Symbolism

The Christianization of Freemasonry

April 13, 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 Christening of Freemasonry, a sentiment that Mackey feels “… does not belong to the ancient system” of Freemasonry.

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

The interpretation of the symbols of Freemasonry from a Christian point of view is a theory adopted by some of the most distinguished Masonic writers of England and this country, but one which I think does not belong to the ancient system. [William] Hutchinson, and after him [George] Oliver – profoundly philosophical as are the Masonic speculations of both – have, I am constrained to believe, fallen into a great error in calling the Master Mason’s Degree a Christian institution. It is true that it embraces within its scheme the great truths of Christianity upon the subject of the immortality of the soul and the resurrection of the body; but this was to be presumed, because Freemasonry is truths and all truth must be identical. But the origin of each is different; their histories are dissimilar. The principles of Freemasonry preceded the advent of Christianity. Its symbols and its legends are derived from the Solomonic Temple and from the people even anterior to that. Its religion comes from the ancient priesthood; its faith was that primitive one of Noah and his immediate descendants. If Masonry were simply a Christian institution, the Jew, the Muslim, the Brahman and the Buddhist could not conscientiously partake of its illumination. But its universality is its boast. In its language citizens of every nation may converse; at its altar men of all religions may kneel; to its creed disciples of every faith may subscribe.

oliver and hutchinson — George Oliver & William Hutchinson

Yet 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. This has been a necessity; for it is the tendency of every predominant religion to pervade with its influence all that surrounds it or is about it, whether religious, political, or social. This arises from a need of the human heart. To the man deeply imbued with the spirit of his religion, there is an almost unconscious desire to accommodate and adapt all the business and the amusements of life – the labors and the employments of his everyday existence-to the indwelling faith of his soul.

The Christian Mason, therefore, while acknowledging and appreciating the great doctrines taught in Masonry, and also while grateful that these doctrines were preserved in the bosom of his ancient Order at a time when they were unknown to the multitudes of the surrounding nations, is still anxious to give to them a Christian character; to invest them, in some measure, with the peculiarities of his own creed, and to bring the interpretation of their symbolism more nearly home to his own religious sentiments.

The feeling is an instinctive one belonging to the noblest aspirations of our human nature; and hence we find Christian Masonic writers indulging in it to an almost unwarrantable excess, and, by the extent of their sectarian interpretations, materially affecting the cosmopolitan character of the Institution.

This tendency to Christianize has, in some instances, been so universal, and has prevailed for so long a period, that certain symbols and myths have been, in this way, so deeply and thoroughly imbued with the Christian element as to leave those who have not penetrated into the cause of this peculiarity, in doubt whether they should attribute to the symbol an ancient or a modern and Christian origin.

The Ashlar

March 1, 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 Ashlar – a symbol familiar to every individual made a mason.

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

“Freestone as it comes out of the of the quarry.” – Bailey. In Speculative Masonry we adopt the ashlar in two different states, in the Apprentice’s Degree. The Rough Ashlar, or stone in its rude and unpolished condition, is emblematic of man in his natural state – ignorant, uncultivated, and vicious. But when education has exerted its wholesome influence in expanding his intellect, restraining his passions, and purifying his life, he then is represented by the Perfect Ashlar, which, under the skillful hands of the workmen, has been smoothed, and squared, and fitted for its place in the building. In the older lectures of the eighteenth century the Perfect Ashlar is not mentioned, but its place was supplied by the Broached Thurnel.

The All-Seeing Eye

January 24, 2015 by Greg Stewart

From Albert G. Mackey’s Encyclopedia of Freemasonry, this installment of Symbols & Symbolism presents his exploration of the All-Seeing Eye. Note, some links have been added as reference to the original quoted sources.

Look for future installments on Symbols & Symbolism here, and on YouTube.

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 (Palms 34:15),

which explains a subsequent passage (Psalms 121.4), in which it is said:

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

In the Apocryphal Book of the Conversation of God with Moses on Mount Sinai, translated by the Rev. W. Cureton from an Arabic MS of the fifteenth century, and published by the Philobiblon Society of London, the idea of the eternal watchfulness of God is thus beautifully allegorized:

Then Moses said to the Lord 0 Lord dost 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 God to Moses, I declare by my power, and by 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, they 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 eye, and placed this hieroglyphic of him in all their temples. His symbolic name, on the monuments, was 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, 15.3, when 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.

It is a symbol of the Omnipresent Deity.

Read more on the All Seeing Eye as Omnipresent Deity

The Broken Column

January 20, 2015 by Greg Stewart

From Albert G. Mackey and his Encyclopedia of Freemasonry, this installment of Symbols & Symbolism presents his exploration of the Broken Column. Note, some links have been added as reference to the original quoted sources.

Look for future installments on Symbols & Symbolism here, and on YouTube.

The Broken Column

Among the Hebrews, columns, or pillars, were used metaphorically to signify princes or nobles, as if they were the pillars of a state . Thus, in Psalm 11:3, the passage, reading in our translation:

If the foundations be destroyed, what can the righteous do?

is, in the original,

when the columns are overthrown,

i .e.: when the firm supporters of what is right and good have perished. So the passage in Isaiah 19:10 should read:

her (Egypt’s) columns are broken down*,

that is, the nobles of her state. In Freemasonry, the broken column is, as Master Masons well know, the emblem of the fall of one of the chief supporters of the Craft. The use of the column or pillar as a monument erected over a tomb was a very ancient custom, and was a very significant symbol of the character and spirit of the person interred. It is accredited to Jeremy L. Cross (from the Masonic Chart) that he first introduced the Broken Column into the ritual, but this may not be true.

time, virgin, broken pillar, art, illustration — Time, the weeping virgin and the broken column

More on the Time.
More on the Weeping Virgin.
More in the Symbols and Symbolism series.

* This passage in Isaiah 19:10 reads: And they shall be broken in the purposes thereof, all that make sluices and ponds for fish. (KJV)

Acacia

January 11, 2015 by Greg Stewart

From Albert G. Mackey’s Encyclopedia of Freemasonry, this installment of Symbols & Symbolism presents his exploration of the mystical properties of the Acacia. Note, some links have been added as reference to the original quoted sources. Look for future installments on Symbols & Symbolism here, and on YouTube.

From the Encyclopedia:

An interesting and important symbol in Freemasonry. Botanically, it is the acacia vera of Tournefort, and the mimosa nilotica of Tinneus, called babul tree in India. It grew abundantly in the vicinity of Jerusalem, where it is still to be found, and is familiar in its modern use as the tree from which the gum arabic of commerce is derived.

Oliver, it is true, says that “there is not the smallest trace of any tree of the kind growing so far north as Jerusalem” (Landm.,ii.,149); but this statement is refuted by the authority of Lieutenant Lynch, who saw it growing in great abundance in Jericho, and still farther north . (Official Report of the United States of America to Explore the Dead Sea and the River Jordan by Lieutenant W. F. Lynch, U.S.N) The Rabbi Yehoseph Schwarz, who is excellent authority, says : “The Acacia (Shittim) tree, Al Bunt, is found in Palestine of different varieties ; it looks like the Mulberry tree, attains a great height, and has a hard wood . The gum which is obtained from it is the gum arabic .” (Descriptive Geography and Historical Sketch of Palestine, p308, Leeser’s translation. Phila., 1850) Schwarz was for sixteen years a resident of Palestine, and wrote from personal observation. The testimony of Lynch and Schwarz should, therefore, forever settle the question of the existence of the acacia in Palestine.

The acacia is called in the Bible Shittim, which is really the plural of Shittah, which last form occurs once only in Isaiah 41:19. It was esteemed a sacred wood among the Hebrews, and of it Moses was ordered to make the tabernacle, the Ark of the Covenant, the table for the shewbread, and the rest of the sacred furniture. (Exodus 25-27) Isaiah, in recounting the promises of God’s mercy to the Israelites on their return from the captivity, tells them that, among other things, he will plant in the wilderness, for their relief and refreshment, the cedar, the acacia (or, as it is rendered in our common version, the shittah), the fir, and other trees.

The first thing, then, that we notice in this symbol of the acacia, is that it had been always consecrated from among the other trees of the forest by the sacred purposes to which it was devoted. By the Jew, the tree from whose wood the sanctuary of the tabernacle and the Holy Ark had been constructed would ever be viewed as more sacred than ordinary trees. The early Masons, therefore, very naturally appropriated this hallowed plant to the equally sacred purpose of a symbol, which was to teach an important divine truth in all ages to come. Having thus briefly disposed of the natural history of this plant, we may now proceed to examine it in its symbolic relations.

First, the acacia, in the mythic system of Freemasonry, is preeminently the symbol of the IMMORTALITY OF THE SOUL – that important doctrine which it is the great design of the Institution to teach. As the evanescent nature of the flower, which “cometh forth and is cut down,” reminds us of the transitory nature of human life, so the perpetual renovation of the evergreen plant, which uninterruptedly presents the appearance of youth and vigor: is aptly compared to that spiritual life in which the soul, freed from the corruptible companionship of the body, shall enjoy an eternal spring and an immortal youth. Hence, in the impressive funeral service of our Order, it is said that “this evergreen is an emblem of our faith in the immortality of the soul. By this we are reminded that we have an immortal part within us, which shall survive the grave, and which shall never, never, never die.” And again, in the closing sentences of the monitorial lecture of the Third Degree, the same sentiment is repeated, and we are told that by “the ever-green and ever-living sprig ” the Mason is strengthened” with confidence and composure to look forward to a blessed immortality.” Such an interpretation of the symbol is an easy and a natural one; it suggests itself at once to the least reflective mind; and consequently, in some one form or another, is to be found existing in all ages and nations. It was an ancient custom-which is not, even now, altogether disused-for mourners to carry in their hands at funerals a sprig of some evergreen, generally the cedar or the cypress, and to deposit it in the grave of the deceased. According to Dalcho,* the Hebrews always planted a sprig of the acacia at the head of the grave of a departed friend. [John] Potter tells us that the ancient Greeks “had a custom of bedecking tombs with herbs and flowers.”‡ All sorts of purple and white flowers were acceptable to the dead, but principally the amaranth and the myrtle. The very name of the former of these plants, which signifies “never fading,” would seem to indicate the true symbolic meaning of the usage, although archaeologists have generally supposed it to be simply an exhibition of love on the part of the survivors. Ragon says that the ancients substituted the acacia for all other plants because they believed it to be incorruptible, and not liable to injury from the attacks of any kind of insect or other animal-thus symbolizing the incorruptible nature of the soul.

Hence we see the propriety of placing the sprig of acacia, as an emblem of immortality, among the symbols of that degree, all of whose ceremonies are intended to teach us the great truth that “the life of man, regulated by morality, faith, and justice, will be rewarded at its closing hour by the prospect of Eternal Bliss.”≠ So, therefore, says Dr. Oliver, when the Master Mason exclaims “my name is Acacia,” it is equivalent to saying, “I have been in the grave – I have triumed over it by rising from the dead-and being regenerated in the process, I have a claim to life everlasting.” (See Landmarks, ii.,151, note 27)

The sprig of acacia, then, in its most ordinary signification, presents itself to the Master Mason as a symbol of the immortality of the soul, being intended to remind him, by its ever-green and unchanging nature, of that better and spiritual part within us, which, as an emanation from the Great Architect of the Universe, can never die. And as this is the most ordinary, the most generally accepted signification, so also is it the most important; for thus, as the peculiar symbol of immortality, it becomes the most appropriate to an Order all of whose teachings are intended to inculcate the great lesson that “life rises out of the grave.” But incidental to this the acacia has two other interpretations which are well worthy of investigation.

Secondly, then, the acacia is a symbol of INNOCENCE. The symbolism here is of a peculiar and unusual character, depending not on any real analogy in the form or use of the symbol to the idea symbolized, but simply on a double or compound meaning of the word. For ακακία in the Greek language, signifies both the pant in question and the moral quality of innocence or purity of life. In this sense the symbol refers, primarily, to him over whose solitary grave the acacia was planted, and whose virtuous conduct, whose integrity of life and fidelity to his trusts have ever been presented as patterns to the craft, and consequently to all Master Masons, who, by this interpretation of the symbol, are invited to emulate his example.

Hutchinson, indulging in his favorite theory of Christianizing Masonry, when he comes to this signification of the symbol, thus enlarges on the interpretation:

We Masons, describing the deplorable estate of religion under the Jewish law, speak in figures: ‘Her tomb was in the rubbish and filth cast forth of the temple, and ACACIA wove its branches over her monument;’ ακακία being the Greek word for innocence, or being free from sin; implying that the sins and corruptions of the old law, and devotees of the Jewish altar, had hid religion from those who sought her, and she was only to be found where INNOCENCE survived, and under the banner of the divine Lamb ; and as to ourselves professing that we were to be distinguished by our ACACY, or as true ACACIANs in our religious faith and tenets.†

But, lastly, the acacia is to be considered as the symbol of INITIATION. This is by far the most interesting of its interpretations, and was, we have every reason to believe, the primary and original; the others being but incidental.

It leads us at once to the investigation of the significant fact that in all the ancient initiations and religious mysteries there was some plant peculiar to each, which was consecrated by its own esoteric meaning, and which occupied an important position in the celebration of the rites, so that the plant, whatever it might be, from its constant and prominent use in the ceremonies of initiation, came at length to be adopted as the symbol of that initiation.

Thus, the lettuce was the sacred plant which assumed the place of the acacia in the mysteries of Adonis. (See Lettuce) The lotus was that of the Brahmanical rites of India, and from them adopted by the Egyptians. (See Lotus) The Egyptians also revered the erica or heath; and the mistletoe was a mystical plant among the Druids. (See Erica and Mistletoe) And, lastly the myrtle performed the same office of symbolism in the mysteries of Greece that the lotus did in Egypt or the mistletoe among the Druids. (See Myrtle)

In all of these ancient mysteries, while the sacred plant was a symbol of initiation, the initiation itself was symbolic of the resurrection to a future life, and of the immortality of the soul . In this view, Freemasonry is to us now in the place of the ancient initiations, and the acacia is substituted for the lotus, the erica, the ivy, the mistletoe, and the myrtle. The lesson of wisdom is the same – the medium of imparting it is all that has been changed.

Returning, then, to the acacia, we find that it is capable of three explanations. It is a symbol of immortality, of innocence, and of initiation. But these three significations are closely connected, and that connection must be observed, if we desire to obtain a just interpretation of the symbol. Thus, in this one symbol, we are taught that in the initiation of life, of which the initiation in the Third Degree is simply emblematic, innocence must for a time lie in the grave, at length, however, to be called, by the word of the Great Master of the Universe, to a blissful immortality. Combine with this the recollection of the place where the sprig of acacia was planted – Mount Calvary – the place of sepulcher of him who “brought life and immortality to light,” and who, in Christian Masonry, is designated, as he is in Scripture, as “the lion of the tribe of Judah” ; and remember, too, that in the mystery of his death, the wood of the cross takes the place of the acacia, and in this little and apparently insignificant symbol, but which is really and truly the most important and significant one in Masonic science, we have a beautiful suggestion of all the mysteries of life and death, of time and eternity, of the present and of the future.

Notes:

* “This custom among the Hebrews arose from this circumstance . Agreeably to their laws, no dead bodies were allowed to be interred within the walls of the City ; and as the Cohens, or Priests, were prohibited from crossing a grave, it was necessary to place marks thereon, that they might avoid them. For this purpose the Acasia was used.” (Dalcho, 2nd Oration, p . 23, note)

Editors Note: Dalcho’s full quote reads:

Another circumstance, my Brethren, I beg leave to recall to your recollection. It is the spring of Cassia, as it is generally termed in our Lodges, where we speak of its strong scent, &c. Cassia, my Brethren, did not grow about Jerusalem. It is an alteration of the word Acasia, the Mimosa Nilotica of Linnæus, belonging to the 23d class and 1sr order, Polygamia Monæcia, of his system. This shrub grew there in abundance, and from the habit arising from an indispensable custom among the Hebrews, a branch was broken off from a neighboring bush, and placed where the Fellow-Crafts fond it, who, perceiving it to be withered, when all around flourished in perfection, they were led to draw those conclusions which we teach in our Lodges.
*These customs among the Hebrews arouse from this circumstance. Agreeably to their laws, no dead bodies were allowed to be interred within the walls of the City; and as the Cohens, or Priests, were prohibited from crossing a grave, it is necessary to place marks thereon, that they might avoid them. For this purpose the Acasia was used.
It is further mentioned in the report of the Inspectors, that some knowledge of the Talmud is necessary to enable us to understand some of our ceremonies. It is so, my respectable Brethren, and to which they might have added, some knowledge, also, of the mysteries of the Cabala. That expressive mystic figure, of the Divinity, formed in the Fellow-Craft’s degree, constitutes, in the Hebrew language, the word Shaday, Omnipotent.
In the Sublime degrees, it is elegantly illustrated.* From these, and many other, errors which have unfortunately crept into the Blue degrees, it must be evident, that it is necessary, that a man of science should preside over a Lodge, that the true ceremonies and principles of the mystic Craft, may be taught in language, which will bear the test of criticism.

I object to the reason assigned by Dalcho, but of the existence of the custom there can be no question, notwithstanding the denial or doubt of Dr. Oliver . Blount (A Voyage into the Levant, p. 197) says, speaking of the Jewish burial customs, “those who bestow a marble stone over any [gravel have a hole a yard long and a foot broad, in which they plant an evergreen, which seems to grow from the body and is carefully watched.”

Hasselquist (Travels, p . 28) confirms his testimony. I borrow the citations from Brown (Antiquities of the Jews, vol . ii ., p. 356), but have verified the reference to Hasselquist. The work of Blount I have not been enabled to consult.

‡ Archaeologia Graeca, Or, The Antiquities of Greece, Volume 2, John Potter. 569.

≠ Dr . Crucefix, MS . quoted by Oliver. Landmarks, ii., 2.

† Hutchinson’s Spirit of Masonry, Lect. IX.;p . 160, ed . 1775.

Revisiting Masonic Artist Ryan Flynn

September 13, 2014 by Fred Milliken

Once Again we visit Masonic artist Brother Ryan Flynn but this time in person. You might remember my first article on Brother Flynn, The Multi Talented Masonic Graphic ArtistBrother Ryan J. Flynn.

The video pretty much tells the story so we will just add some highlights.

We are back once again to see what is new with Brother Flynn. And the point is that there is always something new with this Masonic artist. Here is one Brother who doesn’t rest on his laurels but sets off into new worlds to conquer.. Greg Stewart followed that up with an in depth interview, Symbolism, Sacred Numerology and Mythology in Art with Artist and Freemason Ryan Flynn.

First of all note that there is a definite Celtic and medieval influence to what Flynn is doing now. Much of that can be seen in Patents or Masonic Certificates, what we called in the Grand Lodge of Massachusetts a Masonic diploma.

Often Flynn will produce graphic documents using Giclee Printing, that is printing with pigment. It never fades. Then he will hand accent with gold or silver and sometimes copper. The effect is illuminated documents.

Take the Novem Rose. He has designed it to be stained glass in a shadow box. Flynn would like to also do a Master Mason tracing board in stained glass.

Then who but a great artistic mind would design the Regis Pattern Certificate with a small print border of the Regis Poem. How about mirror printing or reverse writing?

Flynn puts some mystery into his documents, some codes and symbols you have to look closely to find and decipher.

The three part Middle Chamber depiction of 1) The Pillars, 2) The Steps and 3) Geometry is writing done in pig pen cipher. The pillars will be accented with bronze and elsewhere gold and silver will be used as a highlight.

When you stop and analyze what Flynn is producing you have to admire the ingenuity, the majestic style, the novel methods and the sheer artistic quality of each piece. Nobody that I know in the Masonic community is offering artwork that matches what Brother Ryan Flynn is turning out. You owe it to yourself to visit his website , http://www.ryanjflynn.com/ and take it all in. And on Facebook – http://www.facebook.com/RyanJFlynnArtist

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

Natya Raja

May 25, 2014 by Greg Stewart

In this segment of the Sojourners, this piece, Natya Raja, comes to us from Sanjay Mandaiker. I met Sanjay through a few posts about his work with Esoteric Travels, of which Sanjay is the owner. Intrigued, Esoteric Travels specializes in sacred space tours of his homeland, India. At my request he contributed this piece or architecture on symbolism and aesthetics from his unique point of view.

Natya Raja
The Cosmic Dancer, the tantric mandala, the Paragon of Symbolism Geometry and Aesthetics
by Sanjay Mandaiker

Let me begin with a little bit about its background: according to shivit tradition, the rhythm of Lord Shiva’s dance is what created the universe. Dance being an allegory for:

Energy in perpetual motion,
Geometry and structure,
Rhythm and aesthetics,
Comprehension and expression

‘Natya’ means dance, and ‘Raja’ is the word for king. The ‘Natyaraja’ symbolizes Shiva dancing on the dwarf like figure of ‘Maya’ or illusion. The toes of his raised left foot open the eyes of humanity and his left hand shows them the true nature of reality beyond the veil of terrestrial illusions, our inner sprit so to speak. Man fear’s this truth because of his futile attempts to cling to his ego.

With this realization of his true nature he is forced to lose his ego, this death of ego is akin to death itself. With his raised right hand Lord Shiva blesses the newly awakened humanity, telling us not to fear truth. For truth brings the blessings of the gods, and always triumphs in the end no matter what the adversity it may face.

He has 2 more arms, one holding the drum of creation and the other wielding flame of destruction. This can also be interpreted the other way around, as the flame is in his left hand; the creative side, and the drum is on the right, the side of destruction. According to Hindu philosophy the left side of a human being is connected with the feminine, which symbolize our creative forces. The right side is associated with the masculine nature of humanity, which fuels consciousness and comprehension.

A ring of fire, symbolizing purity, encircles the entire sculpture. The geometry of the sculpture is based on an ancient tantric mandala symbolizing the perfect balance of the feminine and masculine forces. A mandala in itself is an intricate geometrical figure that shows us the path to the sanctum of our own temple. This particular mandala is known throughout the world, used by all cultures, in Europe it is called “The Star Of David.”

The mandala is placed within a circle which symbolizes ‘the whole’, from the head to the flowing garment to the raised foot forms the upward or masculine triangle, to complete the Star of David, the grounded foot to the upraised arms form the downward or feminine triangle.

The downward triangle symbolizes our foundation or true matter, energy, intuition, life forces, senses, and creative matter. All these aspects are creative therefore move upward to the fire of Shiva’s upraised hand, but if not controlled these energies become destructive, in this case they move to the drum; this represents the duality we constantly confront in every walk of life.

The upward triangle starting at the flowing garment like a spark of inspiration moves to the raised foot opening our eyes to our true nature, it then moves upward to the head symbolic of comprehension and understanding, there by channelizing the creative forces into true creativity and not uncontrollable destructive energy.

The upraised hands, the flowing garment, and the raised foot form a square. These are the cardinal points or ‘doors of perception’ of this sculpture. They also symbolize the duality of creation and destruction, and of dreams and reality. One cannot exist without the other; the balance must be constantly maintained. One has to judge and reflect on what is more important. This is the principal of karma and dharma.

The head to the upraised hands to the center of our physical balance form a losange, the base foot to the garment to the center of balance and raised foot form a second diamond shape.

The base foot is the substance we are made of, it is our truth mixed with the spark of intuition, which reaches a point of balance. The repository of life force passes through creation and destruction, one cannot live without the other, this constitutes life in its essence.

The lifted leg is bent at the knee giving it two distinct angels and the scarf on the other side is also divided into two segments using the second angel with the top of the head and out stretched arms we find the pentagram, who’s significance would be a chapter of its own.

Maya or illusion is portrayed as a baby signifying birth, playing with a serpent or the energies of life, merged in the locks of the Lord’s hair is a skull symbolic of death, death thus shows us when the “Corps De Glorie” is achieved, death is material and insignificant.

The Serpent also symbolizes Earth element. Lord Shiva wields the element of Fire in one of his upraised hand. The sound of the Drum and the flying tresses of matted locks, represent the element of Wind. In the Lords tresses sits the mermaid like aspect of the river Ganges,representing the element of Water. The encircling flames represent ether. Thus the five elements are also represented in this truly amazing sculpture.

The traditional south Indian Bronze figurines are not made of three but five metals, Gold, Silver, Copper, Tin and Lead. The Natya Raja also follows this same tradition.

Symbolism being universal one can relate Masonry to ones own beliefs or aspirations; this in my opinion is also the essence of Hinduism. I correlate the two, which helps me, gain a better understanding of life, Masonry, and Hinduism.

The “NATARAJA” form of Lord Shiva, or the Lord of Dance, is to me the most precious of them all. I relate this perfectly captured essence of Shiva to the fundamentals of our initiation: The Three Lights, The Seven Liberal Arts, and Alchemy.

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.

Symbolism, Sacred Numerology and Mythology in Art with Artist and Freemason Ryan Flynn

January 3, 2014 by Greg Stewart

Ryan Flynn - Artist and Freemason — Ryan Flynn – Artist and Freemason

In this installment of the Sojourners column we meet and talk to a ‘young’, but accomplished, artist and Freemason – Ryan Flynn. With his art, Flynn brings to the fraternity an unmatched graphic skill to match the patient and certificate makers of old in their typographic excellence and aesthetic composition. Equal parts artist, graphic designer and a true Freemason, Flynn captures the essence of what it means to BE a mason – translating those esoteric ideas into traditional drawings and paintings. No, this is not the print, cut, carve, hack, hew, etch, letter or engraving of the secrets of Freemasonry, rather, Flynn’s work takes a post-modern approach into the little trod corner of the Masonic landscape by capturing it’s ideas in the rendered image. I think you’ll enjoy this Sojourner’s visit as much as I did and will come away from it with a new take on art and Freemasonry and the synthesis between them.

Greg Stewart (GS) – Ryan, thanks for taking the time out of your schedule and sitting down to talk to me. I suppose, let’s start with the basics on how long you’ve been a part of the fraternity?

Ryan Flynn (RF) – I was raised on June 22, 2010 in Ancient York Lodge no. 89 in Nashua, New Hampshire.

GS – What was your first introduction to the fraternity?

RF – I had a couple of friends from other states join in 2008 and 2009 and it peaked my interest.

After doing some research on the craft, I called my local lodge and visited for dinner. The next week I put in my application.

GS – Do you remember what ultimately induced you to join?

RF – I am a history buff, more particularly an art history buff, and the idea of symbols in art and architecture was always something I enjoyed learning about.

I also was never part of the armed forces or anything else that served “something bigger than myself,” so when something like Masonry presented itself to me, I was intrigued and wanted to learn more.

GS – Since you’ve joined, have you found your way into any of the other bodies or related groups?

art, original, masonic print — Ryan Flynn with one of his Codex images

RF – As of right now, I am the Junior Warden of Ancient York Lodge no.89 in Nashua, NH. I am a 32º Scottish Rite mason and member of the Philalethes Society and this upcoming year I plan on joining the York Rite.

GS – One of the things that intrigue me most is the artwork you create, in particular the Masonic art, much of it you have up on your website. With that in mind, I’m curious what your biggest influences to making it are?

RF – I have always been artistic. While attending high school, Lexington Christian Academy, my teachers realized this and always pushed me to be more artistic, even those teachers that taught classes that didn’t directly involve the fine arts. I particularly remember the motivation I received in World Literature class after reading Dante’s Divine Comedy with its amazing abstract symbolism. The work taught me to take symbolism in my art to another level.

As for history, my teachers were so impassioned with the subject that I couldn’t help but get motivated. I especially was intrigued with the history of art and the renaissance.

I was very fortunate with my high school. I had hands on training in painting, drawing, graphic design, stained-glass mosaic work, set design and sculpture. And my professor always pushed me harder than the others.

GS – Did you ever have any formal training? How did it influence you in your work now?

RF – After high school, I attended the University of Massachusetts and studied graphic design, painting, drawing and art history. Yet again, I was fortunate to have a professor that motivated me to learn more, and I started diving into learning about symbolism, sacred numerology and mythology.

In 2006, I studied painting and art history in Florence, Italy. I had the privilege of studying the great renaissance masters in person, and I particularly loved learning about the history of art, especially the beginnings of the renaissance. My time in Italy highly motivated me to create, and to create with purpose. I truly believe that I left for Italy as a student, and returned as an artist.

GS – How so? What changed?

RF – While attending college in Massachusetts, I was taught color theory, methods of lighting, brush work and drawing techniques, but MEANING was never discussed. Studying in Italy, I would have these moments of complete harmony with the art, moments to contemplate on what you are looking at, it changes you, and motivates you.

When I came back from Italy, I wanted to paint ideas, not images, and with being initiated into the craft, I had direction.

In Italy, I began to truly understand that works of art were really the culmination of research, practice and years of work. Michelangelo’s “David” transformed from a large nude man, to a blatant political statement, warning the enemies of Florence to fear the repercussions of challenging them. The Sistine Chapel became a lesson book for deep religious and philosophical thought, and at the same time a motivation to stand up to oppression and to use your mind and talents to bring light to others.

It was simply motivating. I recently returned to Florence, and found myself again, sketching, and really looking at the art and architecture again, this time with Masonic eyes. When I returned home, I immediately started working again. To put it plainly, Florence is with out question my muse.

GS – So, from your background, where do you see art mingling with Masonry? Do you think the two have always been in close proximity to one another?

RF – Masonry is based on art, and highly symbolic art at that. Our ancient brethren were artists, and anyone who has put a chisel to a piece of Marble understands how gifted and dedicated they were. And, just as I try to do with my work, they used their talents to share concepts that simply cannot be done by speaking. Hence why we as Free and Accepted Masons use symbols as the base of our degrees and lessons. I firmly believe that a successful work of art can sum up more feeling and emotion than a 30 minute lecture.

masonic art, pillars, original work — CODEX I: THE PILLARS
Ryan Flynn

And there are great examples of artists predating what we would now call Freemasonry hiding symbols of what became the basis of our craft into their works. Artists like Albrecht Dürer, Michelangelo and William Blake made it a point to reference Pythagoras, Kabbalah and sacred geometry in their works because they knew it was important knowledge to pass down.

Masonic artists should be no different.

GS – For those who might be unfamiliar with your artwork, how would you describe it to them stylistically?

RF – I’ve dabbled in a lot of styles, but I have been working as of late in a style that mimics the medieval Italian style.

I have a mechanical method of creating; I always need to know how something works before I paint it. So when I learn something, I become motivated to create something referencing it. If anyone ever sees me in lodge, I’m always carrying a sketchbook and notebook. When listening to the ritual, sometimes I get an idea and need to jot it down.

Once I had a good amount of ideas in there I realized I had my own Codex, which inspired me to create my first Masonic series, the Middle Chamber Codex series, in which I re-organized some of my notes to mimic the codices of DaVinci. This in turn led me to try making illuminated documents.

My future works will continue in this style until I am led into something else, it’s one of the things I love about being an artist, I set my own path.

GS – Of the work up on your site, which is your favorites?

artwork, original, patient, fraternal society — Master Mason Patents
Ryan Flynn

RF – Without question my authentic Master Mason Patents.

I love the fact that is the real deal, real gold, real calf skin parchment and all by drawn by hand. I take a lot of pride in them. I also like that it’s the only work that the client does not see until it’s finished. I never do one the same as the others; everyone gets their own unique patent.

As any artist will tell you, to know that something you create will be around a lot longer then you will be is a comforting thought. And because they are authentic, these patents potentially can last for hundreds of years.

A little scene that keeps popping in my head is of my daughter’s great-grandson finding my patent a hundred years from now and seeing how much Masonry meant to me.

GS – This may be out there a bit, but do you see juxtaposition between Masonic art and, say, more obscure, esoteric, or symbolic art?

RF – Absolutely, Masonry is about gaining light. And all forms of art can produce amazing “Eureka” moments in the viewers mind. I find that looking at abstract art can be a wonderful method of meditation and reflection.

GS – Your work, how do you create it? Is it hand made, mixed or digital media?

RF – Each project is a little different, but it all starts with pencil on paper.

masonic art, prints, codex, ryan flynn — Codex Series Prints
Ryan Flynn

Pretty much with all my prints I will hand draw elements of the project on paper, then scan them in and position and color digitally. For my Limited Edition prints, I then Gicleé print them and complete them by hand, coloring them with metallic infused inks.

As for the authentic patents, they are 100% hand made. I order only the finest parchment from a small family owned company in upstate New York. And once they arrive I press them for a couple days under some large books to keep it flat. Then I sketch out my design on paper and using a small tracing table that I built, transfer it to the parchment. It’s a time consuming process with no room for error. If I mess up, I start over. After the sketch is completed, I ink it with high quality inks. Finally, when that is done, I Apply 23kt gold leaf and a wax seal that I designed.

As for my watercolors and paintings, they are all 100% from the brush. I sketch out my projects with light graphite and start applying the paint from light to dark.

GS – Have you had much response to your work from the Masonic world? What’s been the response?

RF – When I originally produced the window designs for my lodge, the images went viral, I think they were shared on Facebook over 1000 times, and they were featured on the covers of some magazines, I was in shock at how many people adored them.

My codex series was a big hit. I unveiled them at the Masonic Restoration Symposium in August and had many brothers not only purchase them, but have long conversations with me about why it was important to masonry for me to continue creating them.

I also have received some welcomed support by some fellow brothers. My good friend, Wor. Paul C. Smith, has helped me by pointing me towards information, by offering me council as well as recommending books and reading. His help has been immeasurable.

GS – Your patients look like illuminated manuscripts from the middle ages. How did you master that technique? Is there a subtext to styling them the way you styled them?

RF – Easy, I haven’t mastered it.

When I finished my first one, I looked back and said to myself “this is amazing.” Then I did my second one and it blew the first one away. As for training, having extensive knowledge in drawing, painting and design can lead you to learn anything you want.

Some things didn’t work out so well. I tried to create my own inks and failed miserably at it. I’ll try again soon.

As for gold leaf techniques, I learned by making mistakes. I bought some faux gold leaf and applied it to heavy paper and spare scraps of parchment. It took me 3 or 4 tries to get it to work the way I want.

GS – Given your proximity with Masonry and the arts, beyond the work you create are there any artists or artistic influences that come to mind that you think should (or do) have an influence on Masonry?

RF – As for the fine arts, I encourage every lodge to have someone take the time and learn about Filipo Brunelleschi, Michelangelo and William Blake.

Brunelleschi, for those who are not familiar with him, started the renaissance by stepping back, travelling and learning about geometry, science and the knowledge of the past. This to me sounds like the perfect example of what we as masons should strive to accomplish.

Michelangelo should be a patron saint of symbolism. He knew of Kabbalah, sacred geometry and numerology and he put in into all of his masterpieces. The Sistine chapel is a love letter to the Kabbalah, and learning about how he hid those messages into this work will open up your eyes on how to contemplate on a work art.

And Blake – Blake is the prime example of what a Masonic artists should strive to be. His tremendous works engulf the viewers with blatant Masonic symbolism, but upon further inspection, the real messages can be found within. Each of his paintings could be its own lecture in lodge.

GS – So what’s next, any new Masonic works on the horizon?

RF – I carry around with me a notebook of all my potential works. I don’t want to reveal most of them yet because I have not perfected them, and as any artist or writer will tell you, a first or second draft will rarely look like the final project.

However, I can say that I have detailed plans for a tracing board that will be like nothing else in Freemasonry. I’m also working on an illuminated manuscript of the Middle Chamber lecture and a series of prints that mimic the Egyptian style.

Unfortunately all my big projects require funds so it’s a slow and steady process, but God willing I have a lot of time to get working and make and hopefully make a small difference in Masonry.

My thanks to Ryan, to whom I appreciate the taking of his time. I very much appreciate his tremendous body of artwork and will definitely keep an eye out for your up coming projects. You can see more of Ryan Flynn’s artwork at his website, and, if you’re in the New Hampshire area, you can see Ryan’s lodge windows in person by visiting Ancient York Lodge.