Camera test. I bought a Certo Six medium format folding camera, and this is from the test roll I ran through it. It's a rangefinder, but the rangefinder patch is nonexistent, so I had to scale focus. That is being fixed now.

A lovely place near Angamali in Kerala where 7 rivers came together. Sadly... most rivers are nonexistent now.

December 18, 2009

( "Don't you think it would be wonderful to get rid of everything and everybody and

just go some place where you don't know a soul?" )

I don't really know what to write about anymore.

Today, it started off unlike any other day. The morning was woken up to by nightmares of abandonment and loss, my eyes and cheeks wet from weeping throughout my duration of slumber. Out of character, I was frightened to even blink for the darkness crept inside the corners in means of haunting and threatening where my mind would travel if I were to even notion the idea of sleep. So instead, I rest my exhaustion alongside the hymns to several musical artists, in which heightened my spirits almost instantly and in continuance, kept my lids open and aware even on merely five hours of dream.

Bee text me not long afterward and agreed to stop by, so I readied myself quickly into something to suit and she appeared soon. We settled our bodies out onto my hotel's balcony, indifferent over the spill of rain about the heavens, and I allowed her to exercise my hearing until our cigarettes formed into something nonexistent. She was angry, told me bluntly that she always is, her pupils full of fire. But I could not seem to sympathize her hate and grief and regret for anything in my life, a sort of force field of joyous emotion surrounding my every movement and protecting my light mind from anything negative. Still, I nodded my head and agreed over subjects and situations she was indeed right about, even shook my head when I knew I should have. And I think it was enough. At least, I hope it was.

She drove us to a place called Sam's Corner, famous for their delicious hot dogs and their preferred five cent cups of coffee by the two of us. Sitting inside one of the booths closest to the back door, we ordered what we desired and began speaking to one another like we had not seen each other in months and it really felt like such, although it has only been one week. Firstly, our topic of choice was less than important and having to do with our love interests at this moment being and then suddenly, my mouth half open readying the process of eating a cheese fry, her voice cracks as she brings Death into the conversation.

I wonder if we are all the same, whenever it really comes down to it and all else. When you're at the end of your rope, who are you? I mean, really. Who are you?

I wasn't going to go to the bottom of Quilotoa -- but they were doing it in high heels so I had to!

Had a brief talk (as much as my nonexistent Spanish allowed) while they were setting up for their picnic but I had to start making my way back to the top.

I really liked the way the sun hit this stairway. Sometime during our search for the nonexistent breakfast and new york times.

We drove up to Clingman's Dome, the highest point in the park (just over 6600 feet). It was totally socked in by fog, so the views were nonexistent, but climbing into the fog was still pretty cool.

Week 12: For us photographers, it's always a race against time to catch the transient... and the nonexistent.

Originally built between 1793 and 1797 during the Second Spanish Period, this Spanish Colonial and Neoclassical-style cathedral is the fourth church to occupy a prominent position at the heart of the city of St. Augustine. The original church, built of flammable materials, stood from 1565 until 1586, when it was burned during an attack by English Privateer Sir Francis Drake. Not even a year later, the church was rebuilt of palm logs, with a straw roof, which succumbed to fire in 1599. In 1605, thanks to a tithe from Spain, a timber church was constructed, which stood until a failed English attack on the city in 1702 by James Moore, then-governor of Carolina colony. There were attempts to rebuild the church during the First Spanish Period, starting in 1707, but these went nowhere, and the money intended for the church’s reconstruction were misallocated by corrupt officials. Instead, during the remainder of the First Spanish Period, mass was held in the St. Augustine Hospital. Following the transfer of governance of Florida to the British in 1763, the need for a new Catholic church was nonexistent, as the catholic population of the colony fled to other Spanish colonies. At the start of the Second Spanish Period in 1784, the need for a new church became more apparent, and work on the current cathedral’s Coquina stone walls began in 1793. The facade of the church features Neoclassical elements around the front doorway, with the Spanish Colonial style being employed on the roofline and limited fenestration on the front facade. The church stood in its original configuration until a fire in 1887 destroyed the timber roof structure and did major damage to the interior. Following the fire, Henry Flagler led the effort to have the cathedral rebuilt, with James Renwick, Jr. designing an expansion of the old building, giving it a rectangular cruciform layout, and adding the Spanish Renaissance-style bell tower and European-style transept to the building. The interior was rebuilt to feature exposed decorative timbers that supported the roof structure, and a decorative polychromatic tile floor. The building has since received a few more additions, which house a chapel, service areas, and offices, as well as a building to the rear of the cathedral along Treasury Street, built in the Mediterranean Revival style, which houses the offices of the Diocese of St. Augustine. Today, the cathedral remains a prominent landmark in the city, and was listed on the National Register of Historic Places and listed as a National Historic Landmark as part of the St. Augustine Town Plan Historic District in 1970.

A Japanese rock garden (枯山水, karesansui?), sometimes called a Zen garden, is an enclosed shallow sandpit containing sand, gravel, rocks, and occasionally grass and/or other natural elements. The main elements of karesansui are rocks and sand, with the sea symbolized not by water but by sand raked in patterns that suggest rippling water. Plants are much less important (and sometimes nonexistent) in many karesansui gardens. Karesansui gardens are often, but not always, meant to be viewed from a single, seated position. Some Westerners believe that karesansui gardens can be used to calm human minds, but they were not intended for such in their native Japanese settings.

(from wiki)

Residents stretch their hands to receive clothes in Cabaret, Haiti, Wednesday, Sept. 10, 2008. Four tropical storms in less than a month have caused floods throughout Haiti, killing at least 300 people. Shipments of food and pledges of more poured in from around the world, but distribution of the emergency supplies was hampered by the impoverished country's chronic insecurity and the poor and often nonexistent network of roads and other infrastructure. (AP Photo/Ramon Espinosa).

As you can see, this goose egg is fresh and has not begun to develop visibly. However, even at this stage the germinal disc begins to divide, as soon as the incubation process begins. The air cell is literally nonexistent.

The development of Hanne's character also implied the study of the structure of the human body. His complexion was different to the others I had done, as he is stout and fat. I had to balance both features and decide which one prevailed over the other, opting for fatness as his main character trait. This is shown, aside from his belly, by his fallen shoulders, his nonexistent neck and his parted legs, to gain more stability. In regards to his face, his nose was simplified and became just a line: its previous design was unpractical and complicated. His moustache became more stereotypical and pointy, and the size of his eyebrows was modified to fit his head.

His clothing is also simple: a pair of trousers with suspenders and a dress shirt. As Cael's, his clothes are easy to draw and provide insights into Hanne`s personality.

Mendon Ponds Park is owned and very poorly maintained by the County of Monroe, NY.

Unfortunately, this extraordinary property is rapidly deteriorating due to an egregious lack of care. Trails are not cleared of debris... signs are useless. Park maintenance is essentially nonexistent. They do have a marketing department. Seriously, the taxpayers are paying the salaries of a county parks marketing department.

Email Mendon Ponds Park complaints to: countyexecutive@monroecounty.gov

Back to Hawaii stuff. Waikiki was very different from our trip last June, because the boogie-boarding scene around Kapahulu Pier was almost nonexistent. (Maybe because school was still in session.) So I stayed farther down the beach and got some shots of surfers and beach boys. Everything was less crowded in general than in June, but a lot of the surfers were from Japan -- not surprising, as it turned out that it was Golden Week, a big vacation time there.

Originally built between 1793 and 1797 during the Second Spanish Period, this Spanish Colonial and Neoclassical-style cathedral is the fourth church to occupy a prominent position at the heart of the city of St. Augustine. The original church, built of flammable materials, stood from 1565 until 1586, when it was burned during an attack by English Privateer Sir Francis Drake. Not even a year later, the church was rebuilt of palm logs, with a straw roof, which succumbed to fire in 1599. In 1605, thanks to a tithe from Spain, a timber church was constructed, which stood until a failed English attack on the city in 1702 by James Moore, then-governor of Carolina colony. There were attempts to rebuild the church during the First Spanish Period, starting in 1707, but these went nowhere, and the money intended for the church’s reconstruction were misallocated by corrupt officials. Instead, during the remainder of the First Spanish Period, mass was held in the St. Augustine Hospital. Following the transfer of governance of Florida to the British in 1763, the need for a new Catholic church was nonexistent, as the catholic population of the colony fled to other Spanish colonies. At the start of the Second Spanish Period in 1784, the need for a new church became more apparent, and work on the current cathedral’s Coquina stone walls began in 1793. The facade of the church features Neoclassical elements around the front doorway, with the Spanish Colonial style being employed on the roofline and limited fenestration on the front facade. The church stood in its original configuration until a fire in 1887 destroyed the timber roof structure and did major damage to the interior. Following the fire, Henry Flagler led the effort to have the cathedral rebuilt, with James Renwick, Jr. designing an expansion of the old building, giving it a rectangular cruciform layout, and adding the Spanish Renaissance-style bell tower and European-style transept to the building. The interior was rebuilt to feature exposed decorative timbers that supported the roof structure, and a decorative polychromatic tile floor. The building has since received a few more additions, which house a chapel, service areas, and offices, as well as a building to the rear of the cathedral along Treasury Street, built in the Mediterranean Revival style, which houses the offices of the Diocese of St. Augustine. Today, the cathedral remains a prominent landmark in the city, and was listed on the National Register of Historic Places and listed as a National Historic Landmark as part of the St. Augustine Town Plan Historic District in 1970.

Drink Yogurt ... I am on the hunt to find good yogurt here. I want my plain yogurt every day, but I also prefer the whole-fat kind, which seems to be nonexistent on this island. And Sometimes I can find 2% yogurt, which may be the best I'll be able to get. This one looks almost like some kind of kefir, since it claims to be drinkable. [AEON at the American Village]

This dead branch, which has been precariously perched in the tree in my back yard, wasn't even moved. Despite the intense roar above my house as it passed over, the wind was almost nonexistent.

A friend owns a converted industrial loft space along the damage path. One of her tenants is a fantastic restaurant, which lost power in the blackout. They stayed open, working by battery emergency lights and candles. Without an exhaust fan, the kitchen got hot enough to blow the sprinkler system. As the pressurized air rushed out of the pipes, the cooks thought it was a gas leak and ran out, screaming for everyone to evacuate instantly. As everyone stood on the edge of the parking lot, waiting for the building to possibly blow up, they realized that behind them was a huge funnel with debris spinning around inside it, clearly visible.

Talk about a Hobson's choice....

I love his nonexistent profile!

A nonexistent herald from earlier times.

There's a fractal in there somewhere. Not much left of it.

Project 365 Day 127. A very foggy day at Bolsa Grande. When I had arrive at school that morning, the fog was nonexistent. By 9am, however, it had swamped the school.

Atlanta Braves baseball from 20 September 2019 (the night they clinched the division crown). The new park (opened in 2018) gets panned a little because it's usually pretty hot in Georgia and a heck of a lot of seats are in direct sun.

It's a relatively generic stadium (in the new mold of generic stadiums), but it's nice. The area outside the stadium (bars/restaurants) is actually a bit more interesting/unique than the stadium itself.

The biggest drawback is that the Atlanta Braves no longer play in Atlanta. (That and parking is almost nonexistent up there in Marietta near the stadium. We were scratching our heads looking for the actual parking lots.)

As for the game...it was a great game. First time in my life I actually got to see a division-clinching game. (They'd clinched a playoff spot a few days before.)

This Stromberg WA3-219 ("Model W") 1bbl carburetor was original equipment as a production option to the Carter BBS and Holley 1920 on 1963 (only) Dodge and Plymouth B-body (only) cars with 225 engine and automatic transmission (only). No variant of this carb was used on any other year or model. I don't know why this was done, nor does it make any sense for Chrysler to have spent what must have been an enormous sum in tooling for such a low-volume carburetor. Was there some kind of a strike at Carter and/or Holley that reduced the available volume of carburetors? It is worth noting that this carb has the largest venturi of any 1bbl used as factory equipment on a slant-6. I've tried a few of these over the years, but have never gotten one to run quite right. Kits and parts are almost nonexistent.

This photo was taken in Gerber Park on the corner of Cherry and Martin Luther King Way. On this 0.16 acre plot of land lies 4 monoliths. Each monolith houses two mosaics each and are all topped with, metal, three-sided windmills. The mosaics are colorful creations made from small colored stones and pebbles. The reds and yellows of the trees and the greens of the grass add to the vibrant color that this park expresses in the fall. The blue of the sky dominates the photo much like the real sky does on a chilly clear day. And although this picture is a good representation of the beauty of fall, not even this is perfect. The rundown building behind the tree represents the current state of much of the neighborhood. The paint chips off when the wind blows and the floor squeaks, but things tend to get better as they age, and if you look closely, you may find a few hidden gems disguised only in a thin layer of, nonexistent, paint.

Brie H.

A crocheted lemmings character on my window, against the sunset at 11 pm. I love how the nights have slowly become nonexistent.

So I did the unthinkable and walked into Zindra simply to fug hunt. I was that bored.

Found this ...thing. Didn't take too many tranquilizer darts to get her, what with that concentration camp physique. Not even sure it's really female with the face and nonexistent boobs.... but it was born in 2008 and outfitted in freebie looking clothes.

MG Raymond V. Mason, commander of Joint Logistic Over The Shore 2008, talks with Rear Adm. Mark D. Harnitchek, director, stragegy, policy, programs and logistics directorate, USTRANSCOM during a JLOTS operational tour at Camp Pendleton, Calif. July 25. JLOTS is an exercise that increases the Army's and Navy's ability to build improvised ports for transporting equipment from ship to shore when a harbor or pier has been damaged or is nonexistent. Nearly 1,500 pieces of rolling equipment and shipping containers will be moved from ships with a series of lighterage systems (floating roadways) and smaller boats to improvised piers on the shore. (U.S. Army photo by Sgt. Stephen Proctor, JLOTS Public Affairs)

I got her these Lego Mosaic sets and she made this car. Awesome toy, I wish I had more than 13 patterns since my creativity is nonexistent.

The Navy Elevated Causeway System is one of many pieces of equipment that will serve as part of the improvised port during Joint Logistics Over The Shore 2008. The crane on the ELCAS lifts the vehicles and containers from the lighterage and smaller ships and provides a conduit to the shore. JLOTS is an annual exercise that increases the Army's and Navy's ability to build improvised ports for transporting equipment from ship to shore when a harbor or pier has been damaged or is nonexistent. Nearly 1,500 pieces of rolling equipment and shipping containers will be moved from ships with a series of lighterage systems (floating roadways) and smaller boats to improvised piers on the shore. (U.S. Army photo by Sgt. Stephen Proctor, JLOTS Public Affairs)

Originally built between 1793 and 1797 during the Second Spanish Period, this Spanish Colonial and Neoclassical-style cathedral is the fourth church to occupy a prominent position at the heart of the city of St. Augustine. The original church, built of flammable materials, stood from 1565 until 1586, when it was burned during an attack by English Privateer Sir Francis Drake. Not even a year later, the church was rebuilt of palm logs, with a straw roof, which succumbed to fire in 1599. In 1605, thanks to a tithe from Spain, a timber church was constructed, which stood until a failed English attack on the city in 1702 by James Moore, then-governor of Carolina colony. There were attempts to rebuild the church during the First Spanish Period, starting in 1707, but these went nowhere, and the money intended for the church’s reconstruction were misallocated by corrupt officials. Instead, during the remainder of the First Spanish Period, mass was held in the St. Augustine Hospital. Following the transfer of governance of Florida to the British in 1763, the need for a new Catholic church was nonexistent, as the catholic population of the colony fled to other Spanish colonies. At the start of the Second Spanish Period in 1784, the need for a new church became more apparent, and work on the current cathedral’s Coquina stone walls began in 1793. The facade of the church features Neoclassical elements around the front doorway, with the Spanish Colonial style being employed on the roofline and limited fenestration on the front facade. The church stood in its original configuration until a fire in 1887 destroyed the timber roof structure and did major damage to the interior. Following the fire, Henry Flagler led the effort to have the cathedral rebuilt, with James Renwick, Jr. designing an expansion of the old building, giving it a rectangular cruciform layout, and adding the Spanish Renaissance-style bell tower and European-style transept to the building. The interior was rebuilt to feature exposed decorative timbers that supported the roof structure, and a decorative polychromatic tile floor. The building has since received a few more additions, which house a chapel, service areas, and offices, as well as a building to the rear of the cathedral along Treasury Street, built in the Mediterranean Revival style, which houses the offices of the Diocese of St. Augustine. Today, the cathedral remains a prominent landmark in the city, and was listed on the National Register of Historic Places and listed as a National Historic Landmark as part of the St. Augustine Town Plan Historic District in 1970.

A broken crystal that shows rounded bi-pyramidal terminations and near-nonexistent prisms faces. The color, pale coatings and general appearance resemble thorite from this location. The crystal in this case appears to suggest a zoned growth, but the metamict state (?) and structural damage obscure finer details. FOV=2mm

This was rather sad. We were the first to even get in line. We had to check with the lonely employee to make sure that the ride was even open, the lack of people being so disarming.

We rode this roller coaster four times consecutively (we didn't even need to get off) before getting a little tired of it and moving on.

Read Adventures in Abu Dhabi: Ferrari World on my blog.

An empty hallway in Broad Run High School in Ashburn, Virginia. The nonexistent lines are likely because of the more than 2.7 million Virginians that had already early voted by Monday. Photo by Megan Lee with VCU CNS.

I'm also apparently about to tell those nonexistent darn kids not to make me turn this car around.

be jealous.

Thank God for Goodwill, otherwise half my wardrobe would be nonexistent right now.

And I would not be in possession of this TIGHT ASS jacket!!!

This is my first attempt at HDR.

It was a sunny day so I decided to visit The British Museum. Unfortunately by the time I got there, it became cloudy and the dramatic deep blue sky I had hoped to capture with sun light streaming through the curved glass roof and casting shadows were nonexistent. :-( Instead the sky turned a whitish grey and inside the museum everything looked dull and colourless. So HDR to the rescue!

All the shots were taken handheld (who says you need a tripod) 3 bracketed exposures set at continuous firing.

After a few hours at the museum as the weather was poor I decided to visit Westminster Cathedral. I had to struggle to get there and find parking. Once inside I found out that photography wasn’t allowed during a service so I had to wait around an hour until it finished. I think I captured some good shots for HDR but unbelievably, when I got back home and started to download the photos, half way through the download the memory card got somehow got jammed and I couldn’t download the photos from the church. What a nightmare! A wasted afternoon:-( By the way, this was a new 32GB Kingston elite pro card. The shop recommended it to me as they didn’t have the Lexar in stock that I wanted. So I won’t be buyer Kingston cards again.

Anyway, I hope you enjoy the photos.

As it’s my first attempt at HDR I would be grateful for your comments, criticisms etc.

Originally built between 1793 and 1797 during the Second Spanish Period, this Spanish Colonial and Neoclassical-style cathedral is the fourth church to occupy a prominent position at the heart of the city of St. Augustine. The original church, built of flammable materials, stood from 1565 until 1586, when it was burned during an attack by English Privateer Sir Francis Drake. Not even a year later, the church was rebuilt of palm logs, with a straw roof, which succumbed to fire in 1599. In 1605, thanks to a tithe from Spain, a timber church was constructed, which stood until a failed English attack on the city in 1702 by James Moore, then-governor of Carolina colony. There were attempts to rebuild the church during the First Spanish Period, starting in 1707, but these went nowhere, and the money intended for the church’s reconstruction were misallocated by corrupt officials. Instead, during the remainder of the First Spanish Period, mass was held in the St. Augustine Hospital. Following the transfer of governance of Florida to the British in 1763, the need for a new Catholic church was nonexistent, as the catholic population of the colony fled to other Spanish colonies. At the start of the Second Spanish Period in 1784, the need for a new church became more apparent, and work on the current cathedral’s Coquina stone walls began in 1793. The facade of the church features Neoclassical elements around the front doorway, with the Spanish Colonial style being employed on the roofline and limited fenestration on the front facade. The church stood in its original configuration until a fire in 1887 destroyed the timber roof structure and did major damage to the interior. Following the fire, Henry Flagler led the effort to have the cathedral rebuilt, with James Renwick, Jr. designing an expansion of the old building, giving it a rectangular cruciform layout, and adding the Spanish Renaissance-style bell tower and European-style transept to the building. The interior was rebuilt to feature exposed decorative timbers that supported the roof structure, and a decorative polychromatic tile floor. The building has since received a few more additions, which house a chapel, service areas, and offices, as well as a building to the rear of the cathedral along Treasury Street, built in the Mediterranean Revival style, which houses the offices of the Diocese of St. Augustine. Today, the cathedral remains a prominent landmark in the city, and was listed on the National Register of Historic Places and listed as a National Historic Landmark as part of the St. Augustine Town Plan Historic District in 1970.

This Stromberg WA3-219 ("Mode

This Stromberg WA3-219 (Model W) carburetor was original equipment, as a production option to the Carter BBS and Holley 1920, on 1963 (only) Dodge and Plymouth B- and C-body cars (only) with 225 engine and automatic transmission (only). No variant of this carb was used on any other model or year. I have no idea why Chrysler would've spent what had to be a real whackload of money for tooling an

This Stromberg WA3-219 (Model W) carburetor was original equipment, as a production option to the Carter BBS and Holley 1920, on 1963 (only) Dodge and Plymouth B- and C-body cars (only) with 225 engine and automatic transmission (only). No variant of this carb was used on any other model or year. I have no idea why Chrysler would've spent what had to be a real whackload of money for tooling and production of such a low-volume carburetor. Was there a strike at Holley or Carter that reduced the supply of 1920s and BBSs...? One interesting tidbit: The WA3 has the largest venturi of any 1bbl used from the factory on a slant-6 engine.

I've tried a few of these over the years. Haven't made one run quite right. Kits and parts are almost nonexistent. But the casting and build qu

This Stromberg WA3-219 (Model W) carburetor was original equipment, as a production option to the Carter BBS and Holley 1920, on 1963 (only) Dodge and Plymouth B- and C-body cars (only) with 225 engine and automatic transmission (only). No variant of this carb was used on any other model or year. I have no idea why Chrysler would've spent what had to be a real whackload of money for tooling and production of such a low-volume carburetor. Was there a strike at Holley or Carter that reduced the supply of 1920s and BBSs...? One interesting tidbit: The WA3 has the largest venturi of any 1bbl used from the factory on a slant-6 engine.

I've tried a few of these over the years. Haven't made one run quite right. Kits and parts are almost nonexistent. But the casting and build quality are quite excellent, typical of Stromberg carburetors of the era.

Originally built between 1793 and 1797 during the Second Spanish Period, this Spanish Colonial and Neoclassical-style cathedral is the fourth church to occupy a prominent position at the heart of the city of St. Augustine. The original church, built of flammable materials, stood from 1565 until 1586, when it was burned during an attack by English Privateer Sir Francis Drake. Not even a year later, the church was rebuilt of palm logs, with a straw roof, which succumbed to fire in 1599. In 1605, thanks to a tithe from Spain, a timber church was constructed, which stood until a failed English attack on the city in 1702 by James Moore, then-governor of Carolina colony. There were attempts to rebuild the church during the First Spanish Period, starting in 1707, but these went nowhere, and the money intended for the church’s reconstruction were misallocated by corrupt officials. Instead, during the remainder of the First Spanish Period, mass was held in the St. Augustine Hospital. Following the transfer of governance of Florida to the British in 1763, the need for a new Catholic church was nonexistent, as the catholic population of the colony fled to other Spanish colonies. At the start of the Second Spanish Period in 1784, the need for a new church became more apparent, and work on the current cathedral’s Coquina stone walls began in 1793. The facade of the church features Neoclassical elements around the front doorway, with the Spanish Colonial style being employed on the roofline and limited fenestration on the front facade. The church stood in its original configuration until a fire in 1887 destroyed the timber roof structure and did major damage to the interior. Following the fire, Henry Flagler led the effort to have the cathedral rebuilt, with James Renwick, Jr. designing an expansion of the old building, giving it a rectangular cruciform layout, and adding the Spanish Renaissance-style bell tower and European-style transept to the building. The interior was rebuilt to feature exposed decorative timbers that supported the roof structure, and a decorative polychromatic tile floor. The building has since received a few more additions, which house a chapel, service areas, and offices, as well as a building to the rear of the cathedral along Treasury Street, built in the Mediterranean Revival style, which houses the offices of the Diocese of St. Augustine. Today, the cathedral remains a prominent landmark in the city, and was listed on the National Register of Historic Places and listed as a National Historic Landmark as part of the St. Augustine Town Plan Historic District in 1970.

Originally built between 1793 and 1797 during the Second Spanish Period, this Spanish Colonial and Neoclassical-style cathedral is the fourth church to occupy a prominent position at the heart of the city of St. Augustine. The original church, built of flammable materials, stood from 1565 until 1586, when it was burned during an attack by English Privateer Sir Francis Drake. Not even a year later, the church was rebuilt of palm logs, with a straw roof, which succumbed to fire in 1599. In 1605, thanks to a tithe from Spain, a timber church was constructed, which stood until a failed English attack on the city in 1702 by James Moore, then-governor of Carolina colony. There were attempts to rebuild the church during the First Spanish Period, starting in 1707, but these went nowhere, and the money intended for the church’s reconstruction were misallocated by corrupt officials. Instead, during the remainder of the First Spanish Period, mass was held in the St. Augustine Hospital. Following the transfer of governance of Florida to the British in 1763, the need for a new Catholic church was nonexistent, as the catholic population of the colony fled to other Spanish colonies. At the start of the Second Spanish Period in 1784, the need for a new church became more apparent, and work on the current cathedral’s Coquina stone walls began in 1793. The facade of the church features Neoclassical elements around the front doorway, with the Spanish Colonial style being employed on the roofline and limited fenestration on the front facade. The church stood in its original configuration until a fire in 1887 destroyed the timber roof structure and did major damage to the interior. Following the fire, Henry Flagler led the effort to have the cathedral rebuilt, with James Renwick, Jr. designing an expansion of the old building, giving it a rectangular cruciform layout, and adding the Spanish Renaissance-style bell tower and European-style transept to the building. The interior was rebuilt to feature exposed decorative timbers that supported the roof structure, and a decorative polychromatic tile floor. The building has since received a few more additions, which house a chapel, service areas, and offices, as well as a building to the rear of the cathedral along Treasury Street, built in the Mediterranean Revival style, which houses the offices of the Diocese of St. Augustine. Today, the cathedral remains a prominent landmark in the city, and was listed on the National Register of Historic Places and listed as a National Historic Landmark as part of the St. Augustine Town Plan Historic District in 1970.

John Dee’s tarnished reputation did not dissuade adherents of his intricate philosophy and noble goal of a Hermetic Christianity capable of providing the world with salvation. Seventeenth-Century Europe was in the midst of a political, religious, and epistemological crisis.1 Szönyi argues that new approaches in Seventeenth-Century natural philosophy and science had created a vacuum that experimentation with magic was more than ready to fill.2 Szönyi’s assertion is exemplified in Valentin Weigel’s (1533-1588) belief that the inner spirit reigned over outer nature, including alchemy, Paracelsian elementals, daemons, and spirits, and inspired radical theologians to push forward interpretations of esoterica that focused on an inner transmutation rather than the outer mastery of nature.3

Johann Arndt (1555-1621) was one such figure (influential in his own right regarding the Pietist movement) who accepted the works of Weigel and Paracelsus, among others.4 Arndt’s seminal Pietist work was his Vier Bücher vom wahren Christentum (1605-1610),5 a work that greatly influenced one Johann Valentin Andreae (1586-1654).6 7 Andreae translated extracts of Arndt’s work into Latin around 1615, praised Arndt’s model of Christianity wherein Christians live their lives in accordance to the faith they professed in his Mythologia christiana (1619), and dedicated his utopian work Christianopolis (1619) to Arndt.8 Andreae also surrounded himself with friends who espoused utopian agendas, such as Tobias Hess (1586-1654), Christoph Besold (1577-1638), Abraham Hölzl, Tobias Adami and Wilhelm van der Wense.9 Adami and van der Wense were disciples of Tommasso Campanella, author of the utopian Civitas Solis (1602). Civitas Solis was notable in its shared similarities between the proposed utopian communities presented in Andreae’s Christianopolis and the Picatrix’s Adocentyn.10 11

The utopianism displayed in the works above was joined with profound Hermetic influence in the Fama Fraternitatis, Deß Löblichen Ordens des Rosenkreutzes, an alle Gelehrte und Häupter Europae geschrieben (1614; hereafter called the Fama), Confessio Fraternitatis (1615; hereafter called the Confessio, largely attributed to Andreae, Hess, and Besold) and the Chymische Hochzeit Christiani Rosenkreutz Anno 1459 (1616; hereafter called the Chemical Wedding, which Andreae claimed authorship of).12

In a time rife with apocalyptic and utopian philosophy that made extensive use of Hermetic philosophy and Kabbalism, one wonders what John Dee’s role constituted in the cry for a spiritual and epistemological revolution. An interesting link between Dee and Andreae exists through Dee’s acquaintance with Heinrich Khunrath (1560-1605), who in turn was known to maintain correspondence with Johann Arndt.This chapter will explore the linkage between Dee and Andreae as well as the transmission of Dee’s Hermetic philosophy, namely through his Monas Hieroglyphica. Rosicrucianism adopted an interest in Dee’s Monas, which kept alight the torch of his uniquely equipped form of angel magic until it was delivered into the hands of Frederick Hockley.

!

Early Rosicrucianism and the Monas Hieroglyphica

In Tübingen, Johann Valentin Andreae and his two close friends, Tobias Hess and Christoph Besold, are thought to have formed an inner circle amongst a group of like- minded acquaintances in order to produce the Rosicrucian Manifestos, the Fama and the Confessio; two works that sparked a furor of more than 200 responses between 1614-1620 (both positive and negative)14 in Reformation-era Europe.15 The titular symbol of John Dee’s philosophical work, the Monas Hieroglyphica, served as the emblem of The Chemical Wedding and from that point on Dee was connected to the Weigelian, inwardly alchemical transmutation of the soul.

Elias Ashmole (1617-1692), an antiquarian and founding member of the Royal Society with a great interest in alchemy, astrology, and astral magic,16 possessed a profound interest in Dee and his angel magic.17 Ashmole hoped to explore these themes in a biography of Dee that he never completed.18 In his book, Theatrum Chemicum Britannicum (1652), Ashmole related a connection between the Rosicrucian movement and Dee. The connection, as Yates attests,19 was on June 27th, 1589 in Bremen when Dee met Heinrich Khunrath (1560-1605).20 It is not known what the two discussed, but Yates noted the appearance of Dee’s Hieroglyphic Monad21 in Khunrath’s Amphitheatrum Sapientiae Aeternae (1595) in the image of the alchemical hermaphrodite where the ‘O’ of ‘AZOTH’ on the Raven/Peacock/Swan’s22 breast is the circular part of Dee’s symbol.23

Khunrath’s theosophical alchemy and Kabbalism was a continuation of Weigel’s inward mysticism24 and his stance was, despite its criticism of scholastic Lutherans, mediatory in much the same way as Arndt and Weigel.25 Szulakowska asserts the importance of Dee’s position as a mentor of Khunrath, as evidenced in his proclamation of Dee in his Quaestiones Tres Per-Utiles (1607) as ‘Londinensem [...] hoc est, Sapientiae Sincerioris Gazophlacem magnum; Angliae Hermetem’, an accolade repeated in his Amphitheatrum.26

Szönyi aptly points out that despite his reputation in his homeland as the sorcerer who conjured angels, Dee was well-received on the continent due to the more positive reputation conferred on the author of the philosophically elegant Monas Hieroglyphica.27 This image of Dee, as an important contributor to Pietism rather than as a sorcerer who talked to spirits, makes the Rosicrucian interest in the Monas Hieroglyphica more appealing; especially after being so well regarded by Khunrath and found to be compatible with Arndt’s theosophy. But how did Dee’s Hieroglyphic Monad come to be included in Andreae’s Chemical Wedding?

Tobias Churton posits a few interesting possibilities as to how the Hieroglyphic Monad was included in Andreae’s Chemical Wedding. First: Andreae may have ‘lifted’ Dee’s symbol from the Amphitheatrum for use in The Chemical Wedding despite his poor regard for Khunrath’s Kabbalistic, alchemical Christology and suggestions of the existence of a Christian ‘para-religion’ that ignored the sacrament of brotherhood and selfless love.28 Second: another unidentified party involved in the creation of The Chemical Wedding insisted on its inclusion.29 Third: Andreae obtained the Hieroglyphic Monad directly from the work itself, despite never having written about it.30

Still another possibility is the transmission of the Monas Hieroglyphica through the first person who responded to the Fama Fraternitatis with wishes to join the nonexistent society. The response of Adam Haslmayr (c. 1560-1630) was included in the first printing of the Fama and its endorsement of Rosicrucianism served to turn what was perhaps intended as an allegorical organization into what was perceived as a recruitment pamphlet for the true teachings of Paracelsus.31 Haslmayr’s response echoed the ecstatic outcry of many other impressed readers of Rosicrucian texts; the popular Paracelsian influence on the Monas only served to bolster its reputation amongst the spiritual, or ‘true’, alchemists.32

The Monas Hieroglyphica had been republished in Lazarus Zetzner’s Theatrum Chemicum (1602) and was available across Europe.33 Haslmayr included the Hieroglyphic Monad in several of his manuscripts, including the Novum Lumen Physico-Chemicum (1616), Consideratio Figurae Ergon er Parergon Fratrum RC (1626),34 and Amphitheatrum Chymicum Sacrum (1629).35 Carlos Gilly (a scholar noted for his skepticism regarding Dee’s influence on Rosicrucianism),36 conceded that through Haslmayr’s imitation of Dee’s symbol in his Consideratio Figurae the Monas may have served as a source of influence in the inclusion of a work in the first edition of the Confessio that also used the Monas as a source of inspiration: the Secretioris Philosophiae Consideratio Brevis (1615).37 38

The Consideratio features direct quotations of the first 13 Theorems of the Monas interspersed throughout its writing and is credited to the pseudonymous Phillipus a Gabella, though he makes absolutely no mention of Dee in his work and replaces the word ‘monas’ with ‘stella’.39 The positive reception and influence of the Monas was indeed notable in continental Europe, but uncredited usage of the symbol was not limited to the Consideratio. Gerard Dorn, a translator responsible for altering Paracelsus’ works from German to Latin, featured Dee’s Hieroglyphic Monad on the cover of his Chymisticum Artificium Naturae (1568; published four years after the first edition of the Monas Hieroglyphica).40 Other plagiarisms include: Cesare della Riviera’s Il Mondo Magico de gli Heroi (1605), where Riviera openly lifted Dee’s insight that the Latin numerals for fifty, five, and ten form the word LVX (or Light); the Jesuit Athanasius Kircher’s Oedipus Aegypticus (1653-1655) featured both the original Monad (he dubbed the Crux Hermetica) and a variant (dubbed the Crux Ansata) in a chapter on ‘Mathematica Hieroglyphica’; and Johann Christoph Steeb’s Coelum Sephiroticum (1679) also retitled his own variant of the Dee’s Monad, renamed the Sigillum Hermetis Mercurii Trismegisti.41 If imitation is indeed the sincerest form of flattery, then Dee had more than a few devoted admirers.

Given that the Monas Hieroglyphica was held in such high regard as to merit repeated plagiarism, it made it more likely that Andreae knowingly used the Hieroglyphic Monad despite his misgivings for Khunrath. Perhaps he sought to uplift what he perceived as a potent, but misguided, vehicle for world-wide reformation and so he attempted to mold it in a fashion that conformed to his own vision of the inward spiritual transmutation that occurs with true Christianity. Andreae distanced himself entirely from Rosicrucianism due to the failure of The Chemical Wedding to cease attachments to Pagan philosophy and theosophy that he found to be in conflict with his own view of Christianity. Regardless of how the Monas was included in The Chemical Wedding, Dee’s expanded vision of the cross granted further depth to the its Christian context by using Kabbalistic techniques to enhance the cross’ profundity through numerological, symbolic, and alphabetical analyses.43 To Dee the cross was a ternary of two lines and a central meeting point44 representing the body, spirit, and soul45 and reasonably the Holy Trinity (see fig. 11).46 The cross also contained a quaternary of four right angles created by four straight lines that also create a ‘secret’ octonary47 representing the four classical, terrestrial elements of Fire, Air, Water, and Earth (see fig. 10). The ternary and quaternary virtues of the cross also add up to a septenary representing the seven planets, the seven days of the week of the creation, and numerous other significances,48 via the two lines, the point at which they bisect, and the four straight lines.

Dee also bisected the cross to create what he perceived as the Latin characters for the numbers five (V; see fig. 12) and fifty (L; see fig. 13), evidencing a quinary derived from a denary, representing a marriage of spirit and matter.49 This bisecting of the cross also reflects the Hermetic adage ‘As Above, So Below’.50 51

The Monas Hieroglyphica and the Confessio bear similarities. In the Monas, Dee differentiates between the ‘real cabbala’ and the vulgar cabbalistic grammar. [...] No mortal may excuse himself for being ignorant of this our holy language, which, in the aphorisms [1 directed] to the Parisians, I have called the real cabbala, or [the cabbala] of that which is, as I call that other and vulgar one, which rests on well-known letters that can be written by man, cabbalistic grammar or the cabbala of that which is said. The real cabbala, which was born to us by the law of the creation (as Paul intimates), is also [a] more divine [gift], since it invents new arts and explains the most abstruse arts very faithfully, as others, following our example, may try out in some other field.53

The Confessio makes much the same claim of the ‘great book of nature’ which ‘stands open to all men’, but, like Dee’s ‘real cabbala’, ‘few can read and understand the same’.54 The book prophesies a coming time when ‘honour shall be given to the tongue’ and from there all the senses and the awakening of the whole of humanity.55 The Confessio further states that the Rosicrucian brotherhood possesses a language capable of ‘expressing and declaring the nature of all things’.56

It seems logical that such an awakening that prepared man to receive the ‘real cabbala’ was the signifier of a change, or transmutation, of the soul. The Chemical Wedding utilizes hallmark alchemical imagery to tell its tale, but in such a manner that focuses on the spiritual change of the soul.57 The Chemical Wedding has Christian Rosencreutz, the hero of the Rosicrucian Manifestos, invited to a wedding that requires the passing of a variety of tests where Christian Rosencreutz proves his worth and is rewarded with bearing witness to the bizarre unfolding of events leading up to the wedding. Yates noted the deeply symbolic nature of the Chemical Wedding to have its basis in an inner, spiritual alchemy within the soul of the individual.59 On the Fourth Day, it is noteworthy that six Royal Persons are beheaded60 and resuscitated on the Fifth Day,61 their blood used on the Sixth Day to speed the growth of a bird.62 The colorful transformation of the bird is reminiscent of the classical alchemical stages of nigredo and albedo.63 However, rather than being gifted with a physical gold, the worthy souls bearing witness to the wedding are made ‘Knights of the Golden Stone’.64 It was not any metal that was transmuted in the wedding, but the participants themselves.

Rosicrucian literature grew and progressed to the point that its philosophy began to be included in more tangible organizations, such as The Royal Society, though subtly due to Dee’s infamy caused by Casaubon’s True & Faithful Relation.65 The next section will examine how Dee’s practice and philosophy returned to England and eventually to the hands of Frederick Hockley, who in turn influenced the rituals and thought of the Hermetic Order of the Golden Dawn.

The Children of Rosicrucianism: Heirs to the Legacy of John Dee:

Despite the intense interest in Rosicrucian literature, the movement remained merely literary; it wasn’t until the eighteenth century that history saw the first groups openly labeling themselves as Rosicrucian.66 There is some irony in that Dee’s lack of popularity did not seem to affect the enthusiastic reception in England of an esoteric philosophy that he provided with a formative influence.

Robert Fludd is credited with bringing Rosicrucianism to England with several writings in support of the Rosicrucian Manifestos. Andreas Libavius (1540-1616), a German Lutheran alchemist, wrote a polemical Analysis of the Confession of the Fraternity of the Rosy Cross (1615) where he accused the Fraternity of heresy, sedition, and diabolical magic.67 Fludd provided a vigorous counter-argument in his Apologia Compendiara (1616) supporting the notion that the Rosicrucians provided a renovated Christianity and further developed this argument in his Tractatus Apologeticus (1617),68 which concluded with his own request to join the Fraternity.69 John Dee’s divine madness for the secret hidden in the Book of Nature was shared by Fludd and those other diligent scholars of Western esoterica who wrote works attempting to bring to the human mind the intentions and machinations of the divine.

Michael Maier (1569-1622), a German alchemist who lived in England from 1609-1616,70 was another scholar who found that Rosicrucianism agreed with his own notions in addition to his millenarianism and Lutheran heterodoxy, which spurred him to provide writings that further spread a positive view of Rosicrucianism in the land that had rejected Dee.71 Hereward Tilton asserts that Maier treated the initials ‘R. C.’ as a hieroglyph under which the alchemists of Germany were working.72 Maier’s interpretation of Rosencreutz’s initials extended the Monas’ form of divine attribution to certain symbols to the legendary father of Rosicrucianism.73 In his envisioning of the Rosicrucians, Maier emphasized and expounded on the alchemical aspect as the key principle and ultimate focus of the Fraternity.74

Other figures that supported Rosicrucianism in England include Samuel Hartlieb (1595-1662), John Drury (1595-1680), and Amos Comenius (1592-1670), who were all in contact with Johann Valentin Andreae and were also responsible for translating Andreae’s utopian writings. Hartlieb and Comenius had large roles in the creation of the highly influential ‘Invisible College’. Hartlieb was responsible for convincing Comenius to come to England in the first place.76 Once there, Comenius penned the Via Lucis (1641), a work describing a pansophic college that eschewed professorships in divinity, civil laws, and rhetoric and replaced them with technical, tangible teachings in glass and metal working.77 Sadly, as Comenius was proposing his educational reform, civil war erupted in England and sundered Comenius’ hopes despite interest from the ruling class.78 The ghost of Comenius’ educational outline lived on in the form of what Robert Boyle dubbed the ‘Invisible College’.79

The Invisible College served as a common ground for scholars to escape the turmoil of the times80 through a pansophic virtual institute that existed in the minds of those who agreed with an improved form of education that utilized experimentation.81

Thomas Vaughan (1612-1666), an alchemist, a member of the Royal Society with active relationships with its founding members (Thomas Henshaw and Robert Moray), and a former rector, scribed a translation of the Fama and Confessio82 with a lengthy preface.83 He entitled this work the Magia Adamica, clearly alluding to Fludd’s Philosophia Moysaica.84 It also bears mention that Vaughan also praised Agrippa, Trithemius, and Reuchlin in several of his works.85

Vaughan’s translation of the Fama and Confessio returns us to Elias Ashmole, who copied the two works by hand from a manuscript before Magia Adamica was published.86 Ashmole was an important figure in the transmission of Dee’s works; he attempted to rescue John Dee’s reputation through his skills as an antiquarian.87 Ashmole combined Rosicrucianism and the continental reception of the Monas Hieroglyphica to form an excellent vehicle for Dee. The Rosicrucian theme of scholarly, epistemological reform served to increase the chances that a dedicated erudite would eventually take note of and carefully compile Dee’s works in a light far brighter than the one Méric Casaubon provided in his True & Faithful Relation.

On August 20, 1672, Elias Ashmole received John Dee’s manuscripts (including the 48 Claves Angelicae, Liber Scientiae Auxilii, and De Heptarchia Mystica) in a parcel from Thomas Wale.88 Wale and his wife related to Ashmole the story behind the manuscripts on September 10 of the same year. By chance, the late and former husband of Wale’s wife had owned a chest that once belonged to Dee.89 After discovering the manuscripts they at first ascribed little worth to them and roughly half were lost ‘under pyes & other like uses’.90 Fortunately, their worth was later discovered and as a result the remaining manuscripts were saved from the Great Fire of London in 1666.91

Ashmole was connected to Rosicrucianism and its prescribed epistemological reform through his correspondence with Samuel Hartlieb92 and his philosophical ‘father’, William Backhouse (1593-1662), who supposedly taught Ashmole the secret of the Philosopher’s Stone near his death.93 The prominence of the Monas may have provided a revitalized view of Dee for Ashmole to capitalize on, which is precisely what he endeavored to do.

In 1674, Ashmole transcribed the first book of Dee’s Mysteriorum Libri Quinque and followed up with interest in a biography and investigations into Dee’s character.94 Initially, the investigations were done by proxy through fellow antiquarian John Aubrey, but later Ashmole conducted them personally.95 Ashmole personally travelled to Dee’s home at Mortlake and interviewed one ‘Goodwife Faldo’ who had the pleasure of viewing an eclipse with John Dee.96 He also interviewed Rowland Dee, John Dee’s grandson, who gave him a great deal of information as passed on to him by his father, Arthur Dee (Ashmole had translated Arthur Dee’s Fasciculus Chemicus in 1650)97.98

Despite never finishing his biography of John Dee, Ashmole succeeded in collecting and preserving Dee’s legacy.99 At his death, Ashmole bequeathed his collection and library to the University of Oxford. Furthermore, Ashmole was one of the founding members of the Royal Society;100 a group concerned with the Baconian notion of the ‘absolute regeneration of science’ through experimentation rather than mere observation, which included alchemical experimentation.101

William Lilly (1602-1681), a friend of Ashmole’s who was responsible for maintaining interest in astrology,102 also bears mention in the transmission of Dee’s angel magic for his accounts of those who used crystals to contact angels. This was exemplified in the cases of Richard Delahay,103 William Hodges,104 Sarah Skelhorn, and one who called himself Mortlack (perhaps drawing on Dee’s reputation through his home on the Thames; Lilly denounced him as a ‘pretending ignoramus’ for his failures to conjure Queen Mab, which were attributed to Lilly’s presence after multiple failures).106 Lilly also gave some account of Dee and Kelly and began to conjecture on their failure to receive clearer answers from the angels.107 He stated that Kelly was likely to blame due to his viciousness, thus making the angels disobedient, but suddenly ceased his postulation, merely stating, ‘but I could give other reasons, but those are not for paper’. What now follows is a brief outline of Rosicrucianism’s influence within Freemasonry essential to later arguments in this dissertation. Though Rosicrucianism inspired the epistemological offshoots exemplified in the Invisible College and the Royal Society, it was not until 1777 that an organization existed that openly bore the name ‘Rosicrucian’.109 110 In 1630, Petrus Mormius claimed to have met a man named Rose who stated he was a part of an order of the Gold and Rosy Cross.111 From this point in history onward, the words ‘Gold’ and ‘Golden’ in the names of Rosicrucian groups persist to the Rosicrucian-influenced Hermetic Order of the Golden Dawn.112

In 1654 in Nuremburg, an alchemical society with clear Rosicrucian elements counted Gottfried Leibniz (1646-1716), who was very interested in the Chemical Wedding,113 as a member.114 In 1710, Samuel Richter, under the name Sincerus Renatus, published Die wahrhaffte und vollkommene Beschreibung des philosophischen Steins der Bruderschaft aus dem Orden des Gülden- und Rosenkreutzes denen Filiis Doctrinae zum Besten publiciret; a work that outlined the practical organization and continuation of the ‘Society of the Golden and Rosy Cross’.115 Again, despite claims of the existence of such a society within the work, no such society existed.116

The complete works of Renatus first appear in 1741 and presented a philosophy in direct opposition of the materialistic atheism of the Enlightenment.117 After 1741, a number of Rosicrucian elements were added to Freemasonic lodges, as well as the first documented organizations that claimed to be ‘Rosicrucian’ in their title.118

The most relevant of movement to this dissertation is that of the Golden Rosicrucians of the Ancient System, a movement that grew within Freemasonry119 and attempted to assert its primacy as a tradition with greater erudition than anything Freemasonry could offer.120 The organization flourished within Freemasonry from 1777 until 1782 when J. C. Wöllner (1732-1800), a figure significant to the rapid growth and popularity of the Ancient Order, responded to the attempt to remove Rosicrucianism from Freemasonry.121 This was done at the Convention in Wilhemsbad with a memorandum asserting the intent of the Ancient Order to uplift Freemasonry while reserving the higher grades for themselves.122

Despite the fall of the Ancient Order, the influence of Rosicrucianism as a form of fringe-Masonry was not extinguished and continued on in France (established in 1754) where it eventually influenced British Freemasonry in the Ancient and Accepted Scottish of Rite of Freemasonry; the 18th degree is notably entitled the Rose-Croix of Heredom.123 In England, the transmission of angel magic continued through the prominent English occultists Ebenezer Sibly (1751-1799), Francis Barrett (1774-ca. 1830), and Frederick Hockley (1809-1885).

The role of Sibly, a doctor and brother of the noted Swedenborgian pastor Manoah Sibly,124 was that of a rejuvenation of interest in Rosicrucianism within English occultism in the nineteenth century.125 Sibly’s goal seemed in line with Dee’s aims and those inspired by the epistemological reform presented in Rosicrucianism; the combination of esoterica and science to form a more complete whole.126 Sibly’s Complete Illustration of the Celestial Art of Astrology (four volumes; 1784-1792), despite clear plagiarism of sources (and those not even the best on the topic), was well- circulated. In the Celestial Art, Sibly presented a Swedenborgian view of a Christian spirit world separate from the physical,127 and provided a brief description of seven good angels and their seven demonic counter-parts complete with lamens and names presented in a manner and purpose reminiscent of those described in the Ars Goetia in the Lemegeton.128 129

Sibly’s personal library was passed to the bookseller, John Denley, and from Denley to the occultist Francis Barrett.130 Barrett’s successful work, The Magus, or Celestial Intelligencer; being a complete system of Occult Philosophy (1801), was a book that plagiarized selected chapters of Agrippa’s De Occulta Philosophia, pseudo- Agrippa’s Fourth Book of Occult Philosophy, and Abano’s Heptameron, among others, while giving the impression that these sources were only a handful among many and that Barrett had translated all of the works himself.131 Barrett’s inclusion of The Art of Drawing Spirits Into Crystals in his Magus, which he attributed to Trithemius, is highly relevant to this dissertation for its inclusion of angel magic similar to Dee’s practice, as well as the Ars Paulina of the Lemegeton.132 133 The premise of The Art of Drawing Spirits is a simpler representation of angel magic involving a miniaturized table of practice that the crystal ball sits on, candles, a magic wand, and a torch for burning suffumigations. The prayer/orations are quite similar to Dee’s,134 135 as is the use of a series of questions similar to what Dee used in his first recorded angelic conversations to positively identify the spirit in question.136 137 Godwin conjectures that Barrett’s only original contributions to the Magus may have been a result of his own visions in the crystal.138 Barrett’s deep interest in crystal-gazing is probably best evidenced through the works of his acquaintance, Frederick Hockley.139

Arthur Edward Waite, an influential member of the Golden Dawn and founder of the Fellowship of the Rosy Cross,140 wrote of Hockley, ‘Among the many persons who in recent years have conducted experiments with the crystal, one of the most successful was the late Frederick Hockley [...].’141 The bulk of Hockley’s life is a mystery, though we know he expressed an interest in crystals and magic mirrors.142 This interest evolved with, as Godwin puts it, the ‘Madison Avenue’ draw of Spiritualism.143 144 He was also an adherent of Mesmer’s animal magnetism and well schooled in astrology.145 In terms of Spiritualism, Hockley was familiar with all its forms, but he believed the most fool- proof method of contacting spirits (whether angels or deceased persons)146 was through scrying with a crystal or mirror.147 Hockley believed the use of crystals originated with the Jews, who were given the method through divine command by Urim and Thummim as told in Exodus 28:30.148 149 It is also clear that, despite Hockley’s acceptance as a Rosicrucian, his later membership in Freemasonry, and the Societas Rosicruciana in Anglia six years after its inception, he was aware of the spurious origins of these movements, keeping himself distanced from them.150

Much to Hockley’s disappointment and quite like John Dee, he was unable to see anything in the crystal and was resigned to using what he termed a ‘speculatrix’ in order to perform his experiments.151 His desperation led him to attempt to find a means to see visions within the crystal.152 This resulted in an encounter with an evil spirit that demanded his obedience in return for a favor, which he refused.153 Hockley addressed the argument of Dee’s conversations with angels being mere psychological events by stating that Dee could not have been so narrow-sighted as to have mistaken his own thoughts for the visions and responses of the angels.154

Hockley’s pursuit in finding methods to enrich his crystal magic through esoteric manuscripts is clearly presented in his own collection, copying, and production of them.155 Ebenezer Sibly plays a prominent role of influence, as exemplified in Hockley’s transcription and reception of a number of Sibly’s manuscripts.156 The interest in Sibly served as a point of connection between Barrett and Hockley, as both were acquainted with Denley.157 Denley had lent Sibly’s manuscripts to Barrett who used them to create his Magus;158 According to Hockley’s own words, Denley often complained to Hockley that Barrett never repaid him with even a copy.159 Hockley, on the other hand, freely lent from his own library and became an important resource to his acquaintances and successors.160

One such beneficiary was Kenneth Robert Henderson MacKenzie (1833-86), who referred to Hockley as the ‘most profound Occult student in the country who has preserved his results in an admirable form so as to be easy of reference’.161 Such was his friendship with Hockley that after his meeting with Eliphas Lévi at Paris in 1861 he went straightaway to Hockley to discuss it upon his return to England.162 MacKenzie was an esotericist who Waite described as ‘multifarious’163 for his numerous occult projects.164 MacKenzie was an expert on high-degree Freemasonry and Rosicrucian fringe-Masonry of continental Europe; his friendship with Hockley neatly connects angel magic and Spiritualism with crystals to Rosicrucian-themed organizations.165 Both Hockley and MacKenzie became members of the Society of Eight, and other members included Francis Irwin, occultist Samuel Liddell MacGregor Mathers (1854-1918), and the alchemist Rev. William Alexander Ayton (1816-1909).166 Hamill noted that Dr. William Wynn Westcott (1848-1925) was distrusted by Hockley, MacKenzie, and Irwin and was never granted admittance into the Society and postulated that perhaps Westcott created the Golden Dawn in response to this refusal.167 Bearing these connections in mind, it is not a long leap of logic to accept Goodrick-Clarke’s assertion that MacKenzie played a role in the formation of the Societas Rosicruciana in Anglia.168 MacKenzie’s fascination with Tarot cards was certainly transmitted into the Golden Dawn169 and his knowledge of Rosicrucian fringe-Masonic orders may have inspired the grade-system for the Hermetic Order of the Golden Dawn due to his familiarity with the Gold and Rosy Cross materials.170

Westcott, a Coroner of the Crown, and Mathers, a self-styled occult scholar, went on to create the first temple of the Hermetic Order of the Golden Dawn in 1888 with the assistance of The Supreme Magus of the SRIA, William Robert Woodman.171 Westcott openly praises Hockley and MacKenzie in his Historical Lecture (under his magical name Sapere Aude),172 and their influence (and through that influence, the tradition of Dee’s angel magic) was certainly felt.

1/24/15

ID thanks to Ken Childs

St. Louis MO

Our backyard and front porch

Ken wrote: "It's denticulata. The third 'tooth' in from the costa would be missing or at least almost nonexistent if it were strigataria."

Originally built between 1793 and 1797 during the Second Spanish Period, this Spanish Colonial and Neoclassical-style cathedral is the fourth church to occupy a prominent position at the heart of the city of St. Augustine. The original church, built of flammable materials, stood from 1565 until 1586, when it was burned during an attack by English Privateer Sir Francis Drake. Not even a year later, the church was rebuilt of palm logs, with a straw roof, which succumbed to fire in 1599. In 1605, thanks to a tithe from Spain, a timber church was constructed, which stood until a failed English attack on the city in 1702 by James Moore, then-governor of Carolina colony. There were attempts to rebuild the church during the First Spanish Period, starting in 1707, but these went nowhere, and the money intended for the church’s reconstruction were misallocated by corrupt officials. Instead, during the remainder of the First Spanish Period, mass was held in the St. Augustine Hospital. Following the transfer of governance of Florida to the British in 1763, the need for a new Catholic church was nonexistent, as the catholic population of the colony fled to other Spanish colonies. At the start of the Second Spanish Period in 1784, the need for a new church became more apparent, and work on the current cathedral’s Coquina stone walls began in 1793. The facade of the church features Neoclassical elements around the front doorway, with the Spanish Colonial style being employed on the roofline and limited fenestration on the front facade. The church stood in its original configuration until a fire in 1887 destroyed the timber roof structure and did major damage to the interior. Following the fire, Henry Flagler led the effort to have the cathedral rebuilt, with James Renwick, Jr. designing an expansion of the old building, giving it a rectangular cruciform layout, and adding the Spanish Renaissance-style bell tower and European-style transept to the building. The interior was rebuilt to feature exposed decorative timbers that supported the roof structure, and a decorative polychromatic tile floor. The building has since received a few more additions, which house a chapel, service areas, and offices, as well as a building to the rear of the cathedral along Treasury Street, built in the Mediterranean Revival style, which houses the offices of the Diocese of St. Augustine. Today, the cathedral remains a prominent landmark in the city, and was listed on the National Register of Historic Places and listed as a National Historic Landmark as part of the St. Augustine Town Plan Historic District in 1970.

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Mendon Ponds Park is owned and very poorly maintained by the County of Monroe, NY.

Unfortunately, this extraordinary property is rapidly deteriorating due to an egregious lack of care. Trails are not cleared of debris... signs are useless. Park maintenance is essentially nonexistent. They do have a marketing department. Seriously, the taxpayers are paying the salaries of a county parks marketing department.

Email Mendon Ponds Park complaints to: countyexecutive@monroecounty.gov