Part One:  An Introduction to Masonic Aestheticism

As an Entered Apprentice you have just embarked on a new step in Freemasonry.  It, however, is not merely your first because your interest and persistence in becoming admitted was indeed your primary step.  Whereas, before you stood outside the doors to our organization, you now have entered upon what you may feel, or wish to be, a new experience on a path you have previously explored—that of your desire to open the doors of the Craft.  Even if you have read about the mystery and enigma that surrounds the Craft, all are mere words and opinions that can only achieve a limited explanation.  You now have made the transition and have experienced a part of the tangible feeling of initiation for yourselves.

The “intent and action” which compels one through the process of considering becoming a Freemason to finally entering its metaphorical portals, is a common theme throughout our degree structure.  It is illustrated by our symbolism and allegory of aestheticism, which is defined as a branch of philosophy dealing with the nature, creation, and appreciation of beauty.  Indeed, the whole of our mythos denotes an exploration into creation through the eyes of temple builders.  Hence our symbology, ritual drama (or allegory), our jargon and (especially) one of the common origins our history—that of medieval architects and workers of stone, mortar and metal descended from a still more ancient world, is the central theme of the instructional dramas of Ancient Craft Freemasonry. 

Thus, our method of teaching embodies a system of ritualized aesthetics.  The path of the aesthete (which is an admirer of aesthetic principles) is not limited to only artisans, but to all people good and true.  Freemasonry’s ingenious and layers-deep system of rectitude and self-knowledge teaches at its core that all people can build and lead their lives as a beautiful, strong edifice—shaped with skill and not the least effort or exertion of regulated force and restraint.  Were this philosophy devoid of appreciation for the unconscious and spiritual part of man, it would be rigid and not considered a true Art.  For the arts in all of their forms—the scientific, the medical, the architectural and the Fine-- combine formula, intellect, logic and reason with intuition and creativity. They also are dependent upon each other, for many buildings would never be erected without the metallurgist or other scientists, such as an engineer or seismologist to determine the finer points of the building’s structure and its relationship to the earth on which it sits.  Moreover, none of them can be expressed without the skills of the fine artist who may draw the anatomy of a body to use as a map for the surgeon.  Aestheticism is the ideal by which all skills of the human being may unite to create a work of art in perfect harmony.  This is a very important point when considering the unity, interdependence and relativity in all Creation.

Intent and action must be balanced in order to reach its goal--which is to create something, as mentioned before, balanced and perfect.  However, the end result is not the finality; the process of its creation determines its perfection.  Therefore to the aesthete, the process of understanding the path and the way one may affect the unfolding of its becoming, lies in the patient acquiring and exercise of skill, which is the harmony of intent and action.

Part Two—The Rough and Perfect Ashlars

In Freemasonry, I can think of no other symbol that exemplifies the aesthetic principles of finding and creating beauty in all things than the Rough and Perfect Ashlars.  They are a class of symbols surprisingly overlooked in some jurisdictions (though not in the ritual itself if certain portions of lectures are given or if the Candidate actually reads the monitors given him or seeks further information!)  It is a class of symbols whose equation and sum hold mention and importance in all degrees of the Craft Lodge, primarily in the Entered Apprentice, the Fellowcraft; but also within the degrees of Mark Master Mason and the Royal Arch—all of which falls under the moniker of Ancient Craft Masonry or York Masonry.  They are symbols of the aesthetic process of creating, with the balance of skill of his or her tools of every degree, something beautiful from its state of roughness or pure potential that is determined by the “intent and action” of its creator’s intellect and creativity.

The Rough Ashlar is a rough stone cut and raised from the quarries by the Apprentices under the supervision and experience of the Fellowcrafts and the watchful eye of the overseers, or Masters, and is thus explained by the Masonic author Gadicke:

“We cannot regard the rough ashlar as an imperfect thing, for it was created by the Almighty Great Architect and he created nothing imperfect, but gave us wisdom and understanding, so as to enable us to convert the seemingly imperfect to our especial use and comfort.  What great alterations are made in a rough ashlar by mallet and chisel!  (emphasis mine) With it are formed, by the intelligent man, the most admirable pieces of architecture.  And man, what is he when he first enters into the world? —Imperfect, and yet a perfect work of God, out of which so much can be made by education and cultivation.

Notice the phrase that mentions not the very least, the tools of your degree—the mallet, (that is, the common gavel), and the chisel—which is a tool not mentioned in our ritual for the Entered Apprentice but is included in various English and Continental European workings.  As you can see, it can be considered a very important tool even in our obedience (a masonic appellation for a particular standard of working or ritual performed in a specific jurisdiction), which includes not only the gavel and 24-inch gauge but also, by default, the chisel—for by this tool the regulated blow of the gavel, by guidance of the measurements set by the gauge, the chisel may make its cuts.  From what is mentioned by the use of skill and understanding one can deduce how these tools would be helpful.  Meditation and thought on these symbols are required as to derive the beautiful allegory and its ideal and its place in your personal mythology—that of a speculative or philosophical craftsman.  Mere words cannot in any way give it justice!

Let me now refer to a definition by Robert Macoy of the Perfect Ashlar which has become a perfect, squared stone that symbolizes our unconscious and conscious essence fitted for the builder’s use in “that house made not with human hands”:

“The Perfect Ashlar is a stone of a true square, which can only be tried by the square and compasses.  This represents the mind of a man at the close of life, after a well-regulated career of piety and virtue, which can only be tried by the square of God’s Word, and the compasses of an approving conscience.”

From this definition, it would seem that the perfection of the Ashlar is a result of applying the aesthetic process—the creation of something beautiful by recognizing it’s inherent goodness and perfection and peeling away the layers to expose its true nature. The unveiling is made manifest by a long and sometimes arduous road.  It requires knowledge—sometimes the kind that cannot be derived by physical proof.  Some would call this particular knowledge intuition or faith.  The speculative mason learns, through degrees or equations, by which sums are revealed both by reason and intuition and balance--the manner in which the rough stone may become perfect.

In obediences on the Continent of Europe, the rough and perfect ashlars are considered important symbols of both the Entered Apprentice and Fellowcraft. This is why along with other observances in ritual of both degrees, the rough ashlar is placed in the East-- on the first step to the dais of the Worshipful Master.  The perfect ashlar is placed on the second step, which symbolizes its relationship with the duties and tasks of the Fellowcraft. 

It is by the perfection of the rough stone to its smooth and perfected state that all tools may be trued and set aright.  Hence, this perfect stone becomes to our speculative profession, a symbol of greatness of the virtue that sets the standard for all other aspects in our quest to unveil the beauty of our rough states.  It can be said briefly that the symbolic allegorical culmination of this process is to be found in the Sublime Degree of the Master Mason, including the Royal Arch.

I have personally found that by considering this beautiful class of symbols, which is interdependent with the working tools of every degree in Ancient Craft Masonry, one may begin to understand a deeper attitude in the system of our Art.  It is that of an aesthetic approach in order to journey deep into your life and its various interactions and building for yourself the level foundations of an enlightened and intelligent morality by which you go to no extreme but rather prefer to travel on a path of balance and mildness.

On this path, the interplay of force and support combine to hold the frame aloft.  Using faith combined with ingenuity, creativity and the willingness to go further, one can utilize the symmetry to create a temple of your own life.  This evolutionary process is embodied in the definition of beauty.  Thus, perhaps it can be said that beauty is eternal and ever unfolding, as is our knowledge of what is Divine.  This is aestheticism as practiced by all artists, of which you all are as human beings and confirmed by your desire to embark upon an tradition founded in art, or as well call it, the Craft or Royal Art.  This is Ancient Craft Freemasonry.