The Aldersgate Royal Arch Ritual as taught in the Aldersgate Royal Arch Chapter of Improvement. This new Edition of the Aldersgate Ritual has been produced following the decision of the Committee of the Chapter of Improvement to make the ritual easier to follow by showing the Traditional Exaltation ceremony and the Permitted Alternative Version completely separately.
This book contains the large print edition of the Aldersgate Royal Arch Ritual as taught in the Aldersgate Royal Arch Ritual Association. Completely updated to incorporate the necessary amendments and additions following the convocation of Supreme Grand Chapter on the 10th of November 2004. This volume includes both mandatory changes to both the Address after Exaltation and The Historical Lecture plus the new "permissive Alternative" versions of the Symbolical and Mystical Lectures alongside their traditional versions.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
Why were so many religious images and objects broken and damaged in the course of the Reformation? Margaret Aston's magisterial new book charts the conflicting imperatives of destruction and rebuilding throughout the English Reformation from the desecration of images, rails and screens to bells, organs and stained glass windows. She explores the motivations of those who smashed images of the crucifixion in stained glass windows and who pulled down crosses and defaced symbols of the Trinity. She shows that destruction was part of a methodology of religious revolution designed to change people as well as places and to forge in the long term new generations of new believers. Beyond blanked walls and whited windows were beliefs and minds impregnated by new modes of religious learning. Idol-breaking with its emphasis on the treacheries of images fundamentally transformed not only Anglican ways of worship but also of seeing, hearing and remembering.
The pocket sized handbook for all Freemasons interested in reading the text for this ancient ritual which is an important part of Masonic life. First published in 1999, this is the 2004 reprint. 194 pages. Laminated
