Freemasons Open A Lodge At Buckingham Palace

But the Queen isn't amused - according to the Daily Mail at least...

A branch of the Freemasons secret society is being formed by members of the Royal Household and police who protect the Royal Family.

And their decision to call it The Royal Household Lodge has put them on a collision course with Buckingham Palace – as has their plan to co-opt the royal cipher – EIIR – for their regalia, to underline their connection to the Queen.

Although the Queen's cousin, the Duke of Kent, is head of the secretive organisation – he is Grand Master of the United Grand Lodge of England – the new branch has not gone down well with the Royal Family.

The Palace has no power to halt the formation of the lodge, but it is determined to stop it adopting its chosen name and block it from hijacking the Queen's EIIR.

Use of the Royal Household title and any related symbols requires official permission.

Angry officials clearly feel the new lodge's proposed name is the last thing the Palace needs at a time when it is trying to be seen as more modern and open.

Last night, a spokesman for the Queen said: “Buckingham Palace has not, and would not, endorse this sort of arrangement. No permission has been given by the Palace for a Buckingham Palace lodge or anything similar.

“If permission is sought, it will be declined.”

The founding of the lodge has also alarmed some Royal staff who do not wish to be associated with the fraternity famed for bizarre initiation rites, mystical regalia and mysterious codes of conduct.

It is also likely to cause consternation among career women in the Palace, as it is a men-only organisation.

Non-members in Royal service are said to be fearful they will be overlooked for prestigious promotions and left unsupported in any below-stairs clashes.

Masons are widely believed to further the business and professional interests of brother Masons, although they would deny this and claim it is a harmless social and charitable organisation.

The lodge, which will not meet at the Palace but will be based in a Masonic Hall elsewhere, will be open to all members of the Royal Household, from armed police protection officers to below-stairs staff such as pages and footmen.

It will also recruit staff in other Royal residences including Windsor Castle, Clarence House and St James's Palace.

A Palace insider said: “There's a lot of consternation and rightly so. People fear a lot of business will now be conducted behind closed doors so that those who don't sign up to Freemasonry can't have any effect on it.

“They are concerned that Masons will be preferred and those who aren't Masons will be written out of the script.

"Backstairs life is already complicated enough – there are all sorts of allegiances and cliques and cabals. People fall in and out of favour and there's a lot of whispering in ears.

“The last thing the household needs is a secret society, especially one with the reputation of Freemasonry.”

The United Grand Lodge of England issued the Royal Household Lodge with a warrant in June last year although it will not formally exist until the consecration ceremony on May 19 at the Freemasons' Hall in London.

That will be followed by a celebration dinner for up to 300 Masons and their guests at the historic Lincoln's Inn.

The insider said the idea had been generated by serving and past members of the Royalty Protection Squad, SO14. With new recruits, the total number involved is approximately 70.

Author and broadcaster Martin Short, whose book Inside The Brotherhood exposed Masonic practices in the UK, said: “It's a catastrophic time to start such a lodge, given all the problems facing the Royal Family at present.

“The Royal Family is desperately trying to prove it is modernising – in PR terms, this is bad news for them.”

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Picatrix In Arabic

Book: Picatrix In Arabic by Hellmut Ritter

Picatrix is the name used today, and historically in Christian Europe, for a grimoire originally written in Arabic entitled yat al- ak m, which most scholars assume was written in the middle of the 11th century, 1 though a supported argument for composition in the first half of the 10th century has been made. 2 The Arabic title has been translated as "The Aim of the Sage" or "The Goal of The Wise". 3 The original Arabic work was translated into Spanish and then into Latin during the 13th century. The name "Picatrix" is also sometimes used to refer to the author.

Picatrix is a composite work that synthesizes older works on magic and astrology. One of the most influential interpretations suggests it is to be regarded as a "handbook of talismanic magic". 4 Another researcher summarizes it as "the most thorough exposition of celestial magic in Arabic", indicating the sources for the work as "Arabic texts on Hermeticism, Sabianism, Ismailism, astrology, alchemy and magic produced in the Near East in the ninth and tenth centuries A.D." 5 According to Eugenio Garin "In reality the Latin version of the Picatrix is as indispensable as the Corpus Hermeticum or the writings of Albumasar for understanding a conspicuous part of the production of the Renaissance, including the figurative arts." 6 It has significantly influenced West European magical thinking from Marsilio Ficino in the 15th century, to Thomas Campanella in the 17th century. The manuscript in the British Library passed through several hands Simon Forman, Richard Napier, Elias Ashmole and William Lilly.

According to the prologue of the Latin translation, Picatrix was translated into Spanish from the Arabic by order of Alphonso X of Castile at some time between 1256 and 1258. 7 The Latin version was produced sometime later, based on translation of the Spanish manuscripts. It has been attributed to Maslama ibn Ahmad al-Majriti an Andalusian mathematician , but many have called this attribution into question. Consequently, the author is sometimes indicated as "Pseudo-Majriti".

The Spanish and Latin versions were the only ones known to western scholars until Wilhelm Printz discovered an Arabic version in or around 1920.

The work is divided into four books, which exhibit a marked absence of systematic exposition. Jean Seznec observed "Picatrix prescribes propitious times and places and the attitude and gestures of the suppliant he also indicates what terms must be used in petitioning the stars." As an example, Seznec then reproduces a prayer to Saturn from the work, noting that Fritz Saxl has pointed out that this invocation exhibits "the accent and even the very terms of a Greek astrological prayer to Kronos. This is one indication that the sources of Picatrix are in large part Hellenistic."

Download Hellmut Ritter's eBook: Picatrix In Arabic

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Why Are Square And Compasses More Important Than Other Working Tools

Without compasses no accurate square can be made: without a square no building can be erected. Square and compasses are universally the symbol of a Master Mason; of Freemasonry. Symbolists have read many meanings into both these tools of a Mason. Both symbols are much older than Freemasonry; Chinese manuscripts give them a Masonic significance (although there was no Freemasonry in that country) two thousand years ago. No symbols in Freemasonry offer so many possible interpretations. But many symbols mean different things to different men; each interprets according to his best light.

In modern Masonic rituals, the compasses are "dedicated to the Craft" and are emblematic of the restraint of violent passions. Here "passions" refers to any over-emotional lack of control. It is passions in the larger sense; intemperance, temper, unjust judgment, intolerance, selfishness, that the spiritual compasses circumscribe. The positions of the square and compasses in the three degrees are universally symbols of light, further light, more light. (Compasses becomes compass in six United States Grand Lodges.)

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Isaak Newton Studies Of The Temple Of Solomon

Newton studied and wrote extensively upon the Temple of Solomon, dedicating an entire chapter of "The Chronology of Ancient Kingdoms" to his Observations regarding the temple. Newton's primary source for information was the description of the structure given within 1 Kings of the Hebrew Bible, which he translated himself from the original Hebrew.

In addition to scripture, Newton also relied upon various ancient and contemporary sources while studying the temple. He believed that many ancient sources were endowed with sacred wisdom and that the proportions of many of their temples were in themselves sacred. This belief would lead Newton to examine many architectural works of Hellenistic Greece, as well as Roman sources such as Vitruvius, in a search for Their Occult knowledge. This concept, often termed "prisca sapientia" (sacred wisdom), was a common belief of many scholars during Newton's lifetime.

A more contemporary source for Newton's studies of the temple was Juan Bautista Villalpando, who just a few decades earlier had published an influential manuscript entitled, "Ezechielem Explanationes", in which Villalpando comments on the visions of the biblical prophet Ezekiel, including within this work his own Interpretations and elaborate reconstructions of Solomon's Temple. In its time, Villalpando's work on the temple produced a great deal of interest throughout Europe and had a significant impact upon later architects and scholars.

As a Bible scholar, Newton was initially interested in the sacred geometry of Solomon's Temple, such as golden sections, conic sections, spirals, orthographic projection, and other harmonious constructions, but he also believed that the dimensions and proportions represented more. He noted that the temple's measurements given in the Bible are mathematical problems, related to solutions for ? and the volume of a hemisphere, V = (2 / 3)?r3, and in a larger sense that they were references to the size of the Earth and man's place and proportion to it.[citation needed]

Newton believed that the temple was designed by King Solomon with privileged eyes and divine guidance. To Newton, the geometry of the temple represented more than a mathematical blueprint, it also provided a time-frame chronology of Hebrew history. It was for this reason that he included a chapter devoted to the temple within "The Chronology of Ancient Kingdoms", a section which initially may seem unrelated to the historical nature of the book as a whole.

Newton felt that just as the writings of ancient philosophers, scholars, and Biblical figures contained within them unknown sacred wisdom, the same was true of their architecture. He believed that these men had hidden their knowledge in a complex code of symbolic and mathematical language that, when deciphered, would reveal an unknown knowledge of how nature works.

In 1675 Newton annotated a copy of "Manna - a disquisition of the nature of alchemy", an anonymous treatise which had been given to him by his fellow scholar Ezekiel Foxcroft. In his annotation Newton reflected upon his reasons for examining Solomon's Temple by writing:
“ This philosophy, both speculative and active, is not only to be found in the volume of nature, but also in the sacred scriptures, as in Genesis, Job, Psalms, Isaiah and others. In the knowledge of this philosophy, God made Solomon the greatest philosopher in the world. ”

During Newton's lifetime, there was great interest in the Temple of Solomon in Europe, due to the success of Villalpando's publications, and augmented by a vogue for detailed engravings and physical models presented in various galleries for public viewing. In 1628, Judah Leon Templo produced a model of the temple and surrounding Jerusalem, which was popular in its day. Around 1692, Gerhard Schott produced a highly detailed model of the temple for use in an opera in Hamburg composed by Christian Heinrich Postel. This immense thirteen foot high and eighty foot around model was later sold in 1725 and was exhibited in London as early as 1723, and then later temporarily installed at the London Royal Exchange from 1729–1730, where it could be viewed for half-a-crown. Sir Isaac Newton's most comprehensive work on the temple, found within "The Chronology of Ancient Kingdoms", was published posthumously in 1728, only adding to the public interest in the temple.

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Stone Masonry

One set of books attribute the legend of king Arthur as being a creation of the templars, supposed fore runners to freemasonry. In this regard, the sword excalibur was imbedded in stone. In the New Testament Jesus said he came not in peace but brought a sword. I was looking for the masonic version of the 'truth', set in stone.

I was not looking for any Christian ideal or support for the same, I was specifically looking for the satanic/cathar connection. I found several sites especially revealing.

One place in particular was of interest. Rosslyn Chapel in Scotland has been attributed by many popular books as being an early building by the templars, or at least by their sympathisers. Is it in fact of interest to freemasons today? Certainly there are frequent masonic day trips to the place by the bus load.

It was never recognised by the Catholic church as a place of worship, which of course would make sense if my theory were correct. Interestingly, during the Protestant Reformation, the surrounding castle was laid waste but the chapel itself was not damaged. I wondered if the reason for this could have been the revelation of an anti-Catholic message within the chapel. This would certainly explain why the church was spared. According to documentation there were at least discussions between the chapels guardian and the leader of the army at the time. However the reason it was spared is not known except for the popular notion that it was because it was so intricate and beautiful. However this didn't stop the same army destroying some of the finest cathedrals throughout Britain.

Upon my first visit to Rosslyn I wanted to verify the things I had read in the books and also the photographs I had seen. By and large the books focus on the apprentice pillar. However, in one particular and popular pro-masonic publication, a number of things were cited which simply 'didn't fit' or weren't there. The obvious tactic being that very few readers would actually verify what was 'reported'? I had almost become used to such by this time, in a literary sense. Mis-information is extremely common in this particular area :-smoke. Yet it only served to make me more curious.

Certainly many religions are depicted there and are highlighted by the tourist publications. Free Masonic Symbolism is also present and is happily described by the information which can be bought over the tourist counter.

Are there any depiction's which could directly relate to catharian beliefs? Many. One in particularly caught my attention, not because it was a particularly fine example but because it was mentioned in the pro-masonic publication I referred to above. It showed 'Moses' holding the ten commandments with horns on his head (obviously hinting that he represented the devil). The book referred to it in a jocular fashion asking the question why should this be? Ho-ho very funny.

I have mentioned that numerous religions are depicted. However I was interested in verifying my theory that the core masons held the belief that the devil was responsible for creating the ancient religions and the Judaic. It was not difficult. Through-out the chapel there are depiction's relating to many religions, summarian, egyptian, celtic and probably others I havent even heard of. The primary figure in the chapel is of the cletic fertility deity commonly known as the green man. There are hundreds of carvings of this figure. The most striking of which is on the eastern most wall looking down over the altar. This in itself is significant and I will go on to explain the significance of the location. However considering that the chapel was supposed to represent a Christian ideal the number of such carvings seemed strange.

At this stage I was happy that my theory was reasonably sound. That is that the core masonic belief system was one which attributed the ancient religions and the Judaic religion to one source i.e. that of the devil. However this was not all.

Like many people, including freemasons, I then adopted the position that Rosslyn had a message to reveal. Therefore I used an old formula.

Traditionally churches are built with the alter towards the east, towards God if you like. Good is traditionally on the right hand side and evil on the left looking from the east of course. Good flows towards God and evil away. Interestingly this approach also supported the imitative yet opposite theme as I will go on to explain.

I attempted to piece together the 'story' told by the carvings. While I cannot say I deciphered the place by any means, I had reasonable success and enough to say that I am satisfied that the formulae is partially sound. Here are some examples.

The two primary pillars were of interest in themselves. In accordance with the mechanism I supposed that the one on the right, or north, represented good, it being of straight and true construction and containing or restricting some form of growing 'vine' or vegetation within. The one on the left is literally imitative and the opposite of the other, twisted by seven serpents at its base (the masonic seven stars) with the growing vine or vegetation bursting forth and being the dominant feature. Indeed, in accordance 'legend' it is said that the apprentice pillar is so named because the masters apprentice completed it on his own while his master was away on business. Upon his return the master was so full of rage, envy and self pride he killed the apprentice. The legend only served to support the idea that the left hand side represented evil. In addition there was curious damage to the foot of the pillar on the right, consistent with kicking (the damage being reminiscent of stories of some masonic initiations involving the kicking and spitting on the cross, the chapel still being used by the order of the templars). Even more interesting was the fact that this damage was active, i.e. each time I went there, there was a little bit more damage and a little bit more stone dust on the floor. However I wouldn't say that it was consistent with centuries of kicking. Perhaps it is only a tourist gimmick. Perhaps it is the tourists themselves responsible for the kicking.

On the eastern wall and to the right the devil bound and held upside down. Towards the left an angel, unique to all others in that it doesn't wear clothing. Instead it is covered with fur (like a beast) and apparently awakening. Further to the left the same figure, Masonic Symbolism in hand rising and looking towards the twisted apprentice pillar on the left. This figure is typically the one quoted as showing the freemasonic symbolism although there are others in the chapel.

The whole area around the altar is full of symbolism consistent with the New Testament Revelations. These of course are most commonly associated with the apocalypse and the rise and defeat of biblical beast. In this regard it should be noted that a depiction of the masonic hiram abiff (or the apprentice) is to the left and as far from the east as possible within the chapel. The nature of the apprentices death and that of the masonic hiram abiff is consistent, ie a blow to the head. Yet it is also reminiscent of another. It is consistent with the fatal wound to one of the beasts heads and yet it lived.

The seven sins and virtues are represented. However, curiously ,they have been mixed up (imitative yet opposite?). The tourist information attributes this to an error of construction. However when it is considered the amount of time and detailed planning required for the rest of the chapels construction this is frankly illogical.

The virtually subterranean chamber, holy of holies, on the left and past the eastern wall, interestingly contains occult graffiti scratched into the walls. Above the entrance to the chamber is a male and female impression of what could arguably be the same entity (male/female aspects of the same deity?).

Within this chamber is the curious depiction of a female form preventing onlookers from observing the goings on within the chamber, perhaps representing a female guardian? Regarding the feminine aspect I was also curious about the engraved metal burial cover dedicated to one of the male protectors of the chapel which is clearly female. There are other carvings to support this theme together with a vast amount of written material. The principle remains imitative yet opposite

One of the most important themes I considered throughout, as far as this article is concerned, was that of the 'vine', or vegetation. Issuing from a dragon/dogs mouth it entangles everything. There are numerous depiction's of it growing and progressively engulfing a mans head until the head is smothered. Considering the number of depiction's of the green man, a fertility and vegetation deity, this theme seems logical. However it also reminded me of the catharian attitude towards the tree of knowledge of good and evil and one interpretation of the name of the supposed templar deity baphomet - absorption into wisdom. Is this imitative yet opposite of the Christian Representation of growing faith? And is the interpretaion of the name baphomet, imitative yet opposite in itself?

There are many examples (of course 'Moses' with horns was on the left ) but without pictures description is pointless. It could be argued that there are so many carvings within the chapel that a person could adopt any theory they wanted and find supporting evidence for it.

I could go on and on, exploring Judaic legend, the masonic hiram abiff figure head, the construction of Solomons temple and looking for and finding evidence in stone. There is a huge amount of suggestive evidence. However, how can something be proven when essentially the issue comes down to faith? In this regard I will tell a personal story and what, for me, was the litmus test.

I had already burned the material and wanted to forget what it contained as quickly as possible, it felt like I had been infected somehow. By coincidence I was invited to a retirement party in an old Ayrshire hotel called the Bell Isle. Whilst eating dinner I gazed at the surrounding room, particularly the carved decorations on the wall/roof which were relatively sparse. I quickly recognised the theme of the place as being 'Rosslynesk' if you like. I decided to investigate further. Upon reviewing the main lobby I saw four, three to four foot high pans, horns, hoofs and all, positioned high on the walls to 'support' the roof together with other typical catharian themes. Of course it could be argued that in fact I had already seen those figures, however briefly, upon my entrance and so it was only my subconscious at work. However they are not in the usual line of sight and I certainly didn't see through the back of my head when I entered to see a depiction of the catharian supper. In hindsight even the name of the place should have been a clue, reminiscent of the biblical Belial (Bell Isle).

For myself it was conclusive. I followed a theme carved in stone but which proved to me beyond any doubt and with no ambiguity to be accurate. There can be no mistake in interpretation when looking at great big devils. However, I was rather disturbed and mystified that such a blatant satanic theme could be presented in a public place.

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