Stone Mason Quotes

Generally, old media don't die. They just have to grow old gracefully. Guess what, we still have stone masons. They haven't been the primary purveyors of the written word for a while now of course, but they still have a role because you wouldn't want a TV screen on your headstone.

Who built the seven towers of Thebes? The books are filled with the names of kings. Was it kings who hauled the craggy blocks of stone?... In the evening when the Chinese wall was finished Where did the masons go?...

He often said that he wished that he could be a stone mason like me. He said a stone mason would have time and peace in which to think things out. I did not tell him that a stone mason thinks of little but stones and mortar.

Those intricate curves and patterns your people create are beyond human eyes and hands to make. Perhaps we wished to avoid a poor imitation that would only have been an ever-present reminder to us of what we had lost. There is a different beauty in simplicity, in a single line placed just so, a single flower among the rocks. The harshness of the stone makes the flower more precious. We try not to dwell too much on what is gone. The strongest heart will break under that strain.

The world was young, the mountains green, No stain yet on the Moon was seen, No words were laid on stream or stone When Durin woke and walked alone. He named the nameless hills and dells; He drank from yet untasted wells; He stooped and looked in Mirrormere, And saw a crown of stars appear, As gems upon a silver thread, Above the shadow of his head. The world was fair, the mountains tall, In Elder Days before the fall Of mighty kings in Nargothrond And Gondolin, who now beyond The Western Seas have passed away: The world was fair in Durin's Day. A king he was on carven throne In many-pillared halls of stone With golden roof and silver floor, And runes of power upon the door. The light of sun and star and moon In shining lamps of crystal hewn Undimmed by cloud or shade of night There shone for ever fair and bright. There hammer on the anvil smote, There chisel clove, and graver wrote; There forged was blade, and bound was hilt; The delver mined, the mason built. There beryl, pearl, and opal pale, And metal wrought like fishes' mail, Buckler and corslet, axe and sword, And shining spears were laid in hoard. Unwearied then were Durin's folk; Beneath the mountains music woke: The harpers harped, the minstrels sang, And at the gates the trumpets rang. The world is grey, the mountains old, The forge's fire is ashen-cold; No harp is wrung, no hammer falls: The darkness dwells in Durin's halls; The shadow lies upon his tomb In Moria, in Khazad-dûm. But still the sunken stars appear In dark and windless Mirrormere; There lies his crown in water deep, Till Durin wakes again from sleep. -The Song of Durin

Mason said, with admiration, that it made me a stone-cold bastard, but this girl had pushed me to a reckless burning edge I didn’t even recognize, and her calm reply only pushed me further.

... I see the green earth covered with the works of man or with the ruins of men’s work. The pyramids weigh down the earth, the tower of Babel has pierced the sky, the lovely temples and the gray castles have fallen into ruins. But of all those things which hands have built, what hasn’t fallen nor ever will fall? Dear friends, throw away the trowel and mortarboard! Throw your masons’ aprons over your heads and lie down to build dreams! What are temples of stone and clay to the soul? Learn to build eternal mansions of dreams and visions!

Davos had often heard it said that the wizards of Valyria did not cut and chisel as common masons did, but worked stone with fire and magic as a potter might work clay.

What is true of one man, said the judge, is true of many. The people who once lived here are called the Anasazi. The old ones. They quit these parts, routed by drought or disease or by wandering bands of marauders, quit these parts ages since and of them there is no memory. They are rumors and ghost in this land and they are much revered. The tools, the art, the building--these things stand in judgement on the latter races. Yet there is nothing for them to grapple with. The old ones are gone like phantoms and the savages wander these vanyons to the sound of an ancient laughter. In their crude huts they crouch in darkness and listen to the fear seeping out of the rock. All progressions from a higher to a lower order are marked by ruins and mystery and a residue of nameless rage. So. Here are the dead fathers. Their spirit is entombed in the stone. It lies upon the land with the same weight and the same ubiquity. For whoever makes a shelter of reeds and hides has joined his spirit to the primal mud with scarcely a cry. But who builds in stone seeks to alter the structure of the universe and so it was with these masons however primitive their works may seem to us.

Biblioll College. Sir,—I have read your letter with interest; and, judging from your description of yourself as a working-man, I venture to think that you will have a much better chance of success in life by remaining in your own sphere and sticking to your trade than by adopting any other course. That, therefore, is what I advise you to do. Yours faithfully, T. Tetuphenay. To Mr. J. Fawley, Stone-mason.

Durham Cathedral, like all great buildings of antiquity, is essentially just a giant pile of rubble held in place by two thin layers of dressed stone. But—and here is the truly remarkable thing—because that gloopy mortar was contained between two impermeable outer layers, air couldn’t get to it, so it took a very long time—forty years to be precise—to dry out. As it dried, the whole structure gently settled, which meant that the cathedral masons had to build doorjambs, lintels, and the like at slightly acute angles so that they would ease over time into the correct alignments. And that’s exactly what happened. After forty years of slow-motion sagging, the building settled into a position of impeccable horizontality, which it has maintained ever since. To me, that is just amazing—the idea that people would have the foresight and dedication to ensure a perfection that they themselves might never live to see.

Are you familiar with the word inspiration? The meaning of it? Where it comes from?...In the Dark Ages no understood the things that made some people special. Every soul in that dark, difficult time faced the same limitations, every soul except a precious few who saw things differently, the poets, inventors, artists, stone masons. Regular folks didn't understand how a person could wake up one day and see the world differently. They thought it was a gift from God. Thus the word "inspiration." It means breathed upon...breathed upon by God himself.

It is hieroglyphic that will last, not stone heads. The future belongs to the word, not the image. (The mason Mutsose, in Achet-Aten).

Why are you walking through the wood alone?

But who builds in stone seeks to alter the structure of the universe and so it was with these masons however primitive their works may seem to us.

Often god punishes evil with apparent evil.

Oh, Starbuck! it is a mild, mild wind, and a mild looking sky. On such a day - very much such a sweetness as this - I struck my first whale - a boy-harpooneer of eighteen! Forty - forty - forty years ago! - ago! Forty years of continual whaling! forty years of privation, and peril, and storm-time! forty years on the pitiless sea! for forty years has Ahab forsaken the peaceful land, for forty years to make war on the horrors of the deep! Aye and yes, Starbuck, out of those forty years I have not spent three ashore. When I think of this life I have led; the desolation of solitude it has been; the masoned, walled-town of a Captain's exclusiveness, which admits but small entrance to any sympathy from the green country without - oh, weariness! heaviness! Guinea-coast slavery of solitary command! - when I think of all this; only half-suspected, not so keenly known to me before - and how for forty years I have fed upon dry salted fare - fit emblem of the dry nourishment of my soul - when the poorest landsman has had fresh fruit to his daily hand, and broken the world's fresh bread to my mouldy crusts - away, whole oceans away, from that young girl-wife I wedded past fifty, and sailed for Cape Horn the next day, leaving but one dent in my marriage pillow - wife? wife? - rather a widow with her husband alive! Aye, I widowed that poor girl when I married her, Starbuck; and then, the madness, the frenzy, the boiling blood and the smoking brow, with which, for a thousand lowerings old Ahab has furiously, foamingly chased his prey - more a demon than a man! - aye, aye! what a forty years' fool - fool - old fool, has old Ahab been! Why this strife of the chase? why weary, and palsy the arm at the oar, and the iron, and the lance? how the richer or better is Ahab now? Behold. Oh, Starbuck! is it not hard, that with this weary load I bear, one poor leg should have been snatched from under me? Here, brush this old hair aside; it blinds me, that I seem to weep. Locks so grey did never grow but from out some ashes! But do I look very old, so very, very old, Starbuck? I feel deadly faint, bowed, and humped, as though I were Adam, staggering beneath the piled centuries since Paradise. God! God! God! - crack my heart! - stave my brain! - mockery! mockery! bitter, biting mockery of grey hairs, have I lived enough joy to wear ye; and seem and feel thus intolerably old? Close! stand close to me, Starbuck; let me look into a human eye; it is better than to gaze into sea or sky; better than to gaze upon God. By the green land; by the bright hearth-stone! this is the magic glass, man; I see my wife and my child in thine eye. No, no; stay on board, on board! - lower not when I do; when branded Ahab gives chase to Moby Dick. That hazard shall not be thine. No, no! not with the far away home I see in that eye!

Blessed be the stone masons, for they shall lay bricks of gold on the streets of heaven for their wives to walk upon. Blessed are the sowers and harvesters, for they shall live again in the Garden of Eden. Blessed are the bartenders, for Jesus will serve them. Blessed are the prostitutes, for Jesus will embrace them. Woe unto the pastors who preach hate, for they shall live in eternal hate. Woe unto the pastors who become brutes, for their flocks shall be scattered. Woe unto the Inquisitors, for Jesus will inquire unto them.

There came a day when the Masons, laying aside their stones, became workmen of another kind, not less builders than before, but using truths for tools and dramas for designs, uplifting such a temple as Watts dreamed of decorating with his visions of the august allegory of the evolution of man.

The location of this entryway was forgotten in the following centuries, and when the Moslem caliph AI Mamoon attempted to enter the pyramid in 820 A.D., he employed an army of masons, blacksmiths and engineers to pierce the stones and tunnel his way into the pyramid's core. What prompted him was both a scientific quest and a lust for treasure; for he was apprised of ancient legends that the pyramid contained a secret chamber wherein celestial maps and terrestrial spheres, as well as "weapons which do not rust" and "glass which can be bent without breaking" were hidden away in past ages.

Mine, said the stone, mine is the hour. I crush the scissors, such is my power. Stronger than wishes, my power, alone. Mine, said the paper, mine are the words that smother the stone with imagined birds, reams of them, flown from the mind of the shaper. Mine, said the scissors, mine all the knives gashing through paper’s ethereal lives; nothing’s so proper as tattering wishes. As stone crushes scissors, as paper snuffs stone and scissors cut paper, all end alone. So heap up your paper and scissor your wishes and uproot the stone from the top of the hill. They all end alone as you will, you will.

A story is told about the medieval stone masons who carved the gargoyles that adorn the great Gothic cathedrals. Sometimes their creations were positioned high upon the cathedral, hidden behind cornices or otherwise blocked from view, invisible from any vantage point on the ground. They sculpted these gargoyles as carefully as any of the others, even knowing that once the cathedral was completed and the scaffolding was taken down, their work would remain forever unseen by any human eye. It was said that they carved for the eye of God. That, written in a thousand variations, is the story of human accomplishment.

Nothing you’ve just told us changes how I feel about you. You’re my brother, always were, always will be.” Oswald flinched. “You still want me for Archie’s godfather?” he asked quietly. “Don’t be a fool,” growled Mason. “Of course I bloody do!” “You’re not getting out of that just by being a stone-cold killer,” muttered Roland. “In fact, that probably helps qualify you for the job.

Madame Chantal―a large woman whose ideas always strike me as being square-shaped, like stones dressed by a mason―was in the habit of concluding any political discussion with the remark: 'As ye sow, so shall ye reap'. Why have I always imagined that Madame Chantal's ideas are square? I've no idea, but everything she says goes into that shape in my mind: a block―a large one―with four symmetrical angles.

Bill Miller, the chief investment officer at Legg Mason Capital Management and a major Amazon shareholder, asked Bezos at the time about the profitability prospects for AWS. Bezos predicted they would be good over the long term but said that he didn’t want to repeat “Steve Jobs’s mistake” of pricing the iPhone in a way that was so fantastically profitable that the smartphone market became a magnet for competition.

Masons, when they start upon a building, Are careful to test out the scaffolding; Make sure that planks won’t slip at busy points, Secure all ladders, tighten bolted joints. And yet all this comes down when the job’s done Showing off walls of sure and solid stone. So if, my dear, there sometimes seems to be Old bridges breaking between you and me Never fear. We may let the scaffolds fall Confident that we have built our wall.

So. Here are the dead fathers. Their spirit is entombed in the stone. It lies upon the land with the same weight and the same ubiquity. For whoever makes a shelter of reeds and hides has joined his spirit to the common destiny of creatures and he will subside back into the primal mud with scarcely a cry. But who builds in stone seeks to alter the structure of the universe and so it was with these masons however primitive their works may seem to us.

Great diggings and foundations spread across what had been the Warders’ practice yard, tall wooden cranes and stacks of cut marble and granite. Masons and laborers swarmed over the workings like ants, and endless streams of wagons trailed through the gates onto the Tower grounds, bringing more stone. To one side stood a wooden “working model,” as the masons called it, big enough for men to enter crouching on their heels and see every detail, where every stone should go. Most of the workmen could not read, after all—neither words nor mason’s drawn plans. The “working model” was as large as some manor houses. When any king or queen had a palace, why should the Amyrlin Seat be relegated to apartments little better than those of many ordinary sisters? Her palace would match the White Tower for splendor, and have a great spire ten spans higher than the Tower itself. The blood had drained from the chief mason’s face when he heard that. The Tower had been Ogier-built, with assistance from sisters using the Power. One look at Elaida’s face, however, set Master Lerman bowing and stammering that of course all would be done as she wished. As if there had been any question. Her mouth tightened with exasperation. She had wanted Ogier masons again, but the Ogier were confining themselves to their stedding for some reason. Her summons to the nearest, Stedding Jentoine, in the Black Hills, had been met with refusal. Polite, yet still refusal, without explanation, even to the Amyrlin Seat.

The rising sun silvered the mist lying low and dense on the meadow, where cattle stood on unseen legs. Over the mist the white owl was flying, on broad soft wings. It wafted itself along, light as the mist; the sun showed the snowy feathers on breast and underwings and lit the tallow-gold and grey of its back. It sailed under the middle arch of the bridge and pulled itself by its talons into one of the spaces left in the stone-work by masons. Throughout the daylight it stood among the bones and skulls of mice, often blinking, and sometimes yawning.

In return for receiving the Congo, the Belgian government first of all agreed to assume its 110 million francs’ worth of debts, much of them in the form of bonds Leopold had freely dispensed over the years to favorites like Caroline. Some of the debt the outmaneuvered Belgian government assumed was in effect to itself—the nearly 32 million francs worth of loans Leopold had never paid back. As part of the deal, Belgium also agreed to pay 45.5 million francs toward completing certain of the king’s pet building projects. Fully a third of the amount was targeted for the extensive renovations under way at Laeken, already one of Europe’s most luxurious royal homes, where, at the height of reconstruction, 700 stone masons, 150 horses, and seven steam cranes had been at work following a grand Leopoldian blueprint to build a center for world conferences. Finally, on top of all this, Leopold was to receive, in installments, another fifty million francs “as a mark of gratitude for his great sacrifices made for the Congo.” Those funds were not expected to come from the Belgian taxpayer. They were to be extracted from the Congo itself.

The world was young, the mountains green, No stain yet on the Moon was seen, No words were laid on stream or stone When Durin woke and walked alone. He named the nameless hills and dells; He drank from yet untasted wells; He stooped and looked in Mirrormere, And saw a crown of stars appear, As gems upon a silver thread, Above the shadow of his head. The world was fair, the mountains tall, In Elder Days before the fall Of mighty kings in Nargothrond And Gondolin, who now beyond The Western Seas have passed away: The world was fair in Durin’s Day. A king he was on carven throne In many-pillared halls of stone With golden roof and silver floor, And runes of power upon the door. The light of sun and star and moon In shining lamps of crystal hewn Undimmed by cloud or shade of night There shone for ever fair and bright. There hammer on the anvil smote, There chisel clove, and graver wrote; There forged was blade, and bound was hilt; The delver mined, the mason built. There beryl, pearl, and opal pale, And metal wrought like fishes’ mail, Buckler and corslet, axe and sword, And shining spears were laid in hoard. Unwearied then were Durin’s folk; Beneath the mountains music woke: The harpers harped, the minstrels sang, And at the gates the trumpets rang. The world is grey, the mountains old, The forge’s fire is ashen-cold; No harp is wrung, no hammer falls: The darkness dwells in Durin’s halls; The shadow lies upon his tomb In Moria, in Khazad-dûm. But still the sunken stars appear In dark and windless Mirrormere; There lies his crown in water deep, Till Durin wakes again from sleep.

The arc of the moral universe is indeed long but it does bend toward justice. At the root of all this of course is the trade. As he always calls it. His craft is the oldest there is. Among man's gifts it is older than fire and in the end he is the final steward, the final custodian. When the last gimcrack has swallowed up its last pale creator he will be out there, prefering the sun, trying the temper of his trowel. Placing stone on stone in accordance with the laws of God. The trade was all they had, the old masons. They understood it both in its utility and its secret nature. We couldn't read nor write, he says. But it was not in any book. We kept it close to our hearts. We kept it close to our hearts and it was like a power and we knew it would not fail us. We knew that it was a thing that if we had it they could not take it from us and it would stand by us and not fail us. Not ever fail us.

Who built the seven gates of Thebes? The books are filled with names of kings. Was it the kings who hauled the craggy blocks of stone? And Babylon, so many times destroyed. Who built the city up each time? In which of Lima’s houses, That city glittering with gold, lived those who built it? In the evening when the Chinese wall was finished Where did the masons go? Imperial Rome Is full of arcs of triumph. Who reared them up? Over whom Did the Caesars triumph? Byzantium lives in song. Were all her dwellings palaces? And even in Atlantis of the legend The night the seas rushed in, The drowning men still bellowed for their slaves. Young Alexander conquered India. He alone? Caesar beat the Gauls. Was there not even a cook in his army? Phillip of Spain wept as his fleet was sunk and destroyed. Were there no other tears? Frederick the Great triumphed in the Seven Years War. Who triumphed with him? Each page a victory At whose expense the victory ball? Every ten years a great man, Who paid the piper? So many particulars. So many questions.

Jackaby did not speak as we left the building. We were three or four blocks away from the station house when Lydia Lee caught up to us, the coach rattling and clinking and the dappled gray horse stamping its hooves impatiently on the cobblestones. Miss Lee managed to convince the Duke to clop to a halt just ahead of us, and my employer climbed into the carriage wordlessly. Miss Lee gave me an inquisitive look, but Jackaby finally broke his silence before I could explain. “Don’t bother with niceties. Take me home, Miss Lee.” He thought for a moment. “I’m going to need you to go to jail for me afterward.” “That is the second time a man’s said those words to me,” she replied gamely. “Although the last time I got flowers and a dance first, if memory serves.” “Bail,” amended Jackaby as Miss Lee hopped back into the driver’s box. “They usually do, in the end,” she said, sighing. “What? Listen, I have a jar of banknotes in my office earmarked for bail. I’ll bring it out to you as soon as we arrive. I need you to bring it to the processing officer at the Mason Street Station. He’ll sort out the paperwork. Just sign where he tells you to. Ask for Alton.” “Allan,” I corrected. “I’m fairly sure it’s Alton,” said Jackaby. “You want me to post bail for somebody?” Miss Lee called down as the carriage began to rattle on down the street. “I guess I can do that.” “Thank you,” Jackaby called back to her. “Who am I bailing out?” “Everyone.” The carriage bumped along the paving stones for a silent stretch. “By everyone, you mean . . . ?” “It is a rather large jar of banknotes,” said Jackaby. “Right,” came Miss Lee’s voice at length. “You’re the boss.

Just as it is commonly said that Asclepius has prescribed someone horse-riding, or cold baths, or walking barefoot, so we could say that the nature of the Whole has prescribed him disease, disablement, loss or any other such affliction. In the first case 'prescribed' means something like this: 'ordered this course for this person as conducive to his health'. In the second the meaning is that what happens to each individual is somehow arranged to conduce to his destiny. We speak of the fitness of these happenings as masons speak of the 'fit' of squared stones in walls or pyramids, when they join each other in a defined relation. In the whole of things there is one harmony: and just as all material bodies combine to make the world one body, a harmonious whole, so all causes combine to make Destiny one harmonious cause. Even quite unsophisticated people intuit what I mean. They say: 'Fate brought this on him.' Now if 'brought', also 'prescribed'. So let us accept these prescriptions just as we accept those of Asclepius- many of them too are harsh, but we welcome them in the hope of health. You should take the same view of the process and completion of the design of universal nature as you do of your own health: and so welcome all that happens to you, even if it seems rather cruel, because its purpose leads to the health of the universe and the prosperity and success of Zeus. He would not bring this on anyone, if it did not also bring advantage to the Whole: no more than any given natural principle brings anything inappropriate to what it governs. So there are two reasons why you should be content with your experience. One is that this has happened to you, was prescribed for you, and is related to you, a thread of destiny spun for you from the first by the most ancient causes. The second is that what comes to each individual is a determining part of the welfare, the perfection, and indeed the very coherence of that which governs the Whole. Because the complete Whole is maimed if you sever even the tiniest of its constituent parts, and true likewise of its causes. And you do sever something, to the extent that you can, whenever you fret at your lot: this is, in a sense, a destruction. p37

Slowly crossing the deck from the scuttle, Ahab leaned over the side, and watched how his shadow in the water sank and sank to his gaze, the more and the more that he strove to pierce the profundity. But the lovely aromas in that enchanted air did at last seem to dispel, for a moment, the cankerous thing in his soul. That glad, happy air, that winsome sky, did at last stroke and caress him; the step-mother world, so long cruel - forbidding - now threw affectionate arms round his stubborn neck, and did seem to joyously sob over him, as if over one, that however wilful and erring, she could yet find it in her heart to save and to bless. From beneath his slouched hat Ahab dropped a tear into the sea; nor did all the pacific contain such wealth as that one wee drop. Starbuck saw the old man; saw him, how he heavily leaned over the side; and he seemed to hear in his own true heart the measureless sobbing that stole out of the centre of the serenity around. Careful not to touch him, or be noticed by him, he yet drew near to him, and stood there. Ahab turned. "Starbuck!" "Sir." "Oh, Starbuck! it is a mild, mild wind, and a mild looking sky. On such a day - very much such a sweetness as this - I struck my first whale - a boy-harpooneer of eighteen! Forty - forty - forty years ago! - ago! Forty years of continual whaling! forty years of privation, and peril, and storm-time! forty years on the pitiless sea! for forty years has Ahab forsaken the peaceful land, for forty years to make war on the horrors of the deep! Aye and yes, Starbuck, out of those forty years I have not spent three ashore. When I think of this life I have led; the desolation of solitude it has been; the masoned, walled-town of a Captain's exclusiveness, which admits but small entrance to any sympathy from the green country without - oh, weariness! heaviness! Guinea-coast slavery of solitary command! - when I think of all this; only half-suspected, not so keenly known to me before - and how for forty years I have fed upon dry salted fare - fit emblem of the dry nourishment of my soul - when the poorest landsman has had fresh fruit to his daily hand, and broken the world's fresh bread to my mouldy crusts - away, whole oceans away, from that young girl-wife I wedded past fifty, and sailed for Cape Horn the next day, leaving but one dent in my marriage pillow - wife? wife? - rather a widow with her husband alive! Aye, I widowed that poor girl when I married her, Starbuck; and then, the madness, the frenzy, the boiling blood and the smoking brow, with which, for a thousand lowerings old Ahab has furiously, foamingly chased his prey - more a demon than a man! - aye, aye! what a forty years' fool - fool - old fool, has old Ahab been! Why this strife of the chase? why weary, and palsy the arm at the oar, and the iron, and the lance? how the richer or better is Ahab now? Behold. Oh, Starbuck! is it not hard, that with this weary load I bear, one poor leg should have been snatched from under me? Here, brush this old hair aside; it blinds me, that I seem to weep. Locks so grey did never grow but from out some ashes! But do I look very old, so very, very old, Starbuck? I feel deadly faint, bowed, and humped, as though I were Adam, staggering beneath the piled centuries since Paradise. God! God! God! - crack my heart! - stave my brain! - mockery! mockery! bitter, biting mockery of grey hairs, have I lived enough joy to wear ye; and seem and feel thus intolerably old? Close! stand close to me, Starbuck; let me look into a human eye; it is better than to gaze into sea or sky; better than to gaze upon God. By the green land; by the bright hearth-stone! this is the magic glass, man; I see my wife and my child in thine eye. No, no; stay on board, on board! - lower not when I do; when branded Ahab gives chase to Moby Dick. That hazard shall not be thine. No, no! not with the far away home I see in that eye!

As a token bit of mysticism, the mason had fixed an Eye of God way up on the steeple, above the clock - an oval shape carved into a block of stone that I'd noticed on the old country churches Farther dragged us round at weekends. Yet at Saint Jude's, it seemed more like a sharp-eyed overseer of the factory floor, looking out for the workshy and the seditious.

The contrast between these splendid XIth Dynasty walls, with their great base-stones of sandstone, and the bad rough masonry of the XVIIIth Dynasty temple close by, is striking. The XVIIIth Dynasty architects and masons had degenerated considerably from the standard of the Middle Kingdom.

{...} It is hieroglyphic that will last, not stone heads. The future belongs to the word, not the image. (The mason Mutsose, in Achet-Aten).

When you look at this stone you see a rock, but when I look at it I see an image in the rock. All I am trying to do is get to the image by removing everything else in the way.” That is what God does through the process of restoration. We have been restored already, and yet we are still being restored. The image is there, but a lot is left around it.

Storm also recalls that Syd adored the Beatles, at a time when most of his friends preferred the Stones.

The prescribed setting is removed from the everyday world, but reminiscent of it in essentials: a tea house, just three meters square, set in a garden, with a stone water basin, lantern, and toilet. Entering the room, one becomes not a spectator but a participant. The smell of incense, the sight of a scroll hung in an alcove with a simple flower arrangement below, subtly stimulate the senses. The simmering of the iron kettle over a charcoal fire is likened to the sound of the wind in the pine trees. Tea—thick, green, and bitter—is made with the utmost economy of movement. After each participant has sipped a bowl of tea, the conversation turns to the quality of the tea bowl itself and associated subjects.

The freak show was about to begin. Spotlights flooded the musicians powered by solar panels near a massive amplifier. The guitarist continued playing and the others joined in, playing a raucous crossover between hard rock and heavy metal. The one with long blond hair grabbed hold of the microphone and belted out a shattering cry that sounded like a call to battle. The crowd went pin drop silent to listen and then cheered in unison as the band played on. The front man sang piercing growls and low croons about the Knights in Stone, the protectors of the ancient forests, battling against the evil tree witches... Kayla's coven.

In decades past, the three clans of the island - tree witches, gargoyles, and wolves, had cloaked their land with many layers of protection. Their combined magic had created such a powerful force it had remained undetected by human technology. When a feud erupted between the witches and gargoyles twenty-five years ago it led to a division of land. Without reinforcements from the clans' combined magic, the protection seeped away.

The tree witches kept to themselves, a self-sufficient coven specializing in certain skills. The witches sang, played music, and danced at the gatherings around the fire, but nothing like what she'd experienced when the gargoyles transformed. After the first night, she was hooked.It was a risk to return but one she was willing to take. She'd ventured to that different world to hear the unique groups, especially to watch the guitarist with hair as black as midnight.

Heat radiated from him, penetrating her like the sun warming her on hot midsummer days. It coiled inside her, low in her belly, and sank lower. She recognized it, the magic between lovers. Intoxicating and intense. An all-consuming attraction. The air between them shimmered with energy, an irresistible force connecting them.

The five statutes loomed above the crowd, still and timeless. The last light of the setting sun cast an eerie glow around them. When she fixed her gaze on Mason's stone form, her heart thumped. She scanned every inch of his silhouette, wondering about the spark of life within the stone that would animate him into flesh. A warm-blooded male with a heated touch and sensuous lips that made her melt.

During the show, she studied him on stage. The way he strummed the guitar, the movement of muscles in his arms and torso, the sway of the tartan fabric with his movements. Her cheeks heated when she thought about running her fingers over his torso and under his kilt. Oh, the things he could do to her with that body.

I'm consumed with thoughts of you. Have you bewitched me?

They soared past the dark shapes of animals, grazing in the fields. "What are they?" she asked. "Sheep," Mason replied. "I once heard someone describe them as floating like clouds across the hills.

Nobody's having any babies, yet," Mason said, spreading both arms wide. Still pale after the onslaught of questions, he managed to smirk at his brothers and add, "Although I'm enjoying the practice of making them.

houses. I remember the first time I ever climbed a Roman staircase, and how odd it felt, and I knew that in times gone by men must have taken such things for granted. Now the world was dung and straw and damp-ridden wood. We had stone masons, of course, but it was quicker to build from wood, and the wood rotted, but no one seemed to care. The whole

The Care and Handling of Rose Quartz Place rose quartz in a mason jar. Leave in direct sunlight. Tumble each stone in your hand with love and TLC. In less than 30 days the jar will overflow. Repeat the process with a second, third fourth, and fifth jar, etc. Rose quartz is the love stone.

Cayla nodded. “I think that would be best. Besides, this platform idea resolves the issue. What are you going to build it out of?” “Stone, I guess,” I said with a shrug, and I scanned the rocky cliffs jutting up behind us. “Ooo, do lava again!” Aurora gasped. “Please?” Cayla begged, and she dropped onto a boulder to get a front row seat. “I love watching you work with lava.” “It’s so incredible,” the half-elf agreed. “You look like a god.” Shoshanne furrowed her brow. “Mason can work with lava?” “Apparently,” I muttered. “Those huts you saw in the lair were part of a drunken rebuild I performed last time we were here, but I don’t remember any of it.” “Well, I remember it,” Aurora snorted. “You called yourself the Infamous Lava Man of Illaria, and you did that thing where you throw your arms out to the side and laugh like a villain whenever you said it.” “How many times did he say it?” Shoshanne chuckled. “Too many to count,” Cayla giggled. “It was cute.” “At least I’m not as drunk this time,” I mumbled as I shook my head. “I think I’m not, anyways. I can’t remember how much I drank in there, but I do feel like my head isn’t attached to my neck anymore.

We are passing the Schloß Marienburg.” Field stooped and peered up at a massive walled castle. Below, the greenish-gray river was spanned by an arched stone bridge. “This is Würzberg, Inspector. Here

The house was a tired, settling sort of structure, half-buried in the hill behind it, which emitted a strong smell of goats on warm afternoons. It had only two rooms, a blackened oven occupied by several generations of mice, and a bed of straw-stuffed canvas. The mason who chiseled their names into the stone mantel thought privately it was a grim, lean home for a young family, but to Yule and Ade it was the most beautiful building ever to claim four walls and a rooftop. This is the mad Midas touch of true love, which transforms everything it touches to gold. Winter

Eat quickly! The Masons will be here soon!” snapped Aunt Petunia, pointing to two slices of bread and a lump of cheese on the kitchen table. She was already wearing a salmon-pink cocktail dress. Harry washed his hands and bolted down his pitiful supper. The moment

There was a full-sized seated skeleton in front of them on the steps. “The Walking Skeleton!” Benny said. Henry chuckled. “No, I guess you’d have to call it the Sitting Skeleton. It’s just sitting there as if it stopped to take a rest.” “I’m not afraid of Halloween tricks even when it’s not Halloween.” Benny scurried past the skeleton. Henry looked very serious. “Now I know someone is trying to scare us away from Skeleton Point again,” he said. “You’re probably right, Henry,” said Jessie. “But who could it be?” “William Mason and Hilda Stone,” said Benny, almost immediately. “They’re mean to us, and they don’t want us around.” “You’re right, Benny. Remember that man in town said William Mason wanted to buy Skeleton Point for himself? Maybe he’s mad at Charlotte for buying it first.” Jessie looked thoughtful. “What about Greeny?” she asked. “We know he doesn’t want us around, either--and we know he’s taking things from the house. Maybe he wants to scare us away so we won’t figure out what he’s up to. We should still keep an eye on him.” Henry agreed. “In fact, we should keep an eye on all of them.” When they returned to the house, the Aldens found that William had joined Hilda outside. Jessie waved. “Hi!” she called out, as if she had come straight from her errand across the lake. “Sorry we took so long. The hardware store was out of those light switches.” Hilda and William kept working. It seemed neither of them wanted to say anything. Finally Hilda spoke up. “Oh, it turns out we don’t need them after all.” William pushed back the brim of his red hat and checked his watch. “Half the day’s gone. I don’t see much use for you kids sticking around here. Hilda and I are doing some technical work Charlotte asked us to do--not something suitable for children.” “We know how to measure, too” Benny said. “I learned in kindergarten.” Hilda hesitated. “What we’re doing is a little more complicated than what you do in school. Now, why don’t you children go for a bike ride. Or a swim,” she suggested before going into the house. Henry turned to William. “We already went for a swim,” he said. “An unplanned one.” William didn’t say anything about untying the Alden’s boat, but he looked away and cleared his throat. “Well, then, go for a planned one this afternoon. Take tomorrow off, too. Everything’s under control here.” Before William turned to go into the house, the Aldens looked down. Just as they suspected, William was wearing heavy work boots that left deep prints just like the ones near the statue. The Mystery at Skeleton Point

He rose and standing in the dark he began to chant in a deep voice, while the echoes ran away into the roof. The world was young, the mountains green, No stain yet on the Moon was seen, No words were laid on stream or stone When Durin woke and walked alone. He named the nameless hills and dells; He drank from yet untasted wells; He stooped and looked in Mirrormere, And saw a crown of stars appear, As gems upon a silver thread, Above the shadow of his head. The world was fair, the mountains tall, In Elder Days before the fall Of mighty kings in Nargothrond And Gondolin, who now beyond The Western Seas have passed away: The world was fair in Durin’s Day. A king he was on carven throne In many-pillared halls of stone With golden roof and silver floor, And runes of power upon the door. The light of sun and star and moon In shining lamps of crystal hewn Undimmed by cloud or shade of night There shone for ever fair and bright. There hammer on the anvil smote, There chisel clove, and graver wrote; There forged was blade, and bound was hilt; The delver mined, the mason built. There beryl, pearl, and opal pale, And metal wrought like fishes’ mail, Buckler and corslet, axe and sword, And shining spears were laid in hoard. Unwearied then were Durin’s folk; Beneath the mountains music woke: The harpers harped, the minstrels sang, And at the gates the trumpets rang. The world is grey, the mountains old, The forge’s fire is ashen-cold; No harp is wrung, no hammer falls: The darkness dwells in Durin’s halls; The shadow lies upon his tomb In Moria, in Khazad-dûm. But still the sunken stars appear In dark and windless Mirrormere; There lies his crown in water deep, Till Durin wakes again from sleep. ‘I

Masons will be here soon!” snapped Aunt Petunia,

Among masons, the joint or juncture of two stones, or the interstice between two stones to be filled up with mortar.Dict.   

set of planned events with great accuracy as early as 2010: “We received an 11-page document from an insider who attended the Senior Masons Conference in London in 2005. The content of the discussion was really outrageous. Our intelligence provider reports: The Third World War is about to happen. This is already planned. It will be a war of nuclear weapons and biological weapons. Our intelligence

They also spent time relaying ancestors’ stories including the Stone Age Kentucky Derby, where saber tooth tigers raced and the haughty humans watched and drank their flint juleps.

downcast. ow and then,

overloaded horses bent backwards by the chisel of the mason who once sculpted an eternal now on the brow of the wingless archangel, time-deformed cherubim and the false protests, overweight bowels fallen from the barracks of the pink house carved with grey rain unfallen, never creaking, never opening door, with the mouth wide, darkened and extinguished like a burning boat floating in a voiceless sea, bottle of rum down threadbare socks, singing from pavement to pavement, bright iridescent flame, "Oh, my Annie, my heart is sore!", slept chin on the curb of the last star, the lintel illuminated the forgotten light cast to a different plane, ah the wick of a celestial candle. The piling up of pigeons, tram lines, the pickpocket boys, the melancholy silver, an ode to Plotinus, the rattle of cattle, the goat in the woods, and the retreat night in the railroad houses, the ghosts of terraces, the wine shakes, the broken pencils, the drunk and wet rags, the eucalyptus and the sky. Impossible eyes, wide avenues, shirt sleeves, time receded, 'now close your eyes, this will not hurt a bit', the rose within the rose, dreaming pale under sheets such brilliance, highlighting unreality of a night that never comes. Toothless Cantineros stomp sad lullabies with sad old boots, turning from star to star, following the trail of the line, from dust, to dust, back to dust, out late, wrapped in a white blanket, top of the world, laughs upturned, belly rumbling by the butchers door, kissing the idol, tracing the balconies, long strings of flowers in the shape of a heart, love rolls and folds, from the Window to Window, afflicting seriousness from one too big and ever-charged soul, consolidating everything to nothing, of a song unsung, the sun soundlessly rising, reducing the majesty of heroic hearts and observing the sad night with watery eyes, everything present, abounding, horses frolic on the high hazy hills, a ships sails into the mist, a baby weeps for mother, windows open, lights behind curtains, the supple avenue swoons in the blissful banality, bells ringing for all yet to come forgotten, of bursting beauty bathing in every bright eternal now, counteract the charge, a last turn, what will it be, flowers by the gate, shoe less in the park, burn a hole in the missionary door, by the moonlit table, reading the decree of the Rose to the Resistance, holding the parchment, once a green tree, sticking out of the recital and the solitaire, unbuttoning her coat sitting for a portrait, uncorking a bottle, her eyes like lead, her loose blouse and petticoat, drying out briefs by the stone belfry and her hair in a photo long ago when, black as a night, a muddy river past the weeds, carrying the leaves, her coffee stained photo blowing down the street. Train by train, all goes slow, mist its the morning of lights, it is the day of the Bull, the fiesta of magic, the castanets never stop, the sound between the ringing of the bells, the long and muted silence of the distant sea, gypsy hands full of rosemary, every sweet, deep blue buckets for eyes, dawn comes, the Brahmanic splendour, sunlit gilt crown capped by clouds, brazen, illuminated, bright be dawn, golden avenues, its top to bottom, green to gold, but the sky and the plaza, blood red like the great bleeding out Bull, and if your quiet enough, you can hear the heart weeping.

It happened on the main river course in bright sunshine at Bottom River. Hubert’s first cousin, Barbara, who wasn’t born in Mason Hall but came as a young girl to live there with her family, was in the river with a large group shouting and laughing when unexpectedly the rushing torrent came into view sweeping everything before it. Unbeknownst to those in the river who were en joying perfect weather, it had been raining hard in the Widow/Nutmeg Grove area upstream and the flash flood was on its way downstream. Barbara was said to be sitting on a stone in the middle of the river when she was swept away as those present looked on helpless and horrified. The able-bodied men of our village and some from villages downstream searched for her throughout the night, without success. The next morning her lifeless body was recovered from the banks of the Courland as it wound its way to the sea at Plymouth.

This rabbi," said Merlyn, "went on a journey with the prophet They walked all day, and at nightfall they came to the sumble cotage of a poor man, whose only treasure was a cow. The poor man ran out of his cottage, and his wife ran too, to welcome the strangers for the night and to offer them all the simple hospitality which they were able to give in straitened circumstances. Elijah and the Rabbi were entertained with plenty of the cow's milk, sustained by home-made bread and butter, and they were put to sleep in the best bed while their kindly hosts lay down before the kitchen fire. But in the morning the poor man's cow was dead." "Go on." "They walked all the next day, and came that evening to the house of a very wealthy merchant, whose hospitality they craved. The merchant was cold and proud and rich, and all that he would do for the prophet and his companion was to lodge them in a cowshed and feed them on bread and water. In the morning, however, Elijah thanked him very much for what he had done, and sent for a mason to repair one of his walls, which happened to be falling down, as a return for his kindness. "The Rabbi Jachanan, unable to keep silence any longer, begged the holy man to explain the meaning of his dealings with human beings. "In regard to the poor man who received us so hospitably,' replied the prophet, 'it was decreed that his wife was to die that night, but in reward for his goodness God took the cow instead of the wife. I repaired the wall of the rich miser because a chest of gold was concealed near the place, and if the miser had repaired the wall himself he would have discovered the treasure. Say not therefore to the Lord: What doest thou? But say in thy heart: Must not the Lord of all the earth do right?'" "It is a nice sort of story," said the Wart, because it seemed to be over.

For Your Consideration by Stewart Stafford Stellar Scrutiny is required, Taffeta blindfolds though, Ordinarily obscure. Three and fifty miles hence, Wander those in denial, Of the untrustworthy father in the palace. Belated guests to the conflagration, Are served up as fodder, Consistently denied peerages and proper burial. Venerated with daggers, Erstwhile companions stoned, Ruled And Martyred. © Stewart Stafford, 2021. All rights reserved.

Why Jewish Stars Have Six Points How happy I was that beautiful morning in May when the president of my student pulpit asked me for the story behind the six-pointed Star of David. Having just finished reading a scholarly monograph on that very subject, I launched a copious explanation of when Jews first started using the star, how they used it, and so on. I told her that Muslims had used it too, and called it the Star of Solomon; that Jews began putting it on their tombstones in the High Middle Ages; that it was taken over by mystics in the sixteenth century; and that in modern times, it was chiseled on synagogue walls, primarily because its straight-line design made it easy for stone masons to work with. Churches had crosses; synagogues had stars. The woman who asked the question was impatient with me and quickly shrugged off everything I had to say. “Rabbi,” she retorted, “the Star of David symbolizes the Jewish People. It has six points, you see, so no matter how you stand it up, it will always have two points on which to balance. From such a firm base, it cannot be toppled. Just so, we Jews are firmly entrenched, no matter what history brings us.

The ‘Oberge des Mailletz’ is by far the oldest tavern of which any record can found in the City archives. In 1292, Adam des Mailletz, inn-keeper, paid a tithe of 18 sous and 6 deniers.This we learn from the Tax Register of the period. At the time it was founded, the Trois-Mailletz was the meeting place of masons, who under the supervision of Jehan de Chelles, carved out of white stone the biblical characters destined to grace the north and south choirs of Notre-Dame. Underneath the building, there are two floors of superimposed cellars: the deeper ones date from the Gallo-Roman period. What remains of the instruments of torture found in the cellars of the Petit-Châtelet have been housed here, along with some other restored objects. A modest bar counter, a long-haired patron who bizarrely manages never to be freshly shaven or downright bearded. A stove in the middle of the shabby room; simple straightforward folk, less drunk than at Rue de Bièvre, and less dirty. Just what we needed.

The phone number called during the emergency (9-1-1) likewise matches the date on which the Twin Towers were attacked. But in occult numerology, the number eleven means much more than this. It is the first Master Number and represents a dark vision. When doubled to twenty-two (22), the vision is combined with action. When tripled to thirty-three (33)—the signal of the highest and most important action in Freemasonry—it means vision and action have combined to produce accomplishment in the world. Is it therefore mere coincidence that exactly eleven years to the date following George H. W. Bush’s “New World Order” speech (and eleven years before 2012), on September 11, 2001, Flight 11 crashed into the Twin Towers, whose appearance side by side not only formed a Masonic-like, pillared gateway, but also architecturally depicted the number eleven? Also consider that Flight 11 hit the Twin Towers first, and Flight 11 had eleven crew members; New York was the eleventh state added to the Union; the words, “New York City” have eleven letters; Afghanistan, the first nation the U.S. attacked following 9/11, has eleven letters; the name George W. Bush has eleven letters; the words, “The Pentagon,” which was also attacked on 9/11, have eleven letters; and Flight 77—an additional twin Master Number—hit the Pentagon, which is located on the seventy-seventh (77th) meridian, and the foundation stone for the Pentagon was laid in 1941 on September 11 in a Masonic ceremony.

As it fell from a scaffolding simultaneous with Dury, a mason, of Marseilles, a stone crushed his skull.

The camp offices stood in the centre, adjoining the shrine to Jupiter that held the legion’s Eagle. In the camps of the Vth Macedonica and the VIth Ferrata, these buildings were of grey stone, dressed by Gaulish masons to such smoothness that a man could run his hand down them and not feel the joins. The legions’ respective signs of the bull and the eagle had been carved thereon with such pride and perfection that men copied them on their shields and carved them on the bedheads in the barracks. At Raphana, the camp office of the XIIth Fulminata and IVth Scythians before which we dismounted was built of the local baked mud, and some drunkard with a poor eye for detail had etched the Scythians’ sign of the goat and the Fulminata’s crossed thunderbolts together, so that it seemed as if the goat were thunderstruck, or else that lightning grew from its anus. Both applied equally; each was unthinkable in a legion which had any pride in itself.

It’s a modern version of the pagan Pantheon.” Willard spoke quickly with short, choppy breaths. He pulled his face around to Dale’s, inches apart, keeping Dale’s neck hooked in his elbow. “Masons use Pantheon structures as allusions to the Temple of Solomon. The Dome of the Rock. The Knights Templar knew the truth, that the Dome was the site of Solomon’s Temple. And that’s why Masons continue to use Pantheon domes in their buildings. This one here in the world’s capital is the perfect meeting place.

As we look around the world, especially in Egypt, Lebanon, Turkey, the west coast of Italy, Peru, and Bolivia, there are stone structures and the remains of others which don't easily fit into the standard picture of history. The pyramids of Giza in Egypt, Puma Punku in Bolivia, and the great megalithic wall of Sachsayhuaman in Peru are but three examples of astonishingly well-made stone works which modern engineers, stone masons, and other experts puzzle over. Conventional academics in general date these structures well within the standard timeline of so-called civilization. The generally prescribed creation date of the three pyramids of Giza is about 2500 BC, Puma Punku is alleged to have been constructed around 600 AD, and Sachsayhuaman approximately 1200 to 1400 AD. However, what intrigues engineers, architects, stone masons, and other professionals is the extreme precision of the work, often in very hard stone, which many archaeologists insist was usually achieved using bronze and or copper chisels, wooden measuring devices, and stone hammers.

One also finds, even to this day, some amazing works such as the aforementioned Sachsayhuaman and the Coricancha in Cusco, where no mortar of any kind was used. It was stone-on-stone, with astonishing accuracy of fit. In the Inca toolkit, as found in the archaeological record, only copper and bronze chisels have been found, along with wooden measuring instruments and stone pounders or hammers. Conventional archaeologists contend that such tools were responsible for the refined workmanship seen in Cusco and other 'Inca' areas. However, the stone used - granite, andesite, and basalt - are harder than the majority of the tools used, and thus could not have been responsible for the work. The same is true of Tiwanaku and the connected site of Puma Punku. Massive megalithic blocks with sculpted surfaces are found at these locations, made of local sandstone, which would be difficult to shape with bronze chisels and stone hammers. However, the real enigmas are the even harder andesite and basalt stones, cut and shaped with such precision that modern engineers, stone masons, and other professionals question how such work could have been achieved without at least 20th century technology.

He went through the back door into the long narrow kitchen, feeling as he always did the sudden onslaught of time, enthralled by the myriad smells of the kitchen: coffee and cloves and cinnamon, the heavy fruity odor of basketed apples and the faintly sour smell of dried peaches, and some other odor, rich and dark and mysterious, that was the odor of time itself, of days the old woman had stacked into years as carefully as a mason lays one stone atop another to construct a wall.

The cruel chisel destroys a stone with each cut. But what the stone suffers by repeated blows is no less than the shape the mason is making of it. And should a poor stone be asked, ‘What is happening to you?’ it might reply, ‘Don’t ask me. All I know is that for my part there is nothing for me to know or do, only to remain steady under the hand of my master and to love him and suffer him to work out my destiny. It is for him to know how to achieve this. I know neither what he is doing nor why. I only know that he is doing what is best and most perfect, and I suffer each cut of the chisel as though it were the best thing for me, even though, to tell the truth, each one is my idea of ruin, destruction and defacement. But, ignoring all this, I rest contented with the present moment. Thinking only of my duty to it, I submit to the work of this skillful master without caring to know what it is.