THE "FREEMASONS OF THE CHURCH."'
It is a cheering sign of the present age that it is not forgetful of antiquity. Gothic architecture, early Christian art, the illuminated missal, and the Psalter—nay, even the more ponderous folios of the Reforming divines— are ransacked by young students nowadays, with an avidity and a research which twenty-five years ago was unknown, and if it had been prophesied, would have been looked upon as almost impossible to be called into action. Even the stern political economist will bear testimony to this truth, from the advanced price which articles dear to the virtuoso bear in our markets.
A Bomber of young men of the middle classes in London have associated themselves for the purpose of promoting the study of Gothic architecture, and of the arts generally. They meet once a month regularly, to hear -a lecture read upon some subject connected with their studies. History, archreology, and science, are embraced in the range of these lectures; and the evenings are spent in intellectual conversation, arising either imme- diately out of the subject of the discourse, or upon the works of art which the members of the society and others contribute for the inspection of the assembled .guests.
We notice this society as distinguished from the common herd, because it is the' offspring of atenuine enthusiasm; becauseit has no paid o,fficera—not even a-secretary to Oa-provided far; and because it emanates strictly from those ()lassos in which we-may always, in a healthy social state, expect to
• Communicated, by a correspondent of teats andjudgment
find the greatest vigour of thought and action—we mean the middle classes of society. Our young friends have taken perhaps a foolish name, in calling themselves "Freemasons of the Church." They have ran counter to two strong classes of prejudice,—first, the prejudice (it may de- serve a better name) of those who consider "freemasonry" nowadays, a childish mysticism, affording a mere cloak for convivial meetings, which have little to distinguish them from other merry-makings; secondly, to the strong religious feeling of those who consider the Church of the present day as a body ready to grasp, were it possible, at Papal power and dominion over the consciences as well as the pockets of men. Setting aside the intum however, (which in its very faults indicates a hearty zeal,) we have, great hopes of this society, and we look upon it as an indisputable proof of the advance of a sound opinion on matters of taste in this country. We say of a sound opinion, because it is strictly in accordance with the principles on which it is founded to build upon experience alone as a foundation—to study antiquity as our guide in the first instance, yet not with the eye of a slavish copyist, but with the spirit of investigation which would lead a man of intelligence to deduce from it not merely empty forms but living prin- ciples.
Mr. Rogers, the carver, at whose house the society holds its meetings, is a remarkable person. He has restored to carving the same interest and execution which it possessed in the best days of Gibbons: but he has gone beyond this, for, by an accurate study of our early " Holbein carvings "in King's College Chapel, and a correct knowledge of the Italian school, he bids fair to advance his art (which slumbered, if indeed it was not totally extinct twenty years ago' expiring under the deadly blow which the fashion of stucco picture-frames had dealt to its pauperized professors) to a higher pitch of excellence than it has yet attained. Gentz, the Belgian, is the only artist of modern days whose works we have seen, (they adorn the stalls or Antwerp Cathedral,) that in carving approach those of Mr. Rogers.
On Monday last the society met to commemorate the partial completion of a work in which it has been for two years engaged—the restoration of St. John's Gate, Clerkenwell. As the ancient gate of the Hospice of St. John of Jerusalem in romantic associations and deep interest it equals any spot in or about London. An excellent sketch of the history of the Knights Hospitalers was delivered on the occasion, by Mr. Archer, the Recorder of the society.
As we wandered through the rooms of Mr. Rogers's house, (which is not a common shop, but an ancient mansion,) and gazed upon the different works of art displayed there, the listening throng of students, the reverend priest here and there intermingling with them,—as we saw the Roman lamp from Herculaneum placed side by side with the choice specimen of claque- cento, and that again in juxtaposition with some recollection of Lombardia art—illuminations from an ancient missal, &c.; while on another table were to be discovered models taken from our own Flaxman,—we had hopes from a spirit so truly and in its best sense catholic. We thought of Quentin Mtasys, of Albert Darer, of Lorenzo Ghiberti, and of Nicoola Pisano. The spirit of the old republics of Italy appeared to be awakening amongst us. Of them may we not say, in the words of a recent writer (Lord Lindsay)—
" Their peculiar praise was this, that in practice at least, if not in thece7, they first established the principle that the study of nature, corrected by the ideal of the antique and animated by the spirit of Christianity personal and social, can alone lead to excellence in art; each of the three elements of human nature— matter, mind, and spirit—being thus brought into cooperation and union, in due relative order and subordination. It has been by following this principle that Donatelle and Ghiberti, Leonardo, Michel Angelo, and Itaffirelle, have risen to giorY-"
To our young friends we would say, Go ye and do likewise.
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