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THE MASONIC J 0 U R N A L
NO GOD.
The fool hath said, “Tlti^re is no God !”
No God! Who lights the morning suii,
And sends him on his heavenl}^ road,
A fair and brilliant course to'rmi Y
Who, when the radiant day is done.
Hangs forth the moon’s nocturnal lamp,
.And bids the irlanets, one and one,
osteal o’er the night vales dark and damp?
No God ! Who gives the even dew ?
The fanning breeze, the fostering sliower?
Who warms the spring morn’s budding
bougli,
And plants the summer’s noontide flower?
Who spreads in the autumn bower
The fruit-tixjes’ mellow stores around,
And .sends the winter’s icy power
To invigorate the exhausted ground?
NTo God! VvGio makes the bird to \ving
Its flight like arrow through the sky,
And gives the deer its power to spring
From rock to I'ock triuinphautly ?
"U lio formed the Belieinotli, huge and high,
Tliat at a draught the river drains,
And great Leviatliansfo lie.
Like floating isle.s, on ocean plains? .
No God ! iriio warms the lieart. to heave
IFith thousand feelings soft and sweet,
And prompts the aspiring soul to leave
The eartii we tread beneath our feet,
And soar aw:iy on pinions fleet
Beyond the scene of mortal strife,
II ith fair etheiial forms to meet,
That tells ns of the after life?
I
formed principnlly of beads. In the for
mer three, much ol it is e.xecutod in wood
among the lower and less artistic classes.
While a!! this may not he called mosaic,
because of the difference of material, we
must remember that it is not the material
that makes the mosaic, but the principles
of the aft; then mosaic is a principle in
art. If so, then it may as well be of wood
or beads, as of glass, gold or precious
stones, so long as ihe design is accurately
carried out.
It may as well be concentric rings,
curves, arcs of circles, geometric lines,
squares, oblongs or diamonds, as of pic
tures. This last is the general Masonic
idea, as represented in our Masonic tesel-
lated floor. Of this kind we have a beau
tiful representative in Dr. Thompson’s
Land and Book, vol. 2, pp, 570-571.
“At Heliopolis we have the temple of
the Sun, with the priests standing before
it, clothed in their linen garments, * *
A well the bottom whereof is a bluish col
or, to denote the color of the water at a
great depth. * * The prospect of
Babylon, distingui.shed by a round tower,
obelisks. The pai ticular shape
were four hundred years after it
val and befote Masonny origin.t^;^’;
Lngland.
But the mosaic and the Bible
and figures of colossal statues at the city
No God ! Jl'bo fixed tlie solid ground
Of pillars strong t'nit :dter not?
If ho spread the euitained .skies around?
II ho doth the ocean bounds alot?
iriio all things to perfection brought
On earth below, in heaven above?
Go ask the fool, of impious thought,
IFho dares to “There is no God T’
The Mosaic Pavement.
BY BEO. EEV. W. S. HOOPER.
The idea that the inner work of Solo
mon’s Temple was of the character that
we call mosaic, is, to a certain e.vtent,
theoretical ; yet there is some degree of
assurance in believing that it was mosaic
in all its general charaeterlstics. Such is
the inference that we may draw from the
Hebrew Gabbal.ha, and which was used
doubtless, as late as Pilate at the condem
nation of Jesus Christ. “It perhaps de
signated an elevated place, or bema, and
’■ the pavement was possibly some mo
saic or tesselated work, either forming
the bema itself, or the flooring of the court
immediately around it.” It is not at all
- inconsistent with reason to suppose that
■■ the designs of all these courts and palaces
were carried down from age to age, with
■ a degree of accuracy as near correct as
was possible and as was consistent with
financial ability, and as far as the knowl
edge of the art was known.
The general principles of the art have
not been confined to the Byzantine nation
or age. Nor to Hebrews or Greeks. We
find the same pnnciples of carving among
the remains ot Egypt, in the ancient his
tory of the Ethiopians, and in some won
derful specimens in the huts of interior
Africa. Also, in the general elements in
the rums of Yucatan, Mexico, Central
America, and in the Giant Cities of Bash-
an. In all of these countries, separated
*rom the last by wide oceans and
of Memphis. With many other histori
cal references, which show that the artist
was not only a man of great artistic skill,
but also of large historical learning, and
well versed in the elements of character
peculiar to the then existing nations.
Furthei evidences of great knowledge in
natural history is shown in the facts of
the design of many kinds ot animals pe^
culiar to nations far removed from his
own. Some being known by the people
in that locality are not named, while
others of remote countries are named in
Greek capitals.’' For those we can only
refer the reader to the animals named in
Scripture and works of zoology of great
antiquitv. There are the domesticated
animals peculiar to all ages. Of birds
there is not a great variety, and they are
generally confined to such as the common
fowl, eagle and crane, represeriteil in
their own peculiar element of character.
In all of these there is not merely the
object, but the characteristic of the ob
ject. Alexander is a warrior. The con
quered as the conqueror s slave The
priest in hisofliGial duties. The Hippo
potamus and the crane, each in native el
ement. Memphis by the side of the river.
The physiological peculiarity of every
bird, fowl, and animal, with all their
plumage in all their variety of color and
beauty.
Going deeper in the realms of nature,
we have the palm-tree, and many other
elements of the science of botany are dis
tinguished by all the beauty of oriental
shrubbery and ornamental plants, even
to the “lotus, that extraordinary symbol
in Egyptian mythology,” presenting us
all the roseate Imes of every flower, plant
and tree.
What an amount of knowledge is here
presented by the artist ! It of course
cannot be presumed that all of this im
mense work could have been by the hand
of one man.—only the design,—hence the
workmen must have been numerous.
Age of the Pavement.—There is, per
haps, no way of arriving at the date of the
It bears the
things, let us look at the probable age of
the mosaic. To enable us the more clear
ly to develop, let us take the Temple of
Fortune, at Praeneste, in which we find
I i-xac JJ1O10
the pavement and embellishments of olosel}'connected in the cent '
which we are writing. If true, that all j and 1000 E. 0. In an organizay^
art or science, to have gained so great a j this kind, while there is no mention
degree of perfection has been for ages and j as such, in that sacied book
. ii„.„ 1 i7tp century A D„ it was l’argely"'ijj'
dieted ; and the separation hdtween
two, at that time, was wide, So that '
must have caused a great hiltori'!
knowledge on the part of the ongij,
tor, or a very beautiful accidental blend'
ingof what was doubtless an intentionsi
part of the same historic events.
Jbesig,i.~In this age there is nodesi.a
in the mosaic, only to produce a beam',
ful view to the eye, Origmallv it
commemorative of history, zoology, orni.
thology, botany, architecture, and’ma„,.
kindred arts and sciences; hence
have before said the mosaic was a pri„.
ciple, more than an art.
Now Slasonry perpetuates the pfinci-
pie, and not the art. Its principle was
the perpetuity of real life. So we find
in our Order, not history, zoology, etc
but all of the elements and every feature
of human life. Every element—sorrow
and joy ; prosperity and adversity; ricli-
es and poverty ; death and life ; timeand
eternity—all are taught us as the neces
sary coucommitant of humanity. Here
w'e are to learn the weal and woe ot our
probationary state. It is a checkered
scene, and we should look upon it as a
fair element of instruction.
We may not individually passthrongl,
all, but we are constantly looking nnon
it in our brethren. Thus we are to see
every element delineated, and it should
be to ns the very same guide and protec
tion, theoretically, as the beacon light to
the mariner, praciically.— Voice of Ma
sonry.
Where Moody and Sankey get
an income.
thous-
acds of miles, we have not only these Drin
oiples but buildings are constructed | invention of such an art. it bears th.
exactly alike in the general design and marks of age, temporary decay and mod-
tho character of stone. Among the less ! era talent.
cultivated and the barbarous, though less | An art of such power, beauty and sym-
beauti ul and delicate, and even rough, metry could not have been one of sudden
have the very same in India, China, -Ja- conception and invention. This maybe
pan and the Indians of North America. ! proven not by tne necessity of argument
Each graded in artistic design and exeeu but by the experience of hLan life an i
rn'taTsLt1 -ienoe
and art. Such achievements have gener
ally taken centuries to develop.
In the former it is many times verv
;beautiful, showing great artistic eleganol
In the last it is rough and uncouth, being
---f If this
be true in the ca.se of the mosaic pave
ment and embellishment, as in all other
centuries in development; then to have
had so perfect a piece of workmanship in
that temple—it must have been of great
age at that time. Then, though imper
fectly, the age of the world at that time
will lead to tt e approximate age of the
art.
“The mosaic pavements were certainly
begun to be made under the dictatorship
of Sylla (Dr. Harmer), and there still re
mains one which ho caused to be made in
the Temple of Fortune, at Prmneste. We
first hear of Prieneste as a member of the
Latin League ; but, 499 B. 0., it quitted
the confederacy and joined the cause of
the Romans” (Chambers). Here is
enough to show a great antiquity, perhaps
there is need to go no further at present'
But to reason from kiiman experience and
the natural development of art and sci
ence, we would very naturally say that
it must of necessity be of greater age
The thought of Harmer, as taken from
Pliny, who wrote, 52 A. D., is, that it was
the invention of some artist who wrought
under Sylla. ’ But if all other arts were
those of slow growth, how could it be that
this, so much more elaborate and delicate,
could have been produced by one man,
and otbfeis immediately educated in its
execution, so as to produce such exquis
ite workmanship in the extraordinary
short time of a single life.
That it was begun to be made at that
place and in that country, is not a matter
of any doubt; but that it was irivented
and arrived at perfection in that age, is a
matter of gr.ive doubt; first because
Pliny wiote near five hundred years after,
when there were many chances to have
lost the kiiowledge-of the origin of the
art; second, from the greater opportuni
ties now oi learning the ancient history
than then, and ;.iecause the most learned
now say “its origin is buried in obliv
ion ;” third, it must have t'-iken ages to
have accomplished the perfection of col
ors and their blending, to have formed
such exquisite and accurate patterns;
because there is as much ol science as art
in their execution, and they can only he
discovered, atom by atom, and after long
research. In this matter we may com
pare the slow growth of sculpture, archi
tecture, mathematics, astroraomy, paint-
iug and ui&,ny kindred arts or sciences ;
and this could not be an anomaly to the
rule. Lastly, it is kindred to that of
painting, but must be of later date, be
cause it IS the imitation. “As early as
1900 B. C,, the walls and temple of
Thebes were decorated by paintings and
sculptures. But similar things were
discovered among the ruins of Babylon
whose historic dates will reach beyond
2234 B. C. Now if we find these kind
red sciences and arts so long ago, and at
a time when they were being developed
more rapidly than at any time .since, this
must have been brought by degrees, into
existence, at or near that time.
If this be true, then it may not be im
possible that the decorations of the Tem-
ble were in some measure characteristic
of this element of art, for Solomon’s reign
was from 1015 to 975 B. C. ; so by a pro
cess of natural reasoning, it is not impos
sible that the date of the pavement is of
great antiquity.
Wbere Masons got Masonry,
then, dates to Solomon, it is not hard to
find where Masons got the idea of the
mosaic pavement. If they originated in
1717. A. p., as per Findel, then there
Every day they receive by mail vol
untary donations from all classes ofeii-
thusiastic people who have become infat
uated by the preaching of Moody ami
the singing of .Sankey. These sums ag
gregate such a large amount tliat'tis
safe to say both of these men are in com
fortable circumstances, and are in reality
profiting largely by their work, Mr.
Moody has recently purchased aline
house in Ncrthfield, Ma.ss., (bis tiative
town,) and is now having it refitted act!
improved, and meantime he has sent his
family to spend the winter months at a
fashionable resort in Florida.
Does it Pay to be Boss.
, A young contractor in one of the large
Springfield manufactories, in company
with his wife, a sad looking little woman
in threadbare clothing, entered one -cf the
town meat markets one recent Saturday
and, after gazing .around for a moment,
the man ordered a soup bone for Sunday
M'hile it was being wrapped up a spruce
looking y'oung man, with a mii.ssive gold
'Watch chain, .attired in a suit cut in the
latest fashion and $60 overcoat, entered,
and pompously ordered four pounds of
sirloin steak at twenty-five cents per
pound. The little woman looked wist
fully at the tender, juicysteak as it wa*
being cut off, and then at the bone which
was to furnish lier dinner the next day.
and, turning to her husband, said: George,
why can’t we have as good meat as that
man ; he works under you at the shop
T know it, Jenny,’ replied the contractor,
drawing himself up to his full height, ‘but
he’s only a poo? bench workman and I m
boss, and it’s worth something to be boss,
you know.’ 'Y-e-s,’ said the wife with a
sigh, which said plainly that she would
much rather be a poor workman’s wile
than that of a ‘boss’ and live on soup.
■ US,;
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