Symbolism

Ordo Ab Chao | Symbols and Symbolism

October 25, 2016 by Greg Stewart

In this installment of Symbols and Symbolism, we explore the origins of the Latin phrase ordo ab chao better known as order out of chaos. Often taken as an esoteric alliteration of transformation, the source of this oft used Latin phrase has its roots deeply embedded in the origin story of the Scottish Rite in the Americas.

While philosophically esoteric, the phrase holds closer to the literal movement from darkness into light, with the formation of the Scottish Rite at Charleston.

Mackey, in his Encyclopedia of Freemasonry, describes the phrase, thus:

A Latin expression, meaning Order out of Chaos. A motto of the Thirty-third Degree, and having the same allusion as lux e tenebrious (this Latin phrase belongs to the Latin translation of the Gospel of John: “et lux in tenebris lucet et tenebrae eam non conprehenderunt,” meaning “The Light shines in the darkness, and the darkness did not comprehend it”). The invention of this motto is to be attributed to the Supreme Council of the Ancient and Accepted Scottish Rite at Charleston, and it is first met with in the Patent of Count Alexandre Francois Auguste de Grasse, dated February 1, 1802. When De Grasse afterward carried the rite over to France and established a Supreme Council there, he changed the motto, and, according to Lenning in his Encyclopedia of Freemasonry 1822 or 1828, Ordo ab hoc, Order Out of This, was used by him and his Council in all their documents.

The phrase appears on the grand decorations of the Order of the Sovereign Grand Inspectors General. The decoration rests on a Teutonic Cross which sits below a nine-pointed star, formed by three triangles of gold, one upon the other, and interlaced. From the lower part of the left side toward the upper part of the right extends a sword, and, in the opposite direction, a hand of Justice. In the middle is the shield of the Order, blue; upon the shield is an eagle like that on the banner; on the dexter side of the shield is a golden balance, and on the sinister a golden compass resting on a golden square. Around the whole shield runs a stripe of blue, lettered in gold with the Latin words ” ORDO AB CHAO;” and this stripe is enclosed by a double circle formed by two serpents of gold, each holding his tail in his mouth. Of the smaller triangles formed by the intersection of the principal ones, those nine that are nearest the blue stripe are coloured red, and on each is one of the letters that constitute the word S. A. P. I. E. N. T. I. A. (Latin: wisdom, discernment, memory)

You can read more installments of Mackey’s Encyclopedia under Symbols & Symbolism here on this site and video of these segments on YouTube.

Great Architect of the Universe – Symbols and Symbolism

September 12, 2016 by Greg Stewart

In this installment of Symbols and Symbolism, we look at Albert Mackey’s Encyclopedia of Freemasonry definition of the Great Architect of the Universe, more aptly know as the deity or God. While an obvious connection to the cosmic power at hand in in the mysterious workings of the cosmos, his definition is an interesting skirting of an obvious connection to a Christian appellation and connection to the Christianization of Freemasonry as he opines “… it cannot be denied that since the advent of Christianity a Christian element has been almost imperceptibly infused into the Masonic system, at least among Christian Masons” So then, how does Mackey define the aspect of deity at work in the doings of Freemasonry – as a Great Architect of the Universe.

You can read more installments of Mackey’s Encyclopedia under Symbols & Symbolism here on this site and video of these segments on YouTube.

From Mackey’s Encyclopedia of Freemasonry:

The title applied in the technical language of Freemasonry to the Deity.

It is appropriate that a society founded on the principles of architecture, which symbolizes the terms of that science to moral purposes, and whose members profess to be the architects of a spiritual temple should view the Divine Being, under whose holy law they are constructing that edifice, as their Master Builder or Great Architect. Sometimes, but less correctly, the title “Grand Architect of the Universe” is found.

The Art, Masonic Aprons, and Magic of Ari Roussimoff

August 13, 2016 by Fred Milliken

artist, Freemasonry, Ari Roussimoff — Ari Roussimoff
*Photograph January 2016*
*By Vivian Forlander*

Phoenixmasonry is thrilled to have had the opportunity to interview the multi-talented artist, Ari Roussimoff. His Masonic themed paintings are phenomenal, as are his painted Masonic Aprons through which he hopes to revive an interest in the largely lost art form. It is our hope that Masons and non-Masons alike will take an interest in his work, if they haven’t done so already, as it is well worth the time!

Ari Roussimoff’s art has been shown in places such as The Metropolitan Museum of Art, The Nicholas Roerich Museum, and the Chancellor Robert R. Livingston Masonic Library and Museum. Ari’s paintings are colorful, daring, culturally rich, spiritually rounded, geometrically stunning, and a clear reflection of a profound character.

Elena Llamas, Director of Public Relations for Phoenixmasonry (EL): Thank you, Ari, for this interview. Please tell us about your background.

Ari Roussimoff (AR): Thank you, Elena, for inviting me. I have been impressed for years with the Phoenixmasonry site and what it is doing to promote the culture and history of Freemasonry. As to my background, I am one of those people who cannot be pinned down to one specific place. My family and ancestors have lived in Russia, Ukraine, Poland and even Moldavia among other countries. Although I was born in Germany, the Russian and other East European cultures have always been close to my heart, as much of my artwork reflects this.

Literature, music and art were on the daily menu in my home. Over the years I have been privileged to live and work in both Europe and America.

The Magical Troika, Ari Roussimoff, art, painting — The Magical Troika

EL: Where do you feel most at home?

AR: For the most part, I am at home inside my head and also in my heart. But certain places are quite special to me.

In Europe, Zürich, Switzerland where Mother Nature is at its finest, Amsterdam, Holland with its great collections of Old Master paintings. Any place Rembrandt lived is great.

In the United States, Miami Beach, Florida with its vivid, tropical color is fabulous. I painted its festive carnivals, cafes and crowds. Sometimes I’d even add a little nod to Freemasonry.

Ari Roussimoff, Beach Café, Shriners, ice cream — Detail – Miami Beach Cafe Life

For example, in my panoramic Beach Café painting, I included a merry group of Shriners crossing the street while nearby stands a bearded lady holding her little son’s hand.

Another favorite place is Southern California. When based in San Diego, I’d visit Hollywood and fantasize about the great historic film world of days gone by.

A painting I did of Hollywood Boulevard features many of the classic movie stars congregating in front of the old Masonic Temple (now a television studio where they film the Jimmy Kimmel show).

Featured in the very front of my picture is silent movie legend Harold Lloyd wearing his Imperial Potentate’s Al Malaikah Shriner Fez. There are other masons in there as well: Harpo Marx, Clark Gable, John Wayne and Oliver Hardy.

Ari Roussimoff, Hollywood, art — Hollywood Eternal

EL: When and how did you first become interested in art?

AR:  My father was a writer. So I grew up in a cultural European household. The first artist that spoke to me was Van Gogh. I discovered him at age seven when watching a television documentary devoted to his life and work. Van Gogh became an early passion.

Since then, I’ve collected many books on him and have hunted down his paintings in museums throughout the world.

At fourteen I discovered Rembrandt. My second passion in art. By the way, I started drawing at age three and did my first oil at seven.

[I] also started to exhibit as a child. Luckily, I had parents who supported my love of art.

HOMAGE TO VAN GOGH Van Gogh in his studio with Van Gogh’s paintings on the wall. — HOMAGE TO VAN GOGH
Van Gogh in his studio with Van Gogh’s paintings on the wall.

EL: How wonderful! Did any current or artist in particular inspire or influence your work?

AR:  As an artist, you become a sponge of sorts, soaking up influences from many sources. My breath is taken away by the Old Masters. Rembrandt, Leonardo da Vinci, Rubens, the list is endless. Leonardo was the ultimate artistic genius. Each of his paintings are hypnotic.

Some of my other loves include Byzantine art, Russian and other folk arts, Van Gogh and numerous of the moderns. Too many to mention.

“This photograph of me was taken around 1990. Salvador Dali once said that an artist should look like his work. Sounds fine to me. In this photo, I am holding a 19th century Italian Paper Mache Commedia dell’arte mask. The coat I am wearing was once worn by the great Russian Opera singer Feodor Chaliapin. He wore the coat while performing as Ivan the Terrible in Rimsky-Korsakov’s Opera, “The Maid of Pskov” in Paris. I cherish this coat with its unique theatrical history.”
– Ari Roussimoff

EL: And as a teenager, you were invited to lunch with Salvador Dali and his wife Gala. What was that like?

AR: At the age of fourteen I was being managed by Theodore Karr, a representative of the Shorewood Art publishing company, a noted publisher of lithographs by some of the greatest artists in Europe.

A meeting was arranged for me to meet the great master Dail for lunch at a restaurant in the Hotel St. Regis in New York, where he lived for half the year. Our small group consisted of Dali, his wife Gala, Mr. Karr, my father and myself. Naturally I was very nervous when introduced to Dali. My knees were trembling. Surprisingly, Dali’s personality was completely different from the “crazed” image he promoted. Handsomely dressed in a three piece suit, holding a beautiful cane, Dali was polite, soft spoken and to me, he seemed a bit sad.

Then there was Gala. There was a quiet, but hostile dynamic going on between Dali and his wife. Dali’s command of English was far better than how he presented himself during filmed interviews. Oddly enough, he talked mostly about movies. He liked Hitchcock and John Wayne films. Early on Dali had collaborated with the Spanish surrealist filmmaker Luis Buñuel on two avant garde movies and in later years he worked for Alfred Hitchcock in designing a scene for “Spellbound.” Dali told us he hoped to yet do another film. Toward the conclusion of our lunch, Dali pulled out a portfolio from which he gifted me a signed artist’s proof lithograph. A man in the restaurant had recognized Dali and approached our table to ask for an autograph. Immediately, Dali turned into the eccentric madman he usually portrayed. He propped himself up, soldier like. His eyes bulged and his voice became amplified, with his language having changed into the familiar chaotic Dalinian jargon of English-French-Spanish. He graciously complied and gave the man an autograph. Upon the man’s retreat back to his table, Gala shot up off her chair and berated her husband loudly in French. Customers in the restaurant were glaring. Quite embarrassing! After we left the place, Mr. Karr attempted to explain that Gala’s rant, saying that she resented Dali drawing attention to himself, creating a spectacle. That pretty much describes my encounter with Salvador Dali.

EL: That’s an amazing story! Thank you for sharing it with us, tell us about your relationship with Masonry.

AR: I have always appreciated the great achievements of humanity while also being very much aware of the shortcomings. There isn’t a thing about the human condition that cannot be found in the Bible. Since much of my way of thinking is of biblical origin, I understood that humanity was given the ability by God to rise up to advance itself and achieve wonders to benefit one’s self and mankind.

Art played a significant role in leading me toward Freemasonry. I never felt Art was limited to esthetics. For me it became an expression of the soul. Art is a universal language. French, German, Spanish, Greek, Russian, Polish or African. Any genuine work of art transcends its ethnic origins, and translates into a universal language that speaks to all.

Walking through the streets of Los Angeles, New York and through Europe, my eye often fixated on old buildings that incorporated mystical looking designs. Often I wondered if these were Masonic decorations. My curiosity about Freemasonry started taking form.

I began to read up on the subject and absorb the philosophy and the rich culture accompanying it. What struck me early on is that some of the iconography I had known from early Christian art, such as the All Seeing Eye of God was an important essential component of Freemasonry, as is the Holy Bible. Then I was surprised to recognize similarities between Masonic symbolism and some of the mystical imagery that had been appearing in my own pictures for years.

Fascinated with the moral philosophies of Freemasonry, I was awed by the abundance of illustrious members, the great philosophers, leaders, authors, artists, musicians, philanthropists, scientists, inventors, poets, physicians. Mozart, Goethe, Voltaire, George Washington, Benjamin Franklin, Booker T. Washington, Kaiser Wilhelm I, Sir Arthur Conan Doyle, Pushkin, Oscar Wilde, Mark Twain. In my triptych that currently hangs in the Livingston Library there is a tribute to quite a few illustrious individuals who have been Masons.

Just a matter of note, in comparison to music, literature and entertainment, there were relatively few artists who were Masons.

There were numerous fine engravers. The most important sculptors and painters included Bartholdi, Hogarth, Mucha, Grant Wood, the great German expressionist Lovis Corinth (who did illustrations of lodge ceremony) and the Cubist master Juan Gris (he served as Master of his Lodge in Paris).

My keen interest eventually led me to the point where I wanted to do a film on Freemasonry. With that project in mind, I visited the wonderful Chancellor Robert R. Livingston Masonic Library & Museum of the Grand Lodge of New York in Manhattan. Their collection of materials is awesome. And everything was generously put at my disposal for study. This was in 2002. Although this particular film project has not as yet materialized, this was my road to joining. It has been an ever inspiring journey.

EL: Your work is a very skilled and inspiring contribution to the smaller body of Freemasonic art. Currently, you have art on display inside the Grand Lodge of New York building. Is there anything you would like to share about the exhibition?

AR: Yes, my paintings called Hiram’s Apron and King Solomon’s Vision, which have become widely known, were the first to be exhibited at the Livingston Masonic Library & Museum.

Currently, the museum is displaying my triptych titled Parable Of Light and Dark which consists of three paintings, which tell a symbolic story about Freemasonry through the past, present and an eye toward possibilities for the future. The first piece is called Foundations. It depicts the beginnings of Freemasonry, starting with Hiram and the building of the Holy Temple. The composition then moves upwards to Medieval times with Knighthoods and Cathedrals paving the way towards modern times.

"FOUNDATIONS" (2008) LEFT SIDE PANEL OF MASONIC TRIPTYCH — “FOUNDATIONS” (2008) LEFT SIDE PANEL OF MASONIC TRIPTYCH

At the very top in Foundations, I depict art and culture with portraits of Mozart, Mark Twain, Oscar Wilde, Pushkin and Voltaire.

The middle painting is called Eclipse. The idea behind ‘Eclipse’ is that within any darkness, there is a light of inspiration that can, if recognized for the possibilities it offers, lead one to a positive path.

The last painting in this group is called Rebirth. Hiram and King Solomon appear at the bottom amidst the ruins of a city. The King, like Noah years before him, sends a dove out into the future. Inspired by Masonic fundamentals, the future is represented by builders constructing a new and improved civilization.

EL: Profound symbolism. It is nice that you always include your thoughts on each painting on your website and social media. Tell us about your painted Masonic Aprons. What inspired you to make them, what do you hope to accomplish through them?

PAINTED MASONIC SYMBOLIC APRON BY ARI ROUSSIMOFF

AR: Painted aprons are a lost art within Freemasonry.

During the 18th and early 19th centuries, many Masonic aprons were beautifully hand painted and also embroidered. Some were folksy in style, others elaborate. Eventually came the standardization of aprons and the painted ones were relegated to the pages of history.

For my part, I wish to bring this lost Masonic tradition up into the here and now and also hopefully into the future.

My painted aprons are never imitations. They are highly symbolic, as I instill in them the classic ideals and virtues of Freemasonry. But I do this as a modern artist, with the voice coming from my soul.

Being signed artworks, it is not necessary for my aprons to be worn. They can be displayed on a wall. I am happy to say that my painted Masonic aprons are in fine collections throughout the world. And I very much love making them.

THE KNIGHTS TEMPLAR This rather Medieval themed Masonic painting dates from 2013. The symbolism encompasses lessons in regards to morality, spirituality, chivalry and the mortality of all humankind. Ari Roussimoff. — THE KNIGHTS TEMPLAR
This rather Medieval themed Masonic painting dates from 2013. The symbolism encompasses lessons in regards to morality, spirituality, chivalry and the mortality of all humankind.
Ari Roussimoff.

EL: Your aprons are incredible! You also do special Masonic portraits where you combine painting with photography. Tell us about that.

These are pictures I do on commission. I integrate portrait photography with my painting. Likenesses can sometimes be tricky and problematic. Even a great master like Rembrandt had occasional problems in this department.

The story goes that a man commissioned Rembrandt to do a portrait of his wife (or daughter). Upon seeing the final painting, the man was displeased because he did not see a likeness and demanded his money back. Ha. Ha. Can you imagine?!!

What I do can be called mixed-media portraits. No one will ever complain about a lack of likeness. The process consists of first, the client gives me a favorite photograph of themselves or whoever they wish me to create a portrait for.

Next, I have the photo enlarged and transferred onto a canvas of the desired measurements.

The last step is for me to paint a complete composition surrounding the photo, which I do not alter. The painted elements will reflect elements in that person’s life or imagination.

Voila! Never an issue regarding likenesses. A Lodge commissioned me to do one of the retiring Grand Master of California. It was gifted him during a special presentation ceremony. And I did one as my personal gift for the retiring Grand Secretary of New York, a wonderful man.

By the way, these pictures are also made for non-masons. I’ve created them for weddings, anniversaries, births, people’s parents. Anything someone might like to have.

Ari Roussimoff, Art, ukraine — Spirit of Ukraine

EL: I read that, for you, art is a spiritual experience. Would you share with us something about the process of bringing forth such wonderful images? Spiritually speaking, what is it that you experience?

AR: For me the act of painting is like praying.

It originates in my heart and my soul.

Spirituality in art is not limited to the confines of one or another religion. It is at the very core of all life.

Painting, like prayer, is a spiritual experience. Magical in many ways. And I am certain that being a painter is what God intended for me to be.

Otherwise I’d be doing other things. Too many people depend only on the limitations of their eyesight. They’re not able to touch base with the soul. Hence the four eyes in some of my paintings.

EL: I love your four eyes theme!

AR: In this self-portrait, the two pairs of eyes have a mystical meaning.

It is my belief that one should try to develop two sets of eyes.

One set represents our innermost self: the heart, passions and spirituality. This is the soul. The other set are those of the mind: logic and intellect. All four eyes together can give one excellent vision.

In art, it isn’t required that an artwork depict a religious subject in order to be spiritual. That special spirit is very much embedded within any true work of art. Spirituality can be felt in florals, landscapes, portraits, figurative or abstract compositions and whatever. Same holds true for music, literature and all other arts.

EL: On your website, linked here at the end of this interview, in addition to Masonic subjects, your art is presented in three other categories: Old Russia, Jewish life, Phantasmagoria.

AR: These are among the subjects I have painted throughout my life.

Art has been my lifelong passion. It is easiest to categorize works by subjects. There is also a general section called “Newest Works” featuring a cross section of paintings and also an interview. We are preparing to update the site. There are lots of new additions and improvements coming!

EL: I can’t wait to see what you’ll do next! You are also an award-winning director of motion pictures and have created sets for Broadway shows. You have done costume design, performance art, and have hosted a three-part television music program on MTV.

AR: All the arts are related. Being primarily visually oriented and a lover of classic movies, it had long been a desire to also express myself in film.

My first feature was a surrealist horror film featuring a cast of underground stars, even several Andy Warhol superstars. Federico Fellini, the brilliant Italian filmmaker, saw a rough edit of some of the early footage of bikers, and his admiration brought us further funding.

My best movie was the documentary Freaks Uncensored: A Human Sideshow which took years of research and dealt with the history of physical human anomalies throughout the ages. My significant other of many years Vivian Forlander wrote the screenplay and I directed it. It opened at the Anthology Film Archives in New York, to standing room only crowds and has been released on both VHS and DVD.

As for MTV, I hosted a special three-episode Russian style spoof of the MTV hits countdown. It was called MTV-ski and I was the Russian V-J, all dressed up in fur hat and rubaschka, peasant blouse. My old performance group went under the name “The Trans-Siberian Cossacks”, We performed in theaters, discos and art galleries.

As for the stage, I was chosen by impresario Ralph Mercado to create sets and paint a mural for an Eastern European show he was importing from Argentina.

“LIVE APPEARANCE AT NYC’S LIMELIGHT DISCO (1991)

Here I am on stage in 1991 with my old performance troupe “The Trans-Siberian Cossacks”. We are doing a live multi-media show at the Limelight Club in New York City. While our group lovingly exhibited Russian style, the name cossack was used metaphorically for individualism and inspired rebelliousness against status-quo trends (the initial meaning of cossack was rebel). We performed our uniquely circus-like shows in theaters, art galleries and discos. Venues ranged from the Limelight to Howard Guttenplan’s Millennium Film Workshop. This was a great way to incorporate elements of theater, painting, music and film. Cast members would often be interchangeable (based on locations). Performers included: Big Bob Bear, Clayton Patterson, Valerie Caris, Taylor Mead, The Magnificent Lori “W”, Vivi-Vixen and Brooks Rogers. In this photo at the Limelight, Clayton Patterson is the man holding the flag and the Queen of house music herself, Screamin’ Rachel is doing her wild thing in the far right, under the big screen (where we presented excerpts from one of my films).

It has been quite a few years now since I have retired “The Trans-Siberian Cossacks” (although occasionally, I get an urge to resurrect them). Even nowadays when giving a talk on my paintings, I like incorporating various elements. It makes for a more stimulating and also fun presentation.”

EL: In a way, the group has been resurrected in your work. Ari, what else would you like to mention that I didn’t ask?

AR:  Just this week, I completed a Masonic composition which I call Pyramid Of Light.

Currently I am putting finishing touches to a painted apron. There are a multitude of paintings stored inside me, each competing against the others to make its way out and onto canvas first. And I haven’t a clue which one it will be. Freemasonry, with its great teachings of morality and positive energy, provide me with tremendous inspiration. I hope to do many paintings in that direction.

EL: The readers and I are hoping too, Ari, I am sure.

EL: Let’s end this interview with some of your amazing paintings. Thank you very much for letting us pick your brain. We would love to check-in with you periodically to let our readers know what you are up to.

BUSY DAY AT THE MARKET PLACE This is where all the action is: the Marketplace. Painted in 1973 and I added some finishing touches to it in 2003. Ari Roussimoff. — BUSY DAY AT THE MARKET PLACE
This is where all the action is: the Marketplace. Painted in 1973 and I added some finishing touches to it in 2003. Ari Roussimoff.

GOING FISHING IN THE OLD COUNTRY Here are fisherman doing what they love to do in an old Ukrainian or Russian village. One of my fun Cubist style paintings from 2004. I have always enjoyed watching fisherman at work, even though I do not eat sea food. Ari Roussimoff — GOING FISHING IN THE OLD COUNTRY
Here are fisherman doing what they love to do in an old Ukrainian or Russian village. One of my fun Cubist style paintings from 2004. I have always enjoyed watching fisherman at work, even though I do not eat sea food. Ari Roussimoff

You can find Ari Roussimoff work online at his website at http://roussimoff.com.

Riding the Goat – Symbols and Symbolism

August 8, 2016 by Greg Stewart

In this edition of Symbols and Symbolism, we look at a reading from Albert G. Mackey’s Encyclopedia of Freemasonry on the subject of Riding the Goat.

Goat riding is one of those superstition that permeates most every corner of fraternal initiation. Not exclusively a Masonic institution, goat riding or making candidates “ride the goat” has been an aspect of hazing fueled initiation meant to scare and embarrass neophytes and initiates joining the institution. Yet, the practice seems to have a more succinct history involving ancient pagan practice and ritual.

You can find more installments here: Symbols & Symbolism and on YouTube.

The vulgar idea that “riding the goat” constitutes a part of the ceremonies of initiation in a Masonic Lodge has its real origin in the superstition of antiquity. The old Greeks and Romans portrayed their mystical god Pan in horns and hoof and shaggy hide, and called him “goat-footed.” When the demonology of the classics was adopted and modified by the early Christians, Pan gave way to Satan, who naturally inherited his attributes; so that to the common mind the Devil was represented by a he-goat, and his best known marks were the horns, the beard, and the cloven hoofs. Then came the witch stories of the Middle Ages, and the belief in the witch orgies, where, it was said, the Devil appeared riding on a goat. These orgies of the witches, where, amid fearfully blasphemous ceremonies, they practiced initiation into their Satanic Rites, became, to the vulgar and the illiterate, the type of the Masonic Mysteries; for, as Dr. Oliver says, it was in England a common belief that the Freemasons were accustomed in their Lodges “to raise the Devil.” So the “riding of the goat,” which was believed to be practiced by the witches, was transferred to the Freemasons; and the saying remains to this day although the belief has very long since died out.

Esoteric Freemasonry

March 26, 2016 by Greg Stewart

In this edition of Symbols and Symbolism, we look at a reading from Albert G. Mackey’s Encyclopedia of Freemasonry on the subject of Esoteric Masonry.

More installments of Symbols & Symbolism are available here and on YouTube.

That secret portion of Masonry which is known only to the initiates as distinguished from exoteric Masonry, or monitorial, which is accessible to all who choose to read the manuals and published works of the Order. The words are from the Greek, εσωτερικός, internal, and εξωτερική, external, and were first used by Pythagoras, whose philosophy was divided into the exoteric, or that taught to all, and the esoteric, or that taught to a select few; and thus his disciples were divided into two classes, according to the degree of initiation to which the had attained, as being either fully admitted into the society, and invested with all the knowledge that the Master could communicate or as merely postulants, enjoying only the public instructions of the school, and awaiting the gradual reception of further knowledge. This double mode of instruction was borrowed by Pythagoras from the Egyptian priests, whose theology was of two kinds-the one exoteric, and addressed to the people in general; the other esoteric, and confined to a select number of the priests and to those who possessed, or were to possess, the regal power. And the mystical nature of this concealed doctrine was expressed in their symbolic language by the images of sphinxes placed at the entrance of their temples. Two centuries later, Aristotle adopted the system of Pythagoras, and, in the Lyceum at Athens, delivered in the morning to his select disciples his subtle and concealed doctrines concerning God Nature, and Life, and in the evening lectured on more elementary subjects to a promiscuous audience. These different lectures he called his Morning and his Evening Walk.

The Chamber of Reflection

March 21, 2016 by Greg Stewart

One of the greatest enigmas of contemporary Freemasonry, the Chamber of Reflection is a little-used aspect in the rituals of a newly made Mason. Yet, the symbolism of the Chamber has roots in Hermeticism, Rosicrucianism and other occult traditions.

More installments of Symbols & Symbolism are available here and on YouTube.

In the French and Scottish Rites, a small room adjoining the Lodge, in which, preparatory to initiation, the candidate is enclosed for the purpose of indulging in those serious meditations which its somber appearance and the gloomy emblems with which it is furnished are calculated to produce. It is also used in some of the advanced degrees for a similar purpose. Its employment is very appropriate, for, as Gädicke well observes,

It is only in solitude that we can deeply reflect upon our present or future undertakings, and blackness, darkness, or solitariness, is ever a symbol of death. A man who has undertaken a thing after mature reflection seldom turns back.

Manly P Hall, in his Secret Teachings of All Ages, writes of the use of V.I.T.R.I.O.L. – beginning with the word VISITA and reading clockwise, the seven initial letters of the seven words inscribed in the outer circle read: VITRIOL. This is a very simple alchemical enigma but is a reminder that those studying works on Hermeticism, Rosicrucianism, alchemy, and Freemasonry should always be on the lookout for concealed meanings hidden either in Parables and allegories or in cryptic arrangements of numbers, letters, and words.

The Mystic Tie – Symbols and Symbolism

January 9, 2016 by Greg Stewart

In this installment of Symbols & Symbolism, we look at a reading from Albert G. Mackey’s Encyclopedia of Freemasonry and from a piece from Joseph Fort Newton’s The Builder on the Mystic Tie. Defining this mysterious phrase is often troublesome as how does one define the ineffable or the unseen? Often times, to define the mysterious we resort to putting words to feelings, or expressions of a feeling, that still fall short of the what the meaning represents. Perhaps, in Mackey’s definition with help from Newton, we can find some help in putting feeling to this important symbol.

The Mystic Tie

That sacred and inviolable bond which unites men of the most discordant opinions into one band of brothers, which gives but one language to men of all nations and one altar to men of all religions, is properly, from the mysterious influence it exerts, denominated the mystic tie; and Freemasons, because they alone are under its influence, or enjoy its benefits, are called “Brethren of the Mystic Tie.”

The expression was used by Brother Robert Burns in his farewell to the Brethren of Saint James Lodge, Tarbolton, Scotland in 1786.

RObert Burns and the Mystic Tie — Burns addressing Saint James Lodge

The full text of the poem/song reads:

Adieu! a heart-warm fond adieu;
Dear brothers of the mystic tie!
Ye favoured, enlighten’d few,
Companions of my social joy;
Tho’ I to foreign lands must hie,
Pursuing Fortune’s slidd’ry ba’;
With melting heart, and brimful eye,
I’ll mind you still, tho’ far awa.

Oft have I met your social band,
And spent the cheerful, festive night;
Oft, honour’d with supreme command,
Presided o’er the sons of light:
And by that hieroglyphic bright,
Which none but Craftsmen ever saw
Strong Mem’ry on my heart shall write
Those happy scenes, when far awa.

May Freedom, Harmony, and Love,
Unite you in the grand Design,
Beneath th’ Omniscient Eye above,
The glorious Architect Divine,
That you may keep th’ unerring line,
Still rising by the plummet’s law,
Till Order bright completely shine,
Shall be my pray’r when far awa.

And you, farewell! whose merits claim
Justly that highest badge to wear:
Heav’n bless your honour’d noble name,
To Masonry and Scotia dear!
A last request permit me here, –
When yearly ye assemble a’,
One round, I ask it with a tear,
To him, the Bard that’s far awa.

From The Builder

June, 1920
by Bro. Joseph Fort Newton

“The moral solidarity of mankind is dissolved. The danger is imminent that the end may be a war of all against all. Sects and parties are increasing; common estimates and ideals keep slipping away; we understand one another less and less; even voluntary associations, that form of unity peculiar to modern times, unite more in accomplishment than disposition, bring men together outwardly rather than in reality.”
These words, written by Rudolph Eucken in 1912, were like a star-shell over No Man’s Land, revealing the divided mind of the world, and they had a terrible fulfilment. The War, by its principle of violence, made no positive contribution to society, but only stirred up and brought to the surface what already existed. For both men and nations, it intensified tendencies already active, precipitated passions held in obscure solution, and brought into focus forces that had long been uneasily accumulating. It neither initiated nor changed the direction in which the world was moving, but it did quicken the pace, and, in quickening it, revealed it. That is why a haunting uneasiness possesses the minds of men today. Even when local disturbances subside and isolated disputes are settled, we still doubt whether a stable tranquility has returned or ever will return again. For these things are only symptoms of a profound and widespread mental ferment and moral restlessness.

The insight of Eucken goes further back and deeper down to the real root of the matter, divining the causes and logic of it all to be moral, spiritual, religious. For, if anything is made plain by history, it is that the mystic tie which holds humanity together in ordered and advancing life is moral and spiritual, and when that thread is cut anything may happen. From the beginning of the century the spiritual disintegration of the modern world, the breaking of the ties that bind together the fabric of civilization, had been observed and noted by many. Faith grew dim, moral sanctions were relaxed, and it was deemed clever and smart to talk lightly of those sanctities without which no society has long existed. Much of our literature has been intellectually Bolshevistic for thirty years, attacking the basis of marriage, of the home, of the church, of the state, as if the moral laws were only conventions, if not fictions. Verily we have our reward; we know now that when fools play with fire they get burned.

For a time, during the stress and strain and terror of the war, there seemed to be a re-knitting of the ties that bind men and nations together; but it was only seeming. It was the power of fear and force, not the power of faith. How unreal, how artificial it was is shown by the rapidity with which that amazing solidarity was demobilized, to be followed by a revival of class rancor, sectarian ardor, and a narrow, myopic nationalism. A world which, having sent young men to die by the thousands for magnanimous ideals, has already half forgotten them as it coolly and briskly resumes business at the old stand – such a world may be grieved, but it ought not to be astonished, at the revolt of both the minds and souls of men. Not that the immediate future will see a triumph of subversive schemes and radical ideas. If we follow an almost universal precedent we shall pass first through a period of luxury and extravagance, and there will he a momentary craving for the old social and religious orders, as in the years following the Napoleonic Wars. But this is not significant. It is merely the first reaction from the emotional strain and nervous tension of the war. This mood will soon spend itself, and then, at once, new forms, new forces, new demands will begin to arise which will sweep away much that has seemed precious and permanent in our lives.

Without a spiritual renewal, without a re-knitting of that “moral solidarity,” of which Eucken speaks so eloquently, – without the Mystic Tie – we may not hope for security and real progress. The truth is that we have been trying to build a human civilization on a materialistic foundation, and it cannot be done. No human community can long exist on such a basis. Russia has rendered incalculable service to humanity, by showing, with deadly consistency, how materialism issues into anarchy and animalism. Hear now a proof of this in the words of a spiritually-minded man who lived in the midst of it, watching the decay and destruction of his country. Eugene Troubetzkoy, Professor of Law in the University of Moscow, in the Hibbert Journal, for January 1920 (page 210), shows us what happens when the tie of spiritual faith and fellowship is broken. Here are words which he who runs may read:

Bolshevism is first and foremost the practical denial of the spiritual. They flatly refuse to admit the existence of any spiritual bond between man and man. For them economic and material interests constitute the only social nexus; they recognize no other. This is the source of their whole conception of human society. The love of country, for example, is a lying hypocritical pretense; for the national bond is a spiritual bond, and therefore wholly factitious. From their point of view the only real bond between men is the material – that is to say, the economic. Material interests divide men into classes, and they are the only divisions to be taken account of. Hence they recognize no Nations save the Rich and the Poor. As there is no other bond which can unite these two Nations into one social whole, their relations must be regulated exclusively by the zoological principle revealed in the struggle for existence.
The materialistic conception of society is the Bolshevist method of treating the family. Since there is no spiritual bond between the sexes, there can be no constant relation. The rule is therefore that men and women can change their partners as often as they wish. The authorities in certain districts have even proclaimed the ‘nationalization’ of women, that is, the abolition of any private and exclusive right to process a wife even for a limited period, on the ground that women are the property of all. The same children. A powerful current of opinion is urging that children must be taken from their parents in order that the State may give them an education on true materialistic lines. In certain communes some hundreds of children were ‘nationalized,’ that is, ‘taken from their parents and placed in public institutions.

There it is, showing us what the red logic of hell means when it works itself out in action, and what results follow when the Mystic Tie of spiritual faith and fellowship is cut. Political anarchy, social animalism, moral bedlam follow with mathematical certainty, and all the fine and holy things of life are thrown into the junk heap. Man has an animal inheritance – moods of ape and tiger mingle in him with divine dreams and thoughts that wander through eternity – and when the Divine is denied, he reverts to the law of the jungle, and the hard-won trophy of spiritual struggle and agony vanishes. What happens, happens again. The Bolsheviks are men of like passions as ourselves; they simply carry out with the fatal logic of fanaticism the dogma of materialism upon which we have been trying to base our modern civilization. If anyone thinks that what has taken place in Russia cannot happen in America, he knows little of history and less of human nature. The practical denial of the Divine dehumanizes humanity, and the rest follows as night follows day.

For that reason, if it should be a part of our religion to be patriotic, it must be a part of our patriotism to keep the light of spiritual faith aflame on the altars built by our fathers. Down in Wales, at a time when it seemed that revolution was inevitable, I asked a labor leader what bond held men together. He said:

All that holds these men back is the fact that they were trained in the Sunday-schools of these Welsh chapels years ago. That is all that keeps the spark from blowing up.

Within the last four years, ten thousand Sunday-schools have ceased to exist in America, and the end is not yet. Facts such as these, and others of like kind, make a thoughtful man wonder as to what the future will be. What confronts us is not specifically indifference to religion, but indifference to pretty well everything outside the circle of creature comfort and self-gratification. There are many exceptions, of course, but in the main it is true that society has as yet been able to persuade only a few of its members to be really interested in its higher concerns. By the same token, men who do care for what is finest in our national life must make use of every opportunity, every instrumentality, to keep alive the faith that makes men faithful, and the vision of the moral ideal that lights our human way toward the city of God.

There is no need to apply what has been said, least of all to men to whom the Mystic Tie is a reality, and who are bound together by it in a fraternity of spiritual Faith and Fellowship. In every degree of Freemasonry, we are taught – by art, drama and symbol – the moral basis of human society, its spiritual interpretation, and the necessity of a fraternal righteousness among men, without which manhood is rudimentary and intellectual culture is the slave of greed and passion. Of Lincoln it was said, that “his practical life was spiritual,” and by as much as Masonry builds men of like faith and fiber who, in private life and public service, keep a manhood neither bought nor sold, true of heart and unbefogged of mind, it is helping to weave that Mystic Tie that holds the republic together. The words of James Bryce, in The American Commonwealth (page 583), ought to be written and hung up in our hearts. If history teaches anything, it teaches us that hitherto civilized society has rested on religion.

It was religious zeal and religious conscience that led to the founding of the New England colonies two centuries and a half ago… Religion and conscience have been a constantly active force in the American Commonwealth ever since…

And the more democratic republics become…

…the more the masses grow conscious of their power, the more do they need to live not only by patriotism, but by reverence and self-control, and the more essential to their well-being are those sources from which reverence and self-control flow.

The full quote reads:

America is no doubt the country in which intellectual movements work most swiftly upon the masses and the country in which the loss of faith in the invisible might produce the completest revolution because it is the country where men have been least wont to revere anything in the visible world. Yet America seems as unlikely to drift from her ancient moorings as any country of the Old World. It was religious zeal and the religious conscience which led to the founding of the New England colonies two centuries and a half ago those colonies whose spirit has in such a large measure passed into the whole nation. Religion and conscience have been a constantly active force in the American commonwealth ever since not indeed strong enough to avert many moral and political evils yet at the worst times inspiring a minority with a courage and ardor by which moral and political evils have been held at bay and in the long run generally overcome.
It is an old saying that monarchies live by honor and republics by virtue. The more democratic republics become the more the masses grow conscious of their own power the more do they need to live not only by patriotism but by reverence and self control and the more essential to their well being are those sources whence reverence and self control flow.

The Craft Unmasked

September 1, 2015 by Fred Milliken

A book review by Frederic L. Milliken

From the day I was raised 26 years ago I have always heard that Freemasonry was an outgrowth of the Medieval Stone Masons Guilds that gradually took on speculative members as church building waned. Then along came historian John J. Robinson who wrote in Born in Blood: The Lost Secrets of Freemasonry,

There remained no reasonable doubt in my mind that the original concept of the secret society that came to call itself Freemasonry had been born as a society of mutual protection among fugitive Templars and their associates in Britain, men who had gone underground to escape the imprisonment and torture that had been ordered for them by Pope Clement V.

Those were not the only two theories of Freemasonry’s origin that existed but in my time they were the two most common theories debated. John Nagy in his book, The Craft Unmasked – The Uncommon Origin of Freemasonry and its Practice, lists many other theories:

The Origins of Freemasonry

And #13 is Nagy’s Unmasking of the Craft, his answer as to the origin of Freemasonry. And what is that answer? Oh no, that you are going to have to find out by reading the book. Besides you wouldn’t believe him without all the corroborating evidence that is in the book to back up his claim. If I printed all of that in this review I might as well have just scanned the whole book and posted that. Of course that would be cheating Brother Nagy out of just compensation. If this was a murder mystery review you wouldn’t want me to tell you who did it now would you?

Nagy warns that the book could be upsetting to some Freemasons and that, “Revealing anything in this book to others who have yet to read it, shall both ruin the intended experience of the book for them and prevent you from having a rich discussion about it with an informed person.” So take due notice and govern yourselves accordingly.

Nagy tells us, “It should be abundantly clear that stonemasonry and Freemasonry are nowhere near the same.” He goes on to say, “At one point in time in the Middle Ages, it took seven years to earn the right to be a Journeyman, otherwise known as a Fellow in the Craft. For an Apprentice to become a Fellow Craft within the Freemasonic Order, no skill development or servitude under a Mentor is required. Memorization of words, signs and grips are almost universally required. Some Apprentices are required to know the Obligations they learned during their first Degree.”

Next comes a lament you will find throughout Nagy’s book, “Candidates Entering the Society usually have high hopes of being surrounded by men who have actually developed Life Masteries. What they find is a wide assortment of males who have yet to master themselves, much less the principles of the Craft. They also find men obsessed with memorizing things that they have no desire to understand, much less apply.”

“With no true leadership or examples of what the Society can actually do to develop good men into Better men, some members soon realize that the organization is not what they expected. Couple this with meetings that provide little to no nourishment for those who attend, it becomes very clear to any man who was initially excited about joining the Society, that if offers little more than activities that maintain the process of Initiating men three times over.”

He goes on to say this about candidates:

“They are provided an Instruction Set in the form of ritual as to what they should do to become Better men but they are provided no support to assure that they learn how to become Better men. They are only required to memorize that Instruction Set, not Execute it. It is clear that this activity and their limits do not support Freemasonic Craft in being a Progressive Science, only a stagnant script to follow that very few members understand.”

And why do few members understand Freemasonry?

Nagy claims, “Without a foundation in classical literature, scripture and related materials, there is little likelihood of any man truly appreciating anything other than superficial aspects of what the Society offers him. What’s more, when they don’t appreciate what is offered, they do not stick around much.”

Nagy is a big critic of Freemasonry’s claim to actually helping its members yet he sees in it a grand design that can change lives.

“Wouldn’t it make sense to teach men the significance of Ritual in general,” Nagy writes. “What is it supposed to activate within them? What is the significance of certain symbols, words, and gestures to as man, to what they refer within specific moments in history, and how they have been viewed in the past? Wouldn’t proper preparation include educating the man, not in what he shall experience, but in the significance of the words, phrases, gestures, symbols and allusions that he shall encounter on his journey?”

“The cultures surrounding the society today are not ones to provide unsophisticated Candidates. Not many new Candidates will willingly engage in such activities. Today’s Candidates want continuity between the act and the reality it is supposed to improve.”

“It’s most unfortunate that the society never developed itself beyond the roles it asks its members to act out. Had it taken what its scripts espouse to the next level, and provided authentic and functional support to its members in achieving what its Rituals have pointed its members toward, its membership and surrounding structure would indeed be far grander than what is currently presented.”

“Once again, it is not ever emphasized that any member understands anything that he memorizes and repeats. It is never emphasized that he must do any of the work which any of what he is memorizing points toward. He need not understand the lessons. He need not understand what the Symbols mean toward what work they direct his attention. He is not even required to discuss how he can use what he is told to memorize to Better himself. It is only important that he be able to memorize and recite back what is asked of him by his Jurisdiction.”

But as we noted before this does not lessen the potential of Freemasonry in Nagy’s eyes one bit:

“The central power of the Freemasonic Society is the mutual agreement of all its members to play the part inside and outside the Lodge. This means that the entire world is their theater and members are expected to play the part for the rest of their lives.”

“Perhaps the greatest service Freemasonic society can ever offer a man is the ability to release himself from the everyday world and immerse himself in a reality that offers him fellowship that’s not contingent upon anything other than wanting to be together for all the right reasons. In this way, Ritual does indeed Bring Order to Chaos.”

“Moreover, Freemasonry is perhaps the single most inclusive way for any man to freely and willingly immerse himself within a nurturing environment of Moral instruction that excludes the varying degrees of politically corrupting influences of any one religion.”

“Furthermore, there are some deeply spiritual men who shall never ever step foot in any religion based facility who desire to commune with other Seekers of like Mind and Spirit. For them there is and shall always be Freemasonry”

“And all members reap the benefit of their presence and wisdom as a result.”

“The Freemasonic Organization places a spotlight on every single Candidate going through each of the first three Degrees. Like a limelight in a spectacular production, the Candidate is both highlighted and at the same time shown what role he must play in life to better himself. At each Step along the way he is shown what he must focus upon to Build himself into a Better man.”

“For some time now I have described Freemasonic ritual as ‘Roadmaps for Personal Transformation.’”

When you come right down to it Nagy believes that ,“Simple in its deliverance and Masterful in its design the Craft does indeed do what it set out to do and in Grand Fashion.”

”Simply Masterful it is in every way and in ways that the majority have not recognized and understood until now.”

The meat of the book is the unmasking of the Craft and the discovery of its true origins, which you will have to read and digest yourself by buying the book. There is also Nagy’s critique of how the Craft could be better than it already is while paying due homage to its greatness at the same time. These are the points you don’t want to miss and that will provide hours of contemplation and discussion.

But there are other parts of the book that also spread Light. We won’t mention them all but one that Nagy finds important is definitions. He seems to feel that too many misunderstandings take place because we are misdefining (that’s a new word I just made up) the words we use in Freemasonry. The biggest offense comes in the use of the words “Masonry (and Mason) versus Freemasonry (and Freemason). According to Nagy:

Freemasonry – The Organizational Structures, Rules, Laws, Traditions, Lore and Rituals that support the Practices of the Freemasonic Society.

Freemason – A Member of the Society of Free & Accepted Masons; an Accepted Mason.

Masonry – The Art and Science of Building.

Mason – A Builder

While we are at we will include one other definition.

The Craft – 1. The Whole of Freemasonic Practice. 2. Those who collectively Practice Freemasonry

Nagy comments that confusion reigns when both Freemasonry and Masonry are used interchangeably and also when some assign the word Freemason to those in the Craft who practice the principles of Freemasonry and Mason to those in the Craft who do not practice the principles of Freemasonry.

Nagy further explains, “By taking the issue of practice outside the Society and assigning it strictly to practice versus non-practice, these Brothers have assigned a distinction that removes membership from the equation defining Masons. They have opted to define Freemasons as mere members of the society of Free & Accepted Masons while in the same effort defining Masons as individuals who Practiced Principles that transform males toward maturity and wisdom regardless of affiliation.”

“In the eyes of some, Freemasons were members of a Society whereas Masons were Builders.”

“None of these definitions denoted that there was mutual exclusivity between the two. They didn’t mean that members could not be Builders too or that Builders could not be members. It merely communicated a base understanding that one was not necessarily the other and one didn’t have to be one to be the other.”

Another chapter you don’t want to miss is the one on the Word.

Nagy tells us, “From the Perspective of Freemasonic Practice, the Master’s Word is Played out every time a Member Portrays Masonry Authentically.”

“The Word is not something you can hold, say or write. You cannot possess it in any way. If anything, It must be something that possesses you and does so legitimately and authentically.”

The Word is a Metaphor. It is intended to represent something other than an actual word. To understand this metaphor, one must seek not what is communicated in its normal sense but to seek the character of what is communicated beyond the words used. Hence, to seek and actual word would be foolish, but to seek the character of The Word would be wise.”

“This is why it is so crucial to understand that The Word cannot be given to anyone. It is something that a person Becomes as a result of diligently applying Wisdom, Strength and Beauty in agreement to all he does. One does not possess The Word, One Becomes The Word; and does so through dedication and commitment of specific Work.”

“The Word is Excellence from oneself to the Degree that one does all these things Masterfully. The Word is a metaphor for Masterful Achievement.”

I also call the Nagy the question man. On Facebook or in his books he is always asking questions. I bet that if I met him in person one of the first things he would do is ask me a question. At the end of The Craft Unmasked are some questions for you to answer, or at least think about. Questions like:

“Do you know exactly what Society Ritual points toward that if pursued would continue to help transform you toward the Better?”

“If you were to step upon sacred ground, would it mean more to you knowing this fact before you stepped upon it or long after you left that soil?”

There is no doubt that what Nagy, affectionately referred to as the Coach, has written a book of much controversy. It will burst the bubble of many a Masonic scholar and researcher, and the Coach knows this. And I think he is ready for the flak that will come his way, as they used to say in Vietnam “INCOMING!” It does not seem to be in his nature to be confrontational, however, but rather to be an educator and he goes where his research has taken him.

It is so important that we understand our roots and where that leads us, where we began and where we are now going.

Nagy reminds us, “Yet, even though the Craft is hidden in plain sight, the Mystery of Masonry escapes the understanding of far too many of its members and non-Craft members. This doesn’t prevent individuals from practicing it and benefiting from its practice. Such benefits are a direct result of its application and it doesn’t require an awareness or understanding of the Craft, just a Mastering of it. The Craft is that empowering.”

“Many have come to its quarry. Many have Mastered its ways. Many have profited from its Practice. But, few actually Understand what they are truly doing. Somehow, along the way, the Craftsmen have forgotten what their Craft actually is and for what Purpose it is Practiced.”

But the Coach wants to put this all out for discussion not controversy. It is only through the meeting of minds that we shall discover ourselves as Freemasons and who we really are and where we are going. It is only through greater understanding of where we have been that we can figure where we must go in the future.

“When you remain even loosely active in Craft activities and have taken the time to discuss it at length and in depth with others, you shall soon become acutely aware that there are many aspects of the Craft that appear to be confusing at best, and deeply disconcerting at worst. These aspects shall continue to plague the Craft until such time that all members find themselves harmoniously discussing differences.”

Let’s hope that by adding this book to your library that you will be having those harmonious discussions and delving evermore deeper into the roots of Freemasonry in order to be able to shape its future for the better.

You can find Nagy’s book on Amazon here: The Craft Unmasked – The Uncommon Origin of Freemasonry and its Practice and on his website: http://www.coach.net/TCU.htm.

Clandestine Masons and Clandestine Freemasonry

July 4, 2015 by Greg Stewart

In this installment of Symbols & Symbolism we look at a reading from Albert G. Mackey’s Encyclopedia of Freemasonry on the meanings behind Clandestine, Clandestine Lodge and a Clandestine Freemason.

The video, deals with the first two subjects, the third is a subject of much contention creating clear vernacular delineation of what IS and what IS NOT considered by the various denominations of the fraternity.

You can find more installments of these educational pieces under Symbols & Symbolism, and on YouTube.

Clandestine

The ordinary meaning of this word is secret, hidden. The French word clandestin, from which it is derived, is defined by Boiste (Pierre-Claude-Victor Boiste – Dictionnaire universel de la langue française, first published in 1800) to be something:

fait en cachette et contre les lois.

Translated to mean – done in a hiding-place and against the laws (or, as translated by Google Translate – made secretly and against laws), which better suits the Masonic signification, which is illegal, not authorized. Irregular is often used for small departures from custom.

The Frontispiece to Noorthouck's 1784 Constitution. — The Frontispiece to Noorthouck’s 1784 Constitution.

Clandestine Lodge

A body of Masons uniting in a Lodge without the consent of a Grand Lodge, or, although originally legally constituted, continuing to work after its charter has been revoked, is styled a “Clandestine Lodge.” Neither Anderson nor Entick employ the word. It was first used in the Book of Constitutions in a note by Noortbouck, on page 239 of his edition (Constitutions, 1784). Irregular Lodge would be the better term.

Clandestine Mason

One made in or affiliated with a clandestine Lodge. With clandestine Lodges or Masons, regular Masons are forbidden to associate or converse on Masonic subjects.

In the Book of Constitutions, Noortbouck’s comments read, first under the Abstract of the Laws Relating to the General Fund of Charity

IV, page ii:

No person made a mason in a private or clandestine manner, for small or unworthy considerations, can act as a grand officer or as an officer of a private lodge, or can he partake of the general charity.

Interestingly, they tell us their reasons:

And then Under the Making of a Mason (page 394 and 395), ART V

A brother concerned in making masons clandestinely, shall not be allowed to visit any lodge till he has made due submission, even though the brothers so made may be allowed.

and, ART VIII, page 395:

Seeing that some brothers have been made lately in a clandestine manner, that is, in no regular lodge, nor by any authority or dispensation from the grand master, and for small and unworthy considerations, to the dishonor of the craft; the grand lodge decreed, that no person so made, nor any of those concerned in making him, shall be a grand officer, nor an officer of a particular lodge; nor shall partake of the general charity, should they ever be reduced to apply for it.

From a Short Talk Bulletin, Vol.XIII, No, 12, from 1935 says definitively (for that time) that,

Today the Masonic world is entirely agreed on what constitutes a clandestine body, or a clandestine Mason; the one is a Lodge or Grand Lodge unrecognized by other Grand Lodges, working without right, authority or legitimate descent; the other is a man “made a Mason” on such a clandestine body.

Mosaic Pavement or the Checkered Flooring

June 7, 2015 by Greg Stewart

In this installment of Symbols & Symbolism, we look at a reading from Albert G. Mackey’s Encyclopedia of Freemasonry and its Kindred Sciences on the symbolism behind the mosaic (or checkered) pavement, objects that, Mackey says, are “appropriately interpreted as symbols of the evil and good of human life”

You can read more installments of Mackey’s Encyclopedia under Symbols & Symbolism here on this site and video of these segments on YouTube.

Mosaic Pavement

Mosaic work consists properly of many little stones of different colors united together in patterns to imitate a painting. It was much practiced among the Romans who called it musivum opus whence the Italians get their musaico the French their mosaique and we our mosaic. The idea that the work is derived from the fact that Moses used a pavement of colored stones in the tabernacle has been long since exploded by etymologists. The Masonic tradition is that the floor of the Temple of Solomon was decorated with a Mosaic pavement of black and white stones. There is no historical evidence to substantiate this statement. Samuel Lee, however, in his diagram of the Temple, represents not only the floors of the building, but of all the outer courts, as covered with such a pavement (Lee’s Orbis miraculum; or, the Temple of Solomon Pourtrayed by Scripture-Light, London, 1659). The Masonic idea was perhaps first suggested by this passage in the Gospel of St. John, xix 13 “when Pilate, therefore, heard that saying, he brought Jesus forth and sat him down in the judgment-seat in a place that is called the Pavement, but in the Hebrew, Gabbatha.” The word here translated Pavement is in the original Lithostroton, the very word used by Pliny to denote a Mosaic pavement. The Greek word, as well as its equivalent, is used to denote a pavement formed of ornamental stones various colors precisely what is by a Mosaic pavement.

A 19th century depiction of the assembly of the Sanhedrin.

There was, therefore, a part of Temple which was decorated with a Mosaic pavement. The Talmud informs us that there was such a pavement in the conclave where the Grand Sanhedrin held its sessions.

By a little torsion of historical accuracy, the Masons have asserted that the ground-floor of the Temple was a Mosaic pavement and hence, as the Lodge is a representation of the Temple, that the floor of the Lodge should also be of the same pattern.

The Mosaic pavement is an old symbol of the Order. It is met within the earliest rituals of the last century. It is classed among the ornaments of the Lodge in combination with the indented tessel and the blazing star. Its parti-colored (showing different colors or tints) stones of black and have been readily and appropriately interpreted as symbols of the evil and good of human life.

References:

Samuel Lee (1625–1691)
An English Puritan academic and minister. Lee produced a “very English interpretation” for the design of Solomon’s Temple. Lee suggests that the “extremely elaborate Temple designs of earlier authors took their inspiration from the visionary temple of Ezekiel, which was never intended as a real temple to be built on earth.” The Illustration of Solomon’s Temple, as mentioned by Mackey, is from Orbis miraculum; or, the Temple of Solomon Pourtrayed by Scripture-Light, London, 1659.

Lithostroton
A floor covering made from irregular variously colored small marble stones, not to be confused with the mosaic surface that was designed with the help of small, rectangular or almost square cubes (tessellae) made of terracotta, limestone or marble which were set into a bed of mortar and polished for foot traffic.

John 19:13
When Pilate heard this, he brought Jesus out and sat down on the judge’s seat at a place known as the Stone Pavement (which in Aramaic is Gabbatha). (NIV)