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 Volume 1 Issue 2
 Welcome
Here we are already at issue two of our newsletter,as I have been working and communicating withmany people over the last month I have forged newfriendships and strengthened existing ones.When I started this group on Facebook only two months ago Inever expected it to take off so fast and grow so rapidly, it is nowthe evening of Saturday 1
st
August as I type this introduction andthe group stands at a massive 1,099 members and I would not besurprised if it hadn’t grown by the time you are reading this.My first duty is to thank Martyn for all his continued assistancewith this project and I am delighted to introduce to you (many willknow him already) our new Articles Editor Bro. Kevin Noel Olson.I won’t go into his background and credentials but you will get a‘taste’ of him later in the newsletter as he presents some of his work and that of one of the brethren in his Lodge.We have articles from many people from different walks of life butwhom all have one thing in common, a love for this Craft.The theme as you know for our group is Masonic Art and I hopeyou will enjoy this small sample presented to you today, I wouldabsolutely love to get your feedback on this and upcoming issues, just to keep you informed as the new ‘Masonic Season’ approachesthe newsletter (after September) will become bi-monthly until nextJune when it will go monthly again over the summer.As always I am in constant need of contributions to the newsletterand leave it up to you to define Art (I wouldn’t be sopresumptuous).I am also very happy to let you all know about the Masonic Artexchange webpage (which most if not all of would have passedthrough on your way here)Finally, thank you all for taking the time to support this project andlook forward to hearing from many of you soon.Yours Fraternally
David Naughton-ShiresOrmonde Lodge #201 (IC)info@masonic-ae.com
www.masonic-ae.com
Introduction
 
from
 
President
 
and
 
Creator
 
of 
 
the
 
MAE
 
Content.
Page
 
1:
 
Introduction
 
and
 
contents.
 
Page
 
2:
 
Skulls
 
&
 
Gold:
 
Creating
 
Knight
 
Templars
 
Aprons.
 
A
 
brief 
 
outline
 
of 
 
the
 
story
 
behind
 
The
 
Knight
 
Templar
 
Apron
 
and
 
the
 
beautiful
 
creations
 
of 
 
Ginger
 
Wood
 
Smyrl
 
Page
 
3/4:
 
“Et
 
in
 
Arcadia
 
Ego”
 
Bro.
 
Nathan
 
M.
 
Glover
 
shares
 
with
 
us
 
the
 
symbolism
 
found
 
in
 
the
 
‘Et
 
in
 
Arcadia
 
Ego’
 
paintings
 
Page
 
5/6:
 
Famous
 
Freemasons
 
in
 
Art
 
Part
 
1.
 
Brother
 
George
 
Washington.
 
Page
 
7:
 
‘Travelling
 
Man
 
Of 
 
The
 
Old
 
West’
 
A
 
wonderful
 
poem
 
by
 
Bro
 
Kevin
 
Noel
 
Olson
 
Page
 
8/9:
 
‘A
 
Hobo
 
Freemason’
 
Off 
 
a
 
Westbound
 
train
 
alighted,
 
A
 
man
 
in
 
a
 
worn,
 
threadbare
 
coat.
 
In
 
a
 
cafe
 
he
 
spent
 
his
 
last
 
dime,
 
For
 
cup
 
of 
 
Joe
 
and
 
piece
 
of 
 
toast.
 
Page
 
10/13:
 
Picture
 
This:
 
The
 
art
 
of 
 
the
 
Lodge
 
room.
 
Page
 
14:
 
‘Synthetica’:
 
The
 
work
 
of 
 
Brother
 
Shawn
 
Crowe.
 
Page
 
15/16:
 
Long
 
Distance
 
Information
 
get
 
me......
:
 
A
 
brief 
 
introduction
 
to
 
his
 
home
 
town
 
by
 
Bro.
 
Kendall
 
Jewell.
 
Page
 
18:
 
Sample
 
page:
 
A
 
small
 
sample
 
of 
 
some
 
of 
 
the
 
art
 
found
 
in
 
the
 
group
 
on
 
Facebook.
 
Page
 
19:
 
Farewell:
 
Here
 
lies
 
the
 
end
 
with
 
two
 
‘recommended’
 
places
 
to
 
visit.
 
http://www.phoenixmasonry.org/masonicmuseum/romantic_masonic_postcards.htm
 
 
 
Ginger
 
Wood
 
Smyrl
 
was
 
born
 
and
 
raised
 
in
 
NE
 
Oklahoma
 
and
 
has
 
been
 
sewing
 
since
 
she
 
was
 
8
 
years
 
old.
 
Her
 
mother
 
and
 
grandmothers
 
taught
 
her
 
how
 
to
 
sew
 
and
 
she
 
learned
 
how
 
to
 
engineer
 
a
 
project
 
from
 
her
 
Dad.
 
She
 
became
 
a
 
member
 
of 
 
the
 
International
 
Order
 
of 
 
Rainbow
 
Girls
 
(IORG)
 
in
 
1979,
 
received
 
her
 
Grand
 
Cross
 
of 
 
Colour
 
and
 
became
 
a
 
member
 
of 
 
the
 
Order
 
of 
 
Eastern
 
Star
 
(OES)
 
in
 
1985
 
upon
 
reaching
 
the
 
age
 
of 
 
majority
 
in
 
Rainbow
 
Girls.
 
She
 
has
 
no
 
formal
 
training
 
as
 
an
 
artist
 
or
 
seamstress,
 
but
 
art
 
and
 
beauty
 
are
 
in
 
the
 
eye
 
of 
 
the
 
beholder.
 
She
 
says
 
her
 
love
 
of 
 
history
 
has
 
helped
 
pave
 
the
 
way
 
for
 
her
 
ability
 
to
 
recreate
 
items
 
without
 
a
 
true
 
pattern.
 
Ginger’s
 
husband
 
initially
 
asked
 
her
 
to
 
remake
 
some
 
old
 
costumes
 
and
 
other
 
regalia
 
a
 
few
 
years
 
ago
 
for
 
several
 
Masonic
 
bodies.
 
After
 
that
 
task,
 
he
 
asked
 
if 
 
she
 
would
 
make
 
him
 
a
 
Knight
 
Templar
 
apron
 
similar
 
to
 
the
 
“old
 
style”
 
worn
 
by
 
Commandery
 
#1
 
in
 
the
 
District
 
of 
 
Columbia.
 
She
 
has
 
also
 
made
 
custom
 
aprons
 
for
 
Past
 
Masters
 
of 
 
Blue
 
Lodge
 
which
 
are
 
very
 
personalized
 
to
 
their
 
requests.
 
Sewing
 
is
 
a
 
passion
 
for
 
her
 
and
 
seeing
 
the
 
 joy
 
on
 
someone’s
 
face
 
when
 
they
 
receive
 
their
 
apron
 
is
 
priceless.
 
SKULLS AND GOLD
:CREATING KNIGHT TEMPLAR APRONS
Early
 
History
 
The
 
first
 
written
 
"standard"
 
for
 
the
 
Knight
 
Templar
 
apron
 
was
 
published
 
in
 
Thomas
 
Smith
 
Webb's
 
"Monitor"
 
of 
 
1797.
 
(Interesting
 
side
 
note:
 
Webb
 
was
 
only
 
26
 
years
 
old
 
when
 
this
 
work
 
was
 
published!).
 
In
 
this
 
volume
 
(and
 
subsequent
 
reissues)
 
Webb
 
describes
 
the
 
apron
 
as
 
"White,
 
with
 
a
 
black
 
border;
 
or
 
black,
 
with
 
a
 
white
 
border.
 
The
 
flap
 
black,
 
and
 
a
 
skull
 
and
 
cross
 
bones
 
embroidered
 
in
 
silver
 
thereon."
 
(1)
 
It
 
is
 
to
 
Webb
 
that
 
the
 
first
 
standards
 
of 
 
Masonic
 
ritual
 
and
 
ceremony
 
are
 
attributed
 
as
 
his
 
"Webb
 
work"
 
recast
 
some
 
of 
 
the
 
degrees,
 
and
 
completely
 
reconstructed
 
others.
 
Webb's
 
"standard"
 
was
 
accepted
 
by
 
the
 
early
 
Templars,
 
and
 
it
 
was
 
not
 
until
 
after
 
the
 
formation
 
of 
 
the
 
Grand
 
Encampment,
 
and
 
its
 
subsequent
 
publishing
 
of 
 
the
 
general
 
statutes
 
of 
 
1839,
 
that
 
a
 
new
 
permanent
 
design
 
was
 
agreed
 
upon.
 
In
 
Chapter
 
4
 
of 
 
the
 
General
 
Statutes
 
of 
 
the
 
Grand
 
Encampment,
 
the
 
following
 
description
 
can
 
be
 
found
 
of 
 
the
 
Templar
 
Uniform:
 
 Article
 
1.a
 
black 
 
velvet 
 
apron
 
of 
 
triangular 
 
 form,
 
having
 
on
 
the
 
centre
 
a
 
 patriarchal 
 
cross,
 
and 
 
on
 
the
 
 flap
 
a
 
skull 
 
and 
 
cross
 
bones
 
all 
 
in
 
silver.
 
The
 
edging
 
of 
 
the
 
aprons
 
and 
 
collars
 
shall 
 
be
 
gold 
 
 for 
 
Grand 
 
Bodies,
 
and 
 
of 
 
silver 
 
 for 
 
Subordinate
 
Commanderies
.
 
(2)
 
The
 
Symbolism
 
of 
 
the
 
Knight
 
Templar
 
Apron
 
Deeply
 
rooted
 
in
 
the
 
heritage
 
of 
 
the
 
ancient
 
Templars,
 
the
 
Knight
 
Templar
 
apron
 
draws
 
its
 
symbolism
 
from
 
the
 
past,
 
to
 
create
 
a
 
tie
 
between
 
those
 
ancient
 
Templars
 
and
 
the
 
modern
 
Masonic
 
Knight
 
Templar.
 
The
 
black
 
of 
 
the
 
apron
 
reminds
 
the
 
Sir
 
Knight
 
of 
 
the
 
martyrdom
 
of 
 
Jacques
 
DeMolai,
 
and
 
the
 
central,
 
and
 
most
 
striking
 
emblem
 
of 
 
the
 
apron
 
the
 
skull
 
and
 
crossed
 
bones
‐
the
 
symbol
 
of 
 
the
 
last
 
of 
 
mortality.
(3)
 
Sources:
 
(1)
 
"The
 
Freemason's
 
Monitor;
 
or
 
Illustrations
 
of 
 
Masonry
 
in
 
two
 
parts",
 
Thomas
 
Smith
 
Webb,
 
Cushing
 
and
 
Appleton
 
Publishers,
 
Salem,
 
Mass.,
 
1821,
 
p236.
 
(2)
 
"Proceedings
 
of 
 
the
 
General
 
Grand
 
Encampment
 
Knights
 
Templar
 
of 
 
the
 
United
 
States
 
1816
 
to
 
1856",
 
New
 
Orleans,
 
1860,
 
p309.
 
(3)
 
"The
 
Scull
 
and
 
Cross
 
Bones",
 
William
 
Brown,
 
Past
 
Grand
 
High
 
Priest
‐
Virginia,
 
Curator,
 
George
 
Washington
 
Masonic
 
Memorial
 
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