky, which tells the story of Rublyov’s torment over being hired to paint The Last Judgment inside a church, yet he cannot paint it, not wanting to “terrify people.” This 15th century painter of Orthodox icons is renowned for his Holy Trinity, which Ottmann credits as an example of art’s ability to link the present world to another world. “There exists an icon of the Holy Trinity, and therefore God exists as well.”

Fast-forwarding to 1950, Ottmann gave us Mark Rothko’s No. 10, an oil on canvas of his floating rectangles.

Left: Rublyov’s Holy Trinity (c.1410).

Right: Rothko’s No. 10 (1950).

Rothko’s favorite philosopher was Søren Kierkegaard, the 19th century Danish thinker who believed Christianity was better left to the individual believer who, if left free to worship, would seek the community of a congregation. (Such thinking put him at odds with the Danish National Church, the official state church.) His preference for the individual also is seen in writings about the patriarch Abraham. “Kierkegaard has that passion for the ‘I.’ For that ‘I’ experience, like Abraham in his Fear and Trembling,” said Ottmann, quoting Rothko. “It is the ‘I’ that I myself experience every day.”

No. 10 shows a few horizontal bars, but The Rothko Chapel in Houston is a modern work of specifically religious art. Perhaps most notably, this sacred space was not built to be a synagogue or church, but was commissioned by private individuals. “The Chapel has two vocations: contemplation and action. It is a place alive with religious ceremonies of all faiths, and where the experience and understanding of all traditions are encouraged and made available. Action takes the form of supporting human rights, and thus the Chapel has become a rallying place for all people concerned with peace, freedom, and social justice throughout the world.” Read more here.

Our next stop was New Mexico to visit the Dwan Light Sanctuary on the campus of the United World College. Curator Virginia Dwan, architect Laban Wingert, and artist Charles Ross collaborated to create an exceptionally unique sacred space. As one website puts it, the Sanctuary is:

“a space shaped by the Earth’s alignment to the sun, moon, and stars. Designed around the number twelve, the Sanctuary is illuminated by six prisms in each of two apses, and three prisms in each of four skylights. The prisms form broad ribbons of pure solar color that move in concert with the rotation of the Earth. Lunar spectrums can be seen on nights when the moon is full. A third apse, facing north, houses a square window. A line parallel to Earth’s axis extends from the center of the floor through the center of this window, and points directly to the North Star.”

Moving to France, we examined Yves Klein’s Blue Monochromes, which I think Dr. Ottmann said were six in number, and had been created for a chapel that in the end was not built. As MoMA’s website says:

“Monochrome abstraction—the use of one color over an entire canvas—has been a strategy adopted by many painters wishing to challenge expectations of what an image can and should represent. Klein likened monochrome painting to an ‘open window to freedom.’ He worked with a chemist to develop his own particular brand of blue. Made from pure color pigment and a binding medium, it is called International Klein Blue. Klein adopted this hue as a means of evoking the immateriality and boundlessness of his own particular utopian vision of the world.”

Then it was time for more film. Klein’s Anthropometries of the Blue Period (1962) combines music, blue paint, and nudes to create what Ottmann called “a theater of the flesh.” Referring to Klein several times as a Christian and Rosicrucian, our lecturer described the action in the film as an expression of the incarnation of The Word, and the resurrection of the body. The Word made flesh. I cannot find the same piece of film on the web, but this alternative gives you the idea. This clip is shorter than what we saw during the lecture, and what is most obviously different is the absence of the original music. Klein had his female models, the “human brushes,” do their work while a chamber orchestra with two vocalists performs a droning piece of music which sounded almost like a liturgical chanting, but with strings and woodwinds undertaking the work of a choir of baritones. Frankly, it gave the scene a nightmarish quality. (Also, the longer film we saw during the lecture offered a few quick glimpses at a jewel around Klein’s neck. Its red ribbon was plainly visible against his white tuxedo shirt, but the jewel itself seemed to escape the camera; to me it appeared to have had the shape of what we American Freemasons call a Most Wise Master’s jewel.)

Klein and Claude Parent collaborated on “Air Architecture” and their “Air Conditioned City” (1961). Rosicrucian symbolism abounds, as the elements Air and Fire again dominate Klein’s statement, his call for a new Eden.

Leaving Europe for India, our group looked at Wolfgang Laib and his Brahmanda (1972). Read Dr. Ottmann’s explanation here from last November.

For his Brahmanda, said Ottmann, Laib had discovered a large black rock, about three feet long, in India. He brought the rock home and carved it into a perfect oval shape called a “brahmanda.”  A Sanskrit word, “brahmanda” is defined as “cosmic spirit” + egg. “The embodiment of Brahma, particularly the solar system, physical, psychological, and spiritual; the ancient Hindus called Brahma “the cosmic atom. The idea is that this cosmic atom is ‘Brahma’s Egg,’ from which the universe shall spring into manifested being.”

Laib also is known for his “Fire Rituals.” Ottmann said Laib’s exhibition in Turin consisted of Vedic fire rituals, which included priests’ religious chants and the lighting of 33 fire altars on which ritual elements of fruits and vegetables, and other organic materials were burned. A very rare happening outside of India. These are celebrations of peace, prosperity, health, love, and other ethics and energies.

The Faith by Enrique Celaya, oil and wax on canvas, 2007.

Enrique Martinez Celaya, (born 1964) a Cuban-American artist, wants, said Ottmann, for “artists to be prophets again.” Marrying art, literature, philosophy, and science, this artist calls for art to show “ethical responsibility” with the artist/prophet, unlike the mystic who aims to leave this world for the next, returning to the world to spread his message.

The Magpie Mason could not help but smile when Dr. Ottmann projected the next painting onto the screen. Celaya’s Two Worlds (2007) unmistakably recalls the countless myths, legends, and religious stories that allegorically employ a river as, what Piers Vaughan might term, “a barrier between two states of consciousness.”

Two Worlds by Enrique Celaya, oil and wax on canvas, 2007.

The traveler, dressed unusually, crosses the water, heading toward Light, where life begins to bloom. Only one step away from completing his crossing, he appears to struggle to maintain his balance. It is “a spiritual and transcendent reminder of the ethical responsibility of the artist,” Ottmann explained which, for me, is an inspiring contrast to the hateful filth (e.g., Serrano, Ofili) that seems to garner the art world’s awards and grant monies.

Concluding his lecture, Dr. Ottmann urged us to consider the artist’s studio as spiritual space. Artists’ spaces are sometimes preserved, he said, not only for their historical significance, but for the idea of preserving the spirit of the artist. “There is so much concentration…. There is an aura.”

Magpie readers, please always remember that subjects such as this are complicated, consequently any errors above are attributable to me, and not to Dr. Ottmann.
     

Masonic relief for Haiti

     

Brethren from the Grand Orient d’Haiti at Alpha Lodge, 2009.

Brethren, the Masonic Service Association of North America will make an appeal today (January 14) for contributions to help, aid, and assist the survivors of the earthquake in Haiti, according to an e-mail just received from Executive Secretary Richard E. Fletcher.

The Magpie Mason respectfully suggests the brethren channel their giving through this single, organized resource. Whatever goods you may be shipping individually probably will not reach their intended destinations, as the destinations themselves may no longer exist, and looting is rampant. Similarly, monies transmitted via ad hoc fundraising drives might not be received in their entirety, whereas every penny received by the MSANA will go to relief in Haiti.

“To All Poor and Distressed Masons, wherever they may be, dispersed over the face of the earth or on the water, here’s wishing them a relief from their sufferings, and a happy return to their native land, should they so desire it.”

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ADDENDUM:

MSANA’s appeal:

Appeal for Relief – HAITI

You’ve seen the destruction vividly portrayed by TV coverage. Much of Haiti is in ruins. All Haitians need assistance. Our Brothers in the Grand Orient D’Haiti desperately need assistance as they work with their communities in trying to rebuild their shattered lives.

Please forward to the MSA such funds as you feel appropriate to help our devastated Brethren and their families in this stricken jurisdiction. Please make checks payable to the MSA Disaster Relief Fund and send to:

8120 Fenton Street, Ste. 203,
Silver Spring, MD 20910-4785

Thank you very much for your help!

Most sincerely and fraternally,

RICHARD E. FLETCHER, PGM
Executive Secretary

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English Freemasonry assists also:

Information Release by The Freemasons’ Grand Charity of the UGLE:

14th January 2010

£30,000 IN RELIEF FOR HAITI EARTHQUAKE

Following the devastating earthquake which took place in Haiti on Tuesday 12th January 2010, the President of The Freemasons’ Grand Charity has approved two emergency grants totaling £30,000. The funds have been issued to the British Red Cross and Plan.

The 7.3-magnitude quake, Haiti’s worst in two centuries, struck at 1653 local time (2153 GMT) on Tuesday. The epicenter was within 10 miles of the center of the densely-populated capital, where around one million people live. More than 50,000 people are feared dead.

The British Red Cross has been awarded £20,000 to assist with their relief efforts. Red Cross volunteers in Haiti are currently assisting the injured and supporting hospitals who do not have enough capacity to deal with this emergency. The most urgent needs at this time are search and rescue, field hospitals, emergency health, water purification, emergency shelter, logistics and telecommunications.

Plan has also been granted £10,000 in support of their efforts in dealing with the immediate aftermath of the disaster. Plan’s priorities are assisting children and their families and getting people into safe accommodation wherever possible, as well as working with survivors to help ease their psychological trauma.