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That ferment of interest in the Italian, or, as it was popularly called, Classical style, may well have helped to prepare the way for the renaissance of Speculative Freemasonry, and Palladion as the original source of that interest. James Anderson "wrote" the 17 editions of the Book of Constitutions for the Mother Grand Lodge of 1717 but it is impossible to discover who was responsible for the materials in either; perhaps many Brethren were; whoever it was he (or they) makes it clear in the 1738 edition that Freemasonry mas in the Craft's mind, twenty-one years after the formation of Grand Lodge, still identified closely with architectures for he goes out of his way to remark that, "In the last Reign sundry of the 50 new Churches in the Suburbs of London were built in a fine Stile upon the Parliamentary Fund, particularly the b beautiful St.Mary be Strand." The "fine stile" was the Palladian; and in another connection it is made clear that the Freemasons at the time not only did not guess that the old Operatives had been builders of Gothic, but even dismissed Gothic as a barbarous thing.He published, 1776, Common Sense, an argument for a republic.
Brother Coleman says: "Under this authority, a delegate went from the United States to Jerusalem and calling together a competent number of those named in the Warrant, and others, the Lodge was regularly and constitutionally organized and has had many years of prosperous existence up to the issuance of this volume." The first Degree was conferred at the Mediterranean Hotel, afterwards a Lodge-room was established near the Joppa Gate.
Paine's acquaintance with prominent Freemasons on both sides of the Atlantic Ocean has doubtless had much to do with the claim often made for his membership in the Craft.
A meeting with Brother Franklin in London obtained for him introductions to the leaders in the Colonies and he sailed there in 1774 where he became editor of the Pennsylvania Gazette.
E., as he then was, later Lieut.-General Sir Charles Warren, G. Such reference books as are most often consuited in public libraries say little more about Andrea Palladio than that he was an Italian architect, of Venice, born in 1518, died in 1580, that he was one of the creators of the Italian, or neo-Classical style, that he wrote treatises on his art, and that he seas called "the modern Vitruvius." That would be a pitiably weak description of Palladio in the eyes of any English Mason who had read The First & Chief; Grounds of Architecture, the first book printed in England on architecture, by John Shute, who had gone to Venice in the 1540's and there for two or three years had studied "the glories of the new Italian architecture" at first hand; or after Inigo Jones, about 1600, came back to his King after a similar journey of study, and introduced the new style into England; for Palladio became a vast enthusiasm there, almost a cult, and hundreds of small clubs of amateur architects met to study the art of I this great modern Master, who in due time was to be Sir Christopher Wren's guiding inspiration when after the London fire in 1666 he designed not only St.
Paul's but more than a hundred other buildings, a few of them in America.