Trevor Stewart returns to Valley of Northern NJ

It wasn’t a typical meeting of Northern New Jersey Council Princes of Jerusalem. The 36-year-old Scottish Rite body, comprised of 16° Masons, had prepared for the return of Trevor Stewart by inviting Master Masons from the area on the night of October 7 to hear Trevor explain “The Nature of Masonic Initiation.”

It was a talk inspired, in part, by the Sovereign Grand Commander of the Northern Masonic Jurisdiction himself. Ill. Bill McNaughton had written in a recent issue of “The Northern Light” magazine that he viewed the making of a Mason as a process, something involving much more than conferring the degrees. Trevor also was prompted to compose his thoughts on this subject by an experience in Washington four years ago, when he met a group of government employees – not all of them Masons – who asked him a number of intelligent questions about what Freemasonry is and does.

As he does so well, Trevor delves into the history of the fraternity and its rituals to determine what the past can teach us today.

Beginning with the Edinburgh Register House Manuscript (1696), the earliest piece of Masonic literature that can be recognized as a working ritual, Trevor sketched the evolution of the Craft’s initiatory rites.

“This is the first clue of what we do. It is a primitive ritual,” he said. There are questions and answers, and the oath and obligation “before God himself.” There are no penalties, just the candidate “swearing as a simple Christian soul” that he would keep the secrets imparted to him.

Trevor then told of the Squaremen, “a leftover from way back” that treated its initiates pretty roughly. “A series of humiliating things is not a bad thing,” he added. “It brings about the abnegation of the self.”

Leading to what Freemasonry should be doing now, Trevor told of J.S.M. Ward, one of the more accomplished scholars in what Trevor calls the Comparative Approach, for the way it examines other cultures to identify parallels to Freemasonry. “This is to prove that Masonic initiation does not come from the mists of time,” he said. “Nor is our ritual an invention, but it evolved in the early 18th century.”

“It is a ceremonial ritual that is highly stylized,” he added, “it is not normal in everyday life.” Masonic initiation is designed to have a quickening effect on the initiate. “We’ve got to really perfect it and do it with some drama” because we are taking him out of the profane world. “Without drama, you are wasting his time. You have not done what should be done. You have to change his life. If you don’t achieve that, you’ve wasted his time.”

Initiation is a process that possibly never ends, Trevor continued, it is “a process toward eventual enlightenment.”

“When the candidate is making his way from the First Degree to the Second Degree, he is interrogated, and one of the significant first questions he’s asked is ‘What is Freemasonry?’ The answer in English and Scottish Masonry is very revealing indeed: ‘A peculiar system of morality, veiled in allegory and illustrated by symbols.’ ”

(Many, if not most jurisdictions in the United States use similar language, but substitute “beautiful” for “peculiar.” The word “peculiar,” in addition to the familiar adjectival usage, is a noun originating in the late 16th century that means “something exempt from ordinary jurisdiction, especially a church or parish exempt from the jurisdiction of the ordinary in whose territory it lies.” So beside “unusual,” this word, in a relatively new context in the age when Masonic ritual took the form we know today, has definite sectarian or even spiritual implications.)

A peculiar system of morality, veiled in allegory and illustrated by symbols. This single sentence of initiatic ceremony holds the key to Trevor’s thesis, and he spent considerable time during his hour-plus lecture “unpacking” it.

“A ‘peculiar system’ is something special, something not of this world,” he said. “The candidate is being exposed to something previously unknown in his life, making him peculiar to the ordinary concerns of his life. He becomes a Freemason, and peculiar in that sense.”

“ ‘System’ is more difficult to unpack. We need to go back to the 18th century,” he said, explaining how the influence of Isaac Newton on the times (as in calculus, gravity, astronomy, minting, etc.) brought his entire nation to appreciate the notion that, like ashlars themselves, “each part is necessary for the harmony of the whole enterprise.”

There is a process throughout the First, Second and Third Degrees, he explained, starting with proper preparation. “Where were you first prepared? My heart. Where next? In a convenient room adjoining the lodge.” The spiritual comes before the physical; preparation is made in the heart first, at the lodge second. The candidate must be of lawful age, be male, believe in God and trust in Him in difficulty and danger, and come of his own free will and accord. Not only must he not be influenced by unworthy motives, but “his real reason is a desire for knowledge, to become a better person. So it was written on our hearts that we were properly prepared.”

“ ‘Morality’ is that part of Freemasonry concerned with the inculcation of ethical principles,” he added. The candidate will “hopefully become the perfect ashlar and build the wall of the Temple not made with hands.” The process requires enthusiasm and harmony. “A person admitted to reception must be of age, of good morals and judgment.”

“ ‘Veiled in allegory’ means that Truth is contained. It is embedded and secret,” Trevor also said. “The candidate must come to an understanding that satisfies him.”

“ ‘Symbol’ is very important,” he continued. “A rough ashlar is strong and dependable and durable, but if you build a wall it will fall down. But there is potential there.”

“The Working Tools, as symbols, have meanings that are deeper than what the brother explaining them has told. Labor is the wont of man. And for the true Freemason, intellectual ascent is not enough; he must assimilate these allegories into his daily life. This is very difficult.”

Masonic knowledge is not imparted all at once, he reminded his audience, it is veiled and understanding it takes some time. “If you look at the art of the 18th century you see allegorical paintings” but art today does not have that kind of symbolism, and people today are not educated in reading such codes. He told of the Royal Order of Scotland, which cites the Nine Muses in its ceremonies and symbols, to make the point that educated men of the 18th century needed no introduction to the Nine Muses, but that educated men today are not familiar with the Greek goddesses of arts and sciences.

“The chief allegory in Freemasonry, as I understand it, is temple-building,” Trevor continued. “Each Mason is concerned with one particular stone: his own personality. It needs the hand of an expert worker to carve the stone so it may subject itself to the erection of the Temple.”

Symbols are all around us, he said. “A red light means stop. A green light means go. These are very simple symbols that we ignore at our own peril. But ours is esoteric. They are applied to one’s own life, and are a matter of experience.”

And there is no single definitive answer, he added. “A young guy who’s been a Mason for three or four weeks, and a guy who has been a Mason for 50 or 60 years are seeing things very differently” when watching the same degree.

The EA Degree imparts ethical standards. “There is moral truth.” The FC Degree stimulates the mind. “There is intellectual truth.” The MM Degree tells of the “ultimate human destiny and triumph. There is spiritual truth. A union with deity.”

By “triumph,” Trevor refers to the new Master Mason’s rectified psyche. Hiram was not raised from the dead, he explained. “The dead body was exhumed and reinterred in a magnificent tomb.” Our new Master Mason however does return to the ordinary life outside, but with a new outlook. He has departed the mundane world, traversed the world of morality, and then through the world of intellect – benefiting and gaining qualifications – before arriving at the world of spirit.

Pennsylvania Academy of Masonic Knowledge

     
Trevorpalooza 2008 is still very much underway, with Trevor Stewart doing what he does best at various locations near and far for a few more days. And I have some more good Trevor stories to share, but I’m going to step out of sequence at this time to tell you about what happened yesterday at the Pennsylvania Academy of Masonic Knowledge.

RW Thomas Jackson

The Academy meets twice a year in the Masonic Cultural Center at the Grand Lodge of Pennsylvania’s Elizabethtown campus. Saturday’s program was a different format from the Academy’s usual, in which two lectures are presented by scholars of national or even international reputation. Recent speakers include W. Kirk MacNulty, Miss Pauline Chakmakjian and… Trevor Stewart!

The Academy serves a purpose even greater than hosting great educational meetings. It’s legacy, I believe, will be its Certification Program, a kind of correspondence course in which interested brethren gradually learn about Freemasonry, and then demonstrate what they’ve internalized in the form of various kinds of papers. Personally, I think this is how lodges ought to discern the worthiness of candidates for advancement, but....

It is an extremely valuable system of Masonic education, one that its governors are willing to share with other grand lodges that are looking to create something, but don’t know how to structure one. Pennsylvania’s has been operational for nine years, and is not slowing down at all. There were approximately 250 Master Masons – about half of whom were raised in the past two years – in attendance Saturday, preferring to spend one of the most gorgeous days of the year sitting inside an auditorium to hear nine speakers expound on various subjects geared for the new Mason.

The day’s agenda was titled “Lessons in Freemasonry” and consisted of:

“What, Where, When and Why” by Bro. Thomas W. Jackson, shown above

“Historic Leaders of Pennsylvania” by Bro. Paul D. Fisher

“The Symbols and Tools of Freemasonry” by Bro. James L. Sieber

“Myths and Misconceptions” by Bro. William R. Rininger

“Famous Freemasons” by Bro. John W. Postlewait

“What Can We Discuss About Freemasonry” by Bro. Charles S. Canning

“Purpose of Freemasonry and Masonic Etiquette” by Bro. Merrill R. Shaffer

“Masonic Conduct Outside the Lodge” by Bro. C. DeForest Trexler

“The Meanings of the Oaths and Obligations” by Bro. S. Eugene Herritt

Before anyone of grand rank mutters to himself about the absence of titles from these names, let me make clear that this is how the brethren identify themselves in their Academy literature. I’m certain they all are Right Worshipfuls, but what we find in educational circles are serious men, each content to be called Brother. There is a lesson in there for those who have ears.

The chairman of the committee that operates the Academy is Tom Jackson. I wouldn’t know where to begin in composing a Masonic CV for him. He served 19 years as Pennsylvania’s Grand Secretary, reviews books for “The Northern Light” magazine, and is a Founding Fellow of The Masonic Society, just to list a few things off the top of my head. Tom is known around the globe for his intellect, his unabashed insistence that Freemasonry uphold standards of greatness – from the West Gate to the Grand East – and his indefatigable action. (While laid up after a medical procedure earlier this year, he began writing a book.)

Discussing the “What, Where, When and Why” of Freemasonry, Tom restrained himself, mindful that the day was devoted largely to brethren who were new to the fraternity. He covered the basics of St. John’s Day, 1717, but stipulating there are records in Scotland of 16th century lodge activity.

“Essentially, we don’t know our origins, but Freemasonry attracted some of the greatest men of the last 300 years,” he said, “Did Freemasonry make men great, or did great men make Freemasonry? I say it is both. Voltaire, Mozart, Haydn, Franklin and Washington were men we wanted to be associated with. That is our deficit today in North America. Where are the Mozarts of today? My role is to preserve Freemasonry in case great men come later.”

And speaking of greatness, Bro. Paul D. Fisher continued the program with his “Historic Leaders of Pennsylvania” talk. He covered four or five biographies in a “Profiles in Courage” type format. These were notable men in both Masonic history and U.S. history, including:

William Smith, a congressman once challenged to a duel by Henry Clay (but declined), is credited with authoring a part of Pennsylvania’s Master Mason Lecture. He also published the first version of “Ahiman Rezon” in the United States. A good friend of Washington and Franklin, he was reputed to have been “the best public speaker of all the colonies.” He was provost of the University of Pennsylvania, and founded Washington College, which is now the University of Maryland. Smith served as Grand Secretary, and then Grand Master of Pennsylvania, and unusually later became a Grand Chaplain in New York, when his son was Grand Master.

James Buchanan, the only Pennsylvanian to become president of the United States, was prominent in Masonry as a leader of what is termed in this state as "the revolt of the country lodges." His success is felt to this day, as the District Deputy system is still in place (it was thought that DDGMs should represent the interests of lodges to the Grand Lodge) and the standardization of ritual, which also continues to this day, and is still unwritten.

George Mifflin Dallas, the namesake of Dallas, Texas, for his work in bringing that republic into the Union. He served as vice president under James K. Polk, and was a courageous advocate for Freemasonry during the scariest days of the anti-Masonic movement, during which his mother lodge forfeited its warrant. Pennsylvania General Assembly Representative Thaddeus Stevens, who won election on the anti-Masonic ticket, introduced The Act to Suppress Secret Societies, and subpoenaed 25 leading Masons to testify. All appeared, but none would testify under oath. Dallas argued that Masonry was a private organization that acted lawfully, and he invoked the memory of George Washington to shame these politicians. He served as Grand Master in 1835.

Next, “The Symbols and Tools of Freemasonry” was explained by Bro. James Sieber, who holds a Ph.D. in mathematics. He provided a hand-drawn visual aid depicting about two dozen Working Tools and other symbols, which he explained to the brethren, occasionally detouring into other jurisdictions’ symbols. He urged everyone to travel outside of Pennsylvania to experience more Masonic teachings.

Bro. Bill Rininger took us through “Myths and Misconceptions” to prepare new Masons for the idiotic questions and challenges we all eventually face. “Times haven’t changed much,” he explained. “Except that many of our critics have discovered the power of mass media, and they make their money by telling falsehoods.”

A video, titled “Tools of the Craft,” was screened. This featured several Pennsylvania Masons, including a rabbi and a minister, and MSANA Executive Secretary Dick Fletcher who foiled the most common libels hurled against the fraternity (e.g. it is not a religion, cult, nefarious society, etc.).

Next came a fun presentation on “Famous Masons” delivered by Bro. John Postlewait. He told of a Communication of Celestial Lodge, where dozens of well known brethren assembled in lodge. (The Tiler was J. Edgar Hoover.)

Bro. Chuck Canning, at left, explained “What Can We Discuss About Freemasonry,” in which he told the brethren that their obligations to Masonic secrecy do not proscribe them from learning as much as possible about the Craft. He urged everyone to get acquainted with the various lodges and societies of Masonic research, and to familiarize themselves with the many topics covered in rituals other than Pennsylvania’s, like the Four Cardinal Virtues, various Working Tools, etc.

“Masonic Etiquette” by Bro. Merrill Shaffer proved provocative. He covered important basics that too often go unsaid (punctuality, attire, welcoming visitors, etc.) and also touched on confusing matters that are not necessarily addressed by ritual, like crossing in front of the East. (A no-no, by the way.) Our speaker quoted Preston, Pike, Pound and Coil to illustrate his point that Freemasonry’s role is to show good men how to improve themselves through ethics, morals and knowledge.

This talk carried into the Q&A period later in the afternoon, when the conversation expanded into legal matters. By coincidence, Grand Lodge will host a daylong seminar on the 18th devoted entirely to the jurisdiction’s jurisprudence.

“Masonic Conduct Outside the Lodge” was Bro. C. DeForest Trexler’s call to the brethren to remember their duties to God, their neighbors and themselves. “Whether we trace Freemasonry to ancient antiquity or orders of knighthood or stone guilds, it is a product of 18th century Enlightenment,” he said. “We show exemplary public behavior for Masonry’s public reputation,” avoid intemperance and excess, and are consistent with “good citizenship and Judeo-Christian morality.”

Perhaps the best way to phase it, he concluded, was Polonius’ advice to his son Laertes.

Introduced by the moderator as “the capstone of the edifice we are trying to construct for you,” the final talk, “The Meaning of the Oaths and Obligations” was given by Bro. S. Eugene Herritt, shown below, and very effectively I must say.


Obviously I can’t disclose the details, but he very wisely explained the three sets of oaths and obligations as progressively demanding circumstances that both challenge us to grow and simultaneously reflect our growth thus far.

The Pennsylvania Academy of Masonic Knowledge will meet in 2009 on March 14 and October 24 at the same location.

There also is a lodge room housed within the Cultural Center. A very modern design with dominant diagonal lines surrounding its theme of triangles and rectangles. The high, vaulted ceiling gives it a cathedral feel, but the omnipresent woods say something else. Despite the ubiquitous blonde wood and all that glass, it does not have a cold look. In fact, those surfaces and colors, with the trapezoidal altar and quirky officer chairs, inspire a friendly curiosity.

     

Trevor teaches at 'Those Without Breeches'

     

Host Bill Thomas and guest speaker Trevor Stewart at Les Sans Culottes,
New York City, October 6, 2008.

So this Scotsman walks into a French restaurant and starts talking about a novella set in Italy.

No, this isn’t the set-up to a punchline. It is essentially what happened Monday night in New York City. It’s the details that count.

So there we were: Fifteen luminaries in the field of Masonic education (and me) gathered – or maybe “huddled” – inside the intimate upstairs dining room at Les Sans Culottes on Second Avenue to hear W. Bro. Trevor Stewart discourse on “St. Irvyne or the Rosicrucian” by Percy Bysshe Shelley, a work of short fiction in the Gothic genre written when the author was still a college student.

Our teacher, in the middle of a whirlwind speaking tour of the U.S., was none other than the very same Trevor Stewart of Quatuor Coronati fame; Past (2004) Prestonian Lecturer; Past Master of Inverness Lodge No. 6; the Deputy Master of Robert Moray Lodge of Research in Scotland; &c., &c.

His presentation is titled “Enlightenment in the Alps: Shelley’s Forgotten ‘Rosicrucian’ Novelette, ‘St. Irvyne’ ” Since this is what Trevor did for a living, no one was surprised by his dexterous delivery of biographical fact, plot summary (which actually was more compelling than the story itself) and esoteric context, which, naturally, is what brought us together that evening.

“Shelley’s “St. Irvyne: or, The Rosicrucian” was one of his youthful excursions into literary creativity,” Trevor began. “It was written even while he was in his final year at Eton.” His ambition to author a three-part novel did not materialize, so what remained of the story was published in 1811 pseudonymously by “A Gentleman of the University of Oxford.” The young author may have hoped that the Oxford pedigree would have lended it credibility and boosted sales – not that he needed the money – as the market for Gothic tales was burgeoning at that time.

“The language of the opening paragraph gives readers some idea of the events to expect later,” Trevor explained, reading:

Red thunder-clouds, borne on the wings of the midnight whirlwind, floated, at fits and starts, athwart the crimson orbit of the moon; the rising fierceness of the blast sighed through the stunted shrubs, which, bending before its violence, inclined toward the rocks whereon they grew; over the blackened expanse of heaven, at intervals was spread the blue lightning’s flash; it played upon the granite heights and, with momentary brilliancy, disclosed the terrific scenery of the Alps, whose gigantic and misshapen summits, reddened by the transitory moon-beam, were crossed by the black fleeting fragments of the tempest-clouds … In this scene, then, at this horrible and tempestuous hour, stood Wolfstein.

I have to confess a few things. When it comes to English literature, I am, always have been, and likely always will be, an Elizabethan guy, and not a Romantic. And I’ve always had a bias against Shelley in particular, mostly for the way he lived his life. (An atheist. Can you imagine?!) And as I began to read this novelette during the summer, I forgot to read it for pleasure, and instead tried to decode every sentence, looking for the keys to Rosicrucianism. And I thought I’d found a treasure in that opening paragraph. Actually just that first sentence. That’s the longest run-on sentence I’ve read in some time. This guy could have written Masonic ritual! Anyway, I had thought I’d found the Four Elements packed into that lengthy introduction, but Trevor reminded us that this style of writing is the hallmark of the Gothic genre.

But there is more to this opening scene that perhaps the initiated eye may see without reading too much into it. Trevor did not read this aloud, probably in the interest of time, but that ellipsis in the excerpt above represents, in part, this description of our hero Wolfstein: “without one existent earthly being whom he might claim as friend, without one resource to which he might fly as an asylum from the horrors of neglect and poverty.” Hey, we’ve all been there.

And it is at this time, with thoughts of death about to overwhelm him, when Wolfstein is spared a desperate suicide upon being discovered by a band of monks passing by. The monks in turn find themselves surrounded by number of mountain bandits who, for reasons not defined at that point, take in Wolfstein and welcome him, penniless, friendless and hopeless, as one of their own (after robbing and dispatching the monks).

The “banditti troop” retires to its cavern lair. “Over the walls of the lengthened passages putrefaction had spread a bluish clamminess.” Putrefaction!

Shortly the bandits assail other mountain travelers, taking captive the beautiful Megalena, a femme fatale who beguiles both bandit leader Cavigni and newcomer Wolfstein alike. Fearing losing Megalena to Cavigni, Wolfstein murders his leader with poison. The deed is witnessed by Ginotti, a mysterious and respected member of the bandit group.

For reasons not revealed at the time, Ginotti spares Wolfstein the retributive death duly earned, and abets his and Megalena’s escape. The couple flees to Genoa.

Ginotti follows the couple. An expert in disguise, he is able to appear suddenly and unexpectedly to Wolfstein’s repeated shock. Ginotti “manages to extort from the young man a promise that, at some future date, he will accept a solemn duty which he, Ginotti will place on him,” Trevor related. It is at this time when we realize Ginotti is our story’s eponymous Rosicrucian, a Magus in search of an apprentice: Wolfstein.

Ginotti: think alchemical sun (giorno/day) and moon (notte/night).

And here’s why it’s great to have your English literature professor double as a IX° Masonic Rosicrucian.

“The image of the Magus has spread far and has lasted long in most literatures and legends,” said Fratre Trevor, just getting warmed up. “There has scarcely been a people who have not cherished the idea that certain very select men, who after profound and prolonged study undertaken in self-imposed isolation, have become thereby custodians of secret wisdom and wielders of mysterious powers.”

“Interestingly, one of the best accounts, by Francis Barrett, titled simply ‘The Magus: or, The Celestial Intelligencer,’ appeared in 1801, merely nine years before Shelley began his novel,” he continued. “More recently, Professor Elizabeth Butler of Cambridge wrote the standard modern ‘expose’ titled ‘The Myth of the Magus’ (1948) in which she identifies 10 principle features of the Magus figure throughout the centuries.”

Those 10 are:

He usually has a mysterious origin he cannot disclose to anyone. (Certainly the case with Ginotti.)

His birth is marked by celestial portents. (I’m reminded of the Nazarene.)

His infancy is menaced by enemies who seek his death. (Ibid.)

He undergoes a kind of initiation into ancient mysteries. (Luke Skywalker.)

In pursuit of further knowledge, he travels far and wide.

Usually he’ll undergo a contest that tests his abilities.

He endures a trial and persecution at the hands of the ignorant and/or the authorities.

There would be a sacrificial farewell, involving a confession or repentance to others.

He meets a violent or mysterious death.

Ultimately, he experiences resurrection and/or ascension into heaven, achieving divine justification.

So, how did the young Shelley know all of this?

“He was an omnivorous reader and must have been acquainted with the Faust legend, especially with Goethe’s famous version,” Trevor said. “He may have been aware of the careers and writings of well-known British Magi, like Dr. John Dee, Robert Fludd, Simon Forman, Thomas Jones, Edward Kelly and Robert Turner.

“From extensive European alchemical literature, he may have known about the many engravings of Magi at work in their ‘laboratories.’ We have only to recall the example of one of Jan Diricks von Campen’s plates in Heinrich Khunrath’s ‘Amphitheatrum Sapientiae Aeternae’ (1602) which shows a solitary sage kneeling in adoration and ecstasy before a tented sanctuary surrounded by all of the paraphernalia of an alchemical workshop.”

More importantly, there were men in recent memory who had well documented international fame, “or as some would say, ‘infamy,’ in Masonic or quasi-Masonic circles,” Trevor explained. “There was Count Cagliostro, who traveled Europe and founded a mysterious type of initiatic rite called ‘Egyptian Masonry’ that enjoyed enormous but brief fashion, for such was the spirit of the age.

“His contemporary was the Count de St. Germain, who was a genuine nobleman, but equally eccentric. His reputation among the salons rested upon his ‘mesmeric’ powers, and his equally mysterious ability to appear simultaneously in at least three places, far distant from each other.” (A joke was inserted here about grand officers desiring that secret ability.)

“Both of these ‘charlatans’ claimed to enjoy youth that was renewed perpetually by the Elixir of Eternal Life. Both claimed to be able to dispense this to others at need. Both claimed enigmatically to have sources of unlimited wealth. They certainly did not seem to suffer from any shortage of funds. Both claimed to have undergone some form of initiation which had bestowed adeptship.

“And,” Trevor continued, “these trailblazing careers across Europe occurred at the same time as the various sects of ‘enlightened’ ones were making their presence felt in various other quarters.” Pasqually’s Elus Cohens in France, Weishaupt’s Illuminati in Bavaria, and others. “Indeed from the mid 18th century to the beginning of the 19th, the whole of Europe seemed alive with secret initiatory rites, all claiming to possess ‘the true light.’”

And last, but not least, is Dr. James Lind, FRS, who had great influence over his young “disciple” Percy Bysshe Shelley. “Lind was tall, thin, white-haired, and solitary, of serious demeanor, very knowledgeable about obscure sciences and the Far East,” Trevor said. “He was an ideal figure for a Magus for any inquisitive schoolboy such as Shelley” who in turn followed that model. “His hands were always stained with the chemicals that he used in his solitary experiments” at Eton. “There is the well known report of him being discovered alone, surrounded by a circle of flames on the bare wooden floor.”

“He explained that he had been trying to raise the Devil,” Trevor added, “but only managed to raise a very irate master armed with a cane!”

So it is within this historic context that we also see the rise of the Gothic novel.

Defined by our speaker as “hugely popular in the 1790s and early 1800s, especially in England,” it usually featured a medieval building, “a ruined abbey or castle, with labyrinth secret passages underground,” and a villain who “pledged himself to esoteric purposes known only to himself until the end of the tale,” and a persecuted innocent hero. “There were charnel houses, tombs, graveyards, and Nature itself usually conspired to produce effects of gloomy terror at midnight,” Trevor added. “For Shelley, the image of the Magus fitted neatly into this context.”

Simultaneous to all of this is the growing fame of the alchemist. “Until about the late 17th century, alchemy was comprised of two parts: a secret knowledge of the functioning of the universe, and actual work in the laboratory,” said Trevor. “The latter was a prolonged and arduous attempt at a physical transformation of matter that was a mirror image of the simultaneous transformation of the alchemist’s own psyche.” In time, the lab work was supplanted by the inner work of a “spiritual chemistry” that, for literary purposes, could be depicted as a tampering with nature or even a challenge to deity.

St. Irvyne is not a person, but a place, a ruined, cavernous structure of significance to several characters for different reasons where our story climaxes. Early in the plot, Ginotti saves Wolfstein from certain death for his poisoning of the bandit leader Cavigni; aiding in Wolfstein’s escape, Ginotti obligates Wolfstein to agree to a solemn, but unspoken oath. This obligation is made clear at the tale’s end.

“Wolfstein arrives at the darkened vaults of the ruined Abbey of St. Irvyne to meet Ginotti, as per their prior arrangement. Ginotti has disclosed to Wolfstein that he has acquired the secret of eternal life, along with other arcane powers,” Trevor explained. “He is anxious to pass this wisdom to a specially chosen disciple – Wolfstein – so he can die in peace.”

But Wolfstein, at this moment of truth, balks. He will not go along with Ginotti, because doing so would defy nature and deity. “Suddenly, a Devil appears from Hell and drags Ginotti screaming into the eternal fires of his justified damnation,” as Trevor puts it. “Wolfstein, terrified at what he just witnessed in the blackness of the vault, drops dead!”

If you have progressed beyond the Sublime Degree, you know the value of a good vault.

“St. Irvyne” ends quite abruptly.

“Deeper grew the gloom of the cavern. Darkness almost visible seemed to press around them; yet did the scintillations which flashed from Ginotti’s burning gaze, dance on its bosom. Suddenly a flash of lightning hissed through the lengthened vaults. A burst of frightful thunder seemed to convulse the universal fabric of nature; and borne on the pinions of hell’s sulphurous whirlwind, he himself, the frightful prince of terror, stood before them. ‘Yes,’ howled a voice superior to the bursting thunder-peal, ‘yes, thou shalt have eternal life, Ginotti.’ On a sudden Ginotti’s frame mouldered to a gigantic skeleton, yet two pale and ghastly flames glared in his eyeless sockets. Blackened in terrible convulsions, Wolfstein expired. Over him had the power of hell no influence. Yes, endless existence is thine, Ginotti – a dateless and hopeless eternity of horror.”

Shelley concludes with an admonishment: “Let then the memory of these victims to hell and malice live in the remembrance of those who can pity the wanderings of error. Let remorse and repentance expiate the offences which arise from the delusion of the passions, and let endless life be sought from Him who alone can give an eternity of happiness.”

“This connects to Bob Davis’ thoughts on the handing on from father to son of that which we have acquired,” Trevor continued, referring to Bro. Bob’s writings on the importance of responsible men, especially Freemasons, initiating the young into lives of right thinking and right acting. “The tragedy here is the wisdom is lost.”

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The air upstairs at Les Sans Culottes was nearly as alive with electricity as the lightning-sparked skies over St. Irvyne itself. A question and answer period ensued, with great minds like John Mauk Hilliard and Ted Harrison and others trading their impressions of this novelette in the context of Masonic ritual and symbol. For the sake of privacy, I feel enjoined not to write of that.

From left: John Mauk Hilliard, Ted Harrison and Fred Waldron.

The Brothers Harrison. From left: Robert, Ted and George.

However I cannot close without praising our host, Bro. Bill Thomas of Shakespeare Lodge No. 750, who arranged all of this. Motivated by a desire to enjoy a relaxed evening of great discussion and dining, Bill brought us all together in this charming – in a friendly staff and unpretentious décor kind of way – eatery. He will be elected WM of American Lodge of Research on Oct. 29 at Grand Lodge’s building on 23rd Street.

A toast!

Likewise, the restaurant itself cannot be ignored.

The appetizers were really unlike anything I’ve experienced before. Abundant baskets of raw veggies and fruits, crocks of pâté, piles of fresh bread… all of it was eclipsed by the… well, I suppose I’ll call them “sausage trees!” If you use a banana rack at home, then just picture that device, but laden with an impressive variety of cured and smoked sausages and salamis. Specifically, two garlic sausages, one thick and one thin; one paprika salami; and other delicacies. I don’t know who their purveyor is, but I’ve never tasted meats like this. Similarly the pâté was terrific. If you’re a vegetarian or suffer from gout, this ain’t the place for you.

The entrees varied from salmon (with fish knife actually provided) to beef bourguignon, to roasted duck, to two chicken dishes: cordon bleu and tarragon. Dessert was a choice of either flan or the most decadent chocolate mousse… I can’t even describe it other than to say New York’s nanny-mayor would try to ban it if he knew it existed. Near the corner of Second Avenue and 57th, it is pretty much outside of my usual city orbit, but I’ll be back.

Bill, thanks for a terrific evening. And happy birthday Trevor!
     

Rose Circle, Part III

From left: Master of Ceremonies Rob Morton, R.A. Gilbert, Piers Vaughan and David Lindez.


The trilogy of presentations given Saturday would be possible only at an event hosted by the Rose Circle Research Foundation. Three Rosicrucian scholars, all with international reputations, gathered at one podium to impart three unique perspectives of their common subject.

I'll say at the outset that I am restraining myself from quoting too extensively from these three presentations because the papers will be available to Rose Circle members via the Foundation's website. If you are reading this blog with any specific curiosity, you would benefit from Rose Circle membership.

Piers A. Vaughan spoke brilliantly on Alchemy in relation to the three degrees of Craft Masonry. There probably is not a way to collate all the information pertaining to Piers' work in Freemasonry and other initiatic societies. Here is how one Scottish Rite publication put it:

Bro. Piers Vaughan was initiated in Southwick Lodge No.7058 in England in 1979, and when he moved to the USA he affiliated with St. John’s Lodge No 1 in New York City, where he was Master in 1998. AGL of the First Manhattan District , High Priest of the Ancient Chapter No.1 RAM, Illustrious Master of Columbian Council No.1 Cryptic Masons, and Commander of Morton Commandery No. 4 KT, are just some of the Masonic functions that this Worthy Brother was or still is active in. As a Past Most Wise Master and a Ritual Director of the Chapter of Rose Croix, he greatly improved the standard of proficiency in this Body’s Ritual work and through his extensive knowledge of the Craft, and especially of the Rose Croix Degrees, has increased the understanding of the Rituals, Symbols and Tenets in the Chapters and in the Valley.

With wonderful illustrations projected by PowerPoint, Piers led a tour of sacred sites around the world, from Chartres to the Temple of Ten Thousand Buddhas, with pointed sightseeing of Green Man examples and other depictions of esoteric thought rendered in stone for the understanding of illiterate generations of long ago.

Part of his point is to demonstrate how alchemical images were built into medieval churches, on their walls, their arched entrances, stained glass windows and elsewhere. More than Western sacred spaces, Piers' visit to the Temple of Ten Thousand Buddhas in Hong Kong produced a photo of a statue of the newborn Buddha with one hand raised, pointing up, and the other hand lowered, pointing down, as if to say "As above, so below." (The word "gobsmacked" comes to mind, and that's not even a word I'd ever use.) He describes the symbolism chiseled into the multiple arches of the entrance of Notre Dame as "an initiation in itself."

Using additional graphics, Piers reveals direct relationships between alchemical elements and Masonic ritual.

Defining the "puffers" of material alchemy (that is, those who endeavor to transmute metals, like lead into gold) as akin to operative masons transforming raw stone into beautiful structures or adornments, Piers explained that the Master Mason Degree's message of spiritual renewal contains too much alchemical information to be ignored, and he furthermore linked both, thematically, to esoteric Christianity in that all three schools of thought lead to the unification of heaven and earth.

Look to the Gospel of St. Thomas, he reminded us: "Split a piece of wood; I am there. Lift up the stone, and you will find me there." (77:2-3)

Other Alchemical-Masonic parallels were identified. To touch on a few:

The Chamber of Reflection awaiting aspirants in traditional Scottish Rite Masonry and other Masonic rites is likened to Alchemy's Calcination phase, the first of seven (boy, does that number come up frequently!) major stages of alchemical transformation. This involves the use of heat – "a gentle heat, not a roaring fire" – to reduce substance to ashes. In psychology, we'd call this a humbling process that deconstructs the ego, liberates the mind from concerns for material wealth, and grants time for introspection.

The Trivium (Grammar, Logic and Rhetoric) and Quadrivium (Geometry, Astronomy, Arithmetic and Music) of the Middle Chamber Lecture parallels Alchemy's act of Conjunction, which is a period of examining higher concepts in steps toward achieving a community with deity.


Of the Middle Chamber Lecture's borrowing of Judges' tale of Jephthah, Piers describes it as the "most transparent" of Alchemical symbols in the Masonic body of degrees, a "fascinating allegory" that uses the Jordan as "a barrier between two states of consciousness."

(Among the papers accessible to Rose Circle members on their website is "The Illustrious Order of the Red Cross" by Piers, which explores this concept in convincing detail.)

But more is required than intellectual understanding, said Piers in conclusion. "All rituals are in vain if they bring only an increase in knowledge. Masonry is nothing more than a hobby when it is not practiced in our daily lives."

I'm going to be especially protective of David Lindez's presentation, a historical look at Rosicrucianism and Freemasonry in the United States, not only because this candidly expressed paper will appear on Rose Circle's website, but also because this never before revealed information will be extrapolated in a book, soon to be published. Furthermore, not being a Masonic Rosicrucian myself, circumspection and common sense demand that I not err by confusing the names and dates of historical import that David shared. Suffice to say that as Grand Archivist of the Masonic Rosicrucians of the United States, Fratre David possesses priceless historical gems (personal journals, correspondence, rare books, etc.) that are among his sources of information.



From left: William H., David, Rob M., and Jonathan C.

If I'm comfortable at all sharing one thrust of his paper, it would be the crucial and indisputable fact that Masonic Rosicrucianism is intended to be more than the literary and research society it is officially known as. Instead, the fratres, of all grades, should be employed in the Great Work of spiritual transformation, as guided by their rituals, ceremonies that illumine the secrets of nature and the will of God.

But I digress.

I believe Piers and David would agree that the star of the conference was R.A. "Bob" Gilbert, another luminary in the field of esoteric education and instruction whose resume runs too long to be published here. Bob's presentation, "Beyond the Image: The Spiritual Reality Behind the Symbol of the Rose and Cross," instructs in a non-dogmatic investigation of what these two timeless symbols can tell us. He began with general information – a definition of "symbol," and a quick sketch of the early history of the Rosicrucian movement, among other points – and gradually worked his way toward the brilliant thesis of his talk, punctuating his message with terrific illustrations.

In fact, it is his visual presentation that will make it difficult to relate the details of his talk. You know a picture is worth a thousand words, so:



Better symbols have "restraint and gravitas" and do not depersonalize Christ. And they "have to work in practice and be practical, or they will not work."



This previously unpublished image comes from a Shaker community in Pennsylvania circa 1890. To me it seems to recall the Tree of Life, but Gilbert was careful to point out that representations created in isolated Christian communities of early America were characterized by the symetry with which they depicted crosses, circles and roses. You'll have to forgive me for not getting a quality photograph of a second image that comes from a Quaker community in Massachusetts, but that image is strikingly similar to this Shaker illustration.

"We shouldn't be surprised by the commonalities," Gilbert explained to a visibly astonished audience. These communities were not in contact, but they had commonality in their respective monastic Protestant cultures. "Both encouraged artistry and spiritual introspection."

The point is "human unity is manifest in a shared hunger for enlightenment."

The capacity crowd in the Chapter Room of the Grand Lodge of New York was evidence of that.



(Actually this photo was shot during the Q&A, by which time dozens of guests had flowed into the hallway to stretch their legs.)

Rose Circle, Part II

The art exhibited at the Rose Circle's conference was omnipresent and unforgettable. The architecture that surrounded us in the Chapter Room; the paintings and prints showcased by the artists, and the precious wares of jeweler extraordinaire John von Blauch threatened to overstimulate the eye.

But that's a good thing.

David Lindez's art is described:

Via oil paintings, drawings, mixed media and photography, artist David Lindez explores the subtle, Hermetic moments of exchange in humanity that are taken for granted by those immersed in them, but are nonetheless majestic in their confirmation of the Divine. David also seeks a synthesis of sensual expression, the divine feminine countering the pure masculine, dance and the Sacred Space, the incommunicable beauty of sensuality and consensual alignment, moments of ineffable and sacred, pristine purity communicated visually much like the Christian Mystery’s use of symbolism to express the misterii alitoris of the baptized after initiation.

Whether he is presenting a research paper at a Masonic gathering or showing his art, David creates custom work uniquely for the occasion. I can attest to the newness of the work above thanks to the fresh paint Steven and I found on our hands and suits as the painting was carried upstairs and set upon a pair of easels in the Chapter Room!

Then there's Tamara Nikolic. Here she is with Cliff Jacobs.

A native of Serbia, Tamara came to New York 15 years ago and fell immediately in love with it. She started her artistic road as an icon painter, and her style expresses the images with unique ethereal and subconscious qualities. Nikolic has participated in four group exhibitions in New York and New Jersey, and three solo shows in Manhattan and Brooklyn. Two of her icons are exhibited in the Museum of Biblical Arts in Dallas, and her work can be found in many private collections throughout the world, from St. Catherine’s Monastery in Sinai, to Ireland, Germany, China, Serbia, France, Mexico, and across America. Most recently she created the "Visionary Tarot," a 78-card Tarot deck, which is the result of her love of Tarot art and Alchemy.

I had to promise Tamara I would not publish too many photos of her work, and to refer you instead to her website, but I'd be guilty of dereliction if I didn't provide some form of proof of her artistic prowess.

Tamara is married to Stevan Nikolic, a Past Master under the Grand Lodge of New York who is the editor-in-chief of the new periodical Freemasons Press. The couple has collaborated; Tamara illustrated Stevan's books "The Royal Art" and "The Peace of the Rose."

Among the many brethren who traveled from abroad to be with us was W. Bro. John R. Von Blauch of a GLNF lodge in Madrid. If you know who he is, you won't be surprised to hear he brought along samples of his professional work: court jeweler to King Juan Carlos of Spain (and other European royals).



This beauty, in the hand of Sterling, is a jewel of office in a European order.



This photo does not do justice to these jewels. To hold these items and feel their heft; to behold the luster of the gold and the iridescent complexity of the enameling was really wonderful. These ain't from a mail order catalog.



And I should make clear there is more to John's family business than very important regalia. He also brought a number of stunning examples of elegant necklaces and other adornments made of various rare and gorgeous gemstones.

And then there is the Chapter Room itself. There is the amazing Egyptian Hall at the Grand Lodge of Pennsylvania, and its "little brother" at the Allentown Masonic Temple, but in Manhattan there is the glorious Chapter Room. Grand Lodge explains:

This is the only room in the Hall that was restored, not renovated. That is, it was thoroughly cleaned and the existing color scheme was enhanced but remained essentially as it has been over the years.

The theme is the Kingdom Period of Egypt, in symbolism and motif. Terra cotta colors predominate, with some use of flat enamel and dull gloss paint. This room was thoroughly researched at the Metropolitan Museum of Art and at the Philadelphia Masonic Temple, which also has an Egyptian Room.

One of the outstanding features, besides Egyptian art symbols, is the sculpted cobra snake figurenes, which line the four walls. This room is used by the Royal Arch Mason Chapters, and the East has a non-Egyptian archway that plays a role in these degrees. Four ceiling-to-floor drapes in different colors divide the room into sections for the Royal Arch Degree.

I'm still gathering my thoughts for Part III, which will explain some of what our three brilliant lecturers presented from the podium. In short order these papers will be uploaded in full to Rose Circle's website for the edification and enjoyment of its members. If you have read this far, you probably are the sort who would benefit from Rose Circle membership. It is not necessary to be a Freemason, Rosicrucian, or a member of any other order. All are welcome!

Rose Circle, Part I

     

The long-awaited conference of the Rose Circle Research Foundation was held today at Masonic Hall’s Chapter Room.

When enough of the mass of knowledge and culture enjoyed this afternoon has been processed in my head, I’ll try to summarize it here for you.

In the meantime, I tease you with a single rare glimpse into deeply esoteric territory. Don’t tell no one you saw this. This unauthorized photo captures a moment of sublime truth at the heart of a particularly poignant ritual.

Some background

As is always the case, there are layers of meanings communicated by what the physical senses merely perceive. Here, what appears to be a cookie in the hand of the aspirant is a symbolic representation of something I can’t really tell you about. Suffice to say this baked delicacy was smuggled from Germany (the homeland of CRC) by Oliver K. for the use of a Past Supreme Magus.

Denied even to one of the world’s foremost esoteric scholars, this ritual wafer was at last obtained by our aspirant, named Unus Multorum, after enduring numerous trials of fortitude, including the ritual smearing of oil-based paint onto various areas of his suit.

The disembodied hands (note the scarlet cuffs) of XXX XXXXXXX at left are eternal reminders of one’s need to be ever vigilant against the unexpected, be it an uninitiated innocent or an outright malicious ruffian.

But I’d better not reveal any more.