THE BUILDER JANUARY 1926

Early Craft Symbolism

By BRO. R. J. Meekren

To begin with it is necessary to state very plainly that
practically nothing is known about the private, or as it might be
termed, the esoteric symbolism of the Medieval Masons. It has been
shown in the two preceding articles that so far as their abilities
went our Operative predecessors might have had a system of symbols
of any degree of complexity they desired. They recorded in carved
stone, not once nor twice, but hundreds and thousands of times
their possession of constructive imagination, of spiritual insight
and perhaps even the mystical temper that fully qualified them as
a group to work out a system of philosophy, veiled or clothed in
allegory and set out by emblems and symbols. Those who are inclined
to dismiss this possibility by speaking of them as mere ignorant
workmen have not fully appreciated the realities of the situation.
As has been intimated, the organization contained in its ranks
precisely the same kind of men who in our own day are the true
leaders of civilization--artists, sculptors, engineers, scientists.
There is not the least indication that the proportion of men of
genius has varied much in the few thousand years about which
history is able to tell us anything. Even prehistoric man seems to
have had mental powers quite equal to the average today.
Civilization, our own as well as those that have preceded it, is
the result of social organization and corporate activity. It is all
a matter of the opportunity afforded by the environment. The men
who invented the sling or the bow and arrow rank mentally with
those who in our day have made telegraphs and telephones,
automobiles and aeroplanes. The actual result depends on what the
individual was given to work with -- measured that way the most
stupendous inventions in the history of the race were of the
individuals who first discovered the uses of a sharp edged stone or
how to light and feed a fire. The Medieval Mason, even the obscure
workman, would probably have surprised many of those who incline to
dismiss with uninformed contempt his claims to a real share in the
secrets and organization of the Fraternity to which he belonged.
The Masons were men of their age naturally, as we are of ours, they
labored under the limitations of the state of society in which they
lived, as we also do. We do not easily realize these limitations in
our own case, though we very plainly see (or think we see) theirs--
which in their day they also took as a matter of course, and as
part of the eternal scheme of things. For example, most of them
probably could not read or write. To us to be ignorant of letters
is to be quite uneducated. It was not so then. We have multitudes
of books, and learn a great deal from them--their books were
scarce, and as much valuable works of art as intended for use;
while society was built up on a system of oral and traditional
teaching. In our dependence on books we have lost very largely the
organization and mental habits of the earlier system, and it is
difficult for us to realize how very efficient it was within its
limits. If the Masons could not read neither could the great lords,
princes and kings who employed them. Yet there is not the least
doubt that the majority of them, both kings and craftsmen, were
quite capable men and as fully adequate for their various jobs as
those who fulfill equivalent functions in the world of today.

But having thus noted the possibilities what can we say of the
actualities ? Very little indeed. All we have to go on are a very
few contemporary allusions, a few Masonic devices on tombstones, in
stained glass windows and the like; the MS. Constitutions or Old
Charges, and precarious deductions from post Grand Lodge lectures
and catechisms. A most unpromising outlook and it is little wonder
that enthusiastic writers have turned to Hermetic, Rosicrucian,
Kabbalistic, Neo-platonic, and other mystical and more or less
esoteric systems to fill out the gaps in our knowledge of the
inside of Operative Freemasonry.

SYMBOLISM DEFINED

In these studies we have up until now dealt with symbolism in the
most general way. The primary object was to show that the
principles and modes of thought underlying the use of symbols, even
of the most abstruse or recondite nature, are exactly the same in
kind as those involved in all the ordinary usages of speech and
representation, in which one thing is put for another, part for
whole, individual for species and the like; that the differences to
be noted in the varying meanings of the word, and of those other
words more or less synonymous with it, are differences of degree
and not of kind, of quantity rather than essential quality. Now
however that we approach the esoteric side it may be as well for
the sake of clearness and brevity to define and distinguish the
various grades. Without any underlying symbolical intent we may
suggest three of these, and following ordinary usage quite closely
we may designate them as devices, emblems and symbols proper. It
would be possible to borrow from the mathematicians and devise new
characters entirely, as letter S = symbolism in general, and then
distinguish our grades as S1, S2, and S3. The advantage of this
kind of symbolism is its precision. The characters have no
associations at all, or at least none related to the assigned
meaning--it is always necessary to refer back to the definition or
assumption with which the argument began. But though there is a
symbolical logic, the method is not a literary one, and the first
suggested terms will serve our purpose. A "device" then may be
defined as a distinguishing mark pure and simple. The attributes
that are given to effigies of Christian saints and statues of pagan
deities are devices, so are coats of arms and crests, seals and
trademarks, including Mason's marks. They are labels, pictographs,
or ideographs, telling us who or what is represented.

An "emblem" goes further than this, though the border line is not
very distinct. An emblem is a device or attribute that is not
arbitrary, but that is used to recall some idea or thing through a
remembered association with it. Thus in the lectures of the Third
Degree the sun and moon and stars are emblems, for their
representations simply serve to recall the phraseology of that part
of the ritual. The emblems of mortality are in like case, though
they verge closely on what we shall call symbolism proper. This
latter we shall apply when the meaning goes beyond a simple and
direct association. Perhaps the easiest method of definition here
will be by example. The square and compasses as used ordinarily in
the form of a personal ornament or badge, is a device pure and
simple. It is equivalent to saying or writing "I am a Mason," or
"this is Masonic." The working tools used on old tombstones or in
Medieval representations of Masons are in the same class. Although
working tools will easily become emblems to the Mason, as they
recall various associations of Craft experience. The square (with
us) designates the Master, and insofar is an emblem. In old usage
the Master was known rather by the compasses. Together, according
to certain conventions, these two implements are emblematic of the
first three degrees. This use being more than a mere device, as it
depends on certain important associations with the particular
arrangement, puts them in this case into the class of emblems. But
the square and compasses are also use as symbols when the primary
associations are extended, and we talk of the square of virtue or
of keeping within compass of the circle of our duties to God and
man.

EARLY MASONIC DESIGNS DISCUSSED

The period over which we have to glance is an extended one, from
the thirteenth to the seventeenth century. It might be possible to
go back further--the emblems on the eighth century tomb shown on
page 345 in the November number of THE BUILDER last year, are
evidence of this--but little would be gained by doing so. No
collection of Masonic devices of this kind has ever been published,
and they have to be sought in many different quarters. The window
from Or San Michele at Florence (reproduced on page 314, October,
1925) is a good example, showing trowel mallet and chisels,
compasses and level. The axe in the center is rather a carpenter's
tool. In the window from Chartres, of which a sketch is here shown,
we have a very interesting collection. The trowel, square, "common
gavel", or stonemason's hammer, finishing or "bush" hammer with a
series of sharp parallel edges cut on the face, what is apparently
intended for a hod or mortar board, a "common" square, and a "moul
square", or templet for curved work, a triangular level and besides
these there seems to be the representation of the base and capital
of a column fully cut, two detail drawings or profiles of vault
ribs or "mould stones, and the drawing of a column with base an
capital. But illuminating as this is as to the technic methods and
tools in use at the time, it can hardly b supposed to be symbolical
in our restricted sense o the word. It is probably most correctly
to be termed a Masonic device pure and simple, though it may be
considered as verging on the emblematic.

There are quite a number of Medieval drawings or paintings in
existence showing masons at work, an portraits or effigies of
Master Masons; three such were given in THE BUILDER last year
(August, 229, 230) and there are others to be found in some
editions of Gould's History and more in Ars Quatuor Coronatorum.
Where the Master Mason or Master of the Work is shown we find
generally that he is distinguished particularly by the compasses.
If he has the square, he almost always has the compasses as well,
but he is frequently shown with the latter alone. In some cases he
is shown holding the model of a building, presumably one elected or
designed by him, and in one case at least the plan of a church is
shown among the emblems.

Many of the Medieval gilds took to themselves, or had granted to
them, coats of arms. Those of the Mason's Company of London are
well known, and appear to have been used, sometimes with a heraldic
"difference", by the Masons generally all over Britain. The
chevron, originally engrailed (i.e. with a wavy border) is a
regular and frequently used "charge" in coats of arms, but may here
have been taken as suggesting a square. In later representations it
was shown plain, thus more closely approximating the working tool.
The gilds, and many individual masters also used seals, and of
these many are still extant, the greater number of them show stone
hammers, compasses and levels, the square seems not to be used so
much .

The seal of the Masons of Cologne shows three crowns above two
pairs of crossed hammers and crossed axes respectively, in allusion
to the crowned martyrs presumably, though these sculptor masons
were supported to be four in number, according to the usual version
of their story at least. An individual Mason's seal from Strasburg
shows a shield charged with a "bend dexter" (i.e. a diagonal band
from the upper left-hand corner to the lower right) on which are
three stone hammers, which seems to be an echo of the arms of the
Masons' gild of the same place, in which also appears a bend with
two hammers, while the shield is also charged with a level, of very
workman-like form, and a pair of compasses slightly opened. Seals
of carpenters' gilds also generally show the compasses and square,
with an axe. Tilers and plasterers show trowels and their special
form of long-pened hammer. The tilers are also fond of using the
ladder as a device.

TOOLS GENERALLY USED AS DEVICES

In all this there is little that has the appearance of symbolism--
they are apparently devices and nothing more. It is still the
custom in Germany to put on a skilled workman's tombstone some of
the implements of his trade, and they are much the same devices as
we see in the Medieval examples. For a carpenter, saw, hammer,
plane and compasses; for a mason, hammer, and square and compasses;
a plasterer, trowel and hod a blacksmith, hammer and tongs; for a
fireman, helmet, axe and pike pole. In France the carpenters use
the square and compasses as commonly as the working Masons. There
is one Medieval example, the seal of the Masons of Tours, one of
the towns where the Compagnonage was strong, which shows a serpent
of gold intertwined with a rule, square and compasses. This looks
mysterious and symbolic, but may very likely have some local
reference like the three clowns of Cologne mentioned above. The
very curious "mark" of the Magdeburg Smiths may also be mentioned
here, described by Gould (following Berlepsch's Chronicle of the
Trades) as being used in opening and closing their meetings. It was
drawn in chalk on the table, and rubbed out at the close. It
reminds one of the diagram of the lodge; but the analogy is not
very close, though in both cases the diagram seems, in part at
least, to have symbolized the organization itself.

On the other hand the processes and implements connected with
building seem so naturally adapted to serve as symbols of morality
that it seems hardly credible that the Masons should not have so
used them to some extent. It is possible that a close and critical
study of these old designs might give some clue in this direction
though in the present state of our knowledge we are forced to admit
that there is but the very slightest indications of it. One other
point may be touched on in passing. The statement has been made,
and often repeated, that numbers of Medieval statues and other
representations of human figures are posed in positions
corresponding to certain gestures familiar to present day
Freemasons. For example, it is said that there are such figures
over the main entrance of the Minster at York, and that certain
statues placed in niches flanking a side entrance of the Cathedral
at Florence stand in "Masonic attitudes." This is exceedingly
doubtful. The attitudes of the last mentioned figures are fully to
be accounted for by the ritual gestures used in the Catholic
Church. The statues are mitred and in ecclesiastical robes and
presumably represent bishops in the attitude of giving benediction.
In any case this would hardly be symbolism but rather realistic
representation.

But to return; we intimated above that there was a natural fitness
of builders' tools to symbolic employment. It would of course be
possible to draw moral lessons from other crafts. The potter and
his wheel have been so employed--imagery and allegory drawn from
these was used by Jeremiah, Isaiah and St. Paul, and also by the
Persian poet Omar. The operations and implements of husbandry have
so been used, as notably in several of Our Lord's parables. Metal
working again lends itself to such treatment--the silver seven
times tried in the fire, the iron forged and welded on the anvil.
Still of all occupations that of the builders seems to be most
frequently employed. The Chinese, as has often been repeated, used
level, square and compasses in a figurate sense for different
virtues. The plumb line in Amos is used as a symbol of justice.
Square-ness is a common metaphor in many languages for dependable
honesty and morality. The level represents impartiality like the
balances as well as social equality; the compasses symbolize
knowledge and prudence. By them accurate measurements are taken,
and by the exact knowledge thus obtained conduct may be guided. In
several extant allegorical drawings the compasses are put in the
hands of the figure of Christ, denoting His creative power, as
Master Builder of the World, and He is Himself spoken of in the New
Testament as the chief headstone of the corner.

THE WORKING TOOLS "MORALIZED"

This is all so obvious and natural that in an age that was devoted
to symbolism, and among men whose occupation largely consisted in
designing symbols, it is hard to imagine how they could have failed
to see and adopt these possibilities of their own craft implements.
That they did so is actually indicated by a few well known
examples. There is the inscription said to be at Bale accompanying
figures of two of the crowned martyrs, which translated runs as
follows:

1.
The Square possesses science enough 
But use it always with propriety.

2.
The level teaches the true faith 
Therefore it is to be treasured. 

3. Justice and the compass' science-- 
It boots naught to establish them. 

4. 
The gauge is fine and scientific 
And is used by great and small.

According to Gould the same couplets are also found, in more modern
phraseology, on the chest or ark belonging at one time to the
Hamburg Masons.

Then we have the much quoted inscription at Melrose in conjunction
with a shield bearing two partly opened crossed compasses and three
fleur-de-lis:

Sa gays ye compas evyn aboute truith and laute do but doute be
haulde to ye hende qo johne mordo.

which might be rendered:

As goes the compass undeviating around 
So without doubt do truth and loyalty;
Look well to the end quoth John Mordo.

Then there is the quotation from a German work of 1623 by J. V.
Andreae, a German scholar of note, the pertinent part of which is
translated as follows:

. . . can none foresee his end 
Unless on God is built his hope 
And if we here below would learn 
By Compass, Needle, Square and Plumb 
We ne'er must overlook the mete 
Wherewith our God hath measured us.

And lastly we may mention the brass square found in rebuilding Baal
Bridge at Limerick, Ireland, which seems to have been a foundation
deposit or something of the kind. It is said not to be adapted for
actual use, the arms being only four and a half inches long. On it
is the couplet, which also has been often repeated,

I will strive to live with love and care 
Upon the level by the square.

together with the date 1517. The spelling here is of course
modernized. There is, it must be confessed, some doubt about the
real age and genuine character of this relic. Still these
quotations indicate that the Operative Masons did apparently
"moralize" their working tools, and though so scanty in quantity
the inherent probability of their doing so is so strong that it is
difficult to refuse to accept the conclusion pointed at.

SYMBOLISM ORIGINATED IN THE CRAFT

The quotation from Andreae given above raises a question as to the
origin of such symbolism. Certain Masonic writers have very
confidently asserted that the Operatives borrowed all they ever had
from Rosicrucian and Hermetic sources. On page 384 of THE BUILDER
for 1924 is reproduced a wood cut illustrating a 1547 edition of
Vitruvius' work on architecture, from which the architectural
explanations in our lecture are largely taken. In this drawing a
great many tool and instruments are shown, most of them apparently
pertaining to laboratory work, though the level, square, compasses
and templets can be allotted to mason craft. The theodolite or
levelling instrument is rather for engineering than building,
however. Such designs a these are frequently to be found in
Hermetic works, and it has therefore been assumed that their use
there was symbolic, and that naturally these philosopher and
mystical scientists must have first originated the symbolical use
of the Operative implements often included. This is rather putting
the cart before the horse. The other half of this argument is that
the Operative Masons being mere workmen, common, ignorant,
uneducated men, could not have done this by themselves. Of this
latter premise we have already sufficiently disposed, and all we
have to ask now is who was the more likely to see the symbolic
possibilities of these tools--the men who used them every day or
those whose knowledge of them was but casual an theoretic? It is
far more likely that the would-be Rosicrucians borrowed these from
the Masons than vice versa. In strict truth there is no necessity
to suppose that there was borrowing either way. If, and there are
known Medieval examples of this, a preacher in a sermon uses
metaphorical language based or building or mason's craft there is
no need to suppose either that the preacher was a Mason or his
hearer specially interested in that subject. It is as likely that
he got his inspiration for such figures of speech or allegorical
language from the New Testament, or from the Shepherd of Hermas, as
anywhere else; and as we have already noted, the symbolism is so
apt, so natural that it appeals to every mind at once without any
special knowledge. An example of such esoteric symbolism as this is
to be found in Le Pelerinage de I'Homme (The Pilgrimage of Man) by
Guillaume de Guileville, printed at Paris in 1511 but written in
1330. This was brought to the attention of Masonic students in a
paper by W. H. Rylands published in A. Q. C. in 1900. In this work
appears a wood cut showing a "gallows" square with the long arm
perpendicular and the short one horizontal, the angle being at the
top. On the lower end of the long arm is the letter P, at the
angle, A, and at the end of the short arm X. Besides these initials
are smaller letters against each one, spelling the words
respectively proximo, anime and XP0, the first two meaning
"neighbor" and "soul" or "spirit", while the latter is an
abbreviation for the Greek Christos. Then, roughly parallel to the
line between the two extremities of the arms of the square come the
words pax triplex, "threefold peace." The three initials also
spelling Pax. In verses accompanying it an explanation is given,
which is roughly that X, for Christ, is set above or on high in the
most prominent position (the phrase in the original is en eschauf
faut and there may here be a double meaning intended, the word also
meaning scaffold and may obscurely allude to Christ on the Cross)
then the soul of man attains peace by faith in Christ, and having
peace with God is naturally also at peace with his neighbor.

Thus the square sets forth a rule of right living by which "the
peace that passeth understanding" is attained. This is very
interesting indeed, and could we be sure that the idea came from
Craft sources would surely settle the question as to the existence
of moralizing on the working tools. Unfortunately there is nothing
to show this, and it rather seems that this "square," so-called, is
simply regarded as part of a Latin cross, the cross of crucifixion.
Although if this be so, it is curious that it should be thus taken
only in part, and it is legitimate perhaps to suspect that the monk
who set it forth saw the craftsman's square in the cross.

DOCUMENTARY EVIDENCE CONSIDERED

We have two more possible sources of information yet to consider,
both documentary. One is the group of old MS. called variously
"Charges" or "Constitutions" and the other are the old catechisms.
These latter unfortunately are all, with one possible exception,
Sloane 3329, later than 1717, the year of the inception of the
Grand Lodge organization of the Fraternity-- and the date of this
document is doubtful, it may be later though is possibly earlier.
The question of its age has been discussed most frequently with a
view to its contents, so that much of the argument is open to the
suspicion of unconscious bias. But the consideration of these
documents must be left for future consideration. The "Old Charges"
are most of them undoubtedly pre-Grand Lodge, and some are very
old. Their character is well known to most readers of THE BUILDER,
one of them, the York Roll, No. 1, was reproduced in the December
number for 1923 (Vol. IX, p. 371) They are all very much alike in
content, and from the point of view of our inquiry very
disappointing, for there is practically nothing to be found in any
of them that can by any means be made into an allusion to
symbolism. There is the curious phrase in the so called Charter of
Scoon and Perth Lodge, which according to Gould combines features
of the Old Charges with items of local interest, "soe long as the
Sun ryseth in East and Setteth in the West." As Gould remarks this
reference "to the glorious luminary" will at least arrest the
attention of the Masonic student, but the meaning of the figure is
so clear and obvious, that the members of the lodge who subscribed
to the document; bound themselves and successors to observe it
forever, that it will hardly serve as a foundation for any
Speculative theory.

CONCLUSIONS REACHED

Then there is the provision in the Melrose MS. No. 19, that no
Master or fellow should in dealing with "Loses" (Cowans) "let yms
know ye privilege of ye compass, Square, levell and ye plum-rule."
This sounds as if it might refer to Speculative teaching were it
not immediately followed by the injunction that instead they were
"to sett out their plumming to them . . ," which makes it clear
that it was simply the technical use of the implements that was to
be kept from the unskilled workmen. A modern trade's unionist would
quite understand the rule, and acts upon it. The half-skilled
laborer who is allowed to fill in a wall builds to a line that is
put up for him, he is by no means encouraged to put one up for
himself.

The question that must now be asked is what are we to conclude from
the absence in these old and well accredited documents of any
reference to symbolism? An argument from silence can never be quite
conclusive, for it is a form of the negative argument which can
only be absolute when every conceivable source of information has
been examined, and such completeness is itself impossible. What we
have to ask is first whether the source of information, the
document or witness, would most naturally have mentioned the point
in question had it existed; that is would we have to seek some
special reason for the silence in such a case. This means that the
purpose of the informant must be appraised. In our particular case
this purpose seems clear. The documents in question give us a
mythical history of the Mason craft as an introduction to a code of
rules or charges to be observed by Masons. The history is designed
to heighten the esteem of its members for their organization by
showing its antiquity, and also their respect for its laws by the
wisdom and eminence of the rulers who ordained them. And generally
the information was for the benefit of new members, which is as
clear from the phraseology as also from certain rubrical
directions. Would it not therefore have been most natural, this
being the purpose, that any other instruction there was to give
about symbolism should also be included? This is hard to say. We
can fall back on the negative feature and say not necessarily so.
Yet it is hard to say it would not have been natural to have
included such information had it existed. On the other hand, that
there was other information is certain, for there is no technical
instruction which must have been given to the apprentice, and is
alluded to. To this it may be said that this instruction could not
have been imparted ceremonially but only day by day in actual work.
But again it is practically certain there were secret means of
recognition which in general are not distinctly alluded to in the
old charges, and it can well be argued that the symbolism was
imparted in the same way as these last. It is, therefore, perhaps
safest to take the position that this evidence is quite neutral for
our present inquiry. How then are we to sum up what has gone
before? Much of the evidence cited above could be accounted for by
purely personal ideas--that John Murdo, for example, knew of no
craft symbolism but took what to him was a natural figure to
express a moral sentiment. Little as we may like such an
inconclusive answer it seems to be all that we can so far safely
assert, whatever else may seem to us possible or probable.

QUESTIONS FOR DISCUSSION

What was the real status, mental and social, of the Medieval
Freemasons ?

Are the old designs and representations found on tombs and in
ornamental carving susceptible of symbolic interpretation?
Why should metaphors. and figures of speech be so easily adapted to
moral interpretation ?

Why did the designers of the illustrations Hermetic and other books
include craft implements among them?

Should the evidence of the Old Charges be properly regarded as
neutral in respect to the possibility of esoteric symbolism among
Operative Masons?

