Volume 1 Issue 4

October 2009

Welcome

This month has been a really busy one for me with the
‘opening’ of the new Masonic season I have travelled far
and wide on visitations and as I start writing this
introduction I am making the final preparations for a trip
to visit with brethren in Scotland.
To top the face of a busy ‘masonic’ time I also had two
This months contents:
bouts of illness within a week of each other maybe I am
just getting old.
Cover image: ‘S&C in chains’ by Stephen
We are blessed again with a great number of articles this month two of McKim

which you may recognise. The first being more wonderful art from Bro.
Happy Halloween
Adam Kendall and you will also note I have reprinted the article on the
Raigains Masonic rifle. I was contacted by the author (who was delighted Introduction to Volume 1 Issue 4

we had included it but had a few minor corrections so please do read it Page 3: ‘The Great Archetect of the Universe
gave us the canvas What will you paint?’
again I’m sure you will agree once you’ve done so it will be most
worthwhile. Sorry to say I was unable to complete the continuation of Page 5: Freemasonry in the Popular Culture.

the Knights templar in Art series but it will be in the next issue but to Page 9: The Lost Symbol: A review in two
keep those Knight fans happy there is a brief article on ‘The Roslin parts.

Templar’ Page 17: Poem to a Newly raised Brother.

Page 21: Who is the Rosslyn Templar?

Now time for the advert: As always I am in constant need of
contributions to the newsletter and leave it up to you to define Art (I Page 19: Adams ‘Photographic’ Art

wouldn’t be so presumptuous). I am also very happy to let you all know
the Masonic Art Exchange webpage http://masonic-ae.com continues
to grow and I am also looking for contributions to the site as well.
Finally, thank you all for taking the time to support this project and am
going to ask you to take careful consideration of the donate button on
the webpage a donation as little as €2 each could make this project
continue to run and expand. I look forward to hearing from many of you
soon.
Yours Fraternally
Page 34: The Ragains Masonic Rifle.
Page 37: Emile Norman 1918 – 2009
Page 39: Samples
Page 35: Recommendations and end note.
________________________________
The opinions expressed in this newsletter represent
those of the individual authors and, unless clearly
labelled as such, do not represent the opinions or
policies of The Masonic Art Exchange, any Masonic
Lodge, Grand Lodge or recognized Masonic body.

David Naughton-Shires
Ormonde Lodge #201 (IC)
MAE President & Founder
Our story begins in 2003, when a new Ford pick-up caught the eye of
Steve McKim. As he took in the flowing metal contours and the
gleaming surfaces of this mechanical masterpiece, his eyes landed
upon that shining blue oval,
bearing the silver signature of
the name of the manufacturer.
At that moment, he was struck
with this thought; “Why is it
that the builder of a pick-up
truck has such a great logo,
when the World’s oldest and
most respected fraternity is
represented by third rate art?”
You have seen his work; on websites, in magazines, on coffee mugs,
jackets and T-shirts, even on postage stamps. Those brightly colored,
three-dimensional, computer generated Masonic graphics, featuring
the working tools of the operative and speculative Master Mason, or
the insignia of the Appendent Bodies, which appear to have been
made out polished metal, wood, or stone, and whose mirror-like
surfaces reflect all adjoining objects. His work is uncredited and, far
too often, it has been appropriated for commercial purposes to which
the “enterprising entrepreneur” has no rights. And just as Woody
Guthrie’s music often appears in song books as “American Folk Tune,”
so is Steve McKim’s artwork passed back and forth across the World
Wide Web, without attribution, as though it merely appeared from
out of the ether. The New Testament informs us that a prophet is
without honor in his own country and, while Steve McKim is virtually
unknown in his home state of Indiana, he has received honorary
memberships and letters of appreciation from Lodges and Grand
Lodges throughout the World. As a matter of fact, Steve credits
Brothers Duncan Russell of Scotland, and Blake Gardiner of Montana,
as the parties responsible for bringing McKim’s Graphics to the
Worldwide Web. Stephen McKim was born and raised in Lafayette,
Jefferson High School in 1972. He has been married to his wife Deb for
32 years, and they have three (3) adult children who live in Lafayette.
For the past fourteen (14) years, Steve has been an employee of
Caterpillar of Lafayette, where he makes his living as an assembler of
large engines.
I was introduced to Steve McKim, via the
Internet, through a series of e-mail
exchanges initiated by Andy Jackson, in an
effort to promote our shared interest in
all things Scottish, Masonic and Templar,
(and not necessarily in that order). I began
signing our exchanges, “Carson the Black,”
while Stephen signed his, “Stephen the
Arsehole.” One Saturday morning, my
phone rang and, when I answered, a deep
voice on the other end of the line, in a perfect Scottish brogue, said,
“Would this be Carson the Black?” We made arrangements to meet
face-to-face at Founders Day 2007. Following our introductions at the
Scottish Rite Cathedral, Steve, Wilbur Smith, Joe Korschot and I took
an “extended lunch break” at the Elbow Room, where we resolved all
of the World’s problems. A few days later, I received a message from
Steve saying, “Congratulations, you’re an Honorary Member of
Octagon Lodge No. 511.” When I asked why, he simply said, “’Cause
we like you.”
Hoosier author Kurt Vonnegut once observed that Midwesterners
have, by nature, a generous disposition, living, as they do, in what
 bought a Commodore
64. Steve recalls that
it took hundreds of
lines of code to make
a ball bounce on the
screen. As Mike
continued to upgrade,
Steve acquired his
castaways,
developing greater
and greater degrees of computer proficiency. Steve’s introduction to
digital computer graphics came 15 years ago with his acquisition of
Corel’s Painter software. In time,
he upgraded to the Bryce
appears to be an endless Eden, stretching in all directions. That
animation and landscaping
character assessment is certainly applicable when one is introduced to
program and, despite
my friend and Brother, Steve McKim. He is Past-Master and Secretary
improvements in his software,
of Octagon Lodge No. 511, which meets in Battle Ground, Indiana. A
Steve continued to use Corel’s
big man, with a big voice, thinning gray hair, and sporting a beard and
Painter to add greater detail to
mustache, you can easily imagine Steve as a Medieval Knight, a
his work. According to Steve,
Highland Laird, or a Civil War General.
some of his creations can take up
And yet, despite his imposing
to 40 hours to complete.
presence, he carries himself with that
self-deprecating, “Aw, shucks, In assisting me in the preparation of this article, Steve asked me to be
ma’am,” attitude that Americans love sure to mention his Uncle Murl with whom he would spend his
in their Matinee Cowboys, and his big summers. Murl Sandage is a member of Branchville Lodge No. 496 in
heart burns with a desire to simply St. Croix, Indiana. He is a farmer and a logger, he works long hours in
delight his friends and Brothers with difficult and dangerous conditions, but he always managed to make
the gift of his own Masonic artwork, time for his nephew. Uncle Murl took young Steve with him as he
for which he has received narry a penny. More than once I have said, made his rounds. He greeted everyone with a broad smile and “a
“Steve, I want to be your agent,” but we have agreed that 10% of
nothing is still nothing.

Growing up in rural Indiana

where, on a good day, you got
three TV channels, the only
way to avoid boredom was to
be creative. Steve and his
brother Mike would spend
hours drawing and, as often as
not, they would find their
inspiration in the comic book
heroes of our childhood,
Superman, Batman and the
entire Pantheon of DC Comics. Not surprisingly, his taste in art trends
towards the traditional, the photographic or representational, as
opposed to the abstract. Steve credits his parents for instilling in him a
willingness to explore new fields, and new areas of artistic expression funny handshake.” Steve recalls, “You would be surprised how many
in particular. While Steve’s father never became a Mason, Steve has men in Perry County were named Hiram.” And, although Steve credits
often said that he lived his life as an ideal Mason; honest, hard his Uncle Murl as the reason he became a Mason, he calls his wife Deb
working, firm but fair, and fully persuaded that nothing is impossible. his muse and his inspiration saying, "Without her love and patience,
there would be no McKim’s Graphics."
When Steve attended Purdue University in 1973, he took a class in
FORTRAN and hated it. He was introduced to his first personal Carson C. Smith, Worshipful Master
Century Lodge No. 764 F&AM
computer when his brother Mike, who made his career in the USAF,
References to Freemasonry in movies, books and television have a wide range of appearances from
humorous or heroic to evil. Mostly they are merely misinformed allusions from which Freemasonry.
Most recently television shows such as Vanished and Bones on the Fox Network have aired references
to Freemasonry. Several years ago the cartoon Simpsons had a parody on a Masonic Lodge. Recent
popular movies such as National Treasure and The Da Vinci Code have had Masonic themes. Few
people realize that Freemasonry has often been referenced in movies, almost as long as movies have
been around.

In Bobby Bumps Starts a lodge (1916) young Bobby Bumps plays a

trick on his friend who wants to be initiated into his lodge. When
his friend outsmarts him and saves his life, they both agree to be
initiated into the lodge together. Reference is made to a lodge
apron, riding the goat and the third degree.

In Across the Pacific (1942) Humphrey Bogart is an American Army officer expelled on false charges of
treason. In a shipboard scene, ju-jitsu exercises performed by Chinese sailors are compared to the
initiatory nature of Freemasonry.
In L'Âge d'or (1930) to avoid arrest, Gaston Modot, as "the Man", produces a special delegate
certificate, given to him by the International Goodwill Society. Although not immediately recognizable
by the non-mason, it clearly displays a Masonic design with an all-seeing eye in a radiant glory, two
pillars with globes as well as three candlesticks on a checkerboard flooring.

The Man Who Would Be King (1975) Based on a Rudyard Kipling story. Mercenary soldiers
convince Kafiristan tribespeople that they are gods after
discovering masonic symbols on religious artifacts.

During Who Framed Roger Rabbit (1988) Roger hides

out in a theatre house, and sees a news reel high
-lighting a Shriners parade.

What Planet Are You

From? (2000) Garry
Shandling plays
Harold Anderson
who is an extra-
terrestrial working
as a loans officer in
a bank. His manager,
Don Fisk played by
Richard Jenkins,
wears a Masonic
lapel pin.
 In Dolores Claiborne (1995) Delores' bank manager
who is wearing a square and compasses lapel pin
tells her that her husband has emptied their joint
savings account.

During The End of Days (1999) Arnold

Schwarzenegger plays a former police officer who
carries an amulet. At one point he says "Now this
amulet is from a Masonic order in the former sub-
heredom of the Vatican Knights, the Knights of the
Holy See. They await the return of the dark angel to
earth."

In the movie, League of Extraordinary Gentlemen (2003) The square

and compasses appear four times: twice in close-ups of an oversize
Masonic ring worn by the Phantom, a villain who tries to ignite a
world war at the turn of the last century in order to create a market
for his futuristic weapons and once on the office doors of the founder
of the League, "M", who is later revealed to be the same person. No
other reference is made to Freemasonry. A shot of the square and
compasses—four big shiny ones that flash and sparkle in the light as
the door on which they're mounted closes—also appears in the
trailer.

Tombstone (1993) is a retelling of the

gunfight at the OK Corral and its aftermath.
Jon Tenney, as John Behan, Cochise County
Sheriff wears a square and compasses watch
fob.

Also in Tombstone, Buck

Taylor, as Turkey Creek Jack
Johnson, wearing a square
and compasses pendant
responds to Val Kilmer’s

Doc Holliday saying he has no friends by

saying, "Hell, I've got lots of friends."
Movies, books, and television shows frequently have and continue to use Masonic references.
This may be used to justify a position, such as banker’s being upstanding members of society
and thus Freemasons or an evil mastermind trying to take over the world. It could simply be
 Volume 1 Issue 1

Welcome

May freedom, harmony and love

Unite you in the grand design,
Beneath th' omniscient Eye above,
The glorious Architect divine;
That you may keep the unerring line,
Still rising by the plummet's law,
Till order bright completely shine,
Shall be my prayer when far awa'.

Adieu, A Heart-Warm, Fond Adieu Robert "Robbie" Burns (1759-1796)

Façade of the Freemasons Hall, Molesworth Street, Dublin. Photo by D Naughton-Shires

 Part 1
The Lost Symbol – a review.
This article first appeared on the Masonictraveller Blog on September 21, 2009 and we have
been kindly given permission to reproduce it here.

I need to approach this review in two parts, one from a reader lay
perspective, and one from a Masonic perspective. The Masonic
perspective can be found at the latter end of this article.

Dan Brown’s new book, The Lost Symbol, reminded me of a

parable. A parable is a story embellished with perhaps some grains
of reality to convey a broader idea of truth. Dan Brown in his new
book, The Lost Symbol, has artfully woven an update of an ancient
parable into a modern suspense novel that features prominently
the one group that should be most apt to see the connection, the
Freemasons. Freemasonry, a fraternity “veiled in allegory and
illustrated by symbols”, is central to the plot under pinning’s, but by
its end, merely the back drop by which the modern parable is
played out.

Brown, at his finest, is a genius at writing parables. ‘The Da Vinci Code’ is a prime example, the
telling of the story of the Christ, but not as a divine emanation of God, but rather a mortal man
who walked the earth like the rest of us. Brown’s novel was a work of fiction then, just as it is
now with his release of ‘The Lost Symbol’. But artfully, he weaves in elements of reality and
fact, so as to set his stage onto which the story unfolds, perhaps to give it a greater link into
reality, or to simply paint enough real figures into the work so the less (or not real) elements
blend in to diffuse with the rest. The more believable the story, the more real it feels for the
reader.In his latest book, The Lost Symbol, Brown brings the story immediately to your feet,
sweeping the reader into the air with anti-hero Robert Langdon. These first steps, however are
only after a mysterious initiation with libations from a skull.

Better to start the mysterious early.

With this rapid start, and dubious ceremony, Brown wastes
no time in introducing the cast of players and introducing
suspicions of who is and who isn’t to be trusted. It works
for Brown’s novels; they are after all suspense thrillers.
With our cast in place, the story then begins to unfold at
whip shot pace.
I do wonder if the book was conceived on a walking tour of Washington , as in the unfolding
pages, the actions and activities seem to be bullet points on a map of D.C. rather than more
well thought out (or conceived) stages. It seems most of Langdon’s ah-ha moments happen in
the less important rooms of these Washington landmarks. Sub sub basements, kitchens, and
church offices hardly seem as sexy as the Vatican library, but their mundane setting is really the
same places all of us have time to reflect and think in our day to day life. This secondary
settings may be a clever illusion to the importance of the idea of discover of the inner sanctum
to which we each must travel for our own discoveries, but again, this is Dan brown, and he is
writing about the allegorical and symbolic Masons, so you must treat the text with just as much
symbolic verve.

And Brown’s use of these locations give clues to the

broader idea of the story too, the chamber of
reflection in the U.S. Capitol (inner journey), the
Library of Congress (learning, knowledge), and the
National Cathedral (where church and state meet).

Science plays an interesting role in this book too, and with another Masonic twist. The nascent
field of Noetic Sciences features large here, but not in a first person the reason de etre way, but
in a “this is similar to this” allegorical way. Religious mysticism (of all religions) is really at the
core of this new science, but besides being an early plot point and step stone to link
Freemasonry, mysticism, and Noetic Sciences , the new science field really doesn’t come into
play, in the same way it did in Angels and Demons. It was, almost, another symbolic back drop
to the whole story, interesting, and connective, but not vital, not the story itself.
As I mentioned, this review will be split in two, and
the goal of the 2nd is to look more at the Masonic
connections and connotations. But as the book itself
was about Freemasonry, it is important to note that
Brown’s treatment of Masonry was very tender,
almost too much so. Early on, Brown goes to GREAT
lengths to debunk and say what Freemasonry isn’t,
covering the “is masonry a religion” issue, and even
guffawing at the notion of secret geometric grids in
the streets of Washington.
 Even the infamous MASON on the great seal on the back of
the 1 dollar bill gets a quick walk on, only to of been used as
a dodge for something else. Brown really did write this
book with the fate of Freemasonry in mind, in parts almost
writing as if he were creating one of our own brochures
(perhaps off which he copied his passage) saying very
strongly in his main character’s voice “In this age when
different cultures are killing each other over whose
definition of God is better, one could say the Masonic
tradition of tolerance and open-mindedness is
commendable.”

Brown does go out of his way to weave in all manner of Hermetic, Gnostic, Rosicrucian, and
Cabalistic ideas into the offering, but not in a way to dominate the reader into submission of
belief, but to paint the picture that the ideas of Freemasonry, in their age and wisdom, are not
wholly a Judeo-Christian construct, more on that in a bit in part 2.

Like past Brown novels, the story soon out paces the stage settings and takes over as a thriller
and this book is no different. Its pace reaching a fever pitch of intrigue, manipulation, and
murder, while embroiled in the ancient mystery of a “Masonic pyramid”. There are a few gasp
moments for the reader, and plot spins that I didn’t see coming until hit square in the face by
them. And the story winds out with a tragic dilemma, which brings me back to the idea that
the story itself was a modern retelling of an ancient parable.
SPOILER ALERT
The parable I mention is from the
bible. In that sacred text, very early in
Genesis (chapter 22 to be exact)
Abraham is commanded by God to
sacrifice his son Isaac as a show of his
allegiance to his faith in God. In that
past parable, the test of faith is
tremendous as the eldest born of
Abraham is the greatest sacrifice that
he can give, and give he does, willing
at the command of God. In the very
last seconds, Abraham is spared, his
faith proven, and a ram is substituted
for his son. Caravaggio (1573-1610) The Sacrifice of Isaac
In the climax of The Lost Symbol , that same test of faith is presented, but for a different
outcome. As Abraham was to be the one giving sacrifice, the protagonist of the story, Peter
Solomon is in that Abrahamic position, and knowing what the consequences were for the
sacrifice he was forced to make, he still chose to not make that sacrifice, choosing to follow his
heart. Symbolically, in a book about allegory and symbol, it stuck me that the story was
alluding to a transition from one of Abraham’s blind faith (as an external salvation, doctrinal,
dogmatic, and absolute), to man believing in the faith within us, that by our acts and intentions
we were communing with the divine, which is a Gnostic outlook that sacrifice, in totality, is not
necessary and in the end destructive.

The reason for this conclusion seems to me to be based in the preceding pages as repeatedly
the ideas of the Hermetic law were repeated and stressed (As Above, So Below) and the bomb
of the protagonist was not one of physical destruction, but of ideological chaos. To sacrifice the
son would still bring chaos, absolute destruction, personally and publically.

The story wraps up and all the loose ends become tied in the neat bows that Brown manages to
make following so many leads and loose ends. But the way in which the book reached its
crescendo, not in a fiery explosion or an earth shattering revelation of biblical purport, was lack
luster. The inclusion of the CIA, the cavalcade of 33rd degree masons and publicity of the who’s-
who of Washington seemed to me an interesting plot point, but hardly reason to blow up
historical property, and murder several innocent bystanders, but then, this is a suspense novel,
and this ‘YouTubian’ plot device was just as much a stage setting as the Masons themselves
(twitter even got a mention to put the story in a contemporary but soon to be outdated
setting).

Really, would the world be so traumatized to see people, who are already
pretty open about being Masons, being Masons?

In the end, it was a good book, fun, flighty, suspenseful, with a few a-ha and gasp moments.
Was it worth the 5 year wait, I’ll let you be the judge, but it was a nice testament to
Freemasonry, and very tasteful in its portrayal of the ancient and honorable fraternity, to which
I say thank you to Dan Brown. I give the book 7.5 out of 10 stars, and can say that I enjoyed
reading it, and I think that you will too.

The review CONTINUES AFTER THE ADVERT ON THE NEXT PAGE……

Part 2
The Lost Symbol – it’s the symbol of the symbolism.
The reason to approach the review in 2 parts is that in the aftermath of National Treasure ,
Freemasons were well versed to talk about the founding fathers and the Knights Templar.
With the lost symbol, lodges and individual Masons need to be just as prepared to talk about
Hermetica, Gnosticism, and symbolism, especially as the book speaks to the wide tolerance
of the fraternity to all faiths.

Key points brought up in the book start at the very

prologue in the Quote from Manly P. Hall’s The Secret
Teachings of All Ages when he quoted “To live in the
world without becoming aware of the meaning of the
world is like wandering about in a great library
without touching the books.” Brown circumvented
the patriotic picture of Washington (the man) and
went directly to the post war enlightenment that
tapped into the ideas of Francis Bacon’s New Atlantis
and Hermetica ’s deism (all faiths beginning at one
source).

In The Lost Symbol, Pike gets a quick mention, but the Scottish Rite’s deep resonance with
the ancient mystery schools was very clear and it is my supposition that those who are
attracted to the fraternity following this book will come with those things in mind, and in
coming, they will want to talk about and find resonance with the fraternity.

So, to the question, is the symbolism right, did Brown get the symbolic connections remotely
correct, or did he tap into the wide field of myths and supposition that exists at the foot of
the “Masonic pyramid?” Often, that answer is an individual one, that many tend to think
totally out of line with what the modern fraternity represents. It is more social than esoteric,
the symbols are just that symbolic, and no further reading need be made into them. Or even
harsher, that the symbols were important in the past, but today they are meaningless. I
think the answer lies in the school of Masonic thought that you find yourself in.

Some of the Key texts that Brown refers to are the Kybalion, written by br. Paul Foster Case
under the pseudonym the Three Mystics, The New Atlantis, mentioned above, by Francis
Bacon , a mere 6 years following the founding of the “new world” and the landing at
Plymouth Rock in 1620.
 He also references Albrecht Durer, the prolific artist
of the Renaissance who created many images,
including Melencolia I, often seen as the height of the
Christian Mysticism in art, as it depicts the
confounded and pondering mystic and the materials
of his practice.

Each of these are bits and pieces outside the sphere

of the three degrees, but still factor large (or should)
in the study of Freemasonry.

One element that Brown focuses on is the alchemical symbol of

gold, something in Masonic circles is referenced to as the point
within the circle, what Brown calls the circumpunct, that all
Masons recognize as being flanked by the Holy Saint John’s and
crowned with the Volume of the Sacred Law.

The individual symbols are not so much the concern from the
book, but the level of readiness over the ease of disregarding
them and the discussion of their meaning. Is the lodge room
ready to talk symbolism and its speculative nature? Are you,
reading this now, ready to dialog with an interested party on the
symbolism even on a surface level?

I think all will agree that the book is a work of fiction, but even a work of fiction unless wholly
constructed with imaginary creatures and alien landscapes will still speak to and communicate
a message, and Freemasonry needs to be ready to speak to that message even if it includes
flights of fancy and imagination. Central in Brown’s fiction is Freemasonry’s connection to the
ancient mystery schools, and like it or not, that will be the message that those who have read
the book will come to the lodge seeking.
Few will likely come away with the greater subtext of the fraternity and the its more visceral
purpose, the unification of like minded men, the sincerity of the belief that Masonry teaches
something deeper than an inexpensive spaghetti dinner and some handshakes between
strangers.

The Lost Symbol will ultimately be a good opportunity for Freemasonry to shine and inspire
those new to its doors to seek out more. But it will definitely require us to be on point and
be able to answer the questions put forth by those newcomers.

Brown mentioned it at the end of his book, the words on the back of
the tylers chair at the House of the Temple, “Know Thy Self”, but I
would add, in knowing our self, we will know the divine.

Kevin Noel Olson is the accomplished
Author of many children's fantasy and
retro adventure fiction books he is the
Worshipful Master of Butte Lodge #22
A.F. & A.M. – Montana, and a member
of Mullen Pass Historic Lodge #1862
and 32nd Scottish-Valley of Butte York
Rite. He is also an active member of
The Masonic Society
He has written many pieces of poetry
some of which he has kindly said we
can present in coming months.
This month we are presenting ‘Poem
to a newly made Brother’ I was
privileged enough this month to be
present and take part in the Entered
Apprentice Degree of my Brother in
Law and have a great respect for this
poem. He was received into the Lodge
by his Father which made for a great
celebration.
We are always looking for submissions if
you have any poetry you’d like to submit
send it to us at subs@masonic-ae.com
My Brother I now address you,
How clear the words ring in my heart.
Remember the lessons you have heard,
Poem To a Newly-Made Brother
It is now your duty to protect the arts.
With cheerful and honest heart,
Accept the honors and the signs.
Remember those who came before,
Apply the lessons to your life.
The oath taken solemnly,
Is yours to hold and keep.
An honor like no other,
As a snow-white field is deep.
The working tools now learned,
Are indispensable to your labors.
Use as guides to perfect the works,
That among Masons you find favor.
You set a foot upon a path,
To journey toward achievement.
For you, no blazed trail or map,
Your journey is unwritten.
With free mind you will find,
A rugged stone to build,
A Temple unseen heretofore,
To adorn the rocks and hills.
You'll travel through your time,
And hew away the edges.
Until it is pleasing and fit,
To fairly please the judges.
You have taken one bold step,
As another said before.
No small step for man,
It be one great leap forward.
So I leave you my brother,
To learn and contemplate,
The lessons and their meanings,
In this Masonic state.
A fealty of us you ask,
And one you rich deserve.
Learn from the teachings,
For those as guides will serve.
So take this token offered,
Plant the seeds in mind.
Nurtured it will grow,
The fruits will treat you kind.
My brother, I further propose,
That you further seek and delve.
finding you had no ounce,
And richer you found; YOURSELF.
If this poem is not clear,
I offer hope it will be.
In future times you look,
Through the mists of mystery.
My brother now I make a prayer,
'Lord, offer guiding light.
For this seeking Brother,
Sets out this very night.'
AMEN
  

   

 
 
   
 
 
 
 
A warrior lost in time..... charged to travel from era to era always
alone, protecting, laying down his life. From the battlefields of the
Holy land the unknown Knight is thrust into an eternal battle, a battle
that must be won to save humanity.
'The Templar' is a six part graphic novel
starting in the autumn of 2009
http://templarcomic.com
 
 
With the publication of its 5th Journal 
‘The Masonic Society’ has entered it’s 
second year. For more information on 
this great publication see their 
website: 

www.themasonicsociety.com 
 
Rosslyn Chapel Tour (Half Day) Our most popular tour

Rosslyn Tours offers you the convenience of a courtesy pick-up from your
accommodation in luxury transport where we travel 7 miles south of Edinburgh to the
15th century medieval Rosslyn Chapel.

You will receive a full guided tour with our local, friendly and knowledgeable tour
guide who will enlighten you in the mysteries of the Knights Templar and the many
secrets surrounding Rosslyn Chapel, as well as the historical facts.

We give you the opportunity to browse the shop and relax in the tearoom for
refreshments if desired. There is also a small trail through Rosslyn Glen leading to
Rosslyn Castle where you can admire spectacular views of the rich wooded glen from
the ruins of the castle (optional and weather permitting).

The comfort of luxury transport back to your accommodation or city centre drop-off
then awaits you.

Rosslyn Chapel Guided Tour ONLY (Half / Full Day)

If you are making your own way to the chapel, our guide can arrange to meet you
there for a full tour as per a half-day tour.

Rosslyn Chapel & Templar Tour (Full Day)

This full day tour allows you to investigate Rosslyn Chapel in the morning as per the ½
day tour above. We will then move on to the village of Temple (Balantradoch) to visit
an old ruined chapel and burial site where the Knights Templar based their
headquarters in the 12th century.

This tour is suited to those who want to investigate the Knights Templar beliefs further
with a stop-off for lunch at the medieval 15th century Dalhousie Castle or the 5 star
Melville Castle set in acres of woodlands.

Seton Collegiate Church on the beautiful east coast of Edinburgh is also included in
your full day tour from April - October.

Rosslyn Chapel & Borders Tour (Full Day)

Visit Rosslyn Chapel in the morning followed by lunch, we then head South to the
beautiful Borders town of Melrose to visit the 12th century abbey, where Robert the New Tour For 2008 - 'Rosslyn Chapel & Gilmerton Cove'
Bruce's heart is said to be buried. We then travel onto Abbotsford House the home of
Sir Walter Scott, the 19th Century novelist, who was fascinated with Rosslyn Chapel.
Gilmerton Cove is a series of hand carved passageways and chambers that lie below
He wrote of the 20 barons that lie beneath Rosslyn Chapel referred to, in his work
ground to the south of Gilmerton crossroads. The entrance to the Cove is through a
titled 'The Lay of the Last Minstrel'. Many believe Scott took the secrets of the Grail to
visitor centre adapted from a traditional mining cottage. This cottage houses
his grave. We visit the house, grounds and the library which is filled with Masonic
imaginative audio and visual displays that depict the various theories behind the
symbolism.
origins of Gilmerton Cove which, after extensive archaeological and historical research,
still remain a mystery. These include theories that it was the unique work of an 18th
Rosslyn Chapel & Glen Full Day Tour (April-October) (Half / Full Day) century local blacksmith George Paterson, a drinking den for gentry, a refuge for
persecuted Covenanters, a Knights Templar hideout and a smugglers lair. Decide for
yourself what secrets this curious place still holds.
Visitors requesting a longer stay in Roslin can opt for the morning Rosslyn Chapel ½
day tour then explore Rosslyn’s rich wooded glen in the afternoon with lunch nearby.
As featured in ‘Cities of the Underworld’ and ‘Scotland’s Sin City’ DVD.
Our expert guide will advise on Roslin’s rich variety of woodlands and wildlife. You can
explore the ruins of Roslin’s explosive past where the old gun power mill lies.
Further information and a video clip can be viewed at www.gilmertoncove.org.uk

For the more active – Wallace’s Cave is situated nearby where it’s said, William
Wallace hid up to 70 men during the Battle of Roslin in 1303. Alternatively, enjoy the
light trails that surround Roslin Glen Picnic Park and take a short stroll to admire the
beautiful River Esk.

We can be contacted on 0131 440 3293. Alternatively, you can write to us at:
Rosslyn Tours, 3B Station Road, Roslin, Midlothian, EH25 9LP, UK.
info@rosslyntours.co.uk

A picture of a man dressed in white stood in the familiar surroundings of
one of the most famous buildings in Europe, hangs on the wall at Ye
Olde Original Rosslyn Hotel in the historic village of Roslin just outside of
Edinburgh.
But who is this man and why is he wearing the garb of a Knight Templar,
the original image ‘Knight Templar at Roslin Chapel’ was painted by
artist R.T.McPherson in 1836 and was auctioned in Edinburgh in 2005
and bought by Niven Sinclair, who commissioned Ashley Cowie to study
it.
The image is a study in pastels and shows many features of Rosslyn
Chapel, it is signed and dated by the artist himself and remains a bright
and colour image even after over 170 years. Once belonging to the
Dalhousie family collection it now finds its home in the Scottish National
Portrait Gallery and the Royal Scottish Academy who didn’t know of it
until it was presented to them in February of this year.
The artist of the piece is one Robert Turnbull McPherson who was
known to have been active between 1835 and 1837 his work focused on
the portraits of aristocracy and their pets. Not much is known about the
life of this Edinburgh based artist, but it is known that he painted 11
works while he lived at 33 Montague St, which were exhibited at the
Royal Scottish Academy.
In his new book ‘The Rosslyn Templar’ Ashley Cowie enters into quite a deep
examination of the image and relates it to the many orders who currently use
the title ‘The Knights templar’ and from his examination he concluded the
image depicts a man who is dressed in a combination of uniform derived from
many sources. An interesting point in the image is the placing of a staircase in
the Lady’s chapel which ‘could’ lead to the question, is it the entrance to the
much sort after treasure of Rosslyn chapel or just a misplacing of the staircase
which leads to the crypt which is still in use today by the many visitors to the
famous chapel?
These questions and many more have been
studies over the years and many different
conclusions have been reached some plausible
some possible and some just a joke (as a side
note I would recommend any true student of
Rosslyn Chapel to read the book by
accomplished author Robert L. Cooper ‘The
Rosslyn Hoax’ for one of the best researched and
written books on the subject of the chapel to
ever, in my humble opinion, to have ever been
written).
The question I asked at the start of this short article was ‘Who is the Rosslyn
Templar?’ again Cowie touches on this subject in the book and puts forth the
possible candidate as a member of the Dalhousie family, one James Andrew
Broun Ramsay, 10th earl of Dalhousie.
Comparison images of the 10th Earl Of Dalhouise?
Those of you with knowledge of Scottish masonry will know that in the year
the painting was executed (1836) Ramsey became the Grand Master Mason of
the Grand Lodge of Scotland. In the few pictures available of the Earl the
features although not a perfect match could be said to match but why have his
image painted in Rosslyn Chapel. According to Cowie Francis Ramsey
(Dalhousie) was married to Alexander Sinclair the descendent of the builder of
Rosslyn chapel and she herself was ‘probably’ the aunt of the 10th Earl of
Dalhousie. As well as holding the highest rank in Scottish Craft Masonry at the
time he also held many chivalric orders such as Grand master of the Order of
the Star and received the prestigious accolade of the Knight of the Thistle. So
it would have more unusual for him not to have held the ‘higher’ degrees in
Freemasonry such as Knight Templar than to have held them.
As with many of my articles I hope to produce an interest in a subject rather
than try to be a teacher and hope this brief note has woken an interest in you I
would recommend reading Ashley Cowie’ book ‘The Rosslyn Templar’ and
from it form you own opinions on this fascinating painting.
As I arrived outside our meeting place I saw the man climb from a car and approach me. Both dressed in
black suits, we carried small briefcases and traversed the car park like a scene out of a mobster movie.
Extending my arm, I grasped the man’s hand in mine and felt a familiar grip.

I had communicated with Bro. Adam via the Masonic Society for a few months, and when I finally met him
he had traveled from San Francisco, via Ireland, to attend the International Conference on the History of
Freemasonry in Edinburgh, Scotland. This was the first time I had the opportunity to put a face to a name.
In one hand was his regalia case and over his shoulder, on a strap, was hung another small black pouch.

Last month we were introduced to W. Bro. Kendall where we discovered his wonderful talent for
illustration. But his talents don’t stop there: in the small black case slung over his shoulder was his
constant companion, his camera.

With an obvious artistic eye for composition and balance Bro. Adam shares with you a collection of
wonderful images from his travels across the globe. Bro. Kendall serves as the Collections Manager,
Curator of Exhibits, Librarian and Archivist for the Henry W. Coil Library and Museum of Freemasonry at Adam G. Kendall is a Past Master of Phoenix
the Grand Lodge of F. & A.M. of California in San Francisco. Looking at the web site found at Lodge No. 144 in San Francisco and a
www.masonicheritage.org we see his talent serves him well. founding member of Academia Lodge No.
847 in Oakland, where he currently serves as
Senior Warden.

Bro. Kendall serves at the Collections

Manager, Curator of Exhibits, Librarian and
Operative Mason’s; Wright’s; or Cooper’s, gravestone found in Galway,Ireland

Archivist for the Henry W. Coil Library and

Museum of Freemasonry at the Grand Lodge
of F. & A.M. of California in San Francisco.
This library and museum’s collection can be
viewed at www.masonicheritage.org

He is an original member of the Masonic

Formation Task Force and has worked on
several projects for that group, most notably
the creation of an educational DVD for
Entered Apprentices and as an instructor for
Masonic Formation Classes.

He has traveled consistently over the past

three years both stateside and abroad as a
featured speaker on Masonic topics. In 2009,
he presented a paper at the International
Conference on the History of Freemasonry.
He has also acted as an editor and private
consultant for several Masonically-themed
exhibits and publications.

Bro. Kendall is a Founding Fellow of the

Bro. Adam maintains his own art website, www.adamsartwork.com, but prefers to be contacted through Masonic Society.
his work email, akendall@freemason.org or akendall45@yahoo.com
Web & Cross. Cong Monastery, Co. Mayo, Ireland
The Burren. Co. Clare, Ireland Mt. Ben Bulben. Co. Sligo, Ireland
Neolithic Dolmen. The Burren, Co. Clare, Ireland Clonmacnoise Monastery/Cemetery. Co. Offaly, Ireland
Charleville Castle. Co. Offaly, Ireland
Mitla and the Red Umbrella Lady. Mitla, Mexico Pyramids at Sunset. Giza, Egypt
Obelisks. Karnak Temple, Luxor, Egypt
This Road Leads to Heaven. Bavaria, Germany
Weeping for the Infinite. Clonmacnoise Monastery/Cemetery, Co. Offaly,
As Above, So Below. Aufkirchen Friedhof, Germany
Etruscans. Staatlich Antikensammlung, Munich, Germany
Portal. St. John’s Chapel, Edinburgh, Scotland

Rosslyn is probably the most famous Medieval ecclesiastical building in Scotland. Its fame
used to be based on its extraordinary carvings, now it is even better known for its part in
Dan Harris’ novel The Da Vinci Code (2003). Begun around 1450, this was an extremely
costly work. Rosslyn’s Gothic columns, arches and beams are encrusted with naturalistic
carving. Unprecedented in Scotland, this is more like a barnacle-covered boat, or coral forest
under the sea than a conventional church.

Rosslyn’s architecture is extraordinary, its history equally so. Left incomplete at the
Reformation, it suffered under the hands of the reformers. Such an ornate declaration of
God’s creative powers was at odds with the Calvinistic doctrine dominating Scotland from
1560 onwards. After 1592 the church was closed, becoming an empty shell, open to the
elements, used even as a stable. Restoration, thankfully, began in 1730, and continues
today.

Billings’ image concentrates on the emptiness of Rosslyn: chairs and altars are missing;
niches, where statues once stood, vacant; and no visitor stirs the silence. The building is a
wonder, but only that. How different this is to the plain Presbyterian chapels built from the
Reformation onwards.

http://www.architecture.com/HowWeBuiltBritain/HistoricalPeriods/Scottish/KirksThroughoutTheAges/RosslynStMatthew.aspx

The Ragains Masonic Rifle
 
 
 
CAPTAIN DAVID ABRAHAM
RAGAINS
(1812-1887)  http://grandlodgeoftexas.org/history/Regains/ragains.phpF
 
   
   
 
   
 
 
 
Frank Ragains   Pleasant Green Ragains  Captain was forced to resign his commission because of poor
(1884‐1959)  (1852‐1932)  health. Hemorrhoids, caused by dysentery, had become so
   
   
   
   
   
Frank Edward Ragains  James Edward Ragains 
(1918‐1975)  (1936‐1996)
 
 
 
 
 
Charles Sterling 
Ragains Family Historian  Charles Edward Sterling
This  article  appeared  in  last  months  newsletter  since  when 
we  have  been  contacted  by  the  author  who  requested  we 
make a few changes and we are delighted to do so.  
“I  am  Luke  Sterling  Jr.,  P.M.,  Texas  City  Lodge  1118  of  the 
Grand  Lodge  of  Texas.    I  am  the  Great,  Great  Grandson  of 
the  original  owner  of  the  "Ragains  Rifle".   It  was  made  for 
him in the shop of J. Belau in 1858. 
The RIFLE is now being displayed in the Grand Lodge of Texas 
Library and Museum in Waco, Texas.  It is also available for 
viewing on their website.  Below is a link to the RIFLE at the 
Grand Lodge of Texas.  It might be helpful.  It would be nice if 
you also included it into the article. 
 
& S, 
Luke Sterling Jr, P.M.” 
There is little doubt that David Abraham Ragains acquired his 
"Masonic" rifle before the Civil War. David joined the 60th 
Illinois Infantry Regiment on January 7, 1862 as a private in 
the Union Army. The following month, he was promoted to 
Captain in command of Company H.  
It is unlikely that Captain Ragains carried this rifle with him 
when the 60th Illinois Infantry Regiment entered the war. 
The 60th Illinois Infantry Regiment joined forces with the U.S 
Army of the Mississippi in capturing the strategically 
important Island Number Ten, on the Mississippi River. After 
the capture of this island, David participated in the siege of 
Corinth and led his Company in several clashes with the 
enemy. Unfortunately by February of 1863, the 50 year old 
 
 
painful that he could no longer perform his duties. 
Patriotism  and  personal  sacrifice  were  deeply  engrained  in 
David's  soul.  Two  of  David's  grandfathers,  Thomas  Ragains 
and William Hargiss, and one of his great‐grandfathers, James 
Jay,  were  Patriots  in  the  Revolutionary  War.  Another  of  his 
great‐grandfathers,  Gabriel  Ragains,  served  as  a  Gentleman 
Soldier,  under  George  Washington,  during  the  French  and 
Indian  war.  Gabriel  was  killed  by"  friendly  fire",  when  two 
scouting parties mistook the other for the enemy. David's 5th 
great‐grandfather,  Robert  Bartlett  was  one  of  five  Pilgrims 
killed  by  the  Indians  during  the  hostilities  known  as  "King 
Phillip's" war. David's 6th great‐grandfather was a passenger 
on the "Mayflower". 
David  was  born  in  South  Carolina,  lived  in  Tennessee, 
Kentucky and Georgia before settling in Pope County, Illinois. 
At  the  beginning  of  the  Civil  war  David  was  supporting  a 
family  of  eight  children  by  working  his  small  farm.  He 
supplemented  his  income  as  both  deputy  clerk  and  deputy 
sheriff.  While  serving  his  community  as  a  clergyman,  he 
founded County Line Baptist Church. This church came by its 
name  because  it  was  located  on  the  Pope  and  Johnson 
County  Line.  This  little  church  is  still  going  strong  after  150 
years. During his lifetime, David had seven wives and twenty 
children.  He  died  on  February  17,  1887  at  age  74.  He  was  a 
member of the Vienna, Illinois Lodge No 150 A.F. and A.M. 
David  left  his  rifle  to  his  son,  Pleasant  Green  Ragains.  The 
next  owner  was  P.  G.'s  son,  Frank  Ragains  who  was  a 
member  of  the  Bokoshe,  Oklahoma  Lodge  No.  358  and 
Murrow  Lodge  No.  49  in  Spiro,  Oklahoma.  The  next  owner 
was his son, Frank Edward Ragains The gun then went to his 
son, James Edward Ragains and then to his son, James Grant 
Ragains.  David  Ragains'  gun  has  been  in  the  Ragains'  family 
for over 150 years. 
 
February 5, 2009 
 
 
 

David Ragains' Military Heritage 

 
   
On  the  7th  of  April  1862,  David  Ragains   
answered  Abraham  Lincoln's  call  to  arms  by   
joining Company H, 60th Illinois Regiment as a 
private.  In  recognition  of  his  maturity  and   
ability  to  lead  men,  he  was  promoted  to   
Captain and placed in charge of a newly formed 
company.  Despite  the  fact  that  he  was  almost 
fifty,  David  felt  compelled  to  join  the  struggle 
to  preserve  the  Union.  David's  loyalty  and 
enthusiastic  patriotism  can  be  traced  to  his 
grandfather  Thomas  Ragains'  and  his  great 
grandfather,  Gabriel  Ragains'  records  of 
military service.   
Gabriel was a "Gentleman Solger" on call to the 
North  Carolina  Militia.  When  the  French  and 
Indian  War  erupted,  Gabriel's  unit  was 
activated  and  made  part  of  the  Virginia 
Regiment  under  Colonel  George  Washington. 
Gabriel's  service  ended  abruptly  when  he  was 
killed  by  friendly  fire  near  Fort  Ligonier  in 
western Pennsylvania. Gabriel was survived by 
his wife, Susannah Gandy and his five year old   
son, Thomas. 

When  Thomas  was  twenty‐three  years  old,  he 

married thirteen year old Elizabeth Featherkille 
on  Valentines  Day  in  1776.  Thomas  and 
Elizabeth  enjoyed  a  short  honeymoon  before 
he  marched  off  to  war.  Thomas  survived  the 
war  suffering  only  a  minor  leg  wound.  He   
served  one  year  as  a  private  and  another  two 
years  as  a  sergeant.  During  his  three  years  of 
service,  he  managed  to  obtain  enough 
furloughs to father two sons. After the war he 
and  Elizabeth  went  on  to  have  six  more  sons 
and three daughters.  

It  is  likely  that  David  grew  up  listening  to  his 
grandfather,  Thomas,  recalling  his  military 
experiences. Thomas probably told of his father 
Gabriel's military valor also. David Ragains was 
twenty‐three  when  his  grandfather,  Thomas, 
died.   

The  following  quote  was  written  by  Grant 

Ragains  who  is  the  grandson  of  Capt.  David 
Abraham Ragains, 
 
“The gun (cap and ball)
  was made in a country 
shop  by  J.  Belleau,  a  gun  &  locksmith  and  a 
master  mason.  He  was  evidently  a  modern 
tubal  cane.  This  word  has  no  meaning  to  you 
but it means a lot to me. A mason could give a 
chart lecture off it. It was made for my Grandpa   
Ragains  (David  Abraham)  then  passed  to  my 
father (Pleasant Green) and I want it to pass to 
James’  son  (James  Grant  Ragains  who  I 
received  it  from).  I  would  like  for  him  to 
someday  learn  the  meaning  of  all  those 
emblems. The stock of this gun is made of wild   
cherry  by  a  wonderful  workman.  I  have  taken 
this  gun  to  several  Masonic  lodges  and  it  was 
considered  the  wonder  of  the  ages.  Grandpa 
Ragains  was  both  a  master  mason  and  a  royal 
arch mason and naturally praised the gun very 
highly.” 
A young man grew up on a walnut farm in rural California,
surrounded by beauty as a youth he went on to produce some of
the most beautiful creations over the years.
Emile Norman was born on April 22, 1918, in San Gabriel,
California. Growing up during the great depression Emile is
known to have said,
In the late 1950’s Norman created one of his arguably most famous
piece the huge 4 story window mosaic found at the entrance to the
Masonic Memorial Temple on San Francisco's Nob Hill.San Fransico. To
create it, Norman used a technique he developed and named "endo-
mosaic." The process involved suspending crushed glass and other
materials -- such as metal, fabric, shells and dirt -- between clear
sheets of translucent plastic.

“we didn't starve, there was plenty to eat on the farm." He was also given the task of creating the sculptural reliefs in the
marble on the outside of the Masonic building
Growing up surrounded by nature the young man started
creating art, at the age of 11 he carved his first piece from a On September 27th 2009 at the age of 91 Emile Norman passed away,
riverside rock during which process he destroyed his fathers he left a legacy of art which will be admired for many years to come.
chisels but gained his admiration age 16 he created a remarkable
sculpture illustrating the myth of Prometheus, using concrete
and the broken pieces of his father's beer bottles. When he
attended art school he lasted exactly one day and quit when his
teacher told him he was, “doing it the wrong way”.

Becoming a commercial artist he moved to New York and had his

work featured in Vouge his first major non-commercial
presentation was in 1951 at the Feingarten Gallery in New York,
where his marble sculptures of animals and abstract organic
shapes displayed his…’signature blend of meticulous detail and a
generous, sweeping lyricism’.

1. http://www.latimes.com/news/obituaries/la-me-emile-norman27-2009sep27,0,4662372.story
2. http://www.emilenorman.com/bio.html
MAE member who uses the Facebook name Hiram Abiff tells us of this image…

“This is an oil painting based on the Port Adelaide Masonic Centre, Number Two Lodge of South Australia. I
wanted to do a series of paintings about temple entrances as I am interested in what this symbolises. I left
MAE member
some of who uses the
the smaller Facebook
details out, likename Hiramand
the square Abiff tells uspartly
compass, of this
outimage…
of choice, and partly because my
college principal took issue with me showing work like this. (I can sort of understand but I have the freedom to
“This ispaint
an oil painting
anything based
I like.) on the
Anyhow Port
I was Adelaide
more interestedMasonic Centre,concepts
in the broader Number of Two Lodge of South
the architecture itself. Though
Australia.
not aI wanted to doI am
mason myself a series of paintings
very interest about
in all the words temple entances
religions, as I am
and cultures and interested
their origins.inI discovered
what this my
grandfather
symbolises. I left was
some a Mason
of theasmaller
few years ago and
details thislike
out, started
the asquare
huge thirst
andfor knowledge…..”
compass, partly out of choice,
and partly because my college principal took issue with me showing work like this. (I can sort of
understand but I have the freedom to paint anything I like.) Anyhow I was more interested in the
broader concepts of the architecture itself. Though not a mason myself I am very interest in all the
words religions, and cultures and their origins. I discovered my grandfather was a Mason a few years
ago and this started a huge thirst for knowledge…..”
 To the left and on the next page are some of the images
posted in the Facebook site, and below are the rules just
for your own information particularly if you have been
forwarded this from a friend in the group and haven’t
popped in yourself. If you have not and you’re not a
‘facebooker’ there is the option of joining the forum that
can be found by going through the web site:

masonic-ae.com
The Rules:
POSTERS

1. The work MUST be yours (if you post someone

else’s work as yours you will be asked to remove it
and may have it removed if the admin feels it is
necessary) the work remains yours.
2. If you post you must be prepared for others to
use the artwork.

USERS

1. If you use someone’s work you MUST inform them

where it is being used.
2. CREDIT them
3. If required provide a copy of the publication i.e.
Tresleboard it's being used in.
4. The work is to be used for non-profit publications
etc unless agreed with the artist.
5. The MAE will do it's best to' police' the copyright
of images however any issues of copyright usage is
the responsibility of the 'creator' and should be taken
up with the ‘creator’ of the images in the first
instance.

If you want to request artwork please leave a

request in the discussion wall in either the Facebook
Group or forum or email us at info@masonic-ae.com

PUTTING/LINKING YOUR ARTWORK TO THIS

GROUP [FORUM,FB GROUP OR
NEWSLETTER]CONSTITUTES THAT YOU AGREE TO
THE ABOVE RULES [UNLESS OTHER COPYRIGHT
AGREEMEMNTS HAVE BEEN REACHED AND CLEARLY
POSTED]

THE ARTWORK CAN NEITHER BE USED FOR NOR

DEPICT ANYTHING CONSIDERED TO BE
INFLAMITARY TO FREEMASONRY OR SOCIETY IN
‘Collars of office’ by David Naughton-Shires GENERAL.

THE ADMINS DECISION IS FINAL IN ANY DISPUTE.

PLEASE CHECK BACK OFTEN FOR UPDATES.

FINALLY

The opinions expressed on this groups webpage,

forum, and it's newsletter represent those of the
individual authors and, unless clearly labelled as
such, do not represent the opinions or policies of any
Masonic Lodge, Grand Lodge, recognized Masonic
body or other individual.

From the set called ‘BLACK AND WHITE by Clercq Art

 The Craftsman's Moral Compass...

"Tenets of My Profession"by Antonio Box Caffey

 Each newsletter we will highlight one Facebook group you
may be interested in joining all you need to do is go to
your groups (click the group’s icon on the menu bar at the
bottom of the page) and search for the groups by name in
the search bar in the group’s area.
One of the smaller groups on
Facebook this group of people
have come together to share a
common interest in the creation
of Masonic Regalia of all styles.
Members include two previous
contributers to the MAE
Newsletter. Take a few moments
to pop in and say hello.
http://www.facebook.com/group.php?gid=121235
679924#/group.php?gid=121235679924
Each newsletter we will also aim to highlight a
website which may be of interest to the members of
the MAE their friends and colleagues if you have any
recommendations for sites to appear here or on the
forum contact me at info@masonic-ae.com please
include: ‘MAE recommendation’ in the subject line.
My choice of website this month is of a Lodge in MINNEAPOLIS this
website portrays a wonderful camaraderie within its pages sharing an
image of Lodge life which is fun and enjoyable. One of my favourite
pages is the image gallery of their past masters. If you are thinking of
designing or revamping your lodge website you could do worst than
have a look at this one and work some of it’s aspects into yours.
http://www.mpls19.org/
Contact details: info@masonic-ae.com
This is the end of the forth Masonic
Art Exchange Newsletter this issue
was hard work as I did have to work
through an illness and am quite
disappointed I was not able to
present the second part of the
Knight Templars in Art series. But it
will be here next time that issue will
be publish in time for Christmas.
As always I hope many of you will
take a few moments to put pen to
paper or fingers to keyboard and
send something in even if it’s just a
letter of comment everything is
received with great thanks.
On this final page I am again going
to place a few links to ‘good’ sites,
and other groups in Facebook that
may be of interest and contact
details.
PLEASE PLEASE PLEASE get in
contact whether it is to tell us how
fantastic the newsletter was or
alternatively to give us much
needed critique on how to improve
what we are doing after all that IS
what we are here for.
We will see you on the web and pray
the Great Architect watches over
you.
Sincerely and fraternally,
David Naughton-Shires
info@masonic-ae.com
(please remember to put MAE in the subject line)