The
interior of the lodge is the symbolic heart of speculative craft freemasonry.
In
most jurisdictions, the work of speculative craft lodges includes lectures on
the tracing boards, which are the modern equivalents of the trestle
boards used in operative lodges and of the floor drawings
and later the floor cloths used in early speculative lodges. In
the usual lecture on the First Tracing Board, the interior of the
lodge is described as being composed of ornaments, furniture and jewels. The
ornaments of the lodge are the mosaic pavement, the blazing star and the
indented or tessellated border. The furniture of the lodge comprises the sacred
writings, the compasses and the square. The jewels of the lodge are in two
groups, one group of three that are said to be movable and another group of
three that are said to be immovable. In the rituals used in most English and
Scottish lodges the three movable jewels usually are the square, the level and
the plumb rule. They are called movable jewels because they are the insignia of
office of the master and his wardens, which are transferred to their successors
when installed in their stead. On the other hand, in American lodges these three
jewels are said to be immovable, because they invariably are the insignia of
office of the master and his wardens. In English and Scottish lodges the tracing
board, the rough ashlar and the perfect ashlar are called immovable jewels,
because they always lie open in the lodge for the brethren to moralise upon.
Conversely in American lodges, these three jewels are called movable because
they can be placed anywhere in the lodge room that is convenient.
At
first sight the description of the various objects as ornaments, furniture and
jewels might seem a little strange, especially as some of the objects are
included in two different categories and some of them are also called working
tools. Moreover, the reasons why an object has been assigned to a particular
category might not be immediately evident. In this context, one must not
overlook how the English language has evolved since the rituals were written.
Some freemasons might be inclined to say that the rituals should be rewritten in
modern English, but that would be a self-defeating exercise because much of the
rich symbolism would be lost. The language used in the rituals provides an
avenue of constructive thought, which if followed to its logical conclusion can
only enhance one’s knowledge of the principles expounded. Another avenue of
confusion arises from the fact that in every lodge room there are many more
objects that might be called ornaments, furniture or jewels in today’s
language, but which have not been included in the rituals under those
descriptions. Most of those additional objects and their respective symbolisms
are described in other sections of the lecture on the First Tracing Board.
Of the objects discussed in relation to the interior of the lodge, the jewels of
the lodge and the tracing boards are of such importance that explanations of
their symbolisms are given under their own headings in other chapters of this
book, so they will only be examined briefly in this chapter. Those implements
that operative freemasons used as working tools, which are also included in the
items of furniture or as jewels, also are discussed in their primary capacity in
the chapter on the working tools of the craft.
The
mosaic pavement, the blazing star depicted in the centre of the pavement and the
indented or tessellated border surrounding the pavement would not be called
ornaments nowadays, although they are ornamental and might be thought of as
furnishings. The Latin ordinare, meaning to set in order,
has a closely related word ornare meaning to equip
or to arrange, whence its predominant sense was to embellish.
Ornare had a derivative ornamentum, which became ornement
in Old French and was adopted into Middle English as ornament. All
three derivatives of ornare mean to embellish, in
which sense ornament is used in the lecture. The English verb to
furnish derives through the Middle French from the Old French fornir
meaning to furnish, especially in the sense to do completely.
One of the Middle French derivatives of fornir was forneture,
which later became forniture and was adopted as furniture
in English. In the lecture furniture is used in the sense of doing
something completely, because a lodge is not complete and cannot be opened
unless the sacred writings, the square and the compasses are open on the
pedestal. The ultimate derivation of jewel is from the Latin iocus,
which became jocus in Medieval Latin, both words meaning a joke
or a jest. A Medieval Latin derivative was jocalis,
which in Old French became joel, its variant jeul
being adopted into Middle English and becoming jewel in English,
all of which meant a plaything, hence a trinket or small
ornament and ultimately a jewel. In the context of the
lecture the jewels are small ornaments.
The Ornaments
The
mosaic pavement in the centre of the lodge room floor invariably attracts
attention, drawing together the physical elements described as the ornaments of
the lodge. The physical interconnection of these three elements is highlighted
by the fact that, in most lodge rooms, the blazing star is in the centre of the
mosaic pavement, which itself is completely surrounded by the indented or
tessellated border. This close physical relationship reflects how the symbolisms
of the three ornaments are integrated. Taking them in their logical sequence,
the mosaic pavement is called the beautiful floor of the lodge; the indented or
tessellated border is called the skirt-work around the pavement; and the blazing
star is called the glory in the centre. The mosaic pavement is a fundamental
element of the composition, representing in particular the terrestrial aspects
of mankind’s existence and the vicissitudes of everyday life. The mosaic
pavement is called beautiful because it is variegated in colour and chequered in
design, reminding us of the eternal sequence of day and night, as well as the
diversity of objects that decorate and adorn the whole of the creation, both the
animate and the inanimate parts thereof.
The
indented or tessellated border alludes to the celestial sphere of our existence.
In its lesser aspect, the indented or tessellated border refers to the planets
in their several orbits around the sun, thus forming a beautiful corona or
border around that grand luminary, as the indented or tessellated border does
around the mosaic pavement of a mason’s lodge. In its more important aspect,
the indented or tessellated border refers to the radiant canopy of stars
surrounding our universe, pointing out to us the inherent insignificance of
mankind except with the guidance, assistance and strength of Almighty God. The
blazing star or glory in the centre has a twofold symbolism, although the more
important of these is often overlooked. Lectures of or deriving from the English
system usually say that the blazing star refers to that grand luminary, the sun,
which illumines the earth and by its benign influence dispenses its blessings to
mankind in general. However, this is only a secondary symbolism that is closely
related to the symbolism of the indented or tessellated border. The old
Prestonian lecture defines the primary symbolism of the blazing star in the
following words:
“The
Blazing Star, or glory in the centre, reminds us of that awful period when the
Almighty delivered the two tables of stone, containing the ten commandments, to
his faithful servant Moses on Mount Sinai, when the rays of His divine glory
shone so bright that none could behold it without fear and trembling. It also
reminds us of the omnipresence of the Almighty, overshadowing us with His divine
love, and dispensing His blessings amongst us; and by its being placed in the
centre, it further reminds us, that wherever we may be assembled together, God
is in the midst of us, seeing our actions and observing the secret intents and
movements of our hearts.”
In
most lectures used in the Scottish system, the Blazing Star is
simply defined as the Glory in the Centre. It is an ancient symbol
of the Supreme Being like the All-Seeing Eye, which
is widely used in Scottish and American freemasonry. The Revised Ritual of
Craft Freemasonry that is used in some English lodges, adopts a similar
approach and also puts the three ornaments in their logical symbolical sequence,
saying “The Ornaments are the Mosaic Pavement, the Indented or
Tessellated Border and the Blazing Star or Glory in the Centre.” Some
Scottish lectures do not include the Blazing Star as an ornament,
as for example in the A.S.MacBride Ritual, which says, “Its
Ornaments are the Mosaic Pavement of chequered human existence and the four
Golden Tassels of Prudence, Fortitude, Temperance and Justice.” These
four tassels are those described as pendent to the corners of the lodge in the
concluding paragraph of the Emulation and most other English
lectures on the First Tracing Board. In American freemasonry the Blazing
Star is usually said to be commemorative of the star that guided the
wise men of the east to Bethlehem, whence it is said to represent Divine
Providence. The Blazing Star is a symbol of the greatest
antiquity and is used in a wide range of religious systems to represent the Supreme
Being, which has always been its primary symbolism in freemasonry.
No lodge is complete, nor can a lodge be opened to
carry out work, unless the three elements that comprise the furniture of the
lodge are open on the pedestal, these being the sacred writings, the square and
the compasses. The sacred writings are derived from God to mankind in general,
because in them are laid down the divine laws that God has revealed to mankind
to regulate the life and actions of each and every person. We live in the sure
knowledge that every person will be rewarded or punished, accordingly as those
laws have been obeyed or disobeyed. As the sacred writings are intended to rule
our actions and govern our faith, so every candidate in freemasonry must be
obligated upon the holy book of his faith. A corollary to this requirement is
the stipulation that no man can be admitted into freemasonry unless he believes
in God.
The square and compasses are placed upon the sacred
writings opened at a passage suitable to the occasion, which signifies that the
divine laws laid down therein must be the spiritual foundation and moral basis
on which every action is undertaken. In this context the square is said to
belong to the whole craft of freemasonry, because every freemason is obligated
within the square, when he is told that he must square his life and actions
according to God’s divine laws. Likewise the compasses, which are an important
instrument in the preparation of all architectural plans and designs, are said
to belong to the Grand Master in particular as an emblem of his dignity. As he
is the chief head and ruler of the craft, the Grand Master must be circumspect
in his actions, must diligently uphold the divine laws and must skilfully
delineate how the members of the craft should apply those laws.
The
sacred writings, the square and the compasses that comprise the furniture of the
lodge, are also designated as the Three Great Lights in
freemasonry or the Lights of Revelation, to which the
apprentice’s attention is drawn immediately after he has taken the obligation.
The Scottish A.S.MacBride Ritual gives the following succinct but
beautiful explanation of the Three Great Lights:
“In
the Compasses we have an emblem of the Supreme Will, that encircles and
over-rules the Universe. In the Square we have an emblem of the perfect Justice
that governs all things. In the Holy Book we have that Will and Justice revealed
in the character of the Great Creator of all; and by it we are taught how to
circumscribe our desires to His Supreme Will and how to accord our actions with
His Perfect Justice.”
In
most Irish lodges the Three Great Lights are explained to the
newly obligated apprentice in the following words:
“The
Volume of the Sacred Law is recommended to your consideration and study without
comment, believing that if you follow its teachings and precept, you will find
them a ‘Light to your Path’ and a ‘Lamp to your Feet’. The Square is an
emblem of Morality and teaches us that all our actions towards our fellow men
should stand the test of the Moral Square. The Compasses, which form that
perfect figure, the circle, remind us that we should endeavour to surround our
conduct by a line, to keep in check unruly passions and unlawful desires. Thus
the Three Great Lights teach the Freemason his duty to his God, his neighbour
and himself.”
The explanation of the Three Great Lights
that is widely used in English and Scottish lodges and their descendents around
the world, which therefore probably is the best-known definition, is given in
the following or similar words:
“Let
me direct your attention to the three great though emblematical Lights of
Freemasonry, namely the Volume of the Sacred Law, the Square and the Compasses.
The Sacred Writings are to govern our faith, the Square to regulate our actions
and the Compasses to keep us within due bounds with all mankind, more
particularly our brethren in freemasonry.”
In the foregoing discussions the Sacred Writings,
the Square and the Compasses have been reviewed as
the three elements of the Furniture of the lodge and also as the Three
Great Lights in freemasonry. The inclusion of these three elements in
what undoubtedly must be their most important capacity in speculative craft
freemasonry, which is as the Three Great Lights, would appear to
have been sufficient. At first sight their additional inclusion as the Furniture
of the lodge might appear to be a redundancy, were it not for the fact that in
medieval times and until at least the end of the seventeenth century, furniture
had an important connotation, perhaps even a primary meaning, of doing something
completely. It seems most likely that the early compilers of our speculative
rituals had this sense uppermost in their minds. In any event the explanations
that are given for the symbolisms of these three elements, as the Three
Great Lights in freemasonry and also as items of the Furniture
of the lodge, are sufficiently different to offset any suggestion of redundancy.
The Square, the Level and
the Plumb Rule are called movable jewels in English, Irish and
Scottish lodges, but immovable jewels in American lodges. In respect of the
jewels, the early ritualists seem to have faced a dichotomy similar to that
relating to the Furniture and the Three Great Lights
discussed above, because the primary roles of the Square, the Level
and the Plumb Rule are in their functions as important working
tools of the craft. Nevertheless they have also been adopted quite logically as
insignia of office, in which capacity they are considered to be jewels of the
lodge. The use of replicas of these three implements as jewels of office derives
directly from the practices of operative freemasons. In the context of the
present discussion, it will suffice only to outline their symbolism. The Square
is an implement that enables an operative mason to determine precisely the
angles of the exterior faces of a stone, thus enabling him to bring rude matter
into due form. The Square is an emblem of Morality
and Justice. It therefore is appropriate as the jewel of a Master
whose duty it is to ensure that the members of his lodge conduct themselves
morally and justly. The Level is an implement that enables an
operative mason to set the work to a true level on a given plane. The Level
is an emblem of Equality and therefore is appropriate as the jewel
of the Senior Warden, who is in charge of the work and must see that all of the
men are treated fairly. The Plumb Rule is an implement that
enables an operative mason to erect walls and columns truly perpendicular. The Plumb
Rule is an emblem of Uprightness and Integrity
and therefore is appropriate as the jewel of the Junior Warden, whose duty it is
to see that all of the men conduct themselves with uprightness and integrity.
The Immovable Jewels
In English and Scottish lodges, the Tracing
Board, the Rough Ashlar and the Perfect Ashlar
are called the Immovable Jewels, because they lie open in the
lodge for the brethren to moralise upon. The lecture on the First Tracing
Board says that the Tracing Board is for the Master to lay
lines and draw designs upon, so that the operative mason can erect the intended
structure with order, regularity and precision. A parallel is drawn to the Sacred
Writings, which are designated as the Spiritual Tracing Board
in which are laid down the divine lines and moral designs that should govern our
lives and actions. The Rough Ashlar is for the Apprentice to work,
mark and indent on. Symbolically it represents the mind of man in its untrained
state, as rough and unpolished as that stone, but which a liberal and
enlightened education can transform into a Perfect Ashlar, smooth,
squared and polished. Symbolically the Perfect Ashlar represents
the mind of a man who has rendered himself fit to be a member of a properly
organised and civilised society. In most lodges there is a Perfect Ashlar
fitted with a Lewis and suspended from a tripod, which is placed
at a point of vantage visible to everyone in the lodge. When the lodge has been
opened the Perfect Ashlar is raised by means of a winch that
symbolises labour. This is intended to remind everyone present that they are
engaged in labour and that, as freemasons, they should always work diligently to
improve their minds and must regulate their actions according to the divine
edicts laid down in the Spiritual Tracing Board.
Concluding Remarks
The explanations given in the foregoing discussion are
by no means complete, because the primary concern of this chapter is to bring
all of the relevant features together in a cohesive arrangement. Most of the
important features are examined in greater detail in other chapters under
appropriate headings.`