Category: Freemasonry

  • Lecture to Parthenon Lodge No. 112, Grand Lodge of Greece, Athens

    Lecture to Parthenon Lodge No. 112, Grand Lodge of Greece, Athens

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    I have just given the annual lecture to Parthenon Lodge No 112, in the Grand Lodge of Greece in Athens, following in the footsteps of the likes of John Belton and John Hamill. The subject of the lecture was the Lost Rites of Freemasonry, a topic that I am currently researching for a new book out with publishers Lewis Masonic at the end of the next year.

    The lodge is of course named after the Parthenon, the majestic Temple that sits elegantly above the ancient city of Athens, and as a gift I was presented with a polished Ashlar of marble taken from the same quarry as the marble of the Parthenon. Other highlights of the trip was to visit the Parthenon and the Temple of Poseidon; both spectacular Temples of the Ancient World that remind us of how stone masons constructed Temples of the Gods and the perfection and beauty that still survives today.

    I would like to thank the Brethren of Parthenon Lodge for making me feel so welcome.

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    The Temple of Poseidon
    The Temple of Poseidon
    The Temple of Poseidon
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    The back section of the Parthenon
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    The Parthenon
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    Temple Room at the Grand Lodge of Greece where the lecture was given

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  • The Scholarship of Dr. David Harrison: An In-Depth Interview

    The Scholarship of Dr. David Harrison: An In-Depth Interview

    Elena Llamas“You may have read or at least seen his numerous blog posts and his books, but did you know that Dr. David Harrison is a trained archeologist and also a recording musician? Dr. Harrison’s versatile work is hard to miss and impossible to forget. Why? Because he has a uniquely scholarly, yet approachable, style of bringing Masonic and historical subjects to his readers’ attention. Dr. Harrison has written seven books on the history of Freemasonry and one book on Liverpool philanthropist Christopher Rawdon, who had links to Freemasonry. Phoenixmasonry is pleased to have had the opportunity to interview this prolific writer and share his work and thoughts.” -Elena Llamas

    Click here to read the interview with Elena Llamas.

  • Jim Morrison, his poetry album and the themes of life, death and rebirth

    jim-morrisonJim Morrison, lead singer of The Doors and forever a member of the 27 Club, was an amazing talent that died far too young, but during his brief career as singer, musician and poet, he revealed an interest in the occult that is reminiscent of other musicians of the time, such as Paul McCartney, and of bands that came on the scene later such as Black Sabbath, who used occult symbolism as part of the stage act and Led Zeppelin who incorporated signs and symbols into the album art of Led Zeppelin IV.

    Morrison certainly embraced the search for hidden knowledge, pushing the boundaries and eventually walked through the doors of perception, getting the name of his band from a poem by William Blake entitled The Marriage of Heaven and Hell, a poet and artist who was also no stranger to Freemasonry. The same Blake poem also inspired Aldous Huxley’s acclaimed book The Doors of Perception, which details Huxley’s experiences of taking the drug mescaline and the use of the drug as a way of opening the door into a world that gave a deeper experience and insight into forbidden knowledge, a pathway to enlightenment.

    Morrison embraced his own personal experiences in this mould, using drugs, alcohol and searching various spiritual avenues, and according to his biography which was co-written by his friend Danny Sugarman, he married a girlfriend in a Celtic-Pagan ceremony and read countless books of poetry and philosophy. It was only natural that certain occult themes filtered into Morrison’s poetry, some poems conjuring up vivid imagery of what Morrison expected to see on the other side of the door.

    Morrison’s poetry is perhaps best accessible on the album An American Prayer, which was released in 1978, seven years after his death in Paris. Poems such as Ghost Song, The Movie and Curses, Invocations all provide an almost primeval image of death and present ideas of a rebirth of sorts, the poetry conveying Morrison’s beliefs and obsession with the premonition of death. Morrison’s other poems also touch on occultist imagery, such as The Lords, in which he told us to ‘Fear the Lords who are secret among us. The Lords are w/ in us. Born of sloth & cowardice.’ These sinister ‘Lords’ being God-like figures that control us, something that is echoed in today’s conspiracy theories.

    The album that was eventually released in 1978 was different from the one Morrison originally envisioned; Morrison had supposedly approached renowned composer Lalo Schifrin to compose music for the album that would complement the spoken poetry, and the original cover was designed by T.E. Breitenbach who created a Triptych painting; a three panelled presentation of the themes displayed in Morrison’s poetry.

    Triptych paintings commonly appear as a style in early Christian art, and Morrison’s ideas of life, death and rebirth were inserted into the Triptych; the first panel reveals a moonlit beach with naked couples dancing along the shore, and on the beach a baby smiles at the world as elderly people gather around the child. The middle panel reveals a futuristic and Surreal city and the last panel shows the view through a windshield of a desert highway at night, which may refer to the incident told in Ghost Song where, as a child, driving through the desert with his parents, he witnessed a road accident that involved an overturned truck with dead and injured Indians; ‘Indians scattered on dawn’s highway bleeding, ghosts crowd the young child’s fragile eggshell mind…’ This incident was referred to in the song Peace Frog and became a dominant theme in Oliver Stone’s biopic of Morrison The Doors, which also reverberated the themes of life, death and rebirth, themes that dominated his poems and lyrics. As one of Morrison’s last works, his poetry album symbolises the rebirth he was looking for; as a serious poet who sought hidden knowledge.

     

    References

    https://www.theguardian.com/music/2011/nov/24/occult-rock-black-widow-ghost

    http://johnhaeny.com/the-making-of-jim-morrisions-an-american-prayer/

     

  • John Dee and Edward Kelley; Conversing with the Angels

    220px-John_Dee_AshmoleanWith a blend of alchemy and scrying, John Dee and Edward Kelley made up one of the most sensational occult partnerships of all time, but did they really talk to Angels?

    John Dee, in some respects, could be considered an early scientist; he was an expert in navigation, he was invited to lecture on Euclid’s Geometry at the University of Paris in his early twenties, and he was a mathematician. Yet, his search for lost knowledge knew no boundaries, and magic became another pathway for him to thoroughly explore; astrology, alchemy, divination, scrying and summoning were all ways in which Dee sought answers.

    Dee became a special advisor to Elizabeth I, advising her in astrology and on matters of science; he chose Elizabeth’s coronation date and advised on the voyages of discovery. In short, Dee was a leading expert at the Elizabethan Court and used both science and magic to search for knowledge.

    It was his partnership with Edward Kelly that he is probably best remembered, and his communion with the Angels that led to his studies into the Enochian language. Dee met Kelley in 1582, and was impressed by Kelley’s scrying ability, employing Kelley to work for him. Kelley however had a rather chequered past, being convicted for forgery, and some modern writers and historians believe he was nothing more than a trickster and an ‘occult charlatan’.[1] Dee was convinced of Kelley’s talents, and what resulted of their partnership was a vivid collection of encounters with Angels and notebooks filled with their language. The partnership took them to Poland, where Dee had a meeting with the Polish King Stefan.

    Dee and Kelley’s partnership ended a few years after a wife swapping incident in 1587 that was, according to Kelley, ordered by the Angels. Dee returned to England two years later, leaving Kelley on the Continent, where he became an alchemist in the employ of Rudolph II. Rudolph imprisoned Kelley – probably in an attempt to stop him escaping until he had produced gold – and Kelley died after an escape attempt in late 1597/early 1598. Dee died at his home in Mortlake in 1608/1609.

    Laycock puts forward the idea that Kelley was feeding Dee’s lust for knowledge, the language itself being open to interpretation, but is the language itself a cipher – a code that has yet to be cracked? Dee’s papers were passed onto Elias Ashmole after his death, and Ashmole spent a good deal of time and effort researching the difficult text. He was fascinated by Dee and Kelley’s work, and tried to make contact with the Angels during a succession of séances from 1671 to 1676. We still do not the extent of Ashmole’s work on early Freemasonry, though there are symbols used within Freemasonry that remind us of Dee’s work, such as the use of the pentagram.

    The legacy of Dee and Kelley’s collaboration was the language of the Angels, but as linguist Donald Laycock suggests in The Complete Enochian Dictionary that there is a possibility that Kelley invented the language, duping Dee, as Kelley did all the scrying work relaying it back to Dee.[2] However, even Laycock puts forward that Kelley may have had genuine visions and the language of the Angels may have been difficult to understand, leading to mistakes.[3] Was Dee the victim of an Elizabethan conman? Dee was passionate about the work and believed that lost knowledge could be gained from these conversations, Dee believing firmly in the work that Kelley did. So, was Dee a victim to a hoax or did they converse with Angels?

    [1] Donald Laycock, The Complete Enochian Dictionary, (San Francisco: Weiser Books, 2001), p.53.

    [2] Ibid., p.54.

    [3] Ibid., p.63.

  • Plas Newydd; symbolism and Masonic Connections

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    The Rex Whistler mural 1937.

    Plas Newydd is a mansion house on the Isle of Anglesey, in North Wales, meaning New Place. It passed into the Bayly family, and between 1751 and 1753 Sir Nicholas Bayly added to the original 15th century building. His son Henry continued adding to the building, Henry being created the Earl of Uxbridge. His son Henry William inherited the estate in 1812, and it was Henry William that served as the second-in-command to the Duke of Wellington during the Battle of Waterloo, Henry William being close to the Freemason Wellington. Henry William lost his right leg during the battle and due to his heroism, he was created the 1st Marquess of Anglesey. One time Grand Master of the Moderns George IV visited Plas Newydd in 1821, and it had been George IV when he was Prince Regent who had made him a Marquess, declaring that ‘he loved him…and that he was his best officer and his best subject’.

    The mural showing a castle on the island after Windsor Castle.
    The mural showing a castle on the island after Windsor Castle.

    It was the 1st Marquess of Anglesey that constructed the famous column that dominates the Menai skyline, which was completed two years after the battle, and after his death, his statue was erected on top of the column in 1860, the column reminding one of Nelson’s Column in London and Wellington’s Column in Liverpool. The Marquess certainly knew how to convey symbolism, with the sublime ‘Gothick’ architecture of Plas Newydd and the column which symbolised the victory over Napoleon and tyranny, and the sacrifice that was made.

    The art of Plas Newydd also conveys special symbolism, especially in the Rex Whistler mural which was commissioned by the 6th Marquess. The mural, which was completed in 1937, celebrates the dramatic mountainous landscape of Snowdonia, the seascape of Menai with an added dash of Italian architecture, creating a fantasy scene. The castle on the island is after Winsor Castle, which is shown to have a crack in the walls, said to be symbolic of the state of the monarchy at the time with the abdication of Edward VIII in December 1936. Other artwork of interest includes an array of paintings and prints that celebrate the Battle of Waterloo and the Duke of Wellington, and there is a portrait of George IV.

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    The Cromlech – a pre-historic burial chamber opposite the stables at Plas Newydd.
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    The stables.
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    Plas Newydd, on the shore of the Menai.
    The Marquess of Anglesey's column.
    The Marquess of Anglesey’s column.
  • Return to Baron Hill

    Return to Baron Hill

    Baron Hill, situated just outside Beaumaris on the Isle of Anglesey, North Wales, was once the mansion house for the Bulkeley family, but is now a ruin; the deserted, empty shell of the once beautiful house is now covered by foliage, nature having taken over the Bulkeley family seat. The site is eerily silent, with only the rustle of the breeze against the leaves and the occasional bird song breaking the dead quiet. The golden sunlight filters through the trees to reveal the remnants of the once glorious building, and a year after I first visited the site, I returned to take some more photos of the abandoned house.20160813_15574620160813_162008

    The view from the rear of the house.
    The view from the rear of the Baron Hill.
    The terrace at the rear of the house.
    The terrace at the rear of the house.
    Edward VII visited Baron Hill, here he can be seen sitting on the terrace taking tea with members of the Bulkeley family.
    Edward VII visited Baron Hill, here he can be seen sitting on the terrace taking tea with members of the Bulkeley family.
    The same spot as the previous photo was taken today.
    The same spot as the previous photo was taken today.
    A doorway to nowhere remains.
    A doorway to nowhere remains.

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    Through the trees the columns can just be seen of the once grand portico.
    Through the trees the columns can just be seen of the once grand portico.

     

    Part of Baron Hill today. This section can be seen in the old photo to the bottom right.
    Part of Baron Hill today. This section can be seen in the old photo to the bottom right.
    This is a photo c.1900 of how Baron Hill once looked in its glory days.
    This is a photo c.1900 of how Baron Hill once looked in its glory days.
  • Roman Stonemasonry at Caergybi, Holyhead

    Roman Stonemasonry at Caergybi, Holyhead

    20160808_143705Caergybi church in Holyhead, North Wales, is a church that has its origins dating back to the 6th century, when St Cybi – a Welsh saint who according to tradition was a cousin of St David – resided in a monks cell on the site. The church is set within a small Roman fort that dates to the 4th century, and the fort is unique to Wales as it is still standing almost in its entirety. The walls are constructed of local materials, the stone set in a typical Roman ‘herring-bone’ fashion, and the walls of the fort give a fascinating insight into Roman stonework and masonry. St Cybi was probably given the fort for his cell by a local king; the old Roman centres such as Chester and York becoming important centres for early Christianity during the sub-Roman period, the available stone sometimes being re-used for new religious buildings such as can be seen at Hexham Abbey. The old Roman centres also retained some strategic importance during this sub-Roman period, such as Chester, which was the location of a battle in the early 7th century. By the 7th century however, as the Venerable Bede tells us in his Ecclesiastical History, that Stone masons were brought from Gaul, to build a church ‘in the Roman manner’, which suggests that building skills had been lost in Britain sometime after the withdrawal of Roman troops in the early 5th century.

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    The Roman herringbone masonry style

    The old Roman stone buildings certainly held wonder for the early Church in Britain, as Michael e. Hoenicke Moore puts forward ‘this concept of a Roman tradition was thought to require, as if in a utopian dream, the replication in Britain of all the important features of the Roman church : its stone buildings, its windows, its sacred images and a doctrine about their use, liturgical equipment and Roman customs of chanting and ceremonial.’ In this sense, the old Roman stonework held the secrets and lost knowledge of the ancients.

     

     

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    Caergybi church, the current building being medieval, rebuilt in 1700 and refurbished in 1870.
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    A more modern looking tower perched on the corner of the old fort. It overlooks the port of Holyhead.

     

     

     

     

     

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    The original Roman wall and one of the original towers. The Roman fort and church is perched on a hill overlooking the port.
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    The Roman herringbone masonry style can be seen here. The fort was constructed to give defence from Irish raiders.

     

     

     

     

     

     

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    The Medieval font, now used for ‘prayer stones’.
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    A surviving section of a medieval wall painting showing a Tudor Rose.

     

     

     

     

     

     

     

     

     

     

     

     

     

     

    References

    Bede, Ecclesiastical History of the English People, (London: Penguin, 1990).

    Michael e. Hoenicke Moore, ‘Bede’s Devotion to Rome :
the Periphery Defining the Center’, Histoire et littéraure de l’Europe du Nord-Ouest’,  p. 199-208.

  • Sir Thomas Browne, The Garden of Cyrus and the mystical number five

    Sir_Thomas_Browne_by_Joan_CarlileSir Thomas Browne (1605-1682) was a man of the renaissance, an English writer and researcher, his most enigmatic work perhaps being The Garden of Cyrus, or The Quincuncial Lozenge, or Network Plantations of the Ancients, naturally, artificially, mystically considered, to give its complete title, which was published in 1658. The work is seen as a major contribution to the Hermetic tradition of the period, but is complicated and is a renowned difficult read. The work presents the number five as an essential number in relation to life, describing the importance of the geometrical quincunx pattern and the lattice design.

    Browne believed that the quincunx pattern was vital to the Universe:

    In Chess-boards and Tables we yet find Pyramids and Squares, I wish we had their true and ancient description, farre different from ours, or the Chet mat of the Persians, and might continue some elegant remarkables, as being an invention as High as Hermes the Secretary of Osyris, figuring the whole world, the motion of the Planets, with Eclipses of Sun and Moon.

    The geometrical design of the quincunx can be found on many patterns, such as the fivefold ‘Celtic knot’ designs of early Christian crosses, and has many interpretations. A predominant meaning is that we will ascend from the fourth level of the physical to the fifth level of the spiritual, to attain a higher enlightened level of being.

    Title-page_of_'The_Garden_of_Cyrus'_1658_first_edition

    This links into Browne’s belief in the cyclicality of life, Browne alluding to the Ouroboros symbol in the conclusion of his work, a symbol that was popular with alchemists:

    All things began in order so shall they end, so shall they begin again according to the Ordainer of Order and the mystical mathematicks of the City of Heaven.

    In essence, Browne was putting forward how God Geometrizes, and how the number five occurs in a reoccurring pattern within nature (five petals on certain plants for example).

    Five the number of justice called by Plutarch the divisive number, justly dividing the entities of the world…this number often observed in Scriptural, medical, astrological, cabalistical, magical examples.

    This of course, brings us to Fibonacci….

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    The geometrical design of the quincunx .
  • The lost village of Orford in Warrington

    The lost village of Orford in Warrington

    A photo from the early twentieth century, possibly pre-war, showing the May Pole with Punch sat down in the centre.
    A photo from the early twentieth century, possibly pre-war, showing the May Pole with Punch sat down in the centre.

    One of my first ever teaching jobs was supervising a history group called the Orford Memories Project back in 1999, the aims of the group being to collect photos of the old village and to print a booklet. Orford is now a busy suburb or Warrington, an industrial town in the north-west of England, but in the early twentieth century, before the housing developments of the 1930s, Orford was a village surrounded by fields and still celebrated age-old traditions that are now lost. The walking day tradition is an example of this, but there was also a May Day procession that featured a May Queen and the mysterious character of Punch, who became King for a day. A May Pole was also assembled, and the villagers celebrated the coming of the summer, something that is still celebrated in some country villages in England today. For a rural community, a successful harvest was vital to the survival and prosperity of the villagers, and the tradition of May Day was part of this.

     

    20160710_100544The village of Orford had a typical village structure by the early twentieth century; it had a Hall, it had a church, a village school and a pub, along with scattered farms, cottages and shops. The Hall was once owned by the Blackburne family and the village pub is still called the Blackburne Arms. William Beamont who had served as Warrington’s first Mayor in 1847, moved into the Hall in the late nineteenth century and built a new village school in 1861, to replace the old school that had been built by John Blackburne. The school was also used for religious services until the church was opened in 1908. The old school building is now demolished, but there is still a school in Orford. The Hall was demolished in the 1930s and was situated in what is now Orford Park. Some of the stones from the Hall can still be seen in the gardens of the park, the Hall gate posts can still be seen and part of a wall from an outbuilding is still standing. Here are a few of the photos of old Orford that I kept from the Memories Project.

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    The local Scouts taking part in Orford Walking Day, c.1950s
    Homecoming after the first World War. The house still survives
    Homecoming after the first World War. The house still survives in Orford
    St Margaret's and All Hallows Church, the foundation stone being laid in 1907 with a Masonic ceremony
    St Margaret’s and All Hallows Church, the foundation stone being laid in 1907 with a Masonic ceremony
    The old school house before it was demolished
    The old school house before it was demolished
    The old school house
    The old school house c.1900
    Orford Hall before it was demolished
    Orford Hall before it was demolished in the 1930s
  • Neo-classical Liverpool: The Oratory

    Neo-classical Liverpool: The Oratory

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    The Oratory in Liverpool is perched on the edge of what is now St James’ Gardens; a cemetery that was designed by John Foster Jnr. Foster also designed the Neo-classical Oratory in 1829 for the use of funeral services. After the cemetery closed, it fell into disuse, but is now a museum that contains some of the finest Neo-classical style sculptures and reliefs in Liverpool.

    One of the most striking statues in the Oratory is that of William Ewart (1798-1869), who was the son of the Liverpool Freemason and Broker William Ewart, who was a close friend of John Gladstone, who resided in nearby Rodney Street. He was born in Liverpool, educated at Eton and Christ Church, Oxford, and subsequently became an MP for Liverpool, Wigan and Dumfries Burghs. He was a Liberal, a strong advocate for the abolition of capital punishment, and was a close friend of the writer Elizabeth Gaskell.

     

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    The memorial for the architect John Foster

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    This relief reveals the symbolism of the snake entwining itself around a staff, a symbol of life and rebirth.

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    William Ewart