Masonic Stained Glass

It's been a while since I've highlighted Masonic art for art's sake. So it seems as good a time as any to do so again. Previously, The Hedge Mason has focused on Masonic Neon Signs, lodges, Libations, and a variety of other items. Today, we will take a brief glance at Masonic Stained Glass art. We will not provide any definitive history of the use of Stained Glass in relation to Freemasonry. Although there probably is a history that could be written, I haven't done that research, and I just wanted to collect some Masonic Eye candy to share. The sole justification for this is that it is beautiful and I love Masonic Symbolism as well as Stained Glass.

Window in Lodge in Vermont

No doubt the origins of the use of stained glass art in masonic temples, homes, and hospitals has its origins in the use of stained glass in European religious architecture. That it reaches back to the construction of the grand cathedrals of Europe is only appropriate. That gives its use in Masonic contexts a greater authenticity.  It would appear, if only from a romanticist perspective to have a more ancient foundation than simply a form of 19th Century Romantic Revivalism.

Whether that is true or not, what can be said without fear of contradiction is that at least in modern times, the use of stained glass to ornament masonic buildings is to be found throughout the world, and the use of masonic imagery in the stained glass found even in Roman Catholic churches and cathedrals is, at least in some countries, documented.

Iglesia de San Ildefonso, Mexico

One such perhaps unexpected example is the presence of masonic symbolism in the stained glass windows which can be found in chapels, churches, and cathedrals in Mexico. This is notable because, although one would not normally expect Masonic symbolism in (at least relatively modern) Catholic places of worship, Freemasonry also experienced governmental persecution in Mexico until the establishment of the Mexican state after it achieved independence from Spain. In fact, members of the first documented Masonic Lodge in Mexico were arrested, brought before the Inquisition, and one of these was sentenced to death. Yet, here we find Masonic symbolism clearly present in Roman Catholic religious architecture.

Uíbh Eachach in Uladh

Sciobairín

And while I have not heard of stained glass displaying Masonic symbolism in any religious architecture in Ireland, we find some beautiful examples of its effective use in Masonic temples there. One shown here is a gorgeous and innovative use of stained glass in a Lodge in Sciobairín, Co. na Corcaigh. Another example, more prosaic and memorial in function comes from Uíbh Eachach, Condae an Dúin, in Northern Ireland. 

There is much more to be found in Ireland, but we will turn our eyes elsewhere in order not to be accused of playing favorites. And there is a great diversity, and embarrassment of riches to be found in Masonic Lodges through out the world.

David R. Clarke Window in Scotland 

It would hardly seem fair to note several Irish examples if we were to slight her northern sister, Scotland. Scotland, foremost in Masonic history for having been the birthplace of the modern  tradition of Freemasonry, is not without her own treasures. Here we show one such example, a window in the Pollokshields Burgh Hall, near Glasgow. in Scotland. The Pollokshields Burgh Hall was originally designed by H. E. Clifford in the Scottish renaissance style. The hall first opened in 1890 and served for many years its original function of a Masonic Lodge. The window was commissioned to the accomplished stained glass artist, David. R. Clarke.

Kingston Parrish, Jamaica

In the Caribbean we also find Masonic symbols being intentionally displayed in a Parrish church. This time the church is to be found in Kingston, Jamaica. A few stunning examples come from this location, including one which bears an all-seing eye within a triangle, and another with pathagorean symbolism in high relief.








These two Jamaican windows are only two of a larger collection of harmoniously designed window, totaling no less than ten or eleven distinct panels which prominently display Masonic symbolism.  We will return to look further at this particular church in another post, as it merits more attention.




When we turn our eyes toward the United States, we do not fare any worse.

We will end this posting with some North American examples. The first is from the famous Masonic Temple in Washington, DC.  and represents a beautifully crafted example of 20th Century art.  This example includes an image of the temple, the eagles and a stylized border suggesting the Columns of Jachim and Boaz. All in all, it is a beautifully crafted window and evokes many of the myths and symbols dear to Freemasons of all descriptions.

This piece, both due to its subject matter, its choice of color and elongated shape as well as it's positioning which is at the end of a passage, gives a distinctly Egyptian feel to the window. Even the thoroughly modern lighting fixtures above help to reinforce this sensation and blend in well. All in all, a superb installation. 

An interesting image utilizing the Masonic All seeing eye is installed in Saint Joseph's Hospital in Phoenix, Arizona. It uses a more abstract pattern suggesting both geometrical shapes and elements of architectural detail whose chaotic placements serves to draw attention to the more calm eye in the center of the work. This work demonstrates the eclectic vision which has guided the creation of Masonic stained glass where ever it is found. Certainly there is a diversity of vision, style, and approach, the only consistant trait to all of them being that of solid craftsmanship and design. 



In Tappan, NY there exists a deserted Masonic home, which was mentioned in  an earlier post concerning Masonic ruins. In the chapel connected to the deserted nursing home remains a beautiful example of stained glass art. We include it here, even though it has been reproduced elsewhere on the Hedge Mason, as it is worthy of a second look. Unfortunately, such derelict pieces are unlikely to have a bright future, unless someone who appreciates their worth and historical significance does something to protect them. Given the current state of Freemasonry in the United States, that is quite unlikely. The best we can hope for is that someone who likes stained glass may decide it is marketable.

We will leave on what I consider to be one of the most pleasing use of the Masonic symbol of the beehive that I have seen in quite some time. Here we are treated to an image of a beehive from a Masonic Lodge in Baltimore, Maryland.  It should serve as a reminder that with such treasures to preserve, we need to get busy.

CARIBBEAN INTRANSIT BIANNUAL ARTS JOURNAL

*CFP: CARIBBEAN INTRANSIT  BIANNUAL ARTS JOURNAL*

*ISSUE 4: Cutting Edges: New Media & Creative Entrepreneurship*

Throughout the Caribbean region and its multiple Diasporas, artistic form and practice are at risk.  Since the beginning of a global economic crisis in 2008, the arts have been particularly impacted through severe losses of funding and institutional support.  These ongoing global challenges to the

practice and production of the arts affect the Caribbean in specific ways.  Mobilizing the crisis as a critical point of departure, this volume of Caribbean Intransit seeks to examine both the inherent risks and possibilities of the intersection of new technologies, entrepreneurship and artistic practice. How might we deploy the cutting edges of artistry, technological innovation and business practices to find creative solutions to these challenges?  How have entrepreneurship, electronic and digital networks, mobilities and artistic projects threatened or empowered the arts in times of crisis? Are indigenous or traditional practices at risk in the age of global communication and exchange?  How can experiments in new media, performance, film, literature, music, art, and architecture articulate financially sustainable aesthetic interventions in the contemporary moment?

This volume of *Caribbean InTransit* invites exploration of these cutting edges and their myriad interpretations as both pitfall and promise.  Essays and creative works may explore but are not limited to the following possible topics:

•Caribbean spaces and/or place-based art in digital representations 

•Nationality, transnationality and global citizenship 

•Narratives of cultural, entrepreneurial and/or community struggles

•Locality and locatedness

•Culture as a political, social and/or economic strategy

•Case studies of cultural work, methods and iconographies

•Intra- or cross-Caribbean spaces, engagements and discussions

•Examinations of City/Country

•Anti- and/or De-colonial aesthetics and transmodern strategies of

re-existence

We welcome 4000-5000 word essays in English, Spanish or French. Artwork, music, dance, poetry, mas or junkanoo designs or any other artistic expression with blurbs in English, French, Spanish, Dutch, dialect or creole are welcome as well as films in any language with subtitles in English. Fiction or non-fiction writings in English or dialects will be accepted. Writings in dialect should be accompanied by a translation of terms. Research papers on visual or vocal modes of expression as well as interviews of contemporary artists in English are also welcome.

ALL Submissions should be accompanied by the following in one document in this order:

**Name*

** Professional affiliation*

** Contact information*

** Title of Attached manuscript*

** keywords, at least 3  (essays only)*

**an abstract of not more than 150 words (essays & interviews only)*

**a biography of not more than 60 words*

** A professional photograph of yourself (optional)*

*Essays, Interviews and Reviews**:*

Text including endnotes must be in Microsoft Word format (double-spaced, in a readable font) and images in jpg. format. Titles in the body of the text should be italicized with section titles in bold.  All essays must have accurate bibliographies. MLA format should be used. Video/sound clips can be sent via e-mail or on CD/DVD.*

*Word limits for various submissions are as follows:-*

*Academic papers: 7500 words*

*Reviews: 3000 words*

*Profiles/Essays on Artists and Art Work: 1000-1500 words*

*Upcoming Events/Releases/Shows or highlights from arts organizations:

100-250 words*

*Email submissions to: submissions@caribbeanintransit.com  and cc to

caribintransit@gmail.com*

*DEADLINE: AUGUST 15th 2012*

*Cutting edges : New media & Creative entrepreneurship*

Call for papers Issue 4

L'idée de Caribbean Intransit est de fournir un 'lieu de rencontre' créatif pour les artistes antillais afin de leur permettre de partager leurs idées et travaux au sein d'une communauté de producteurs culturels, d'étudiants, de chercheurs, d'activistes et d'entrepreneurs. Caribbean intransit fonctionnera comme portail d'accès pour ces individus et groupes qui pourront utiliser ces ressources comme outils sociopolitiques de changement progressif dans la Caraïbe et dans ses multiples diasporas.

Chaque numéro de Caribbean Intransit présentera les points de vue d'une diversité d'artistes, d'universitaires et d'entrepreneurs concernant un thème particulier. Les participants sont invités à soumettre des travaux de recherche et à entrer en contact avec d'autres contributeurs en réponse à leur travail. De cette façon, nous espérons bâtir une communauté intéressée par la création de réseaux de

travail et de réflexion ainsi que par celle de nouveaux espaces de croissance. Nous cherchons à identifier la communauté, la production artistique et l'entreprenariat comme modes de transition et connexion pour les îles de la Caraïbe et ses diasporas.

Pour plus d'information concernant les appels à contribution des autres numéros, l'équipe éditoriale, veuillez vous référer à notre site www.caribbeanintransit.com. Rejoignez notre page facebook

"Caribbean-Intransit".

*CARIBBEAN INTRANSIT  BIANNUAL ARTS JOURNAL*

*ISSUE 4: Cutting Edges: New Media & Creative Entrepreneurship*

Dans toute la Caraïbe et pour toute la diaspora caribéenne, les pratiques et les formes artistiques sont fragiles. Depuis le début de la crise économique mondiale en 2008, les arts ont souffert de pertes financières importantes et d'une réduction considérable des soutiens institutionnels.  Les défis persistants et internationaux que doivent relever la pratique et laproduction artistiques affectent la Caraïbe de manière spécifique. Prenant la crise comme difficile point de départ à la réflexion, ce numéro de Caribbean Intransit se propose d'évaluer les risques inhérents à la rencontre des nouvelles technologies, des pratiques artistiques et de l'esprit d'entreprise aussi bien que les possibilités offertes par une telle rencontre. Comment devons-nous utiliser les pratiques artistiques dynamiques, les innovations technologiques et les pratiques commerciales existantes pour trouver des solutions créatives aux défis propres à l'espace caribéen ? Comment l'esprit d'entreprise, les réseaux sociaux, la mobilité et les projets artistiques ont-ils fragilisé ou au contraire renforcé les arts dans ces temps de crise ? Les pratiques indigènes et traditionnelles sont-elles en danger à l'ère de la globalisation de la communication et des échanges ? Comment les expérimentations dans les nouveaux médias et la performance, en cinéma et en vidéo, en littérature, musique, arts plastiques et en architecture constituent-elles de manière esthétique des interventions économiquement durables et valides pour les

temps actuels ?

Ce numéro de Carribean In Transit invite à explorer ces dynamiques et leurs interprétations multiples pour les embûches qu'elles réservent et pour les promesses qu'elles contiennent.

Les contributions théoriques ou artistiques pourront considérer les sujets suivants* :

-       Les espaces caribéens et/ou l'art marqué du sceau du lieu dans les représentations numériques : nationalité, trans-nationalité, global citizenship

-       Les récits des combats culturels, personnels ou d'une communauté

-       Le lieu comme ancrage ou référence

-       La culture comme stratégie politique, sociale et/ou économique

-       Etude de cas de productions culturelles, de méthodologies et

d'iconographies

-       Les échanges et les engagements à l'intérieur d'un espace caribéen

ou entre plusieurs espaces caribéens

-       Les dynamiques ville/campagne

-       Les esthétiques anticoloniales ou de décolonisation

-       Les stratégies transmodernes de re -naissance

*liste non-exhaustive.

Les articles seront soumis en anglais, espagnol ou en français et n'excéderont pas 5000 mots. Les propositions artistiques, musicales, poétiques, chorégraphiées, masques et costumes de carnaval ou de junkanoo et toute autre forme d'expression artistique accompagnées de textes de présentation en anglais, français, espagnol, allemand, patois ou créole seront considérées au même titre que les films et les vidéos. Les articles académiques sur les arts visuels ou la musique ainsi que les entretiens avec des artistes contemporains sont également les bienvenus.

Les textes et les productions en patois proposeront une traduction.**

*Tous les articles soumis seront accompagnés d'un document contenant les informations suivantes, dans l'ordre indiqué : *

**Nom*

** Statut du contributeur*

** Adresse, mail*

** Titre du manuscrit joint*

** Mots-clé (au moins trois) pour les articles*

**un résumé de 1500 mots*

**une biographie n'excédant pas 60 mots*

**une photographie académique (facultatif) *

*Contributions, Entretiens et Recensions: *

*Les articles incluant des notes de bas de pages seront au format Microsoft Word (espace double, sur fond blanc), les images au format jpg. Les titres dans le corps du texte seront en italique et ceux des sous-parties en gras. Tous les articles seront soutenus d'une bibliographie à jour au format MLA.

Les vidéos et les clips pourront être envoyés par messagerie électronique ou sur support CD ou DVD.  Les conditions pour les différentes candidatures sont les suivantes:*

*Articles : 7500 mots*

*Recensions: 3000 mots*

*Articles consacrés à un  artiste et une œuvre: 1000-1500 mots*

*Annonces d'un événement ou d'une publication : 100-250 mots*

*Les propositions seront envoyées à

**submissions@caribbeanintransit.com*<submissions@caribbeanintransit.com>

*  et en CC **caribintransit@gmail.com* <caribintransit@gmail.com>

Date limite de soumission : 15 Août 2012   

Another View of a Lodge: Ciego de Avila, Cuba.

From time to time, The Hedge Mason will endeavor to provide glimpses of exceptional, and sometimes quite everyday lodges from around the world. If we tend to show biases for certain nations, well, we make no pretense of not having favorites. However, send us photos and some information about your lodge, where ever in the world it may be, and we will consider posting it. Especially if you take strong photos and not just "snapshots."

The idea of sharing these, apart from showing some lodges which the Hedge Mason considers aesthetically appealing, is to help make the world a smaller place and to share a common experience among all masons of all obediences and nations.

This time, we are looking at a lodge in Ciego de Avila, Cuba. Ciego de Ávila is a city in central Cuba and has a population of about 86,100. The city is located about 460 km (290 mi) east of Havana and 110 km (68 mi) west of the city of Camagüey. Not a touristic place, Ciego de Avila is a small city but worth seeing. Ciego de Avila, typical of the unspoiled Cuban life without tourism, features an architecture famous for its neo-classic buildings with long roofed corridors along the sidewalks. Cuban architecture combines Moorish, baroque and Art Deco styles.

This lodge is noteworthy for maintaining some stunning mural decoration in the lodge room. Notice the use of lighting to highlight the murals to best effect. The state of the lodge indicates that the membership makes serious sacrifices to maintain their lodge and value the heritage that has been entrusted to them. Note also the use of a real skull for the chamber of reflecttion, an indication of retention of long standing traditions. This lodge is the Grand Lodge of Ciego de Avila Province, which has a total of eight (8) lodges under its jurisdiction. The lodge visibly displays its certification documenting its foundation dating to the 1800s for all to see.


I hope you all enjoy, as this is clearly a remarkable lodge!

Arte Maçónica .'. Masonic Art

Carmen-Lara is a Portuguese visual artist with a rich palate and an equally diverse subject matter. One of her stated interests is in devoting canvases to Masonic themes.

VITRIOL or V.I.T.R.I.O.L. is the abbreviation of the Latin expression "Visita Interiorem Terrae, Rectificandoque, Invenies Occultum Lapidem," which means: Visit the Center of the Earth, grind it up, find the hidden stone (or Philosophy). Philosophically it means: Visit the Interior, purify, find the Hidden Self, or "the essence of your human soul." It is the universal symbol of man's quest to constantly improve himself and society in general.

Of her art, Carmen-Lara remarks, "Art adds beauty, excellence, nobility, dignity, and balance to a space. Let the feeling of well-being, of harmony, of emotions, invade your being!

ART IS A LANGUAGE!

Arte Maçónica .'. Masonic Art
http://artemaconicadacarmen.blogspot.com/