We are a duly constituted Lodge chartered by the Grand Lodge of Pennsylvania, which describes Freemasonry as
“a fraternity of brothers who share one common goal: to help each other become better men”.
Freemasonry is a fraternity of brothers who share one common goal: to help each other become better men. We strengthen and improve our character by learning and practicing basic virtues of fraternal love, charity, and truth. Our principles extend far beyond our interactions with each other, and we strive to apply them to our daily lives. All who join Freemasonry must declare their belief in the existence of a Supreme Being, and practice their own personal faith, but the fraternity is neither a religion nor a place to worship. Rather, it is a place where men of all monotheistic creeds can meet and focus on the great truths of peaceful human interaction that are common to all religions.
Egyptian Hall, finished in 1889, is decorated in the style of the Nile Valley, and in all of the Ornamentations, was of the utmost importance. Twelve huge columns stand on the four sides of the room, surmounted by capitals peculiar to the Temples of Luxor, Karnak, Philae and other ancient edifices. Each column has an original in Egypt. The sections of the columns have borders of reeds and rushes, a fluted frieze, the flying sun-disk, the Uraeus, and other symbolic motifs. Lotus flowers twine around the base of each column; reed decorations are on the cornice; and pyramidal designs complete the panels. Uraei, or sacred asps with extended heads, encircle all sides of the Hall.
The furniture also is in Egyptian style. The Worshipful Master's throne is gilded ebony; the pedestal is flanked by sphinxes. The pedestals of the Senior and Junior Wardens are also similarly decorated.
The scenes of domestic life on the walls were taken from the hypogea (underground chambers) of the Old Empire. Other scenes were taken from sepulchral chambers.
The ceiling is blue, indicative of the heavens. A solar disk is placed in the East. This is the symbol of Aten, the Sun, the god of Akhenaten. From it emanate rays tipped with the ancient sign of fertility, the Ankh. At various points, the seven planets are indicated by stars. The symbolic representation of the twelve months was copied from the Temple of Rameses at Thebes. The crossbeams of the ceiling are treated with motifs taken from ancient decorative forms; and the intersections have ancient mason-marks.
The frieze of the cornice represents the seasons and the twelve hours of the day, as found at Edfou. The appropriate goddess stands in the prow of a boat. She has a star in a circle over her head. The soffits of the lintels over the columns are alternately figures of Uati, the goddess of the north and south, and Nekhebt, identified by the Greeks with Elithya, the goddess of birth.
East Wall - On the east wall, the cornice of the pylon contains as its central figure the all-seeing eye of Horus. The sloping jambs of the pylon represent the adoration of a Theban deity by Egyptian kings. The panel above the door depicts the goddess having jurisdiction over the east bank of the Nile. The soffits of the pylon contain the names of the principal gods.
The twelve columns and fourteen panels, numbered from the Worshipful Master's right and running counterclockwise, are as follows. Column No. 1 is divided into two parts: the upper, representing the sovereign and his family adoring the sun, and the lower, Horus and Thoth purifying Amenophis II. Column No. 12, to the Worshipful Master's left: the upper panel is the Judgement of the Dead, and the lower, Horus to Osiris, by his mother, Isis. The four panels on this wall represent four great deities: Panel No. 1, Osiris; Panel No. 2, Horus; Panel No. 14, Isis; and Panel No. 13, Ammon-Ra.
North Wall - On the north wall, Column No. 2 represents King Sheshonk worshipping the great triad of Memphis: Rah, the lioness-headed Sekhet, and Imhotep. Column No. 3 represents Rameses II praying to the Theban triad Ammon-Ra, Mut, and Khonsu. The latter was worshipped as moon-god. Column No. 4 represents Amenophis II offering floral tributes to the gods of Elephantine and the Cataract, Khnum, and his two female companions, Satit and Anuket. Column No. 5 represents King Seti making a milk offering to Osiris, Isis and their son, Horus, the god of Abydos. Panel No. 3 depicts King Amenophis, as a child sitting on the lap of a goddess (from a tomb at Gournah). Panel No. 4 has a man, his wife and their household (from the stele of the Eleventh Dynasty, Abydos-Boulak). Panel No. 5 shows hunting in the marshes (from the tomb of Ti). Panel No. 6 shows Seti I striking war prisoners with a mace (from Karnak). Panel No. 7 depicts Harper (from the tomb of Rameses III, in Thebes).
Helen W. Drutt English (Helen Drutt) was Founder/Director of her eponymous gallery in Philadelphia (1973–2002), which was among the first galleries in the United States to make a commitment to the modern and contemporary craft movement. In 1973, she developed the syllabus for the first college-level course in the history of the field, and, over the past forty years, her archives have served as an international resource for scholars and institutions.
She has lectured internationally, served as a panelist for the NEA, and received awards and honorary degrees. H. D. is a trustee of the Archives of American Art, Smithsonian Institution; serves as a Board Director, American Committee, National Gallery of Australia, Canberra; Indian Art Committee, Philadelphia Museum of Art; the Peter Dormer Lecture Committee, London, England, and as a curatorial consultant The Hermitage Museum Foundation. Married to H. Peter Stern, Co-Founder of the Storm King Art Center.