Symbolism

More Noble than the Roman Eagle

September 7, 2014 by Greg Stewart

Aquila, better known in Masonic parlance as the Roman Eagle, was considered in ancient times to be a symbol of strength, courage, and immortality. The signa militaria[i] of the Roman military under Gaius Marius (104 BC), the war standard was made of silver or bronze and served more as a holy war relic than mere militaristic emblem of the Roman Legions.

Wells, in his Masonic short talk of 1915, says of the eagle that as it was adopted by the Romans upon their banners it

…signified magnanimity and fortitude, or as in the ancient Sacred Writings, swiftness and courage.

In antiquity, the Romans were not the first to make use of the eagle as an emblem of war, as, Wells cites, the Persians, under Cyrus the Younger[ii], had borne the Eagle upon their spears as a standard.[iii]

In a more modern parlance France, Russia, Prussia, Germany, and the United States have each in turn adopted the Eagle, variously, as a National symbol of identity adorning the U.S. dollar, today, in a style reminiscent of its depiction on similar Roman coinage from when it was adopted into western material culture.

Albert Mackey in his Encyclopedia of Freemasonry says of the eagle that it is a symbol of great antiquity calling into reference Egyptian, Greek, and Persia symbolism where the bird was sacred to the sun.

He says,

Among the Pagans it was an emblem of Jupiter, and with the Druids it was a symbol of their supreme god. In the Scriptures, a distinguished reference is in many instances made to the eagle; especially do we find Moses (Exodus xix, 4) representing Jehovah as saying, in allusion to the belief that this bird assists its feeble young in their flight by bearing them upon its own pinions, “Ye have seen what I did unto the Egyptians, and how I bare you on eagles’ wings, and brought you unto myself.” Not less elevated was the symbolism of the eagle among the Pagans. Thus, Cicero, speaking of the myth of Ganymede carried up to Jove on an eagle’s back, says that it teaches us that the truly wise, irradiated by the shining light of virtue, become more and more like God, until by wisdom they are borne aloft and soar to Him.

While Mackey goes deep into the meanings behind the eagle, the suggestion that the Masonic Apron is more noble than the Roman Eagle implies that its receipt is an honor, greater than being a member of the famed Roman Legion which may lend itself to some pull to particular military association with Masonry today. An interesting consideration of the Roman Legion was their early and then later composition.

In the early period of the empire, the legion was composed of levied soldiers who supplied their own equipment that would form as needed disbanding when not. Essentially, to serve meant you were a citizen of the empire. When the Rome army began to experience inadequate staffing because of income or property qualifications of its citizenry, Consul Gaius Marius removed the prequalifications of service (wealth and social class) allowing all free people of the empire eligible for the army. This change created the first volunteer professional standing army. That openness to everyone regardless of class of social standing is a parallel we find amongst the ranks of Freemasonry today.

Coat of arms of the Hanseatic League, London

Some suggest that the Roman Eagle was a European Trade Symbol coming from the Hanseatic League. A confederation of merchant guilds that stretched from the Baltic to the North Sea and inland during the Late Middle Ages and early modern period (c. 13th to 17th centuries), the Hanseatic league evolved to protect economic interests and diplomatic privileges along trade routes, cities and countries where its members did business. . One Masonic source says of the Hanseatic League that,

…its members had their Headquarters at Lubeck, and adopted the Arms of Lubeck which at this time was the Roman Eagle and appears on the Seal of the Hanse. They also called themselves Knights of the Holy Roman Empire.[iv]

The Leagues coat of arms is of a double headed eagle, rather than an Aquila eagle, so this connection to the Apron seems less legitimate other than its being a pre-enlightenment trade guild, similar to the guild of the Golden Fleece.[v][vi]

An interesting parallel in the Hanseatic League connection is the guilds factory rules which one could find Masonic parallels including:

No man older than fifty years or younger than eighteen winters could be received.
Anyone who committed what had been forbidden was to be cast out, and driven from the community.
No one should have a woman within the burgh
be absent from it for three nights

These rules helped the league work in foreign countries as they “… formed among the alien populations in which they were placed semi-monastic establishments”[vii]

Yet, in this double headed eagle, we can still find some parallels to draw with the Roman Eagle.

Mackey says of the emblem,

The Eagle Displayed, that is, with extended wings, as if in the act of dying, has always, from the majestic character of the bird, been deemed an emblem of imperial power. Marius, the consul, first consecrated the eagle, about eight years before the Christian era, to be the sole Roman standard at the head of every legion, and hence it became the standard of the Roman Empire ever afterward.
As the single-headed Eagle was thus adopted as the symbol of imperial power, the double-headed Eagle naturally became the representative of a double empire; and on the division of the Roman dominions into the eastern and western empire, which were afterward consolidated by the Carlovingian race into what was ever after called the Holy Roman Empire, the double-headed Eagle was assumed as the emblem of this double empire; one head looking, as it were, to the West, or Rome, and the other to the East, or Byzantium.

He goes on to enumerate the orders of knighthoods that adopted the double headed eagle including, The Prussian Order of the Black Eagle and the Order of the Red Eagle, both, Mackey says, are “outgrowths of the original symbol of the Roman Eagle.”

Of the double headed eagle, Mackey goes on to say that its adoption was probably first introduced as a symbol into Freemasonry in 1758. He says,

In that year the Body calling itself the Council of Emperors of the East and West was established in Paris. The double-headed eagle as likely to have been assumed by this Council in reference to the double Jurisdiction which it claimed, and which is represented so distinctly in its title.

Quoting from the transactions of Quatuor Coronati Lodge, pages 214, volume xxiv, 1911, Mackey says of the adoption of the Scottish Rite usage,

The most ornamental, not to say the most ostentatious feature of the insignia of the Supreme Council, 33 , of the Ancient and Accepted (Scottish) Rite, is the double-headed eagle, surmounted by an imperial crown. This device seems to have been adopted some time after 1755 by the grade known as the Emperors of the East and West; a sufficiently pretentious title. This seems to have been its first appearance in connection with Freemasonry, but history of the high grades has been subjected to such distortion that it is difficult to accept unreservedly any assertion put forward regarding them. From this imperial grade, the double-headed eagle came to the “Sovereign Prince Masons” of the Rite of Perfection. The Rite of Perfection with its twenty-five Degrees was amplified in 1801, at Charleston, United States of America, into the Ancient and Accepted Rite of 33, with the double-headed eagle for its most distinctive emblem. When this emblem was first adopted by the high grades it had been in use as a symbol of power for 5000 years, or so. No heraldic bearing, no emblematic device anywhere today can boast such antiquity. It was in use a thousand years before the Exodus from Egypt, and more than 2000 years before the building of King Solomon’s Temple.

The quote, which is quite extensive, gives a sort of psudo-parrallel to antiquity linking the Scottish-Rite double headed eagle to the Babylonian era through a pair of terra cotta cylinders[viii] that depicts a proto-eagle in the form of a lion headed bird.

The long quote reads:

The story of our Eagle has been told by the eminent Assyriologist, M. Thureau Dangin, in the volume of Zeitschrift fur Assyriologie (1904). Among the most important discoveries for which we are indebted to the late M. de Sarzec, were two large terra cotta cylinders covered with many hundred lines of archaic cuneiform characters These cylinders were found in the brick mounds of Tello, which has been identified with certainty as the City of Lagash, the dominant center of Southern Babylonian ere Babylon had imposed its name and rule on the country.
The cylinders are now in the Louvre (see below) and have been deciphered by M. Thureau Dangin, who displays to our wondering eyes the emblem of power that was already centuries old when Babylon gave its name to Babylonia. The cylinder in question is a foundation record deposited by one Gudea, Ruler of the City of Lagash, to mark the building of the temple, about the year 3000 B.C., as nearly as the date could be fixed. The foundation record was deposited just as our medals, coins and metallic plates are deposited today, when the corner stone is laid with Masonic honors. It must be born in mind that in this ease, the word cornerstone may be employed only in a conventional sense, for in Babylonia all edifices, temples, palaces, and towers alike, were built of brick. But the custom of laying foundation deposits was general, whatever the building material might be, and we shall presently see what functions are attributed, by another eminent scholar, to the foundation chamber of King Solomon’s Temple.
The contents of this inscription are of the utmost value to the oriental scholar, but may be briefly dismissed for our present purpose. Suffice it to say, that the King begins by reciting that a great drought had fallen upon the land. ” The waters of the Tigris,” he says, ” fell low and the store of provender ran short in this my city,” saying that he feared it was 3 visitation from the gods, to whom he determined to submit his evil ease and that of his people. The reader familiar with Babylonian methods that pervade the Books of the Captivity will not be surprised to learn that the King dreamed a dream, in which the will of the gods was revealed by direct personal intervention and interlocution. In the dream there came unto the King “a Divine Man, whose stature reached from earth to heaven, and whose head was crowned with the crown of a god, surmounted by the Storm Bird that extended its wings over Lagash, the land thereof.” This Storm Bird, no other than our double-headed eagle, was the totem as ethnologists and anthropologists are fain to call it, of the mighty Sumerian City of Lagash, and stood proudly forth the visible emblem of its power and domination. This double-headed eagle of Lagash is the oldest Royal Crest in the world.
As time rolled on, it passed from the Sumerians to the men of Akhad. From the men of Akhad to the Hittites, from the denizens of Asia Minor to the Seliukian Sultans, from whom it was brought by Crusaders to the Emperors of the East and West, whose successors today are the Hapsburgs and Romanoffs, as well as to the Masonic Emperors of the East and West, whose successors today are the Supreme Council, 33, that have inherited the insignia of the Site of Perfection.

“GudeaZylinder” by Ramessos – Own work. Licensed under Public domain via Wikimedia Commons.

Interesting in its attempt at drawing a parallel to antiquity, in a modern context, it is challenging to find the same level of depth to so abstract an emblem, especially one that is superior to the other. But, a final consideration to include would be a symbolic one, for which we turn to Cirlot, from his Dictionary of Symbols[ix].

In his work, he suggests the symbol of the eagle as a symbol of height “… of the Spirit, as the sun, and of the spiritual principals in general” suggesting it linked to the symbolism found in Egyptian hieroglyphics, where “the Eagle represents the letter A–the first—pertaining to the warmth of life, the origin, the day.”

Cirlot writes “…the eagle is also identified with the father figure” representing heroic nobility. And, in religious terms, In the Vedic tradition, the eagle as the Messenger or in other art forms as “the emblem of the Thunderbolt.”

According to St. Jerome the Eagle is the emblem of the Ascension and of prayer. Since it can fly higher than any other bird, it is regarded as an expression of Divine Majesty. It is said to dominate and destroy baser forces. Thus making it the symbol of Imperial power.

Truly, the Lambskin Apron is greater and more noble emblem of strength, courage and power than the imperial symbol of powers, Aquilla, the Roman Eagle.

[i] Signa Militaria

[ii] Cyrus the Younger

[iii] Citing Chambers Encyclopedia from 1864

[iv] The Roman Eagle

[v] Theoretical and Practical Positions of the Church

[vi] [image] Memorials of Old London by P. H. Ditchfield

[vii] Memorials of Old London Volume I, p225

[viii] Gudea cylinders

[ix] Cirlot, Dictionary of Symbols eagle

The Golden Fleece

June 10, 2014 by Greg Stewart

Golden Fleece, Argonaut, Argo — *Jason and the Dragon*
Print by Salvator Rosa, 1661-1666
Jason casts a sleeping potion given to him by Medea into the eyes of the dragon guarding the golden fleece.

Masonic tradition informs us that the lamb skin apron is more ancient than the Golden Fleece. Ancient being the operative word, just what exactly does that implication imply and how is the Golden Fleece remembered in more contemporary times as it may relate to the apron given to the newly raised entered apprentice?

In Greek tradition, the fleece of the Ram Chrysomallus, was the object of Jason and the Argonauts expedition.

The mythological story of the Golden Fleece begins in the telling of the story about Phrixus and Helle who were the children of the goddess Nephele (a cloud nymph) and Athamus. The two part ways allowing Athamas to remarry Ino, who, in turn, becomes jealous of her step children, Phrixus and Helle, hatching a plot to do them in. Ino destroys a seed crop and then sends messengers to consult with the oracle at Delphi on what to do. To put her plan into motion, Ino persuading the messengers to return from the Oracles with prophecy that to restore the fertility of the fields Phrixus would need to be sacrificed.

Nephele, seeing the ruse, sends a golden ram to rescue her children, losing daughter Helle in the process as she falls into the Hellespont (known today as Dardanelles, which is a narrow strait in northwestern Turkey connecting the Aegean Sea to the Sea of Marmara). Phrixus, makes the trip safely arriving at Colchis where he marries the daughter of King Aeetes. In celebration of the rescue and the marriage, Phrixus sacrificed the winged golden fleeced ram to Poseidon returning its soul to the deity in turn creating the constellation Aries.

knightly order, ram, golden fleece — Philip the Good
Duke of Burgundy,
Founder of the
Order of the Golden Fleece

In his appreciation, Phricus gives the pelt (the Golden Fleece) to Aeetes, the king of Colchis, who placed the in an oak tree defended by bulls with hoofs of brass and breath of fire. It was also guarded by a dragon with teeth which could become warriors when planted in the ground. Here it remained until Jason and his band of Argonauts arrived to claim it.[1]

So goes the story of the Ancient Golden Fleece. Thought to be the oldest of Greek poems, Argonautica Orphica, and the telling of Jason’s quest to capture the Fleece appears to originate somewhere in the 5th or 6th century CE.[2] The Hellenistic epic Argonautica dates to a period of the 3rd century BCE.[3]

Wells, in his Builder article on the subject, mentions a knightly order called the Order of the Golden Fleece which was a celebrated Order of Knighthood in Austria and Spain, founded by Philip III, Duke of Burgundy and the Netherlands, at Bruges, on the tenth of January, 1429, on the occasion of his marriage with Isabella, daughter of King John I. of Portugal.[4]

Wells says:

This Order was instituted for the protection of the Roman Catholic Church, and the fleece was assumed for its emblem, from being a staple commodity of the Low Countries. The founder made himself Grand Master of the Order, a dignity appointed to descend to his successors; and the number of knights, at first limited to twenty-four, was subsequently increased.

Contests arose between Spain and Austria as to the possession of this Order of Knighthood, which were finally adjusted by introducing the Order into both countries. In Austria the Emperor may now create any number of Knights of the Golden Fleece from the nobility. If Protestants, the consent of the Pope is required. In Spain, Princes, Grandees, and personages of peculiar merit are alone eligible to membership in this Order.

It’s said that the Duke’s stated reason for founding the Order was:

for the reverence of God and the maintenance of our Christian Faith, and to honor and exalt the noble order of knighthood, and also …to do honor to old knights; …so that those who are at present still capable and strong of body and do each day the deeds pertaining to chivalry shall have cause to continue from good to better; and .. so that those knights and gentlemen who shall see worn the order … should honor those who wear it, and be encouraged to employ themselves in noble deeds…

An interesting biography exists on the Order through an association, La Confrérie Amicale de la Toison d’Or, dedicated to preserve its history. It says of the Order that the the meaning behind the use of the Fleece goes deeper than merely being a Hero’s Quest, saying,

It is clear from the icon of Jason on the early Golden Fleece insignia that the daring voyage of the Argo to bring back the sacred Golden Fleece from the edge of man’s known world touched Philipp deeply and helped inspire his dreams. The Argonauts were few in number, carefully selected for their nobility and talents and dedicated to the most noble of causes that also held religious and humanitarian importance. It is these values that we see in the statutes of the Order of the Golden Fleece.

Given the use in the degree as an ancient symbol, it seems unlikely that the knightly order is the point of reference within the Masonic degree. More likely is the mention of the fleece in the aspect of the Hero’s Quest, including allegories to jealousy, selfishness and sacrifice.

Wells goes on, saying,

The legend of the Golden Fleece, for which the Argonauts searched, is like the story of Masonry, a search for that which was lost. It is familiar to most readers of poetry and myths, and is interesting as being among the first known voyages of discovery.

Interestingly, Jason went on the quest for the Fleece in order to reclaim his kingdom from Pelias, an almost Biblical parallel to the story of Moses suggesting a deeper borrowing of Greek tradition in the writing of the Old Testament narrative.

Albert Mackey, in his Encyclopedia of Freemasonry and its Kindred Sciences (1914), says of the Fleece that it is “…evidently not to the Argonautic expedition in search of the golden fleece, nor to the deluge…but to certain decorations of honor with which the apron is compared” suggesting instead that the “…Order of the Golden Fleece was of high repute as an Order of Knighthood. It was established in Flanders, in 1429, by the Duke of Burgundy, who selected the fleece for its badge because wool was the staple production of the country. It has ever been considered…one of the most illustrious Orders in Europe” making it the “the highest decoration that can be bestowed upon a subject by a sovereign of Great Britain. But the Masons may have been also influenced in their selection of a reference to the Golden Fleece, by the fact that in the Middle Ages it was one of the most important symbols of the Hermetic philosophers.”

Interesting here that Mackey traces the distinction of the Fleece to the chivalric order and not the more widespread mythology of the ancient world. One line of thought that deserves greater exploration is the importance of the Golden Fleece to the Hermetic philosophers and what, if any connections that bears to Freemasonry.

As an aside, there is some (Masonic) suggestion that the Golden Fleece story suggests the bringing of sheep husbandry, grain, or wisdom to Greece from the east or the panning for gold with sheep’s wool in the ancient world.

The Golden Fleece has made its way into the material culture such that it exists in several iterations in film and in video games. In the World of Warcraft MMORPG universe as a unique drop trinket that “May cause extra gold to drop whenever you kill a target that yields experience or honor and is a sign of wealth and status amongst the Saurok.” which perhaps supports the notion of it being a symbol of authority and kingship. It also made an appearance in the game God of War II where it can be seen hanging from the mouth of a cursed Cerberus that had devoured Jason.

The quest for the fleece was also the subject in the 2013 film Percy Jackson: Sea of Monsters. In the film, the teen Argonauts quest to find the Golden Fleece (with the power to heal anything) to rescue their diefic haven from oblivion.

In a more modern parlance for those wanting to undertake the quest for the ancient wool, artists Piotr Khrisanov and Jakov Matusovski have recreated the mythical Golden Fleece in Sochi, Russia. The monument aims to bring back the symbol of prosperity to the Black Sea town near where Jason and his crew went searching for the fleece in Caucasus. Made of bronze and covered in a layer of gold, it’s suggested that it weighs roughly 5 tons. A sister monument will be erected in the Greek city of Volos, which is believed to be where the Argonauts had set out for their campaign.

However you look at the Golden Fleece, in past or present telling, it still remains an emblem younger than the apron of a Mason.

[1] THE ORPHIC ARGONAUTICA – Pseudo-Orpheus 4th c. CE or laterm translated by Jason Colavito (2011)
[2] Argonautica Orphica – http://en.wikipedia.org/wiki/Argonautica_Orphica
[3] The Project Gutenberg EBook of The Argonautica, by Apollonius Rhodius
[4] Excerpts of The Presentation of the Apron by Br. John W. Wells, from the Builder Magazine October, 1915

Suriya and the Light of Freemasonry

June 8, 2014 by Greg Stewart

This short piece comes from Sanjay Mandaiker on the heels of recent editorials on the differences and disputes between Freemasonry and Catholicism. From those differences, he suggests another path of discovery and consideration from a far off tradition for most in Freemasonry.

I have noticed that some of our Brethren are not at ease with religion and Freemasonry, in my opinion this arises when one confuses religion with the religious institution that represents it, for all religions in their basis are much like Freemasonry sowing the path of spiritual development in the minds of the masses.

Suriya the Sun god of the Hindus (सूर्य Sūrya, the Supreme Light) is depicted on a chariot drawn by seven horses; these steeds are interpreted as the seven days of the week.

To me it goes far beyond this shallow meaning, in most religions and for that matter Freemasonry, the Superior Being or God, is represented by light, so let’s say Suria or the Sun is that light.

Another common aspect between religions is that man was made in the image of God so what’s the difference? Let us say there is a prism in between us so on one side is light, “God”, on the other the rainbow, “Man”, represented by the seven horses that draw the chariot, and the seven colors of the rainbow.

Based on this presumption let us assume the different colors are also different religions or paths that lead to the “Light” or “God”. Say your path is green (chosen simply because as it is in the center) and you are far away from the prism, the color you will notice is blurred, this signifies one does not understand one’s own path because of its width. Even while looking at it from the horizon we see only green because of this we assume it is the only path that exists and can become fanatical about following this path. As we start progressing on our journey towards the Light the color gets clearer (better understanding) but also narrower and we start to perceive a tinge of blue on one horizon and yellow on the other, continuing we find that to stay on our path one foot is in the blue the other in the yellow, yet the colors become more and more distinct, till finally we tread on all seven now narrow to a point and keeping their clarity merge back through the prism to become Light.

Is this not the reason we should not tolerate but respect our differences, is this not what all religion and Freemasonry are based on and therefore brethren let us individually merge our personal beliefs. Sharing ones thoughts via freemasonry could be a better use of this truth, compared to simply wondering how our religious intuition will judge us. If it works for you it’s good, it’s as simple as that to me. Maybe truth is a more appropriate word to describe this convergence of spiritual paths.

Sanjay Mandaiker, (Master Mason Lodge Universal Charity 273, Royal Arch Mason, Mark Mason, Secret Monitor, and 18th degree India Rose Cross) has been a tour guide based in India for over 20 years. He combines his extensive knowledge of Hinduism with Masonry to bring a truly unique traveling experience for masons and non masons alike. For masons recognized by the UGLE visits to a Lodge will also be included. Esoteric Travels allows you to be led through India by a brother.

The All Seeing Eye as Omnipresent Deity

May 30, 2014 by Greg Stewart

William J Morris, in his Pocket Lexicon of Freemasonry, defines the All Seeing Eye as “an emblem found in every well-furnished lodge, and which is unnecessary further to explain.”

Yet, further explanation is necessary to detail the Eye of Providence that is so much in the parlance of the Masonic Lodge. While most American Lodges make use of the letter G to stand in as a representation deity, the All Seeing Eye, has that same function, perhaps with a more artistic flare.

Albert Mackey, in his Encyclopedia of Freemasonry and its Kindred Sciences, writes this succinct observation on the meanings behind the eye in his entry for the All-Seeing Eye:

“An important symbol of the Supreme Being, borrowed by the Freemasons from the nations of antiquity. Both the Hebrews and the Egyptians appear to have derived its use from that natural inclination of figurative minds to select an organ as the symbol of the function which it is intended peculiarly to discharge. Thus, the foot was often adopted as the symbol of swiftness, the arm of strength, and the hand of fidelity.

On the same principle, the open eye was selected as the symbol of watchfulness, and the eye of God as the symbol of Divine watchfulness and care of the universe. The use of the symbol in this sense is repeatedly to be found in the Hebrew writers. Thus, the Psalmist says:

The eyes of the Lord are upon the righteous, and his ears are open unto their cry,
Psalms 34:15

which explains a subsequent passage in which it is said:

Behold, he that keepeth Israel shall neither slumber nor sleep.
Psalms 121:4

In the Apocryphal Book of the Conversation of God with Moses on Mount Sinai, translated by the Rev. William T. Cureton from an Arabic manuscript of the fifteenth century, and published by the Philobiblon Society of London, the idea of the eternal watchfulness of God is thus beautifully allegorized (The full quote from Cureton’s work reads):

Then Moses said to the Lord, O Lord, what is thy meat and what is thy drink, and what thy clothing?

The most High God answered, My Meat is the tears of sinners when they weep over their sins; my drink is the repentance of those who repent of them; and my clothing is the praises of the angels, and the thanks givings of the souls of those who have escaped from their iniquities.

Then Moses said to the Lord, Oh Lord, doust thou sleep or not?

The Lord said unto Moses, I never sleep: but take a cup and fill it with water.

Then Moses took a cup and filled it with water, as the Lord commanded him.

Then the Lord cast into the heart of Moses the breath of slumber; so he slept, and the cup fell from his hand, and the water which was therein was spilled.

Then Moses awoke from his sleep. Then said to God to Moses, I declare by my power, and my glory, that if I were to withdraw my providence from the heavens and the earth for no longer a space of time than thou hast slept, thy would at once fall to ruin and confusion, like as the cup fell from thy hand.

On the same principle, the Egyptians represented Osiris, their chief deity, by the symbol of an open aye, and placed this hieroglyphic of him in all their Temples. His symbolic name, on the monuments, has represented by the eye accompanying a throne, to which was sometimes added an abbreviated figure of the god, and sometimes what has been called a hatchet, but which may as correctly be supposed to be a representation of a square.

The All-Seeing Eye may then be considered as a symbol of God manifested in his omnipresence – his guardian and preserving character – to which Solomon alludes in the Book of Proverbs (xv, 3), where he says:

The eyes of the Lord are in every place, beholding (or, as in the Revised Version, keeping watch upon) the evil and the good.
Proverbs 15:3

It is a symbol of the Omnipresent Deity.”

The subject was not, it seems, defined sufficiently by Mackey, and became the subject of a Short Talk Bulletin in 1932, aptly titled The All Seeing Eye, and published by the Masonic Service Association of North America.

That Short Talk reads:

In the modern Masonic ritual the All-Seeing Eye is combined with the Sword, pointed at a Naked Heart; which latter emblem apparently came to American Freemasonry through Webb. The quotation from his Monitor (1797) is as follows:

The Sword pointing to a Naked Heart demonstrates that justice will sooner or later overtake us, and although our thoughts, words and actions may be hidden from the yes of man, yet the All Seeing Eye, whom the Sun, Moon and Stars obey, and under whose watchful care even comets perform their stupendous revolutions, pervades the whole, and will reward us according to our merits.

The Sword and Naked Heart were probably adopted by Preston from early initiation ceremonies of the Continent, probably French, in which even today we find some degrees of some rites dressed with swords which are pointed at the candidate. But the essential part of this symbol, the All-Seeing eye, is hoary with antiquity, and, in one form or another, has been identified with early religions and mysteries from their beginnings.

It seems natural for men to personify his members in order to symbolize a virtue. The foot is universally a symbol of swiftness; the arm, of strength; the hand, of fidelity. The hand we extend to clasp that of a friend must be open, showing it contains no weapon; the knight of old removed his mailed gauntlet before offering his hand, to indicate that he greeted a friend from whom he feared no attack. From this we get our modern concept that it is good manners to remove a glove before shaking hands.

The eye was adopted early as a symbol of watchfulness, for reasons too obvious to set forth. By a natural transition, the watchful eye never slept, and which thus saw everything, speedily became the symbol of Deity.

Hear the Psalmist (XXXIV): “The eyes of the Lord are upon the righteous, and his ears are open unto their cry.”

Again (CXXI), “He that keepeth thee will not slumber.

Behold, he that keepeth Israel shall neither slumber nor sleep.”

A Proverb reads: “The yes of the Lord are in every place, beholding the evil and the good.”

Egypt symbolized her God and King, Osiris, by a open eye; it was in all the Temples, and is frequently found sculptured in stone together with a throne and a square, symbolic of Osiris, power and rectitude. One of the great curiosities of the world is the similarity, often identity, of ideas, inventions, discoveries, conceptions of peoples far removed, the one from the other, both in time and geographical location. The primitive loom, for instance, is strikingly similar in Egypt, India, South America, and Africa and among the Esquimaux (Eskimo). The Swastika (symbol made of four joined squares), often termed the oldest of symbols, is to be found literally all over the world. So is the point within a circle and the square as an emblem is found in early Egypt, Rome and China, to mention only three.

It is not surprising, therefore, to find so obvious a symbol as a watchful eye typifying Deity in the uttermost ends of the earth. That it was called the “All-Seeing Eye” in Vedic hymns a thousand years older than Christianity, and in a land as far as India from that we are wont to consider the cradle of Masonry, is a fact to make any student think.

Forty years ago the Reverend J.P. Oliver Minos drew Masonic attention to one of the Rig-Veda Hymns especially addressed to “Surya,” or the Sun:

Behold, the rays of dawn, like heralds, lead on high.

The Sun, that men may see the great all knowing God.

The Stars slink off like thieves, in company with Night, Before the All-Seeing Eye, whose beams reveal his presence, Gleaming like brilliant flames, to nation after nation.

You can read the full text of the Hymn to Surya at Sacred-Texts. And, it would seem that this is a the Hymn as it is performed.

The short talk continues:

“In the religions of India the eye is of high importance and prominence. Suva; one of the most important of the Gods of India, is pictured with three eyes, one more brilliant than the other two. Drawings are for sale in the market places of Benares and other Indian cities which visiting Masons often think are Masonic, merely because they portray the All-Seeing Eye. Indian religious devotees consider the peacock a sacred bird because of the resemblance of the feathers to an eye.

As a symbol of Deity the eye is a natural hieroglyph.

The connotation of sleeplessness, vision, knowledge is easily grasped by even a child-like intellect. But it is also, and for the same reason, a symbol of the sun; indeed, sun worship antedated almost all, if not all, other forms of worship.

The sun was worshiped by too many peoples in too many lands and ages to attempt to catalog here. Shamash was sun God to Assyrians, Merodach to the Chaldees, Ormuzd to the Persians, Ra to the Egyptians, Tezzatlipoca to the Mexicans, Helios to the Greeks and Sol to the Romans to mention only a few.

The sun is the source of a hundred myths; familiar is that of Helios, who drove his chariot daily across the sky. The Scandinavian God Sunna was in constant dread of being devoured by the wolf Fenris (symbol of the eclipse); Phaeton was the son of Phoebus, the sun, and stole his fathers chariot to drive across the heavens. Unable to control the fiery steeds, he came to near the earth and parched Libya into a land of barren sands, blackening the inhabitants of Africa and so heating that continent that it never recovered normal temperature! Had not Zeus transfixed him with a thunderbolt, he would have destroyed the world.

Modern poets and ancient have sung of the sun as thee eye of day; we recall:

The night has a thousand eyes and the day but one But the light of the whole world dies When the day is done.

Diogenes Laeritus thought of the sun as an incorruptible heavenly being when he wrote:

The sun, too shines into cesspools and is not polluted.

Dryden translated Ovid to read:

The glorious lamp of heaven, the radiant sun, Is nature’s eye.

Hear Milton:

Thou sun! Of this great world both eye and soul!

Freemasonry does not make of the eye a symbol of the sun. Her All- Seeing Eye is one emblem, her sun another, each with a distinct meaning. One of the Lesser Lights represents the sun; the sun shines out from between the legs of the compasses, opens sixty degrees on a quadrant, in the Past Master’s Jewel, all symbolic of the Masonic light which must come from the East from which comes all truth. It has been written:

The sun is the symbol of sovereignty, the hieroglyphic of royalty, it doth signify absolute authority,: By analogy, if the lodge is the symbol of the world, then the Master, who controls the time of opening and closing, may well have one of the Lesser Lights as his symbol. Mackey goes further to say that the Master is ‘himself’ a symbol of the rising sun , the Junior Warden of the sun at meridian, and the Senior Warden of the setting sun, just as the Mysteries of India the three chief priests symbolize Bramha, the rising sun, Siva, the meridian, and Vishnu the setting sun. In the Orphic mysteries the sun was thought to generate, as from an egg, and come forth with power to triplicate himself; triple power (such as is found in a Lodge under a Master, Senior and Junior Warden) is an idea as old as mythology, as may be seen in the trident of Neptune, the three-forked lightning of Jove, the three-headed Cerebus of Pluto.

See how fitly the sun, as a symbol of authority, the sun, as man’s earliest deity, and the sun, as origin of the eye as a symbol of God, can be united. In his Symbolic Language (1840) [Thomas] Wemyss wrote:

The sun may be considered to be an emblem of Divine truth because the sun, or the light of which it is the source, is not only manifest in itself, but makes other things manifest; so one truth detects, reveals and manifests another, as all truths are dependent on and connected with each other, more or less.

So does the Master make Masonic truth manifest to the brethren; so does the Great Architect manifest His Divine truth to all men. If it is further necessary to show a connection between eye and sun, sun and God, and thus eye and God; refer again to the passage from Webb, which couples the All-Seeing Eye with the sun, moon and stars. Sufficient has been said to make it evident that the All-Seeing Eye is not a modern symbol, or one lightly to be regarded or passed over in silence, merely because modern ritual makes comparatively little of it. Alas, many brethren are so ill-instructed in the ancient Craft that it is a matter of some wonder to them why officer’s aprons, when decorated with emblems so often have the All-Seeing Eye upon the flap; why that pregnant symbol is so frequently engraved upon working tools, or the square and compasses which lie upon the Altar.

Throughout the Craft emphasis is put upon the number three; three Light (greater and lesser); three steps on the Master’s carpet; three steps at the beginning of the Winding Stairs; three principal officers; three degrees; three due guards; etc. The number three is but another way of expressing the idea of a triangle, one of man’s earliest, if not the earliest symbol for Deity, inasmuch as it is the simplest closed figure (signifying endlessness) which can be formed with straight lines.

The emphasis upon three, then, is Freemasonry’s symbol of omneity of Deity — His being without beginning or ending.

The letter “G” as a symbol of Deity particularly speaks of the reverence we owe to the supreme architect; His Omni glory. Lodges are opened and closed with prayer, symbol of the loving omnipresence of the Great Architect; Freemasons believe that where two or three are gathered together in His name. There His is also, in the midst of them.

On our Altar lies His Holy Book, rule and guide of our faith, symbol of His Omnipotence, since in it are the prophecies and histories of the powers of the Most High.

The All-Seeing Eye is significant of His Omniscience; that the Supreme Architect sees all and knows all, even the hidden secrets of the human heart.

Here, indeed. is the kernel of the nut, the inner meaning of the symbol which has come down to us from so many diverse ages, so many religions, which has been interwoven with sun and pagan gods and myths, nature religion and many kinds of worship, which was old when Egypt was young and ancient when India was new.

The All-Seeing Eye is to Freemasons the cherished symbol not only of the power but of the mercy of God — since, as has been beautifully said to comfort us who cannot always do as we know we should, or even as we want — “to see all is to know all; to know all is to understand all; to understand all is to forgive all.”

Therefore the thinking Freemason has reverence for this symbol. He treats it not as one of many; rather as among those to be held in tenderest thought and most precious memory. The Sword pointing to the Naked Heart may thunder of justice, but the All-Seeing Eye whispers of justice tempered with complete understanding, which is man’s most lovely conception of Him who judges erring men.

Pike attributes the eye to the eye of the Greeks Jupiter in the 25th degree, Knight of the Brazen Serpent, saying:

That Osiris and Isis were the Sun and Moon, is attested by many ancient writers; by Diogenes Laertius, Plutarch, Lucian, Suidas, Macrobius, Martianus Capella, and others. His power was symbolized by an Eye over a Sceptre. The Sun was termed by the Greeks the Eye of Jupiter, and the Eye of the World; and his is the All-Seeing Eye in our Lodges. The oracle of Claros styled him King of the Stars and of the Eternal Fire, that en-genders the year and the seasons, dispenses rain and winds, and brings about daybreak and night. And Osiris was invoked as the God that resides in the Sun and is enveloped by his rays, the invisible and eternal force that modifies the sublunary world by means of the Sun.

Zeus was the Greek iteration of Jupiter, adopted later by the Romans.

Pike, elaborating further, says:

The Blazing Star in our Lodges, we have already said, represents Sirius, Anubis, or Mercury, Guardian and Guide of Souls. Our Ancient English brethren also considered it an emblem of the Sun. In the old Lectures they said: “The Blazing Star or Glory in the centre refers us to that Grand Luminary the Sun, which enlightens the Earth, and by its genial influence dispenses blessings to mankind.” It is also said in those lectures to be an emblem of Prudence. The word Prudentia means, in its original and fullest signification, Foresight: and accordingly the Blazing Star has been regarded as an emblem of Omniscience, or the All-Seeing Eye, which to the Ancients was the Sun.

And, lastly, for what it’s worth, the All Seeing Eye has worked it’s way into the material culture, at least with some humor.

Ain Soph to Malkuth – The First Degree of Scottish Rite Freemasonry

July 8, 2011 by Greg Stewart

apprentice, first degree of freemasonry, freemasonry, masonic, degree

The following is the introduction to The Apprentice, a book I’ve been working on for some time and I needed to let it see the light of day before it strangled me. It is not the complete work, rather the first paragraph of twenty pages that follow behind it which explore the ideas and claims made here-in. In a nut-shell the work is an exploration of Freemasonry to the Hermetic system of Kabbalah that, I believe, matured into the systems that practice it today. Those systems, I believe, would not of evolved into what they have were in not for Pike’s work in crafting the Scottish Rite in the the manner he did.

So, I respectfully submit this to you and would delight in hearing your thoughts.

To say there is a first degree of Scottish Rite masonry may come as a surprise. As most commonly practiced, the Scottish Rite is a system of degrees that begins following from the traditional Masonic system in most prevalent practice today of blue, or craft, lodge masonry. Specifically the Scottish rite craft lodge degrees parallel the first three degrees of the Webb Preston York Rite System which is the dominant system of lodge ritual adopted in American Masonry in the early 1800’s.

In an earlier era, and along a parallel development, there existed a similar series of degrees that lead seamlessly into what we know of today as the 4th through 32nd Scottish Rite system. Sadly, only a few lodges today still practice the Rite’s precursor degrees, most notably the blue lodge in Louisiana, as the degrees are said to retain much of their earlier European and French roots[1]. Much of what is contained in those degrees mirror what is common practice in the York degrees, but there are differences and it is in those aspects of divergence that these earlier rituals hold some parlance for the Scottish Rite. To see this we must look to the earlier rituals so that we can find in them the fundamentals of the esoteric scholarship and taught in the Rite as applied by Brother Pike in the present day system. These differences become especially obvious in his degree analysis in Morals and Dogma giving us the opportunity to find out why. For those reading who are not already Scottish Rite masons the degrees, as they are taught in the multitude of valleys across America today, suggest a link between the Scottish Rite teachings by degree to the teachings of mystical Kabbalah, more precisely to the Kabalistic Tree of Life, something brought to the attention of the Scottish Rite candidates in the lecture of the fourth degree. In that fourth degree the connection is made loosely but in close analysis of the progressive degrees it becomes very clear to say that there is a distinct connection between the degrees, the 10 Sephirot and the 22 paths that compose the most universal representation of the esoteric Tree. As the fourth degree mention is a superficial reference it is our starting point to see the two as related and necessitates an extensive exploration of the following degrees within which we can find a multitude of parallels in the Rite’s construction.

As one begins to climb the allegorical Tree, very quickly it becomes obvious that veiled in its canopy are metaphorical links, ineffable symbols, and outright allegorical references to the connections between them — something that many writers, both Masonic and lay, have traced through a variety of esoteric systems of study. Was this system intended to mirror an ancient Jewish system of esoteric theology, or a device made use of by Pike to capture with such detail the similarities that he saw between them?

As you will begin to see it is the latter as the degrees lack the theology of Judaism, rather it takes on a parallel structure borrowing from this older tradition in a way that they become a natural compliment to one another, such that the two have become intricately linked — the Kabbalah of old intermingled with the Christian Mysticism of Cabbalah to become a syncretic blend of spiritual Qaballah unencumbered by strict religious dogma. Throughout his work Pike keeps the systems separate, acknowledging the idea of the one true God keeping the system in a predominately Christian worldview. With the skill of a master artisan, Pike weaves a tapestry of old and new thought together to knit the details of what he sees as the ideas that underlie all modern religions illustrating that importance into the system that is the inheritor of those combined faiths into the Scottish Rite. That choice to link the three degrees of Freemasonry, an old system at the time of his own contributions, revived as best he could the systems of the Hermetic esoteric tradition that we find in several modern magical systems today.[2] But, before those traditions could build on that work Pike welding these disparate systems together into an amalgam of esoterica, such that I believe they have become inseparable from the deeper meaning of the degrees. The lesson with their Qabalistic teachings has been interlaced in a way that to change their composition would change the very nature of the Scottish Rite itself. To that end the degrees, both the lower three and the higher 29 are — in and out of themselves — a complete loop which are formed into a circuit of learning that is its own birth, baptism, and maturation, that ever climbs the Tree towards a pinnacle of completion ending at the 32 degree. But before we get to that zenith, we must first start in the beginning, in the very roots of the Tree of Life, at the point just before the degree system begins where we can start to construct this understanding. That starting point is outside in the space before the door of the lodge room as the aspirant makes his first fateful knocks, which is the essence of what the first degree represents. To enter that space we must start with an explanation of the Kabbalah and our entry point through the degrees of Masonry into the Tree of Life through chaos of Ain Soph becoming the Sephirot of Malkuth.

You can find more on The Apprentice, in the Symbolic Lodge.

[1] No known catalog of ritual practice comparisons is believed to exist.

[2] Such traditions are likely, in the opinion of the author, outgrowths and parallel developments of the work of Pike in Morals and Dogma and the Scottish Rite. Such groups include the Golden Dawn, Ordo Templi Orientis, Thelema, Theosophy, and other like Hermetic systems.

Read on to the second degree – By Wisdom a House is Built – The Path of Tav

Symbolism on the Winding Staircase – Seven the Magic Number

January 25, 2011 by Greg Stewart

The Middle Chamber

From the three steps to the five steps, we now stand at the landing of of the middle chamber. On this journey we have climbed much – traversing up Jacob’s ladder in the first degree, climbed the first series of three steps and introduced to their significance in our maturity with an introduction to the Kaballah. Then, we traversed upon the next five steps where we were illustrated the role of architecture and to our senses to take in the exoteric and esoteric undertaking of the degree. Now, before us we confront the next leg, the next seven steps that have such meaning that they can scarcely be fully understood as they are contained in their presentation.

To approach them, we must first see them as presented in context through Duncan’s Ritual and Monitor of Freemasonry as he writes of the journey:

The seven steps allude to the seven Sabbatical years, seven years of famine, seven years in building the Temple, seven golden candlesticks, Seven Wonders of the World, seven wise men of the east, seven planets; but, more especially, the seven liberal arts and sciences, which are: Grammar, Rhetoric, Logic, Arithmetic, Geometry, Music, and Astronomy

Each of these arts, as they are defined come with a specific exoteric meaning, they are what they presume to be, and by that I mean that they are in fact what we consider comparable to be the Liberal Arts of study in university today.

At first blush, seven dissonant elements are mentioned first, but our concentration must first come to focus on the latter 7, the seven liberal arts and sciences. But why study a liberal arts course of study? Harvard, a school of some esteem and founded well before Masonry organized under its present day Grand Lodge system, says of a present day liberal arts education that “A liberal education is…a preparation for the rest of life.”

It goes on to say a liberal education…

“…is, an education conducted in a spirit of free inquiry undertaken without concern for topical relevance or vocational utility. This kind of learning is not only one of the enrichments of existence; it is one of the achievements of civilization. It heightens students’ awareness of the human and natural worlds they inhabit. It makes them more reflective about their beliefs and choices, more self-conscious and critical of their presuppositions and motivations, more creative in their problem-solving, more perceptive of the world around them, and more able to inform themselves about the issues that arise in their lives, personally, professionally, and socially. College is an opportunity to learn and reflect in an environment free from most of the constraints on time and energy that operate in the rest of life.”

Though the idea of what a liberal study was at the time of their inclusion in Masonry, the principal of that study was the same. This is no subtle assertion; the creators of the Masonic degrees agreed and included in them the instruction to pursue the study of this program to better make the Mason. In short, to make the man a better man with a firm understanding of the Liberal Arts is a necessary foundation for his being.

But what exactly does that mean? To see that answer, we must look at what resides within the study of the liberal arts as instructed by Duncan’s Monitor. To do that, we need to break down what the study of the Liberal Arts would entail in its age of inclusion.

Grammar

The body of rules describing the properties of the English language. A language is such that its elements must be combined according to certain patterns, its morphology, the building blocks of language; and syntax, the construction of meaningful phrases, clauses and sentences with the use of morphemes and words.

The first codex for English grammar, concisely called Pamphlet for Grammar was compiled/written by William Bullokar, and was written with the ostensible goal of demonstrating that English was just as worthy and rule-bound as was Latin, and was published in 1586. Bullokar’s grammar was faithfully modeled on William Lily’s Latin grammar, Rudimenta Grammatices (1534), which was a Latin text and was used in schools in England at that time, as it was “prescribed” for them in 1542 by Henry VIII.

From early on we can see that the use of language was seen as an important necessity and that the study of Grammar and the use of language in communication of ideas to others as an important aspect of transferring knowledge.

Rhetoric

Like grammar, is the art of using language to communicate effectively and persuasively involving three audience appeals: logos which is the “reason or the rational principle expressed in words and things”[1], pathos which is the ” the quality or power, esp in literature or speech, of arousing feelings of pity, sorrow”[2], and ethos which is the ” the distinctive character, spirit, and attitudes of a people, culture, era,”[3], as well as the five canons of rhetoric: invention or discovery, arrangement, style, memory, and delivery. Along with grammar and logic or dialectic, rhetoric is one of the three ancient arts of discourse dating back to antiquity and the great works of Plato, Socrates, and Aristotle of whose surviving texts we can read today. From ancient Greece to the late 19th Century, rhetoric was a central part of Western education, filling the need to train public speakers and writers to move audiences to action with arguments rather than coercion of force.

It is the use of language in persuasion of others, an interesting Masonic application, indeed.

Logic

With its origins from the Greek λογική logikē, is the study of arguments – Grammar and Rhetoric together. Logic is used in most intellectual activities, but is studied primarily in the disciplines of philosophy, mathematics, and computer science. Logic examines general forms which arguments may take comparing which forms are valid, and which are fallacies. It is a form of critical thinking. In philosophy, the study of logic figures into most major areas of focus: epistemology, ethics, and metaphysics. In mathematics, it takes place in the study of valid inferences within some formal language.

Clearly, we can see that Logis is the application of Grammar and Rhetoric together.

These three areas of study composed what the medieval universities called the tritium, meaning the “three roads” or “three ways” which was necessary in preparation for the quadrivium which are the next four liberal arts of ancient study. The use and preparation of this work was principally for the deeper study of philosophy and theology both noble arts in this period of the middle ages and Renaissance. The four studies came from the curriculum as outlined by Plato in the Republic, as written in the seventh book. The same quadrivium was suggested to of come from the Pythagoreans, as Proclus wrote in A commentary on the first book of Euclid’s Elements:

The Pythagoreans considered all mathematical science to be divided into four parts: one half they marked off as concerned with quantity, the other half with magnitude; and each of these they posited as twofold. A quantity can be considered in regard to its character by itself or in its relation to another quantity, magnitudes as either stationary or in motion. Arithmetic, then, studies quantities as such, music the relations between quantities, geometry magnitude at rest, spherics [astronomy] magnitude inherently moving”

Arithmetic

Arithmetic, then, is the simple day-to-day counting to advanced science and business calculations involving the study of quantity, especially as the result of combining numbers. In day to day usage it refers to the simple properties of traditional operations such as addition, subtraction, multiplication and division with small number values.

The origins of Arithmetic are thought to date back to as early as 20,000 B.C.E. from ancient tally marks on bone, however earliest records date back to the ancient Egyptians and Babylonians of 2000 B.C.E. with numeral systems and counting marks. Continuous historical development of modern Arithmetic begins in the Hellenistic period of Greece with a close relationship to philosophical and mystical beliefs such as in the works of Euclid and Pythagoras, both Masonic patriarchs.

Geometry

From the Greek as earth-measurement, geometry is concerned with the determination of shape, size, relative position of figures, and the properties of space. Euclid, Archimedes, Descartes, Kepler, and Pythagoras are but a few who are a part of this 5000 year old art of lengths, angles, area, and volume, of which works can be found in ancient Egypt and Babylon too. A fantastic example of their prowess we look to still today in the Great Pyramids of Giza.

The advanced study of Geometry today looks not just into the dimension and space of number, but into its correlation to physics, algebra, and string theory just to name a few as it puts to measure both the physical and invisible universe.

Music

The art of the muses, is an art form whose medium is found in the creation of sound. Common elements of music are to be found in pitch (which governs melody and harmony), rhythm (and its associated concepts of tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture.

More than the study of melody and song, the Pythagoreans of ancient Greece were the first researchers believed to have investigated the expression of music in scale in terms of numerical ratios, particularly the ratios of small integers. Their central doctrine was that “all nature consists of harmony arising out of number”[4]

On Pythagoreans scale, the Greek Pythagorean and Presocratic philosopher

Philolaus says in Carl Huffman’s “Philolaus,”

A musical scale presupposes an unlimited continuum of pitches, which must be limited in some way in order for a scale to arise. The crucial point is that not just any set of limiters will do. We cannot just pick pitches at random along the continuum and produce a scale that will be musically pleasing. The scale that Philolaus adopts is such that the ratio of the highest to the lowest pitch is 2 : 1, which produces the interval of an octave. That octave is in turn divided into a fifth and a fourth, which have the ratios of 3 : 2 and 4 : 3 respectively and which, when added, make an octave. If we go up a fifth from the lowest note in the octave and then up a fourth from there, we will reach the upper note of the octave. Finally the fifth can be divided into three whole tones, each corresponding to the ratio of 9 : 8 and a remainder with a ratio of 256 : 243 and the fourth into two whole tones with the same remainder. Thus, in Philolaus’ system the fitting together of limiters and unlimiteds involves their combination in accordance with ratios of numbers. Similarly the cosmos and the individual things in the cosmos do not arise by a chance combination of limiters and unlimiteds; the limiters and unlimiteds must be fitted together in a pleasing way in accordance with number for an order to arise. Fragment 6a suggests that Philolaus saw the cosmos as put together according to the diatonic scale. This would be very much in accord with the famous conception of the harmony of the spheres according to which the heavenly bodies make harmonious music as they move, but neither in Philolaus nor any other early source do we get an explicit account of how the musical scale corresponds to the astronomical system.[5]

As you can see, the study of music, in its basic form of composition and in its deeper esoteric study, lends itself to the exploration of mathematics, logic, and geometry, which can lead to a better understanding of the universe itself, which brings us to the last element in this progression.

Astronomy

More precisely called astrology in its earliest Western study.

Astrology and astronomy were archaically one and the same discipline (Latin: astrologia), and were only gradually recognized as separate in Western 17th century philosophy during the “Age of Reason”. Since that time the two have come to be regarded as completely separate disciplines.

Astronomy, then, is the study of objects and phenomena from beyond the Earth’s atmosphere which is a science and widely studied in academic discipline discovering the expanse of the heavens in planets, stars, and other stellar phenomena. Astrology, which uses the positions of celestial objects as the foundation for predictions of future events, and other esoteric knowledge, which is not considered a science and is often seen as a form of divination.

The early astronomer/astrologer, despite its predictive application, would use the study of celestial bodies and chart the astrological movements in space which in turn were applied to correspondences in day to day life of those who he charted them for. Many renaissance scientists were astronomer/astrologers including Isaac Newton, Galileo Galilei, Tycho Brahe, Johannes Kepler. The infamous John Dee, astrologer and Magus for the court of Elizabeth I in 1558. Its suggested that by his charts he selected Elizabeth’s coronation date. The practice was in keeping with their earlier study pattern of the liberal arts and not seen as abhorrent to their conclusions in their time.

Scoffed at in academic circles today, the realm of astrology is often the fodder for cheap periodicals and psychic infomercials. In its deeper recesses we can link it to the study of the Kabbalah and the Western mystery traditions and find parallels to our perceptions and ideas even in our Masonic symbolism. Just a quick look at the Holy Saints John again will remind us of our own pairing of earth bound ideas to the equatorial poles of our sun’s annual transition from summer to winter and back again. Perhaps this is coincidence, or by design, in either case it gives us a link to our past in the Liberal studies. This is, in some aspect of antiquity, the role of astrology and the cycle of mankind and our understanding of it.

Notwithstanding the work in Duncan’s or in more localized versions of the Work, the number seven has a deep and rich symbolic significance within many circles. Cirlot, in his A Dictionary of Symbols says of the number seven that it is “Symbolic of perfect order, a complete period or cycle…composed of the ternary and quaternary and … endowed with exceptional value.” He goes on to suggest that it corresponds to the seven directions of space and to the reconciliation of the square with the triangle – the sky over the earth. Seven is the number expressing the sum of heaven and earth.[6]

Now, as we have looked at the seven liberal arts it is necessary to turn back to the dissonant collection at the beginning of this section of steps to look at some of the other connections mentioned in Duncan’s Ritual Monitor to bring them into resonance. In this degree, Duncan mentions the seven Sabbatical years, seven years of famine, seven years in building the Temple, seven golden candlesticks, Seven Wonders of the World, seven wise men of the east, and seven planets. Briefly we must touch on what each of those things mentioned in the 7’s allude to and see if we can find any deeper esoteric meaning behind them to get a glimpse of their significance or meaning to Masonry.

The Number Seven

The Seven Sabbatical years, known also as Shmita, is the seventh year of a seven-year agricultural cycle as mandated by the Torah for the use of the Land of Israel. During that 7th year the land is to lay fallow and all agricultural activity on it stops (excluding some maintenance) and comes from the Book of Leviticus which makes promise of bountiful harvests to those who are observant:

Leviticus 25:20-22 N.I.V.
20 You may ask, “What will we eat in the seventh year if we do not plant or harvest our crops?” 21 I will send you such a blessing in the sixth year that the land will yield enough for three years. 22 While you plant during the eighth year, you will eat from the old crop and will continue to eat from it until the harvest of the ninth year comes in.

The seven years of famine stems literally from Genesis 41:30 which reads “And there shall arise after them seven years of famine; and all the plenty shall be forgotten in the land of Egypt; and the famine shall consume the land” which follows a 7 year period of great abundance. Interestingly, there are other activities in the period of the Sabbatical year, in which debts are to be forgiven as it is considered a Godly act, which becomes a component of the focus in that seventh year.

The seven years in building the Temple is clearly the story of Solomon building the temple in which…King Solomon raised up a labor force out of all Israel – and the labor force was thirty thousand men . . . Solomon selected seventy thousand men to bear burdens, eighty thousand to quarry stone in the mountains, and three thousand six hundred to oversee them. (1 Kings 5:13; 2 Chronicles 2:2). According to 1 Kings 6:38 The work of the temple took seven years saying:

“And in the eleventh year, in the month of Bul, which is the eighth month, the house was finished in all its parts, and according to all its specifications. He was seven years in building it.”

The seven golden candlesticks, literally from Revelations 1:20 (NIV) which reads

“The mystery of the seven stars that you saw in my right hand and of the seven golden lamp stands is this: The seven stars are the angels of the seven churches, and the seven lamp stands are the seven churches.”

arch of titus detail — Spoils of war from the sack of Jerusalem in 70 A.D.

This could, interpretively, be seen as the Menorah which is a seven branched candelabrum used in the ancient Tabernacle of Moses in the wilderness (not to be confused with the nine branched Menorah used at Hanukkah. The Great architect himself instructing Moses on the construction of the lamp in Exodus 25:31-40 a depiction of which can be found on the Arch of Titus, which is a first century Roman honorific on the Via Sacra in Rome which shows the spoils from the sack of Jerusalem.

The Menorah, when lit, was said to represent the Shekhinah, which refers to a dwelling or settling in a special sense as that of divine presence, to the effect that, while in proximity to the Shekhinah, the connection to God is more readily perceivable. Its lighting, or continual ignition, is variously representative of universal enlightenment and/or the burning bush as seen by Moses.

The temple menorah is a more likely source of Masonic inspiration as it fits with the appointments of King Solomon’s Temple, to whom Masonry holds its affinity and who’s role fits more in resonance with the purpose of the degrees.

The seven wonders of the world are very straight forward and are reflections on the impressive work of the Masons (literally stone cutters) who came before the present day lodge.

The Ancient Wonders were:

The Great Pyramid of Giza from 2584-2561 BC in Egypt.
The Hanging Gardens of Babylon from around 600 BC in Iraq.
The statue of Zeus at Olympia from 466-456 BC (Temple) 435 BC (Statue) in Greece.
The Temple of Artemis at Ephesus circa 550 BC in Turkey.
The Mausoleum of Halicarnassus 351 BC (to which the modern AASR SJ HQ is modeled after) in Carians, Persians, Greeks
The Colossus of Rhodes from 292-280 BC in Greece.
The Lighthouse of Alexandria circa 280 BC in Hellenistic Egypt, Greece.

The seven wise men of the east were early 6th century BCE philosophers, statesmen and law-givers that were renowned in the following centuries for their wisdom. The title of Seven Wise Men (or Seven Sages) was the title given by ancient Greek tradition.

Each of these Sages represents a worldly aspect of wisdom, though each has varied over time, these are the most common:

Cleobulus of Lindos: he would say that “Moderation is the best thing.” He governed as tyranos of Lindos, in the Greek island of Rhodes, circa 600 BC.

Solon of Athens: he said that “Keep everything with moderation”. Solon (640-559 BC) was a famous legislator and social reformer from Athens, enforcing the laws that shaped the Athenian democracy.

Chilon of Sparta: authored the aphorism “You should never desire the impossible”. Chilon was a Spartan politician from the 6th century BC, to whom the militarization of the Spartan society is attributed.

Bias of Priene: “Most men are simply bad.” Bias was a politician who became a famous legislator from the 6th century BC.

Thales of Miletus: Thales is the first known philosopher and mathematician. He famously said “Know thyself”, a sentence so famous it was engraved on the front façade of the Oracle of Apollo in Delphos.

Pittacus of Mytilene (c. 650 BC), governed Mytilene (Lesbos) along with Myrsilus. He tried to reduce the power of nobility and was able to govern Mytilene with the support of popular classes, to whom he favored. He famously said “You should know which opportunities to choose”.

Periander of Corinth: he was the tyranos of Corinth circa 7th and 6th centuries BC. Under his rule, Corinth knew a golden age of unprecedented prosperity and stability. He was known for “Be farsighted with everything”.

Collectively, these wise men have been quoted and mentioned throughout antiquity and have been looked to as great men worthy of emulation if in their least for their thoughts.

Plato’s Protagoras is the oldest and most explicit mention of the 7 sages in which he says:

“…There are some, both at present and of old, who recognized that Spartanizing is much more a love of wisdom than a love of physical exercise, knowing that the ability to utter such [brief and terse] remarks belongs to a perfectly educated man. Among these were Thales of Miletus, and Pittacus of Mytilene, and Bias of Priene, and our own Solon, and Cleobulus of Lindus, and Myson of Chen, and the seventh of them was said to be Chilon of Sparta. They all emulated and admired and were students of Spartan education, and one could tell their wisdom was of this sort by the brief but memorable remarks they each uttered when they met and jointly dedicated the first fruits of their wisdom to Apollo in his shrine at Delphi, writing what is on every man’s lips: Know thyself, and Nothing too much. Why do I say this? Because this was the manner of philosophy among the ancients, a kind of laconic brevity.”[7]

The seven planets from classical astronomy included the Sun and Moon and the five non-earth planets of our solar system closest to the sun each visible without a telescope including Mercury, Venus, Mars, Jupiter, and Saturn. At an early point they were considered asteres planetai or wandering stars, as they were seen as non fixed objects in the night sky.

The astute observer may notice the inclusion of the Sun and the Moon as these two objects relate to the leadership of the lodge, the pillars of wisdom, strength, and beauty, and the art of Kabbalah.

As a side note, the early seven planets were the derivatives of the names of the week; in alchemy the seven metals of the classical world: gold, silver, mercury, copper, iron, tin, and lead which corresponded to the known planets.

How do we relate these 7’s to the degree is complex. Perhaps how Cirlot stated, each of these 7’s are elements of perfection: how to achieve perfection, how to live it, how to incorporate it, etc., giving us the map by which to seek it out.

With this, we have reached the top of the stair, and in having taken the journey we have learned what we can about the being of a Fellow of the Craft. As said earlier, this is a complex lot of knowledge and information to digest through the smallest of apertures as presented on a rolled out carpet as given in the degree lesson. It is assumed that the candidate would have knowledge of these esoteric things; in the sense that few would have studied them and even fewer committed them to memory, or that the candidate would seek out this information beyond their degree explanation to educate and enlighten himself as to what these various elements mean. This lesson in three parts is an offering of the latter in assumption that you, like the author, are in deficit of the former and not enlightened in the ways, means, and ideas of the deep and often obtuse ancient world that is so little a part of our modern one. Clearly, the second degree is a wealth of information, from the suggestion of the pillars of Wisdom, Strength, and Beauty as a conduit to the study of the Kabbalah, to the understanding of our senses and their physical and spiritual meaning and to the study of alchemy in its assertion of the significance of the seven planets and what we can infer from them physically as their position in the heavens affects our life. Perhaps Thales of Miletus said it best saying “Know Thyself“ as this change is the fuel to discovering the universe, both within and without. There is much more to this statement than what rests at its surface, of both the degree and of our being and, it is with some hope that this has served to educate you to that end.

Fiat LVX

Missed the series? Read:

Part 1 – Masonic Symbolism on the Winding Staircase
Part 2 – Symbolism on the Winding Staircase – 5 steps upon the stair
Part 3 – Symbolism on the Winding Staircase – Seven the Magic Number

Notes

[1] logos. (n.d.). Collins English Dictionary – Complete & Unabridged 10th Edition. Retrieved January 03, 2011, from Dictionary.com website: http://dictionary.reference.com/browse/logos

[2] pathos. Dictionary.com Unabridged. Random House, Inc. 03 Jan. 2011. <Dictionary.com http://dictionary.reference.com/browse/pathos>.

[3] ethos. (n.d.). Dictionary.com Unabridged. Retrieved January 03, 2011, from Dictionary.com website: http://dictionary.reference.com/browse/ethos

[4] Jean, James, Science and Music, p154 retrieved 1/03/2011

[5] Huffman, Carl, “Philolaus”, The Stanford Encyclopedia of Philosophy (Fall 2008 Edition), Edward N. Zalta (ed.), URL = <http://plato.stanford.edu/archives/fall2008/entries/philolaus/>.

[6] Cirlot, J.E., A Dictionary of Symbols, London, Routledge & Kegan Paul LTD 1962 page 283 : As the cross in three dimensions, 7 is a “Septenary number, composed of seven elements. “Ultimately, it is founded upon the seven directions of Space: two opposite directions for each dimension, plus the center. This spatial order of six dynamic elements, plus one which is static is projected into the week as a model of the septenary in the passage of time.” “Three is, in many cultures, the number pertaining to heaven (since it constitutes the vertical order of the three dimensional spatial cross) and four is associated with the earth (because of the four directions – comparable with the cardinal points of the two horizontal dimensions).”

[7] Protagoras 342e-343b, trans. R.E. Allen

Symbolism on the Winding Staircase – Five Steps Upon the Stair

January 10, 2011 by Greg Stewart

Five Steps Upon the Winding Staircase

The second degree lecture holds a wealth of esoteric study and contemplation. In the preceding examination we looked at the depth and meaning of the first three steps as the conductor in Duncan’s Ritual and Monitor ushers the candidate into the allegorical chamber of King Solomon’s temple. Now, the candidate is faced with a further rise of steps, Five to be exact, which is described in this text taken directly from Duncan’s Ritual and Monitor of Freemasonry:

Stepping forward to the five steps, he continues:

The five steps allude to the five orders of architecture and the five human senses.

The five orders of architecture are Tuscan, Doric, Ionic, Corinthian, and Composite.

For any brother reading, it’s important to take a moment to look anew at your monitor, if supplied with one, to reacquaint the reference as it relates specifically to Masonry. From an exoteric point of view, we must look to the point of origin to the Orders of Architecture, which turns our attention to the grand father of modern architecture – Vitruvius.

Marcus Vitruvius Pollio

Vitruvius (born c. 80–70 BC, died after c. 15 BC) is described on Wikipedia as having been a Roman writer, architect and engineer (possibly praefectus fabrum , the man in charge, during military service or praefect architectus armamentarius, the man in charge of architecture, of the apparitor status group), active in the 1st century BC. By his own description Vitruvius served as a Ballista (artilleryman), the third class of arms in the military offices. He likely served as chief of the ballista (senior officer of artillery) in charge of doctor’s ballistarum (artillery experts) and libratores who actually operated the machines.

The Vitruvian Man, as illustrated by Da Vinci, was based on Vitrivius’ proportions from his writings. Those writings can be found in his collected works, commonly called De Architectura Libri Decem or Vitruvius, the ten books on architecture. In the work, Vitruvius describes an assortment of things from town planning to aqueducts.

The rediscovery of his work in the Renaissance had a profound influence on architects of the age which started the rise of the Neo-Classical style. Period architects, such as Niccoli, Brunelleschi and Leon Battista Alberti, found in “De Architectura” reason for raising their branch of knowledge to a scientific discipline as well as emphasizing the skills of the artisan.

Further the English architect Inigo Jones, who crafted the Queens House at Greenwich in

Heidelberg_Castle_in_1620 — Hortus Palatinus at Heidelberg Castle

1616 and the Banqueting house at Whitehall in 1619, and the French hydraulic engineer Salomon de Caus who designed the gardens at Somerset House and the Hortus Palatinus in Heidelberg Germany (known for its then wonders of “a statue that resounded when struck by the rays of the sun, a water-organ, and singing fountains”), and were among the first to rethink and implement the disciplines of Vitruvius which were considered a necessary element of architecture, essentially art and science based upon number and proportion, which was reinvigorating to architecture of the period. The 16th century architect Andrea Palladio who designed a number of villas, palaces, and churches in and around Venice, considered Vitrivius his master and guide, and made drawings based on Vitruvius’ work before evolving his own architectural precepts.

Inigo Jones, for those who are unfamiliar, is also the author of a Manuscript circa 1607), on the Origin of Masonry, amongst other things. Lomas, in Freemasonry and the Birth of Modern Science, dates the time of Jones’ Freemasonry as 1607, while he was a surveyor to the crown under James VI.

The idea of divine architecture came directly from Vitruvius’s work as divine proportions were very much a consideration in every design. In his book of Architecture, in Book IV the middle three pillars, Doric, Ionic, and Corinthian, are described in by their physical traits for use in the temples of their celestial counterparts:

“On finding that, in a man, the foot was one sixth of the height, they applied the same principle to the column, and reared the shaft, including the capital, to a height six times its thickness at the base. Thus the Doric column, as used in buildings, began to exhibit the proportion, strength, and beauty of a man.”

“Just so afterwards, when they desired to construct a temple to Diana in a new style of beauty [Ionic], they translated these footprints into terms characteristic of the slenderness of women, and thus first made a column the thickness of which was only one eighth of its height, so that it might have a taller look. At the foot, they substituted the base in place of a shoe; in the capital they placed the volutes, hanging down at the right and left like curly ringlets, and ornamented its front with cymatia and wide festoons of fruit arranged in place of hair, while they brought the flutes down the whole shaft, falling like the folds in the robes worn by matrons. Thus in the invention of the two different kinds of columns, they borrowed manly beauty, naked and unadorned, for the one, and for the other the delicacy, adornment, and proportions characteristic of women….”

“The third order, called Corinthian, is an imitation of the slenderness of a maiden; for the outlines and limbs of maidens, being more slender on account of their tender years, admit of prettier effects in the way of adornment.”

The story of the Corinthian column goes on to tell of its inspiration which was from the growth of an Acanthus through the basket of a young Corinth maiden’s possessions atop her tomb. The Athenian artist Callimachus passed it and took delight at its “novel style” and built columns after its form. Once he determined the dimensions and proportions it was established to the rule for the Corinthian order, thus setting, literally, into stone the symmetry of beauty.

In another instance in Vitruvius’s work he details the facing of temples so as they can be experienced in a manner in line with many of the great esoteric and religious traditions. He oriented them to be entered from the West to…

“…enable those who approach the altar with offerings or sacrifices to face the direction of the sunrise in facing the statue in the temple, and thus those who are undertaking vows look toward the quarter from which the sun comes forth, and likewise the statues themselves appear to be coming forth out of the east to look upon them as they pray and sacrifice.”
– Book IV, Ch. 5

This certainly does not predate the idea of Solomon’s temple orientation, but its questionable if perhaps Vitrivius was influenced in any way by this Judaic Old Testament writing, or operating on an older principal of Temple building. In its simplest of thought, the older idea of knowledge, better thought of as wisdom, came from the East in the rising sun as it has symbolically represented the idea of a daily new beginning. The word used for one who undertakes the degrees in Masonry, an initiate, comes from the Latin initiare which means “to begin anew”. It would, no doubt, mesh with Renaissance architects as designers would see the parallels between the Old Testament Temple and the Classical temple styling to follow that same pattern.[1]

From an esoteric stand point, we can start to infer much of how this translates to our work as a Freemason, building that unseen house . . . but this also has a practical application that would of been at the very forefront of our early forbearers thought, as with Inigo Jones, as they planned and built the neoclassical temples of the late Renaissance. Perhaps in some ways this is a vestige to our very being a Freemason, homage to the ancient practicing of our brothers in antiquity and a means to making being a Mason relevant to the teachings.

But as the degree then turns from the idea of architecture so must we to the aspect of our human senses, five in total, and their specific link to our ability to hear, see, and feel.

The degree says:

The five human senses are hearing, seeing, feeling, smelling, and tasting, the first three of which have ever been highly esteemed among Masons: hearing, to hear the word; seeing, to see the sign; feeling, to feel the grip, whereby one Mason may know another in the dark as well as in the light.

Again, as the orders of architecture are of a specific physicality, so too is this treatise on the five senses of the physicality of man. It speaks much to our physically interpreting the activity around us. In many ways it is reminiscent of the motto “Aude, Vide, Tace” which from the Latin translates to say “Know, Dare, Be Silent” which goes further to suggest of the same three tactile senses said to be of greatest importance that they have a parallel union:

Hearing – knowing = to learn and understand what is being taught
Seeing – daring = to think on and consider its purpose and meaning
Feeling – touching = to be silent rather than attempting to stumble until fuller knowledge is attained

The longer Roman proverb reads – “Audi, vide, tace, si tu vis vivere” which means to “Hear, see, be silent, if you wish to live (in peace)” which can give us a cryptic undertone or a view to see the disharmony of not being silent.

This middle chamber, middle position, examination gives us much to reflect on especially as it relates to our physicality in the role of a Fellow of the Craft, but to get a broader feel we need to look more widely at the implications of the period understanding to what these five senses represented.

Cornelius Agrippa, in his Three Books of Occult Philosophy, says of the five senses:

There be five senses in man, sight, hearing, smelling, tasting, and touching: five powers in the soul…, five fingers of the hand, five wandering planets in the heavens…. It is also called the number of the cross, yea eminent with the principal wounds of Christ[2], whereof he vouchsafed to keep the scars in his glorified body. The heathen philosophers did dedicate it as sacred to Mercury, esteeming the virtue of it to be so much more excellent than the number four, by how much a living thing is more excellent than a thing without life…. Hence in time of grace the name of divine omnipotence is called upon with five letters…the ineffable name of God was [expressed] with five letters Ihesu…

5-wounds-of-christ — The five wounds of Original Sin – First, death to the soul (heart). Second, darkness in the intellect, the right hand. Third, malice, an inclination to evil, the left hand. Fourth, sensuality – disordered desires, the left foot. And fifth, irritability and aggression, the right foot.

Ihesu is the middle ages usage of the name of Jesus, often written in Catholicism as simply IHS which has run through both Greek and Latin translations. In Greek, it looks like Iota-eta-sigma-omicron-upsilon-sigma which becomes IESOUS in English. The H comes from the variance of eta which is epsilon, and rendered as H giving us Agrippa’s meaning.

Further in the work of Agrippa, he attributes the number Five beyond the senses touching on the planets, the animal kingdom, and five things as made by God: essence, the same (similarity), another (difference), sense, and motion. He called the number five the Pythagorean number of wedlock and justice (such we could interpret as Solomonic justice) because the number divides 10 in an even scale – Five represents the point of balance.

Clearly, we can see that Agrippa found some greater importance in the 5 senses, broadening their occult interpretations. What we can take from this is that the 5 senses can be as limited as we choose to see them or as broad as we can start to interpret them to be as most interpretations of the number 5 have similar or like meaning. In either case, they have a wide variance by which to perceive them than simply in the five points of perfection.

In these two discussions of physicality, Architecture and sense, we find two seemingly unrelated elements that in the second degree are intricately interwoven and presented by instruction as integral to the metaphorical building of Solomon’s temple, or more specifically, our own temple of inner Being. Like the great Greek and Roman pillars our senses are ever increasing importance giving our physicality a dimension to the degree. Yet, by digging deeper, through some of the more esoteric connections, we can get a sense of the power of this simple number that divides 10, a Solominc number, the number of perfection. So here, we have reached our second landing upon the staircase. We have surmounted our second series of steps in the middle chamber and come to a point of rest. Before us is the next ascent which will take us up a dizzying flight of seven steps. Though the number may seem small, its connections are many and varied and further round out the active role of our manhood which is our place of being as a Fellow of the Craft. Behind us rests the previous three and five steps – a monumental feat of climbing indeed, but before we can claim a victory over them, we must surmount the next seven and explore their potentiality in meaning.

Read:

Part 1 – Masonic Symbolism on the Winding Staircase
Part 2 – Symbolism on the Winding Staircase – 5 steps upon the stair
Part 3 – Symbolism on the Winding Staircase – Seven the Magic Number

Notes

[1] Vitrivius does give further instruction on temples when not able to orient them in an eastward facing saying “…if the nature of the site is such as to forbid this, then the principle of determining the quarter should be changed, so that the widest possible view of the city may be had from the sanctuaries of the gods. Furthermore, temples that are to be built beside rivers, as in Egypt on both sides of the Nile, ought, as it seems, to face the river banks. Similarly, houses of the gods on the sides of public roads should be arranged so that the passers-by can have a view of them and pay their devotions face to face.” So, what is the guide is not fixed in necessity.

[2] What then are the five wounds of Original Sin? First, death to the soul through the loss of sanctifying grace, and consequently in due time to the body. Second, darkness in the intellect. Third, malice — an inclination to evil — in the will. Fourth, sensuality (disordered desires) in the concupiscible appetite. And fifth, irritability and aggression in the irascible appetite. their correlation follows:

Death to the soul – Death of the body (heart) – Death occurs when the soul, the life principle of the body, is separated from the body, as the heart is the seat of the soul.

Darkness in the intellect (and will) – the right hand, the hand of spirit – spiritual darkness, The will grasps at things by reaching out for them in desire.

Malice and evil – the left hand, the sinister hand where our will is malice, a proclivity to real evil, to rebellion

Sensuality of desire – the left foot, earth bound, it is the foot that sets off down the wrong path of pleasure and sin.

Irritability and aggression – the right foot of strength where man’s irascible appetite is our aggressiveness and proclivity to anger.

Masonic Symbolism on the Winding Staircase

January 4, 2011 by Greg Stewart

A Lecture on the Second Degree of Freemasonry

On our way to the Sanctum Sanctorum, the newly made Mason undertakes a passage through what is commonly called the Middle Chamber. The reference into the middle way is through the temple of Solomon, and the pathway to the Holy of Holies, the adytum in which the Holy Ark of the covenant resides at the the Kodesh Hakodashim, or the place in which deity dwells. In that journey through the middle space, the Second degree brother is introduced to some of the more seemingly secular influenced aspects of the fraternity that begin to take on a double, or symbolic, meaning. On their surface, the basic notions of these things are obvious, but not until you start to look at them closely, at their deeper meanings, that we start to see their relationships to other more esoteric ideas. This is similar to religious traditions where withing one religious text there can be multiple layers of meaning, and multiple ways of interpretation which can lead to an allegorical, a moral, or a mystical meaning.

Indeed, as the degree is symbolically in King Solomon’s Temple, so to can it be seen as a symbolic metaphor to our own internal path, what Joseph Campbell calls the hero quest, and where you “leave the world that you you’re in and go into a depth or into a distance or up to a height.”[1]

This is not to assume that the Masonic degrees have a similar relevancy to sacred or spiritual texts, though some could argue that their significance is almost as powerful to some observants. It is a system of morality that strives to make good men better, which runs nearly in parallel with the many Volumes of the Sacred Law which seeks similar outcomes to achieve as it outlines and instructs its path to elevation. Whether its salvation or spiritual awakening the holy books seek to instruct its adherents to live better lives through their faith, the same that Freemasonry strives to through its practice – to make those good men better. In that process of making the good man a candidate for the degrees is made an entered apprentice, symbolically as he ascends Jacob’s ladder. Once at the top, he is presented a series of three groups of symbols which are set before him to become a Second Degree mason so as they may observe and contemplate them in their path of progression, their hero’s quest, to the third degree.

The story of the degree, from Duncan’s Masonic Ritual and Monitor*, picks up after the passage between the twin pillars of the degree with the conductor delivering this instruction:

Brother, we will pursue our journey. The next thing that attracts our attention is the winding stairs which lead to the Middle Chamber of King Solomon’s Temple, consisting of three, five, and seven steps.

The first three allude to the three principal stages of human life, namely, youth, manhood, and old age. In youth, as Entered Apprentices, we ought industriously to occupy our minds in the attainment of useful knowledge; in manhood, as Fellow Crafts, we should apply our knowledge to the discharge of our respective duties to God, our neighbors, and ourselves; so that in old age, as Master Masons, we may enjoy the happy reflections consequent on a well-spent life, and die in the hope of a glorious immortality.

They also allude to the three principal supports in Masonry, namely, Wisdom, Strength. and Beauty; for it is necessary that there should be wisdom to contrive, strength to support, and beauty to adorn all great and important undertakings.

They further allude to the three principal officers of the Lodge, viz.: Master, and Senior and Junior Wardens.

Let’s pause here and consider what some of the deeper meanings of these first steps infer. The first segment is fairly straight forward; with narrative telling us that the three steps allude to the three stages of human life – Youth, Manhood, and Old Age.

Youth is defined as:
Young persons, collectively.
A young person; especially, a young man.
The quality or state of being young; youthfulness; juvenility.
The part of life that succeeds to childhood; the period of existence preceding maturity or age; the whole early part of life, from childhood, or, sometimes, from infancy, to manhood.

from ThinkExist.com

This is a pretty straight forward idea, especially as it says to us that “we ought industriously to occupy our minds in the attainment of useful knowledge”, but how does this apply to an older initiate, someone who is no longer in his youth. Is it a wistful thought to what was achieved when younger and in still in school? Taken on a deeper level, it could allude to the idea of the degree itself, the First degree being synonymous to mean that in the first, the candidate comes to the lodge as a youth (despite his chronological or physical age) with a clean slate of perception and a clean pallet of interpretation. In a sense, he comes as blank slate to its teachings or to the ideas before him. The degree being his introduction from exterior life to interior life which ushers him both into the fraternity and into the concept of the undertaking. Pike, in the first degree lecture in Morals and Dogma, calls this the focusing of the aspirants “unregulated force” – the channel by which they constrain their previously raw, infantile state, into that of a focused and youthful aspirant no matter their age.

Next, the candidate enters into his Manhood, more literally the 2nd degree, of which the ceremony says of it “we should apply our knowledge to the discharge of our respective duties to God, our neighbors, and ourselves” which is a really active process to live by. We, in essence, are to achieve much by way of our doing, essentially, the work of our daily life towards our deity in worship and practice, our community in which we live and reside, but more specifically as we apply it to ourselves in continuing to apply what we’ve learned in our youth to this state of existence.

The Free Dictionary defines Manhood as:
1. The state or time of being an adult male human.
2. The composite of qualities, such as courage, determination, and vigor, often thought to be appropriate to a man.
3. Adult males considered as a group; men.
4. The state of being human.

In the third entry, we can take much from it beyond it simply being our middle state of being. It is in fact our ability to BE in the first place, our SELF in daily practice. Interesting as this is, the second degree in which our further education takes place is not only about the practice of our youth but also our ability to learn and apply that education to our life.

Campbell says of the age progression that “As a child, you are brought up in a world of discipline, of obedience, and you are dependant on others. All this has to be transcended when you come to maturity, so that you can live not in dependency but with self-responsible authority.”[2] This is, in essence, the heart of the three degree progression and the fundamental of the three steps – he becoming a man (or woman, respecting your discipline)!

Old age is a bit more of a troubling and complex issue. So often in modern society we look at old age as a point of retirement where work and physical activity dramatically changes or diminishes. In this description, the idea of old age holds true in that the degree says of old age that in it “we may enjoy the happy reflections consequent on a well-spent life, and die in the hope of a glorious immortality”

There are several interesting meanings we can take from this especially that it is in the degrees that these physical changes are metaphorically said to take place which can become a literal interpretation, and that once attained the Master Mason can live through them – literally to reflect on the life well spent. What’s troubling here is that the major portion of the work of the lodge is spent in the third degree and a caution must be considered so as to not see the work of the Master Mason as just one of reflection and of casual rest lest no work, as described in Manhood, be completed.

Old Age is essentially defined as ones age nearing or passing the average life span of human beings, and thus at the end of the human life cycle. In the U.S. this is considered to be 78 years old giving a distinct impression as to when one should then become a True Master. It really is at a twilight of life period, one of great age and maturity where little change and much reflection takes place. This gives us an interesting perspective on the meaning as it implies a near end of physical life period of time which squares with the degrees lesson as the period of reflection of a life well spent. We become the Master of our all, ready to pass our knowledge on to the next generation.

With this vantage, we can take pause to deeply consider that our daily working of the degrees, intrinsically, could (or should) be conducted in the 2nd state, our manhood in which we conversely learn and grow.

Symbolism of the Second Degree

Cirlot, in his Dictionary of Symbols, makes an interesting point in that the idea of progression in the stages of age is not unique to Masonry. Besides the stages themselves, the number three (3) is a representation of synthesis and unites the “solution of conflict posed by dualism.” In other words, the third object brings about balance for the first two opposing states. Think of the balance of three dots, one stacked above two.

From this point, the degree breaks off to correlate these first steps with the three principal pillars of the lodge as Wisdom, Strength and Beauty which also has an interesting Kabalistic point of reference in the three pillars that make up the structure of the tree of life. Keep in mind, the orientation assumes the viewer reverse the structure to mirror ones own standing rather than simply reflect the observer.

Wisdom, the left hand pillar of mercy, is an active pillar and representative of alchemical fire, which is the principal of spirituality, often called the pillar of Jachin. It is a masculine pillar, and relates to our mental energy, our loving kindness, and our creative inspiration as we traverse it up the Kabbalaistic tree through the Sephirot.

Strength is the right hand pillar and takes the form of severity, shaped into the alchemical symbol of water. It can represent darkness, but it is a passive symbol that is feminine in nature and called the pillar of Boaz. Upon it we find the points of our thoughts and ideas, our feelings and emotions, and the physicality of our physical experience, our sensations, each an aspect of its Cabalistic progression.

Beauty, then, takes on the role of synthesis of the two, the pillar of mildness; it is upon this pillar that the novitiate is transformed through his progressive states as he progresses. The central pillar of Beauty is representative of Jehovah, the Tetragrammaton which represents deity itself upon which our crown of being resides balanced through feeling and emotion from our foundation of justice and mercy, all of which springs from our link to the everyday world.

These aspects of the Kabbalah are not specific attributes of the study in the blue lodge, rather elements of deeper esoteric study, found more specifically in the degrees of the Scottish Rite. Because of the pillars, and their deeper symbolic meaning, it does, however, necessitate looking at them deeper to see the relationship between them as the blue lodge degrees seem to have parallels in the study of the Kabbalah – a happy accident at some time past or with purpose to link the ideas together. Wisdom, Strength, and Beauty are specific aspects of the lower three degrees and emphasized here in the first three steps into the middle chamber, necessitating their deeper esoteric study to fully grasp their broader importance.

As the degree instructs – Wisdom is to contrive, Strength is to support, and Beauty is to adorn all great and important undertakings – which are the fundamentals of the three pillars in the Kabbalaistic study.

Conversely, as the degree states, these three pillars “allude to the three principal officers of the Lodge, viz.: Master, and Senior and Junior Wardens.” and can be interpreted as such in both a micro (in lodge) fashion and in a broader macro tradition of Masonry itself – in this Kabbalaistic formulation. When the alchemical aspects of wisdom and strength are combined we can see the 6 pointed star appears, the symbol of transformation, often depicted in the conjoining of the square and compass in which Masons are instructed to square their actions and circumscribe their passions, which also corresponds to the link between the Saints Johns – the Baptist as the principal of alchemical water, and the Evangelist as the symbol of alchemical fire, both of whom have much deeper esoteric connections in Masonry. Also, the figures of the lodge leadership have a deeper connection as you begin to look at their alchemical connections too, when you look at their relationship to the Sun and moon, and the aspirant candidate as the solution of conflict, as Cirlot described, and as defined in the first degree – the three sphere aspect to balance the two of conflict.

From these short first few tentative steps, we can see that there is a wealth of Masonic symbols at hand, but we are only one third into our progression. Our next step takes us deeper into the middle chamber to its central position where we encounter an interesting juxtaposition of the physical world to our very human aspect of being through our senses.

For now, reflect a time on these first three steps and consider what comes next upon the path.

Read the series:
Part 1 – Masonic Symbolism on the Winding Staircase
Part 2 – Symbolism on the Winding Staircase – 5 steps upon the stair
Part 3 – Symbolism on the Winding Staircase – Seven the Magic Number

[1] Campbell, Joseph, “The Power of Myth”, p. 129
[2]ibid* Duncan’s Ritual Monitor is the most universal aspect of the degrees and widely available in public circulation so as to get a glimpse of the Masonic degrees. It’s publication, originating in 1866 and has been has been republished many times since. It includes the three blue lodge degrees of the Ancient York Rite, and four additional advanced degrees of the York Rite.

Symbolism of the First Degree

October 27, 2010 by Greg Stewart

by Br. Asahel W. Gage, from The Builder Magazine
October 1915 – Volume I – Number 10

editor of the builder magazine — Joseph Fort Newton

This jewel comes from The Builder Magazine, a masonic publication published between 1915 and 1930, edited by Joseph Fort Newton.

It was then (and likely still is) the best American Masonic periodical ever published. The work below is just one of many articles in the archives, and one that I thought would be of some interest to readers for its look at Masonic symbols. I’ve made some annotations where I thought they need be. Enjoy

~Masonic Traveler

In the beginning, the seeker for truth must be duly and truly prepared. In the usually accepted sense, this talk is unprepared. And yet, I spent five years in the “line” of the lodge observing, thinking about and studying Masonry. It is this study and my later contemplations that are my preparation to speak on the symbolism of the first degree.

It seems to me that the essence of every Masonic lesson is presented in the symbolism of the first degree. An entered apprentice is a Mason. The second, third, and so-called higher degrees are elaborations. All Masonic business was formerly transacted in a lodge opened only on the first degree.

The Masonic lessons are practical lessons. They have a dollar and cents value. The Senior Warden tells us that he became a Mason in order that he might receive master’s, or larger wages. That there may be no misunderstanding as to his meaning monetary wages, he further says, in order to “better support himself and family.” If we will look honestly into our own hearts, we will see that we paid the price for the Masonic degrees because we hoped to receive the equivalent or a greater return. If we have not received a return equal to our original and annual investment, it is because we have not applied ourselves to the study of Masonry with freedom, fervency and zeal.

But let us understand each other. There is little chance of our making much headway unless we agree on a clear and definite meaning of the terms we use. It is not only good and pleasant, but it is necessary for us to dwell together in unity of thought, if we would arrive at a harmonious conclusion. We should therefore endeavor to clearly define our subject.

The word “symbol” is derived from the Greek, meaning “to compare.” From σύμβολον (sýmbolon) from the root words συν- (syn-), meaning “together,” and βολή (bolē), “a throw”, having the approximate meaning of “to throw together”, literally a “co-incidence”, also “sign, ticket, or contract”. The earliest attestation of the term is in the Homeric Hymn to Hermes where Hermes on seeing the tortoise exclaims σύμβολον ἤδη μοι μέγ᾽ ὀνήσιμον “symbolon [symbol/sign/portent/encounter/chance find?] of joy to me!” before turning it into a lyre. A symbol is the expression of an idea by comparison. Often, an abstract idea may be best conveyed by a comparison with a concrete object. A dictionary definition of a symbol would be, a sign or representation which suggests something else.

Symbolism, therefore, is the science of symbols or signs, the philosophy or art of representing abstract truths and ideas by concrete things. Symbolism is suggestion; in sculpture and painting by form and color, in language by words, in music by sounds. What allegory and parable are in literature; what figurative speaking is in language; the same is symbolism.

The symbolism of the first degree is for the apprentice. An apprentice Mason is one who has begun the study of Masonry. Certain qualifications are necessary for every apprentice. The qualifications of a Masonic apprentice are a belief in a God, a desire for knowledge, and a sincere wish to be of service to his fellow creatures.

Possessing these qualifications, the candidate must follow a course of ancient hieroglyphic moral instruction, taught agreeably to ancient usages, by types, emblems and allegorical figures. This is symbolism, and symbolism is universal language. It is the language in which God reveals himself to man. The manifestations of nature are only symbolic expressions of God.

Children learn best from symbols. Blocks and toys are crude symbolic representations of the more complicated things of life. Most of us learned our alphabet and almost everything else by the relationship or correspondence to things with which we were familiar. We are only children after all. Older children call themselves scientists and make their experiments in their laboratories. Each experiment is a symbol of what is taking place in the real world outside.

The apprentice in the moral science should give up the rags of his own righteousness and also all precious metals, symbolical of worldly wealth and distinction, and all baser metals, symbolical of offense and defense, in order that he may realize his dependence upon moral forces only. He should be clad in a garment signifying that he comes with pure intentions to learn the noble art and profit by its lessons, not to proselyte among others, but to develop and improve himself. He is carefully examined to ascertain whether he is worthy and well qualified to receive and use the rights and benefits of Masonry. Being satisfied that he is worthy and well qualified, he is admitted and is immediately impressed with the fact that he must undergo sacrifice and suffering if he would attain the end he seeks. Realizing that the good intentions of the candidate, his own righteousness or even the lodge organization, are not sufficient, we invoke the blessing and aid of God upon our search for knowledge and truth.

We follow the system of symbolism. When we would know the truth in regard to things too great for our minds to comprehend, we take as a symbol that which is within our mental grasp. We know that the truth about the things we cannot comprehend, is identical with the truth in relation to the symbol which we do comprehend.

The apprentice in his search for Light must start from the North with the Easter Sun in the East, and travel by way of the South to the West, and back into darkness. He again comes out of the North in the East and passes through the same course again and again in his development. Obstacles are met by the apprentice in his progress, so similar that they seem identical. The little occurrences-of life may seem unimportant but they determine whether we will be permitted to advance. The apprentice must ever be worthy and well qualified.

The apprentice must advance on the square by regular upright steps. The symbolism is so common and universal that it is used in the slang of the street. Obligations are duties assumed. We must assume them if we would advance and having assumed them we are bound by them whether we will or not. Then the light breaks and we begin to see. We find that others, even the most learned, stand like the beginners. The Master is on a level with the apprentice, and extends a hand which is grasped fraternally, and the candidate is raised. There is the key to the Masters Word–an open book, but he may never find the word itself.

Then, as before, the apprentice must follow the course of the Sun. As is the greatest, so is the smallest. In the drop of water are all the laws of the universe. If we study carefully, we will find in the dew drop the particles revolving and whirling in their little circles the same as we find the heavenly bodies revolving and turning in their great orbits, circle within circle and circle upon circle. The seeker after Light always emerges from the North in the East and passes by way of the South to the West and again into darkness, with full faith and perfect confidence that day will follow night. He is continually subjected to tests and trials and always held responsible for what he has learned and for that which has gone before. God’s Holy Book, His revelation to us, is the guide in our search for light. To the Jew this Holy Book is the history of Israel, substantially the Old Testament. To the Christian, it is the Old and New Testament. To the Mohammedan (Islam), it is the Koran; to the Hindu, the Vedas.

But whatever book it is, it is the Holy Book of the seeker for Light and that which he believes to be the word of God. The Holy Book together with the square and the compasses are the great lights of Masonry.

The lesser lights are the Sun, Moon and Master of the Lodge. The Sun symbolizes the great active principle, the Moon the great passive principle. This symbolism is so commonly accepted that even the uninitiated refer to the Sun as masculine and the Moon as feminine. The Master is symbolical of the offspring of the great Active and Passive Principles. He is the mediator, the child of the two great forces. He sets the craft to work upon their symbolic studies, which is no light responsibility to be assumed by the uninformed. Only chaos and disaster can overtake him who attempts the work he is not qualified to perform. When the apprentice has received his degree he is given his working tools and the primary or elementary instructions as to how to go to work.

The working tools of an apprentice are the 24 inch gauge and the common gavel. The gavel symbolizes strength or force. Force undirected is the flood devastating all in its path or the idle puff of the unconfined powder which accomplishes nothing. Undirected force is the gavel without the rule. But intelligently controlled, and directed along a proper line by the rule of intellect, the force of the torrent grinds the grain and does the work of many men.

The force of the exploding powder prys the rock loose so that the work of months is accomplished in a moment. The operation of universal laws in the moral world is just as ascertainable and understandable as in the physical world. Morals are as susceptible of scientific study as physics.

The lamb skin apron, a most ancient symbol, signifies that it is only by honest conscientious toil that the moral laws can be learned and applied, and that this toil must be done in purity and innocence.

Side Bar
Agnus Dei, the Lamb of God
from thefleece.org

The Lamb of God was a popular symbol in the Middle Ages, which was familiar to both craftsmen of Guilds and the population in general. The admission of apprentices to guilds required an understanding and acceptance of important mutual duties and obligations, before the names were entered on the records of the guild. The issuing of approporate protective clothing in the form of a lambskin apron was necessary before training commenced.

Pope Sergius I (687-701) introduced the Agnus Dei, based on John 1:29, “Behold the Lamb of God that taketh away the sin of the world”, where John the Baptist refers to Jesus. The text in Latin is:

Agnus Dei, qui tollis peccata mundi, miserere nobis.
Agnus Dei, qui tollis peccata mundi, miserere nobis.
Agnus Dei, qui tollis peccata mundi, dona nobis pacem.

which may be translated as:

Lamb of God, who took away the sin of the world, have mercy upon us.
Lamb of God, who took away the sin of the world, have mercy upon us.
Lamb of God, who took away the sin of the world, grant us peace.

It is currently sung or recited in the Roman Rite, the Anglican Communion, the Lutheran Church, and the Orthodox Church.

In the lectures which follow the ceremony of the first degree, the apprentice is given preliminary information. It would be too tedious to analyze these lectures at this time. Suffice it to say they are very superficial and of little worth in themselves. They must be understood and felt, if they are to be of any value. Briefly we may describe a Lodge as a place to work, a place to study, analyze, and master the moral science so that we may make use of the moral laws and principles in our every-day life. Symbolically, it is representative of the world, our daily working place.

The foundation of the Lodge and its teaching is squareness. It is, however, supported by three pillars; Wisdom, Strength and Beauty. From which we may learn that in every undertaking, when intelligence or wisdom directs, and strength or power works, then beauty and harmony result.

The Lodge is covered with the blue vault of Heaven. Blue is the symbol of equality, it is a proper mingling of all colors, it is perfect concord. It is also symbolical of the universality of that charity, which should be as expansive as the blue vault of Heaven itself. Charity is not the giving of money alone. It is also necessary to have charity toward the weaknesses and mistakes of others.

This life is a checkered pavement of good and evil, but in the center is the blazing star which is the seed and the source of all life and eternal life.

The parallel lines have a symbolism analogous to that of the two pillars, Jachin and Boaz, which is more fully developed in other degrees. The point in the center of the circle between the parallels is sometimes compared to the individual member and sometimes to God who is the center of all things.

The circumference may suggest the boundary of man’s conduct, or God’s creatures, all equally distant and all equally near to Him. Sometimes the circumference is used to depict the endless course of God’s power, and His existence without end. This is all speculation, it is symbolism, the contemplation of which will develop the individual.

If the apprentice pursues his studies in the moral art with freedom, fervency and zeal, he will receive Master’s, or larger wages, and be thereby the better enabled to support himself and family and to contribute the relief of the distressed.

The Checkered Flooring

March 7, 2009 by The Euphrates

The mosaic pavement of the lodge is discussed in the lecture of the first degree.

This is commonly described as the checkered carpet which covers the floor of the lodge. The lecture says that the mosaic pavement “is a representation of the ground floor of King Solomon’s Temple” and is “emblematic of human life, checkered with good and evil.”

In the account of King Solomon’s Temple in the Bible, the ground floor is said to be made of pine or fir, depending on which translation of the Bible that you read (1 Kings 6:15). It is hard to imagine that pine or fir flooring would be particularly mosaic in nature. However, it can be agreed that the mosaic pavement represents the ground floor of King Solomon’s Temple in the Entered Apprentice degree because that ceremony symbolically takes place in that location

While these facts may not be particularly intriguing, the symbolism of the checkered carpeting presents some interesting concepts.

Mackey’s Encyclopedia of Freemasonry discusses the symbol of the the mosaic pavement.

The mosaic pavement in an old symbol of the Order. It is met with in the earliest rituals of the last century. It is classed among the ornaments of the lodge along with the indented tessel and the blazing star. Its party-colored stones of black and white have been readily and appropriately interpreted as symbols of the evil and good of human life.

So from this information, it can be understood that the concept of duality has played a part in Masonic symbolism since the early days of the fraternity. While duality is not often discussed in the ritual of the Blue Lodge, the Scottish Rite mentions this concept numerous times. The Rite makes the ideas of dualism, or opposition, in the universe an important part of its theme. Indeed, the ideas of the Kabbalah and the Alchemists are used in the Scottish Rite to discuss this concept in several of the degrees.²

The lecture pertaining to the 15th Degree, Knight of the East and West, discusses the idea of duality or good and evil as a conflict. Pike writes “God is great, and good, and wise. Evil and pain and sorrow are temporary, and for wise and beneficent purposes…Ultimately, Good will prevail, and Evil be overthrown.”³

But while this idea of duality and the conflict between good and evil are cause for contemplation, it can be confusing to understand how they apply to our actions as Masons.

When thinking about the idea of duality and the concept of good and evil, black and white, sacred and profane, an image that immediately enters my mind is that of the Yin-Yang.

While this symbol has become a sort of pop culture icon in recent times, its symbolism is deep and its meaning applicable to this subject. While it has numerous interpretations, the yin-yang demonstrates the concept of duality and balance.⁴

This symbolic balance is an important term because of the position of the checkered carpet: the floor, where the foundation of the erect human body may be found. The Mason is taught to avoid irregularity and intemperance and to divide his time equally by the use of the twenty-four inch gauge. These lessons refer to the importance of balance in a Mason’s life. Therefore, the symbolism of the mosaic pavement could be interpreted to mean that balance provides the foundation for our Masonic growth.

Maintaining balance allows us to adhere to many Masonic teachings. By maintaining balance, we may be able to stand upright in our several stations before God and man. The Entered Apprentice is charged to keep balance in his life so that he may ensure public and private esteem. It is also very interesting that the concept of justice is represented by a scale which is balanced and that justice is described as being the foundation of civil society in the first degree of Masonry.

There is a vast variety of symbolism presented to the new initiate in the first degree. It is very easy for the symbol of the mosaic pavement and its several meanings to be lost in the sea of information provided upon our first admission into the lodge. But a deeper look demonstrates that this symbol serves to demonstrate ideals which form the foundation of our individual Masonic growth, the Masonic fraternity, and even the entire human society. Living in balance makes us healthy, happy, and just. If our feet are well balanced, both literally and figuratively, we may be able to serve the purpose of the fraternity faithfully.

Mackey, Albert. An Encyclopedia of Freemasonry and its Kindred Sciences p. 494
Hutchens, Rex. A Bridge to Light p. 18
Pike, Albert. Morals and Dogma p. 274
Symbols and Their Meaning. Kjos Ministries