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Article STRAY THOUGHTS ON THE ORIGIN AND PROGESS OF THE FINE ARTS. ← Page 2 of 2 Article LABOUR AND PROGRESS. Page 1 of 1
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Stray Thoughts On The Origin And Progess Of The Fine Arts.
the physical wants of man , so m like manner the fine arts had their ori gin in his intellectual Avants , or the desire to gratify his mind by the contem plation of the rude products of necessity , embellished and ornamented , and partly to supply certain sensible or visible representations of sentiments and ideas which , to the circumscribed capacity of unenlihtened ageswere extremely vague . A
g , ¦ supreme omnipotent , invisible intelligence , being infinitely beyond the scope of vulgar comprehension , Avas under the necessity of being shadowed forth to them through the medium of some more obvious and familiar imaginary . The attributes of intelligence , poAver , justice , love , mercy , Avere separately personified and converted into sensible
-objects , the passions and affections of humanity , joy , , sorroAA , hope , hatred , fear , and revenge , were similarly embodied and clothed with material shape and form . The early history of the fine arts , IIOAV veiled in a mist of fable and antiquity , involves details which appear marvellous aud incredibleas distant objects Avken seen
, through a foggy medium assume an extravagant and unnatural magnitude . The national vanity of the imaginative Greeks found gratification in ascribing the origin ofthe fine arts to their tutelar gods . LOA ' C , celebrate ! by the mythologists as the ruler of nature , was the parent -of the arts , and music his first-born . The first artist Avas a
young female , who perceiving , the profile of her lover ' s features , shadowed upon the Avail by the strong light of a lamp , dreAV the first recorded outline . Prom this cherished object , eA en from this trivial beginning according to the Greek apologue , those arts Avhose softening and humanising tendencies have moderated barbarism , and toned down the disastrous effects of vice took their rise .
lhe Greeks ascribe to Dtedalus the honour of having restored the fine arts , after the deluge had involved all arts and inventions in ruin . Although a portion ofthe ¦ excessive admiration bestowed on him may have had its origin in the ignorance of his admirers , yet lie is . generally esteemed as the founder of the Athenian school . Beforehisappearaiicethe Grecian statues Averemere
shapeless masses of stone , their eyes closed , their arms banging down as if pinioned to their body , and their feet closely joined , devoid of life , attitude , or gesture . Daedalus threw life and vigour into these stiff effi gies , and his disciples gradually improving , attained to the production of existing models of symmetryeleganceand grandeur .
, , Although Ave must reject any theory as groundless , Avhich would advocate the exclusive discovery of the line arts , yet Ave must admit that the attainment of excellence in their pursuit and practice , has been more easily acquired by some nations than others . HOAV far moral and pit ysical causes operate on the progress of the line arts ' is a
question often discussed ; it seems hoAvevcr to be pretty certain that at particular rev-ohttions of time , some hidden influence—some celestial emanation asitAA'erc—appears to prompt a particular people , sharpens their inventive faculties , heightens their imagination , and stirs up to activit all their dormant iesGenius thus receives a
y energ . friendly reception , and dilates and nourishes on the genial soil . I do not propose to confine my thoughts to the progress ofthe arts among any one particular'people , but AVIII take a hasty glance at the progress of the line arts , as near as may be , in chronological order .
Ax E . UVLY JEWISH TEMPLE IN Cuix . v . —At the late meeting ( Oxford ) of the British Association , Dr . AIai-go-, van read n paper before the Geographical . Section , "On an Ante Christian Colony in China . " It appears there was a magnificent Jewish temple , which was destroyed by fire , in the c :: y of Ciiingtn , about u century before Christ .
Labour And Progress.
LABOUR AND PROGRESS .
Freemasonry is emphatically a Avorking Institution . Work , mental and physical , is practically taught in every les-son of tho mj-stic science . Prom tho time the initiate enters Avithin tho portals of the Temple , the duty of practical labour is enjoined in tho symbolic instructions given to him as well as in the illustrations of the ceremonials of tho
soA-eral degrees of Masomy . As an Entered Apprentice , representing Youth , he is expected to apply himself to acquiring a knowledge of the duties pertaining to his probationary position , and to prepare himself for more active usefulness in a higher sphere , that of a FOIIOAV Craft , representing Manhood . Having acquired a knowledge of
those duties , Avhich voluntarily assumed , ho has obligated himself to , and exemplified jmactically that tho lessons taught him Avcre impressed upon his heart and conscience , and that he is prepared for further advancement , the veil is uplifted aud he is led onwards to assume higher duties and additional obligations as a FOIIOAV Craftsman . There can be no
progross without labour , and advancement in Masonry is , or ought to be , based upon an intelligent application of the teachings imparted to the candidate . Tho indolent noviciate , Avho will not apply himself to the proper study of Masonry , as far as he has received the light , or practically exemplify its teachings in his daily life , ought never to be advanced
beyond the portals of the Temple . As a lieAver of wood or drawer of water , ho should be held in a subservient position , as a learner—an apprentice . The diligent student alone has a right to advancement , to further progress in our mystic science . Those alone ought to be promoted to the degree of Fellow Craft , and in due time to tho sublime degree of a Master Mason . Tho titles of the seA'eral degrees indicate
that of a learner , a proficient , and a Master or teacher . The Master ' s degree , implying that the noviciate and probationary periods have been jwssed , although representing that time of life Avhen men ordinarily are expected to cease from their active duties , it is then that the true Freemason , because of his temperate and regular course of life , having lived in accordance with tho teachings of tho institution , which arc based upon tho laws of Nature and of Nature ' s God ,
is in the possession of both mental bodily vigor , and AVCII qualified , for his mature age and experience , to be a teacher of Israel . As developoment and progress , both mental and physical , necessarily result from a strict observance of the laws of nature , and the active exorcise of our faculties in harmony with the design of the Creator ; so tlictruoFrcemason , from the time of his entrance into our Mystic Order , Avill
progress in wisdom and 1-CIIOAVlodge , will unfold tho divine nature of his being ; his faculties will expand Avith ago so long- as he is capable of nctivcuscfiilness , and OA ' CII as is taught in tho legend of tho Masters degrees , —when passed to a higher sphere , when raised from the earthly to the invisible Avorld , the spirit divested of its mortal bod ) -, Avill . continue , as in this life , unceasingly to deA'clopc and progrcssomvu-rd and
onward , from one degree of excellence to a higher . In God ' s world , progress is impressed upon all B is Avorks . In man , created in His likeness , ultimate the ideal of His creations , and in and through man the grand design of the Creator will bo perfected . Indolence , inactivity arc incompatible with progress , and consequently are inconsistent with Masonic obligations and duties . The teachings of Masonry
arc in harmony with God ' s laivs ; and labour , even Avhon called oil , at refreshment , docs not cease . And neither is the work of Masonry confined to the lodge rooms , it is there arc taught those lessons Avhich are to " be exemplified in our daily life and practice , and in our intercourse Avith our fellow num . Tho working-man alone is the true Mason . The indolent
, the ignorant , those who neither acquire a knoAvlcdge of tho true objects and purposes of Freemasonry , nor practice its teachings , arc not alone drones and useless , but tiro stumbling blocks and impediments to progress of the Institution in fulfilling its mission in tho elevation and improvement of tho family of man . American Mirror and Keystone .
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Stray Thoughts On The Origin And Progess Of The Fine Arts.
the physical wants of man , so m like manner the fine arts had their ori gin in his intellectual Avants , or the desire to gratify his mind by the contem plation of the rude products of necessity , embellished and ornamented , and partly to supply certain sensible or visible representations of sentiments and ideas which , to the circumscribed capacity of unenlihtened ageswere extremely vague . A
g , ¦ supreme omnipotent , invisible intelligence , being infinitely beyond the scope of vulgar comprehension , Avas under the necessity of being shadowed forth to them through the medium of some more obvious and familiar imaginary . The attributes of intelligence , poAver , justice , love , mercy , Avere separately personified and converted into sensible
-objects , the passions and affections of humanity , joy , , sorroAA , hope , hatred , fear , and revenge , were similarly embodied and clothed with material shape and form . The early history of the fine arts , IIOAV veiled in a mist of fable and antiquity , involves details which appear marvellous aud incredibleas distant objects Avken seen
, through a foggy medium assume an extravagant and unnatural magnitude . The national vanity of the imaginative Greeks found gratification in ascribing the origin ofthe fine arts to their tutelar gods . LOA ' C , celebrate ! by the mythologists as the ruler of nature , was the parent -of the arts , and music his first-born . The first artist Avas a
young female , who perceiving , the profile of her lover ' s features , shadowed upon the Avail by the strong light of a lamp , dreAV the first recorded outline . Prom this cherished object , eA en from this trivial beginning according to the Greek apologue , those arts Avhose softening and humanising tendencies have moderated barbarism , and toned down the disastrous effects of vice took their rise .
lhe Greeks ascribe to Dtedalus the honour of having restored the fine arts , after the deluge had involved all arts and inventions in ruin . Although a portion ofthe ¦ excessive admiration bestowed on him may have had its origin in the ignorance of his admirers , yet lie is . generally esteemed as the founder of the Athenian school . Beforehisappearaiicethe Grecian statues Averemere
shapeless masses of stone , their eyes closed , their arms banging down as if pinioned to their body , and their feet closely joined , devoid of life , attitude , or gesture . Daedalus threw life and vigour into these stiff effi gies , and his disciples gradually improving , attained to the production of existing models of symmetryeleganceand grandeur .
, , Although Ave must reject any theory as groundless , Avhich would advocate the exclusive discovery of the line arts , yet Ave must admit that the attainment of excellence in their pursuit and practice , has been more easily acquired by some nations than others . HOAV far moral and pit ysical causes operate on the progress of the line arts ' is a
question often discussed ; it seems hoAvevcr to be pretty certain that at particular rev-ohttions of time , some hidden influence—some celestial emanation asitAA'erc—appears to prompt a particular people , sharpens their inventive faculties , heightens their imagination , and stirs up to activit all their dormant iesGenius thus receives a
y energ . friendly reception , and dilates and nourishes on the genial soil . I do not propose to confine my thoughts to the progress ofthe arts among any one particular'people , but AVIII take a hasty glance at the progress of the line arts , as near as may be , in chronological order .
Ax E . UVLY JEWISH TEMPLE IN Cuix . v . —At the late meeting ( Oxford ) of the British Association , Dr . AIai-go-, van read n paper before the Geographical . Section , "On an Ante Christian Colony in China . " It appears there was a magnificent Jewish temple , which was destroyed by fire , in the c :: y of Ciiingtn , about u century before Christ .
Labour And Progress.
LABOUR AND PROGRESS .
Freemasonry is emphatically a Avorking Institution . Work , mental and physical , is practically taught in every les-son of tho mj-stic science . Prom tho time the initiate enters Avithin tho portals of the Temple , the duty of practical labour is enjoined in tho symbolic instructions given to him as well as in the illustrations of the ceremonials of tho
soA-eral degrees of Masomy . As an Entered Apprentice , representing Youth , he is expected to apply himself to acquiring a knowledge of the duties pertaining to his probationary position , and to prepare himself for more active usefulness in a higher sphere , that of a FOIIOAV Craft , representing Manhood . Having acquired a knowledge of
those duties , Avhich voluntarily assumed , ho has obligated himself to , and exemplified jmactically that tho lessons taught him Avcre impressed upon his heart and conscience , and that he is prepared for further advancement , the veil is uplifted aud he is led onwards to assume higher duties and additional obligations as a FOIIOAV Craftsman . There can be no
progross without labour , and advancement in Masonry is , or ought to be , based upon an intelligent application of the teachings imparted to the candidate . Tho indolent noviciate , Avho will not apply himself to the proper study of Masonry , as far as he has received the light , or practically exemplify its teachings in his daily life , ought never to be advanced
beyond the portals of the Temple . As a lieAver of wood or drawer of water , ho should be held in a subservient position , as a learner—an apprentice . The diligent student alone has a right to advancement , to further progress in our mystic science . Those alone ought to be promoted to the degree of Fellow Craft , and in due time to tho sublime degree of a Master Mason . Tho titles of the seA'eral degrees indicate
that of a learner , a proficient , and a Master or teacher . The Master ' s degree , implying that the noviciate and probationary periods have been jwssed , although representing that time of life Avhen men ordinarily are expected to cease from their active duties , it is then that the true Freemason , because of his temperate and regular course of life , having lived in accordance with tho teachings of tho institution , which arc based upon tho laws of Nature and of Nature ' s God ,
is in the possession of both mental bodily vigor , and AVCII qualified , for his mature age and experience , to be a teacher of Israel . As developoment and progress , both mental and physical , necessarily result from a strict observance of the laws of nature , and the active exorcise of our faculties in harmony with the design of the Creator ; so tlictruoFrcemason , from the time of his entrance into our Mystic Order , Avill
progress in wisdom and 1-CIIOAVlodge , will unfold tho divine nature of his being ; his faculties will expand Avith ago so long- as he is capable of nctivcuscfiilness , and OA ' CII as is taught in tho legend of tho Masters degrees , —when passed to a higher sphere , when raised from the earthly to the invisible Avorld , the spirit divested of its mortal bod ) -, Avill . continue , as in this life , unceasingly to deA'clopc and progrcssomvu-rd and
onward , from one degree of excellence to a higher . In God ' s world , progress is impressed upon all B is Avorks . In man , created in His likeness , ultimate the ideal of His creations , and in and through man the grand design of the Creator will bo perfected . Indolence , inactivity arc incompatible with progress , and consequently are inconsistent with Masonic obligations and duties . The teachings of Masonry
arc in harmony with God ' s laivs ; and labour , even Avhon called oil , at refreshment , docs not cease . And neither is the work of Masonry confined to the lodge rooms , it is there arc taught those lessons Avhich are to " be exemplified in our daily life and practice , and in our intercourse Avith our fellow num . Tho working-man alone is the true Mason . The indolent
, the ignorant , those who neither acquire a knoAvlcdge of tho true objects and purposes of Freemasonry , nor practice its teachings , arc not alone drones and useless , but tiro stumbling blocks and impediments to progress of the Institution in fulfilling its mission in tho elevation and improvement of tho family of man . American Mirror and Keystone .