The Golden Dawn

This is a subject I’ve explored on a few occasions, but upon finding these videos, I thought they could better illustrate the working of the Order.

Perhaps unnecessary to say, like most religions the present day Golden Dawn comes in several styles, each practicing in a lineage from the systems founders – William Robert Woodman, William Wynn Westcott, and Samuel Liddell MacGregor Mathers.  Of interesting relevancy, each was a Freemason and a member of S.R.I.A., the Societas Rosicruciana in Anglia which is a Trinitarian Christian Masonic order.

While the videos present an interesting glimpse of costumed ceremony, I found a tremendous insight in reading The Essential Golden Dawn by Chic Cicero and Sandra Tabatha Cicero.  The books subtitle is An Introduction to High Magic, but what I found most interesting were the descriptions of the degrees and grades of membership.  The Cicero’s do their level best to describe the work, which by most concerned with the order, consider it magic.

“Magic”, the Cicero’s say, “inclines toward thinking and doing while religion gravitates toward feeling and being.  The two are very definitely related, but they are not identical.  The yearning for the supernatural propels them both, though in different ways.”

As a good primer, The Essential Golden Dawn will satisfy a more than passive curiosity about the system and give you a better than Wikipedia sense of its history and key players.  What I found most valuable was the in detail descriptions of the grades

In contrast, I looked at Israel Regardie’s The Golden Dawn for an examination of the rituals and was surprised by their similarity to, what I can only assume to be, their Masonic inspiration.  This parallel is a theme echoed by the Cicero’s when they say of the Golden Dawn that “…the initiation ceremonies of the Golden Dawn are based on a series of mystery plays or ritual dramas in which the officers reenact specific mythologies that are essential to the Western Esoteric Tradition.”  Ritual plays, I believe, are the foundation of the Masonic ritual, of at least the third degree.  Regardie’s work is an apostasy of sorts given his publication of the Golden Dawn rituals in

Not so much in the details, but in the space between them.  Often, the parallels come in the ideas or the word usage which triggers the Masonic memory that a “so mote it be” can do.  But reading the rituals for depth, what struck me was the emphasis of trying to derive a greater symbolic meaning from the costumes, wands, rituals, and ephemera.

This parallel is a theme echoed by the Cicero’s when they say of the Golden Dawn that “…the initiation ceremonies of the Golden Dawn are based on a series of mystery plays or ritual dramas in which the officers reenact specific mythologies that are essential to the Western Esoteric Tradition.”  Ritual plays, I believe, are the foundation of the Masonic ritual, of at least the third degree.  Regardie’s work is an apostasy of sorts given his publication of the Golden Dawn rituals in 1971.  Yet, it was his publication of those rituals which most who practice the system today say saved it from extinction.

So, without going into more of the history or the books, have a look at a few videos from the Golden Dawn tradition.

This video has a lot of circumambulation and ritual practice.

You can find quite a few more videos from the Hermetic Order of the Golden Dawn on YouTube channel.

And, just for fun, the video below is an explanation from someone who claims to be in the know.

The Lion’s Paw

Brother Wayne Anderson of Canada sends out a weekly Newsletter on Sundays to anybody who wants to be put on his mailing list. He often sends out some works by H.L. Haywood, one of his favorites.  If you would like to be put on Brother Anderson’s newsletter mailing list please do not hesitate to contact him.

Wayne Anderson, FCF, MPS  – wda_572@sympatico.ca

This weeks newsletter was on a subject that I have always found fascinating and demonstrates how interwoven with history Freemasonry is.

A lion of Judah sculpture at a synagogue in Florida.

THE LION’S PAW

By H. L. Haywood

The Mackey Encyclopædia article on this subject is very brief, as may be seen from the following: “A mode of recognition so called because of the rude resemblance made by the hand and fingers to a lion’s paw. It refers to the ‘Lion of the tribe of Judah.’” This is true as far as it goes, but it doesn’t go far enough, for it leaves unanswered the questions of origin and interpretation. Nor does the companion article on the “Lion of the Tribe of Judah” give us much more information. If Mackey refrained from saying more because he knew no more we can sympathise with him, seeing that at this late day there is still very little known about the matter. But we have learned something since Mackey wrote, enough maybe, to set us on the track toward a satisfactory understanding of the matter.

Owing to its appeal to the imagination, and to the fear and reverence it has ever aroused, the lion has often been a favourite with symbolists, especially religious symbolists. Our modern anthropologists and folk-lore experts have furnished us with numberless examples of this, even among primitive folk now living, who are sometimes found worshipping the animal. Among the early peoples of India the lion was often used, and generally with the same significance, as standing for “the divine spirit in man.” Among the early Egyptians it was still more venerated, as may be learned from their monuments, their temples, and especially their sphinxes; if we may trust our authorities in the matter, the Nile dwellers used it as a symbol of the life-giving power of the sun and the sun’s ability to bring about the resurrection of vegetation in the spring time. In some of the sculpture left by the Egyptians to illustrate the rites of the Egyptian Mysteries the candidate is shown lying on a couch shaped like a lion from which he is being raised from the dead level to a living perpendicular. The bas-reliefs at Denderah make this very plain, though they represent the god Osiris being raised instead of a human candidate. “Here,” writes J. E. Harrison in her very interesting little book on “Ancient Art and Ritual,” “the God is represented first as a mummy swathed and lying flat on his bier. Bit by bit he is seen raising himself up in a series of gymnastically impossible positions, till he rises . . . all but erect, between the outstretched wings of Isis, while before him a male figure holds the Crux Ansata, the ‘cross with a handle,’ the Egyptian symbol of life.”

The crux ansata was, as Miss Harrison truly says, the symbol of life. Originally a stick, with a cross-piece at the top for a handle, it was used to measure the overflow of the Nile: but inasmuch as it was this overflow that carried fertility into Egypt, the idea of a life-giving power gradually became transferred to the instrument itself, in the same manner that we attribute to a writer’s “pen” his ability to use words. A few of our Masonic expositors, among whom Albert Pike may be numbered, have seen in the crux ansata the first form of that Lion’s Paw by which the Masonic Horus is raised. If this be the case, the Lion’s Paw is a symbol of life-giving power, an interpretation which fits in very well with our own position as outlined in the two preceding sections.

But it is also possible to trace the Lion’s Paw symbolism to another source. Among the Jews the lion was sometimes used as the emblem of the Tribe of Judah; as the Messiah was expected to spring from that Tribe the Lion was also made to refer to him, as may be seen in the fifth verse of the fifth chapter of the Book of Revelation, where Jesus Christ is called the “Lion of the Tribe of Judah.” It was from this source, doubtless, that the Comacines, the great Cathedral Builders of the Middle Ages, who were always so loyal to the Scriptures, derived their habitual use of the lion in their sculptures. Of this, Leader Scott, the great authority on the Comacines, writes that, “My own observations have led me to the opinion that in Romanesque or Transition architecture, i.e., between A.D. 1000 and 1200, the lion is to be found between the columns and the arch—the arch resting upon it. In Italian Gothic, i.e., from A.D. 1200 to 1500, it is placed beneath the column. In either position its significance is evident. In the first, it points to Christ as the door of the church; in the second, to Christ, the pillar of faith, springing from the tribe of Judah.” Since the cathedral builders were in all probability among the ancestors of Freemasons it is possible that the Lion symbolism was inherited from the Comacines.

During the cathedral building period, when symbolism was flowering out on all sides in mediæval life, the lion was one of the most popular figures in the common animal mythology, as may be learned from the Physiologus, the old book in which that mythology has been preserved. According to this record, the people believed that the whelps of the lioness were born dead and that at the end of three days she would howl above them until they were awakened into life. In this the childlike people saw a symbol of Christ’s resurrection after He had lain dead three days in the tomb; from this it naturally resulted that the lion came to be used as a symbol of the Resurrection, and such is the significance of the picture of a lion howling above the whelps, so often found in the old churches and cathedrals.

The early Freemasons, so the records show, read both these meanings,—Christ and Resurrection,—into the symbol as they used it. And when we consider that most of Freemasonry was Christian in belief down at least to the Grand Lodge era, it is reasonable to suppose that the Lion symbol may have been one of the vestiges of that early belief carried over into the modern system. If this be the case the Lion’s Paw has the same meaning, whether we interpret it, with Pike, as an Egyptian symbol, or with Leader Scott, as a Christian emblem, since it stands for the life-giving power, a meaning that perfectly accords with its use in the Third Degree. This also brings it into harmony with our interpretation of Eternal Life for in both its Egyptian and its Christian usages it refers to a raising up to life in this world, and not to a raising in the world to come.

Symbolism on the Winding Staircase – Seven the Magic Number

Read :
Masonic Symbolism on the Winding Staircase – Part 1
5 Steps Upon the Winding Staircase – Part 2

From the three steps to the five steps, we now stand at the landing of to the far end of the middle chamber.  On this journey we have climbed much – traversing up Jacob’s ladder in the first degree, climbed the first series of three steps and introduced to their significance in our maturity with an introduction to the Kaballah. Then, we traversed upon the next five steps where we were illustrated the role of architecture and to our senses to take in the exoteric and esoteric undertaking of the degree.  Now, before us we confront the next leg, the next seven steps that have such meaning that they can scarcely be fully understood as they are contained in their presentation.

To approach them, we must first see them as presented in context through Duncan’s Ritual and Monitor of Freemasonry as he writes of the journey:

The seven steps allude to the seven Sabbatical years, seven years of famine, seven years in building the Temple, seven golden candlesticks, Seven Wonders of the World, seven wise men of the east, seven planets; but, more especially, the seven liberal arts and sciences, which are: Grammar, Rhetoric, Logic, Arithmetic, Geometry, Music, and Astronomy

Each of these arts, as they are defined come with a specific exoteric meaning, they are what they presume to be, and by that I mean that they are in fact what we consider comparable to be the Liberal Arts of study in university today.

At first blush, seven dissonant elements are mentioned first, but our concentration must first come to focus on the latter 7, the seven liberal arts and sciences.  But why study a liberal arts course of study?  Harvard, a school of some esteem and founded well before Masonry organized under its present day Grand Lodge system, says of a present day liberal arts education that “A liberal education is…a preparation for the rest of life.”

It goes on to say a liberal education…

“…is, an education conducted in a spirit of free inquiry undertaken without concern for topical relevance or vocational utility. This kind of learning is not only one of the enrichments of existence; it is one of the achievements of civilization. It heightens students’ awareness of the human and natural worlds they inhabit. It makes them more reflective about their beliefs and choices, more self-conscious and critical of their presuppositions and motivations, more creative in their problem-solving, more perceptive of the world around them, and more able to inform themselves about the issues that arise in their lives, personally, professionally, and socially. College is an opportunity to learn and reflect in an environment free from most of the constraints on time and energy that operate in the rest of life.”

Though the idea of what a liberal study was at the time of their inclusion in Masonry, the principal of that study was the same.  This is no subtle assertion; the creators of the Masonic degrees agreed and included in them the instruction to pursue the study of this program to better make the Mason.  In short, to make the man a better man with a firm understanding of the Liberal Arts is a necessary foundation for his being.

But what exactly does that mean?  To see that answer, we must look at what resides within the study of the liberal arts as instructed by Duncan’s Monitor.  To do that, we need to break down what the study of the Liberal Arts would entail in its age of inclusion.

Grammar is the body of rules describing the properties of the English language. A language is such that its elements must be combined according to certain patterns, its morphology, the building blocks of language; and syntax, the construction of meaningful phrases, clauses and sentences with the use of morphemes and words.

The first codex for English grammar, concisely called Pamphlet for Grammar was compiled/written by William Bullokar, and was written with the ostensible goal of demonstrating that English was just as worthy and rule-bound as was Latin, and was published in 1586. Bullokar’s grammar was faithfully modeled on William Lily’s Latin grammar, Rudimenta Grammatices (1534), which was a Latin text and was used in schools in England at that time, as it was “prescribed” for them in 1542 by Henry VIII.

From early on we can see that the use of language was seen as an important necessity and that the study of Grammar and the use of language in communication of ideas to others as an important aspect of transferring knowledge.

Rhetoric, like grammar, is the art of using language to communicate effectively and persuasively involving three audience appeals: logos which is the “reason or the rational principle expressed in words and things”[1], pathos which is the ” the quality or power, esp in literature or speech, of arousing feelings of pity, sorrow”[2], and ethos which is the ” the distinctive character, spirit, and attitudes of a people, culture, era,”[3], as well as the five canons of rhetoric: invention or discovery, arrangement, style, memory, and delivery. Along with grammar and logic or dialectic, rhetoric is one of the three ancient arts of discourse dating back to antiquity and the great works of Plato, Socrates, and Aristotle of whose surviving texts we can read today. From ancient Greece to the late 19th Century, rhetoric was a central part of Western education, filling the need to train public speakers and writers to move audiences to action with arguments rather than coercion of force.

It is the use of language in persuasion of others, an interesting Masonic application, indeed.

Logic: with its origins from the Greek λογική logikē, is the study of arguments – Grammar and Rhetoric together. Logic is used in most intellectual activities, but is studied primarily in the disciplines of philosophy, mathematics, and computer science. Logic examines general forms which arguments may take comparing which forms are valid, and which are fallacies.  It is a form of critical thinking.  In philosophy, the study of logic figures into most major areas of focus: epistemology, ethics, and metaphysics. In mathematics, it takes place in the study of valid inferences within some formal language.

Clearly, we can see that Logis is the application of Grammar and Rhetoric together.

These three areas of study composed what the medieval universities called the tritium, meaning the “three roads” or “three ways” which was necessary in preparation for the quadrivium which are the next four liberal arts of ancient study.  The use and preparation of this work was principally for the deeper study of philosophy and theology both noble arts in this period of the middle ages and Renaissance.  The four studies came from the curriculum as outlined by Plato in the Republic, as written in the seventh book. The same quadrivium was suggested to of come from the Pythagoreans, as Proclus wrote in A commentary on the first book of Euclid’s Elements:

The Pythagoreans considered all mathematical science to be divided into four parts: one half they marked off as concerned with quantity, the other half with magnitude; and each of these they posited as twofold. A quantity can be considered in regard to its character by itself or in its relation to another quantity, magnitudes as either stationary or in motion. Arithmetic, then, studies quantities as such, music the relations between quantities, geometry magnitude at rest, spherics [astronomy] magnitude inherently moving”

Arithmetic, then, is the simple day-to-day counting to advanced science and business calculations involving the study of quantity, especially as the result of combining numbers.  In day to day usage it refers to the simple properties of traditional operations such as addition, subtraction, multiplication and division with small number values.

The origins of Arithmetic are thought to date back to as early as 20,000 B.C.E. from ancient tally marks on bone, however earliest records date back to the ancient Egyptians and Babylonians of 2000 B.C.E. with numeral systems and counting marks.  Continuous historical development of modern Arithmetic begins in the Hellenistic period of Greece with a close relationship to philosophical and mystical beliefs such as in the works of Euclid and Pythagoras, both Masonic patriarchs.

Geometry comes from the Greek as earth-measurement, and is concerned with the determination of shape, size, relative position of figures, and the properties of space.  Euclid, Archimedes, Descartes, Kepler, and Pythagoras are but a few who are a part of this 5000 year old art of lengths, angles, area, and volume, of which works can be found in ancient Egypt and Babylon too.  A fantastic example of their prowess we look to still today in the Great Pyramids of Giza.

The advanced study of Geometry today looks not just into the dimension and space of number, but into its correlation to physics, algebra, and string theory just to name a few as it puts to measure both the physical and invisible universe.

Music, the art of the muses, is an art form whose medium is found in the creation of sound.  Common elements of music are to be found in pitch (which governs melody and harmony), rhythm (and its associated concepts of tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture.

More than the study of melody and song, the Pythagoreans of ancient Greece were the first researchers believed to have investigated the expression of music in scale in terms of numerical ratios, particularly the ratios of small integers. Their central doctrine was that “all nature consists of harmony arising out of number”[4]

On Pythagoreans scale, the Greek Pythagorean and Presocratic philosopher

Philolaus says in Carl Huffman’s “Philolaus”:

A musical scale presupposes an unlimited continuum of pitches, which must be limited in some way in order for a scale to arise. The crucial point is that not just any set of limiters will do. We cannot just pick pitches at random along the continuum and produce a scale that will be musically pleasing. The scale that Philolaus adopts is such that the ratio of the highest to the lowest pitch is 2 : 1, which produces the interval of an octave. That octave is in turn divided into a fifth and a fourth, which have the ratios of 3 : 2 and 4 : 3 respectively and which, when added, make an octave. If we go up a fifth from the lowest note in the octave and then up a fourth from there, we will reach the upper note of the octave. Finally the fifth can be divided into three whole tones, each corresponding to the ratio of 9 : 8 and a remainder with a ratio of 256 : 243 and the fourth into two whole tones with the same remainder. Thus, in Philolaus’ system the fitting together of limiters and unlimiteds involves their combination in accordance with ratios of numbers. Similarly the cosmos and the individual things in the cosmos do not arise by a chance combination of limiters and unlimiteds; the limiters and unlimiteds must be fitted together in a pleasing way in accordance with number for an order to arise. Fragment 6a suggests that Philolaus saw the cosmos as put together according to the diatonic scale. This would be very much in accord with the famous conception of the harmony of the spheres according to which the heavenly bodies make harmonious music as they move, but neither in Philolaus nor any other early source do we get an explicit account of how the musical scale corresponds to the astronomical system.[5]

As you can see, the study of music, in its basic form of composition and in its deeper esoteric study, lends itself to the exploration of mathematics, logic, and geometry, which can lead to a better understanding of the universe itself, which brings us to the last element in this progression.

Astronomy which was more precisely called astrology in its earliest Western study.

Astrology and astronomy were archaically one and the same discipline (Latin: astrologia), and were only gradually recognized as separate in Western 17th century philosophy during the “Age of Reason”.  Since that time the two have come to be regarded as completely separate disciplines.

Astronomy, then, is the study of objects and phenomena from beyond the Earth’s atmosphere which is a science and widely studied in academic discipline discovering the expanse of the heavens in planets, stars, and other stellar phenomena.  Astrology, which uses the positions of celestial objects as the foundation for predictions of future events, and other esoteric knowledge, which is not considered a science and is often seen as a form of divination.

The early astronomer/astrologer, despite its predictive application, would use the study of celestial bodies and chart the astrological movements in space which in turn were applied to correspondences in day to day life of those who he charted them for.  Many renaissance scientists were astronomer/astrologers including Isaac Newton, Galileo Galilei, Tycho Brahe, Johannes Kepler.  The infamous John Dee, astrologer and Magus for the court of Elizabeth I in 1558.  Its suggested that by his charts he selected Elizabeth’s coronation date.  The practice was in keeping with their earlier study pattern of the liberal arts and not seen as abhorrent to their conclusions in their time.

Scoffed at in academic circles today, the realm of astrology is often the fodder for cheap periodicals and psychic infomercials.  In its deeper recesses we can link it to the study of the Kabbalah and the Western mystery traditions and find parallels to our perceptions and ideas even in our Masonic symbolism.  Just a quick look at the Holy Saints John again will remind us of our own pairing of earth bound ideas to the equatorial poles of our sun’s annual transition from summer to winter and back again.  Perhaps this is coincidence, or by design, in either case it gives us a link to our past in the Liberal studies.  This is, in some aspect of antiquity, the role of astrology and the cycle of mankind and our understanding of it.

Notwithstanding the work in Duncan’s or in more localized versions of the Work, the number seven has a deep and rich symbolic significance within many circles.  Cirlot, in his A Dictionary of Symbols says of the number seven that it is “Symbolic of perfect order, a complete period or cycle…composed of the ternary and quaternary and … endowed with exceptional value.” He goes on to suggest that it corresponds to the seven directions of space and to the reconciliation of the square with the triangle – the sky over the earth.   Seven is the number expressing the sum of heaven and earth[6].

Now, as we have looked at the seven liberal arts it is necessary to turn back to the dissonant collection at the beginning of this section of steps to look at some of the other connections mentioned in Duncan’s Ritual Monitor to bring them into resonance.  In this degree, Duncan mentions the seven Sabbatical years, seven years of famine, seven years in building the Temple, seven golden candlesticks, Seven Wonders of the World, seven wise men of the east, and seven planets.  Briefly we must touch on what each of those things mentioned in the 7′s allude to and see if we can find any deeper esoteric meaning behind them to get a glimpse of their significance or meaning to Masonry.

The Seven Sabbatical years, known also as Shmita, is the seventh year of a seven-year agricultural cycle as mandated by the Torah for the use of the Land of Israel.  During that 7th year the land is to lay fallow and all agricultural activity on it stops (excluding some maintenance) and comes from the Book of Leviticus which makes promise of bountiful harvests to those who are observant:

Leviticus 25:20-22 N.I.V.
20 You may ask, “What will we eat in the seventh year if we do not plant or harvest our crops?” 21 I will send you such a blessing in the sixth year that the land will yield enough for three years. 22 While you plant during the eighth year, you will eat from the old crop and will continue to eat from it until the harvest of the ninth year comes in.

The seven years of famine stems literally from Genesis 41:30 which reads “And there shall arise after them seven years of famine; and all the plenty shall be forgotten in the land of Egypt; and the famine shall consume the land” which follows a 7 year period of great abundance.  Interestingly, there are other activities in the period of the Sabbatical year, in which debts are to be forgiven as it is considered a Godly act, which becomes a component of the focus in that seventh year.

King Solomon's Temple

The seven years in building the Temple is clearly the story of Solomon building the temple in which…King Solomon raised up a labor force out of all Israel – and the labor force was thirty thousand men . . . Solomon selected seventy thousand men to bear burdens, eighty thousand to quarry stone in the mountains, and three thousand six hundred to oversee them. (1 Kings 5:13; 2 Chronicles 2:2).  According to 1 Kings 6:38 The work of the temple took seven years saying:

“And in the eleventh year, in the month of Bul, which is the eighth month, the house was finished in all its parts, and according to all its specifications. He was seven years in building it.”

The seven golden candlesticks, literally from Revelations 1:20 (NIV) which reads

“The mystery of the seven stars that you saw in my right hand and of the seven golden lamp stands is this: The seven stars are the angels of the seven churches, and the seven lamp stands are the seven churches.”

Spoils of war from the sack of Jerusalem in 70 A.D.

This could, interpretively, be seen as the Menorah which is a seven branched candelabrum used in the ancient Tabernacle of Moses in the wilderness (not to be confused with the nine branched Menorah used at Hanukkah.  The Great architect himself instructing Moses on the construction of the lamp in Exodus 25:31-40 a depiction of which can be found on the Arch of Titus, which is a first century Roman honorific on the Via Sacra in Rome which shows the spoils from the sack of Jerusalem.

The Menorah, when lit, was said to represent the Shekhinah, which refers to a dwelling or settling in a special sense as that of divine presence, to the effect that, while in proximity to the Shekhinah, the connection to God is more readily perceivable.  Its lighting, or continual ignition, is variously representative of universal enlightenment and/or the burning bush as seen by Moses.

The temple menorah is a more likely source of Masonic inspiration as it fits with the appointments of King Solomon’s Temple, to whom Masonry holds its affinity and who’s role fits more in resonance with the purpose of the degrees.

The seven wonders of the world are very straight forward and are reflections on the impressive work of the Masons (literally stone cutters) who came before the present day lodge.

The Ancient Wonders were:

• The Great Pyramid of Giza from 2584-2561 BC in Egypt.
• The Hanging Gardens of Babylon from around 600 BC in Iraq.
• The statue of Zeus at Olympia from 466-456 BC (Temple) 435 BC (Statue) in Greece.
• The Temple of Artemis at Ephesus circa 550 BC in Turkey.
• The Mausoleum of Halicarnassus 351 BC (to which the modern AASR SJ HQ is modeled after) in Carians, Persians, Greeks
• The Colossus of Rhodes from 292-280 BC in Greece.
• The Lighthouse of Alexandria circa 280 BC in Hellenistic Egypt, Greece.

The seven wise men of the east were early 6th century BCE philosophers, statesmen and law-givers that were renowned in the following centuries for their wisdom.  The title of Seven Wise Men (or Seven Sages) was the title given by ancient Greek tradition.

Each of these Sages represents a worldly aspect of wisdom, though each has varied over time, these are the most common:

Cleobulus of Lindos: he would say that “Moderation is the best thing.” He governed as tyranos of Lindos, in the Greek island of Rhodes, circa 600 BC.

Solon of Athens: he said that “Keep everything with moderation”. Solon (640-559 BC) was a famous legislator and social reformer from Athens, enforcing the laws that shaped the Athenian democracy.

Chilon of Sparta: authored the aphorism “You should never desire the impossible”. Chilon was a Spartan politician from the 6th century BC, to whom the militarization of the Spartan society is attributed.

Bias of Priene: “Most men are simply bad.” Bias was a politician who became a famous legislator from the 6th century BC.

Thales of Miletus: Thales is the first known philosopher and mathematician. He famously said “Know thyself”, a sentence so famous it was engraved on the front façade of the Oracle of Apollo in Delphos.

Pittacus of Mytilene (c. 650 BC), governed Mytilene (Lesbos) along with Myrsilus. He tried to reduce the power of nobility and was able to govern Mytilene with the support of popular classes, to whom he favored. He famously said “You should know which opportunities to choose”.

Periander of Corinth: he was the tyranos of Corinth circa 7th and 6th centuries BC. Under his rule, Corinth knew a golden age of unprecedented prosperity and stability. He was known for “Be farsighted with everything”.

Collectively, these wise men have been quoted and mentioned throughout antiquity and have been looked to as great men worthy of emulation if in their least for their thoughts.

Plato’s Protagoras is the oldest and most explicit mention of the 7 sages in which he says:

“…There are some, both at present and of old, who recognized that Spartanizing is much more a love of wisdom than a love of physical exercise, knowing that the ability to utter such [brief and terse] remarks belongs to a perfectly educated man. Among these were Thales of Miletus, and Pittacus of Mytilene, and Bias of Priene, and our own Solon, and Cleobulus of Lindus, and Myson of Chen, and the seventh of them was said to be Chilon of Sparta. They all emulated and admired and were students of Spartan education, and one could tell their wisdom was of this sort by the brief but memorable remarks they each uttered when they met and jointly dedicated the first fruits of their wisdom to Apollo in his shrine at Delphi, writing what is on every man’s lips: Know thyself, and Nothing too much. Why do I say this? Because this was the manner of philosophy among the ancients, a kind of laconic brevity.”[7]

The seven planets from classical astronomy included the Sun and Moon and the five non-earth planets of our solar system closest to the sun each visible without a telescope including Mercury, Venus, Mars, Jupiter, and Saturn.  At an early point they were considered asteres planetai or wandering stars, as they were seen as non fixed objects in the night sky.

The astute observer may notice the inclusion of the Sun and the Moon as these two objects relate to the leadership of the lodge, the pillars of wisdom, strength, and beauty, and the art of Kabbalah.

As a side note, the early seven planets were the derivatives of the names of the week; in alchemy the seven metals of the classical world: gold, silver, mercury, copper, iron, tin, and lead which corresponded to the known planets.

How do we relate these 7′s to the degree is complex.  Perhaps how Cirlot stated, each of these 7′s are elements of perfection: how to achieve perfection, how to live it, how to incorporate it, etc., giving us the map by which to seek it out.

With this, we have reached the top of the stair, and in having taken the journey we have learned what we can about the being of a Fellow of the Craft.  As said earlier, this is a complex lot of knowledge and information to digest through the smallest of apertures as presented on a rolled out carpet as given in the degree lesson.  It is assumed that the candidate would have knowledge of these esoteric things; in the sense that few would have studied them and even fewer committed them to memory, or that the candidate would seek out this information beyond their degree explanation to educate and enlighten himself as to what these various elements mean.  This lesson in three parts is an offering of the latter in assumption that you, like the author, are in deficit of the former and not enlightened in the ways, means, and ideas of the deep and often obtuse ancient world that is so little a part of our modern one.  Clearly, the second degree is a wealth of information, from the suggestion of the pillars of Wisdom, Strength, and Beauty as a conduit to the study of the Kabbalah, to the understanding of our senses and their physical and spiritual meaning and to the study of alchemy in its assertion of the significance of the seven planets and what we can infer from them physically as their position in the heavens affects our life.  Perhaps Thales of Miletus said it best saying “Know Thyself“ as this change is the fuel to discovering the universe, both within and without.  There is much more to this statement than what rests at its surface, of both the degree and of our being and, it is with some hope that this has served to educate you to that end.

Fiat LVX

Symbolism on the Winding Staircase – 5 steps upon the stair

5 Steps Upon the Winding Staircase.

The second degree holds a wealth of esoteric study and contemplation.   In the preceding examination we looked at the depth and meaning of the first three steps as the conductor in Duncan’s Ritual and Monitor ushers the candidate into the allegorical chamber of King Solomon’s temple.  Now, the candidate is faced with a further rise of steps, Five to be exact, which is described in this text taken directly from Duncan’s Ritual and Monitor of Freemasonry:

Stepping forward to the five steps, he continues:

The five steps allude to the five orders of architecture and the five human senses.

The five orders of architecture are Tuscan, Doric, Ionic, Corinthian, and Composite.

For any brother reading, it’s important to take a moment to look anew at your monitor, if supplied with one, to reacquaint the reference as it relates specifically to Masonry.  From an exoteric point of view, we must look to the point of origin to the Orders of Architecture, which turns our attention to the grand father of modern architecture – Vitruvius.

Marcus Vitruvius Pollio (born c. 80–70 BC, died after c. 15 BC) is described on Wikipedia as having been a Roman writer, architect and engineer (possibly praefectus fabrum , the man in charge, during military service or praefect architectus armamentarius, the man in charge of architecture, of the apparitor status group), active in the 1st century BC.  By his own description Vitruvius served as a Ballista (artilleryman), the third class of arms in the military offices. He likely served as chief of the ballista (senior officer of artillery) in charge of doctor’s ballistarum (artillery experts) and libratores who actually operated the machines.

The Vitruvian Man, as illustrated by Da Vinci, was based on Vitrivius’ proportions from his writings.  Those writings can be found in his collected works, commonly called De Architectura Libri Decem or Vitruvius, the ten books on architecture.  In the work, Vitruvius describes an assortment of things from town planning to aqueducts.

The rediscovery of his work in the Renaissance had a profound influence on architects of the age which started the rise of the Neo-Classical style. Period architects, such as Niccoli, Brunelleschi and Leon Battista Alberti, found in “De Architectura” reason for raising their branch of knowledge to a scientific discipline as well as emphasizing the skills of the artisan.

Further the English architect Inigo Jones, who crafted the Queens House at Greenwich in

Hortus Palatinus at Heidelberg Castle

1616 and the Banqueting house at Whitehall in 1619,  and the French hydraulic engineer  Salomon de Caus who designed the gardens at Somerset House and the Hortus Palatinus in Heidelberg  Germany (known for its then wonders of “a statue that resounded when struck by the rays of the sun, a water-organ, and singing fountains”), and were among the first to rethink and implement the disciplines of Vitruvius which were considered a necessary element of architecture, essentially art and science based upon number and proportion, which was reinvigorating to architecture of the period.  The 16th century architect Andrea Palladio who designed a number of villas, palaces, and churches in and around Venice, considered Vitrivius his master and guide, and made drawings based on Vitruvius’ work before evolving his own architectural precepts.

Inigo Jones, for those who are unfamiliar, is also the author of a Manuscript circa 1607), on the Origin of Masonry, amongst other things.  Lomas, in Freemasonry and the Birth of Modern Science, dates the time of Jones’ Freemasonry as 1607, while he was a surveyor to the crown under James VI.

The idea of divine architecture came directly from Vitruvius’s work as divine proportions were very much a consideration in every design.  In his book of Architecture, in Book IV the middle three pillars, Doric, Ionic, and Corinthian, are described in by their physical traits for use in the temples of their celestial counterparts:

“On finding that, in a man, the foot was one sixth of the height, they applied the same principle to the column, and reared the shaft, including the capital, to a height six times its thickness at the base. Thus the Doric column, as used in buildings, began to exhibit the proportion, strength, and beauty of a man.”

“Just so afterwards, when they desired to construct a temple to Diana in a new style of beauty [Ionic], they translated these footprints into terms characteristic of the slenderness of women, and thus first made a column the thickness of which was only one eighth of its height, so that it might have a taller look. At the foot, they substituted the base in place of a shoe; in the capital they placed the volutes, hanging down at the right and left like curly ringlets, and ornamented its front with cymatia and wide festoons of fruit arranged in place of hair, while they brought the flutes down the whole shaft, falling like the folds in the robes worn by matrons. Thus in the invention of the two different kinds of columns, they borrowed manly beauty, naked and unadorned, for the one, and for the other the delicacy, adornment, and proportions characteristic of women….”

“The third order, called Corinthian, is an imitation of the slenderness of a maiden; for the outlines and limbs of maidens, being more slender on account of their tender years, admit of prettier effects in the way of adornment.”

The story of the Corinthian column goes on to tell of its inspiration which was from the growth of an Acanthus through the basket of a young Corinth maiden’s possessions atop her tomb.  The Athenian artist Callimachus passed it and took delight at its “novel style” and built columns after its form.  Once he determined the dimensions and proportions it was established to the rule for the Corinthian order, thus setting, literally, into stone the symmetry of beauty.

In another instance in Vitruvius’s work he details the facing of temples so as they can be experienced in a manner in line with many of the great esoteric and religious traditions.  He oriented them to be entered from the West to…

“…enable those who approach the altar with offerings or sacrifices to face the direction of the sunrise in facing the statue in the temple, and thus those who are undertaking vows look toward the quarter from which the sun comes forth, and likewise the statues themselves appear to be coming forth out of the east to look upon them as they pray and sacrifice.”
- Book IV, Ch. 5

This certainly does not predate the idea of Solomon’s temple orientation, but its questionable if perhaps Vitrivius was influenced in any way by this Judaic Old Testament writing, or operating on an older principal of Temple building.  In its simplest of thought, the older idea of knowledge, better thought of as wisdom, came from the East in the rising sun as it has symbolically represented the idea of a daily new beginning.  The word used for one who undertakes the degrees in Masonry, an initiate, comes from the Latin initiare which means “to begin anew”.  It would, no doubt, mesh with Renaissance architects as designers would see the parallels between the Old Testament Temple and the Classical temple styling to follow that same pattern.[1]

From an esoteric stand point, we can start to infer much of how this translates to our work as a Freemason, building that unseen house . . . but this also has a practical application that would of been at the very forefront of our early for-bearers thought, as with Inigo Jones, as they planned and built the neoclassical temples of the late Renaissance.  Perhaps in some ways this is a vestige to our very being a Freemason, homage to the ancient practicing of our brothers in antiquity and a means to making being a Mason relevant to the teachings.

But as the degree then turns from the idea of architecture so must we to the aspect of our human senses, five in total, and their specific link to our ability to hear, see, and feel.

The degree says:

The five human senses are hearing, seeing, feeling, smelling, and tasting, the first three of which have ever been highly esteemed among Masons: hearing, to hear the word; seeing, to see the sign; feeling, to feel the grip, whereby one Mason may know another in the dark as well as in the light.

Again, as the orders of architecture are of a specific physicality, so too is this treatise on the five senses of the physicality of man.  It speaks much to our physically interpreting the activity around us.  In many ways it is reminiscent of the motto “Aude, Vide, Tace” which from the Latin translates to say “Know, Dare, Be Silent” which goes further to suggest of the same three tactile senses said to be of greatest importance that they have a parallel union:

• Hearing – knowing = to learn and understand what is being taught
• Seeing – daring = to think on and consider its purpose and meaning
• Feeling – touching = to be silent rather than attempting to stumble until fuller knowledge is attained

The longer Roman proverb reads – “Audi, vide, tace, si tu vis vivere” which means to “Hear, see, be silent, if you wish to live (in peace)” which can give us a cryptic undertone or a view to see the disharmony of not being silent.

This middle chamber, middle position, examination gives us much to reflect on especially as it relates to our physicality in the role of a Fellow of the Craft, but to get a broader feel we need to look more widely at the implications of the period understanding to what these five senses represented.

Cornelius Agrippa, in his Three Books of Occult Philosophy, says of the five senses:

There be five senses in man, sight, hearing, smelling, tasting, and touching: five powers in the soul…, five fingers of the hand, five wandering planets in the heavens…. It is also called the number of the cross, yea eminent with the principal wounds of Christ[2], whereof he vouchsafed to keep the scars in his glorified body.  The heathen philosophers did dedicate it as sacred to Mercury, esteeming the virtue of it to be so much more excellent than the number four, by how much a living thing is more excellent than a thing without life….  Hence in time of grace the name of divine omnipotence is called upon with five letters…the ineffable name of God was [expressed] with five letters Ihesu…

The five wounds of Original Sin - First, death to the soul (heart). Second, darkness in the intellect, the right hand. Third, malice, an inclination to evil, the left hand. Fourth, sensuality - disordered desires, the left foot. And fifth, irritability and aggression, the right foot.

Ihesu is the middle ages usage of the name of Jesus, often written in Catholicism as simply IHS which has run through both Greek and Latin translations.  In Greek, it looks like Iota-eta-sigma-omicron-upsilon-sigma which becomes IESOUS in English.  The H comes from the variance of eta which is epsilon, and rendered as H giving us Agrippa’s meaning.

Further in the work of Agrippa, he attributes the number Five beyond the senses touching on the planets, the animal kingdom, and five things as made by God: essence, the same (similarity), another (difference), sense, and motion.  He called the number five the Pythagorean number of wedlock and justice (such we could interpret as Solomonic justice) because the number divides 10 in an even scale – Five represents the point of balance.

Clearly, we can see that Agrippa found some greater importance in the 5 senses, broadening their occult interpretations.  What we can take from this is that the 5 senses can be as limited as we choose to see them or as broad as we can start to  interpret them to be as most interpretations of the number 5 have similar or like meaning.  In either case, they have a wide variance by which to perceive them than simply in the five points of perfection.

In these two discussions of physicality, Architecture and sense, we find two seemingly unrelated elements that in the second degree are intricately interwoven and presented by instruction as integral to the metaphorical building of Solomon’s temple, or more specifically, our own temple of inner Being.  Like the great Greek and Roman pillars our senses are ever increasing importance giving our physicality a dimension to the degree.  Yet, by digging deeper, through some of the more esoteric connections, we can get a sense of the power of this simple number that divides 10, a Solominc number, the number of perfection.  So here, we have reached our second landing upon the staircase.  We have surmounted our second series of steps in the middle chamber and come to a point of rest.  Before us is the next ascent which will take us up a dizzying flight of seven steps.  Though the number may seem small, its connections are many and varied and further round out the active role of our manhood which is our place of being as a Fellow of the Craft.  Behind us rests the previous three and five steps – a monumental feat of climbing indeed, but before we can claim a victory over them, we must surmount the next seven and explore their potentiality in meaning.

Read part 1 – Symbolism on the Winding Staircase

Masonic Symbolism on the Winding Staircase

On our way to the Sanctum Sanctorum, the newly made Mason undertakes a passage through what is commonly called the Middle Chamber.  The reference into the middle way is through the temple of Solomon, and the pathway to the Holy of Holies, the adytum in which the Holy Ark of the covenant resides at the the Kodesh Hakodashim, or the place in which deity dwells.  In that journey through the middle space, the Second degree brother is introduced to some of the more seemingly secular influenced aspects of the fraternity that begin to take on a double, or symbolic, meaning.  On their surface, the basic notions of these things are obvious, but not until you start to look at them closely, at their deeper meanings, that we start to see their relationships to other more esoteric ideas.  This is similar to religious traditions where withing one religious text there can be multiple layers of meaning, and multiple ways of interpretation which can lead to an allegorical, a moral, or a mystical meaning.

Indeed, as the degree is symbolically in King Solomon’s Temple, so to can it be seen as a symbolic metaphor to our own internal path, what Joseph Campbell calls the hero quest, and where you “leave the world that you you’re in and go into a depth or into a distance or up to a height.”[1]

This is not to assume that the Masonic degrees have a similar relevancy to sacred or spiritual texts, though some could argue that their significance is almost as powerful to some observants.  It is a system of morality that strives to make good men better, which runs nearly in parallel with the many Volumes of the Sacred Law which seeks similar outcomes to achieve as it outlines and instructs its path to elevation.  Whether its salvation or spiritual awakening the holy books seek to instruct its adherents to live better lives through their faith, the same that Freemasonry strives to through its practice – to make those good men better.  In that process of making the good man a candidate for the degrees is made an entered apprentice, symbolically as he ascends Jacob’s ladder.  Once at the top, he is presented a series of three groups of symbols which are set before him to become a Second Degree mason so as they may observe and contemplate them in their path of progression, their hero’s quest, to the third degree.

The story of the degree, from Duncan’s Masonic Ritual and Monitor*, picks up after the passage between the twin pillars of the degree with the conductor delivering this instruction:

Brother, we will pursue our journey.  The next thing that attracts our attention is the winding stairs which lead to the Middle Chamber of King Solomon’s Temple, consisting of three, five, and seven steps.

The first three allude to the three principal stages of human life, namely, youth, manhood, and old age. In youth, as Entered Apprentices, we ought industriously to occupy our minds in the attainment of useful knowledge; in manhood, as Fellow Crafts, we should apply our knowledge to the discharge of our respective duties to God, our neighbors, and ourselves; so that in old age, as Master Masons, we may enjoy the happy reflections consequent on a well-spent life, and die in the hope of a glorious immortality.

They also allude to the three principal supports in Masonry, namely, Wisdom, Strength. and Beauty; for it is necessary that there should be wisdom to contrive, strength to support, and beauty to adorn all great and important undertakings.

They further allude to the three principal officers of the Lodge, viz.: Master, and Senior and Junior Wardens.

Let’s pause here and consider what some of the deeper meanings of these first steps infer.  The first segment is fairly straight forward; with narrative telling us that the three steps allude to the three stages of human life – Youth, Manhood, and Old Age.

Youth is defined as:
Young persons, collectively.
A young person; especially, a young man.
The quality or state of being young; youthfulness; juvenility.
The part of life that succeeds to childhood; the period of existence preceding maturity or age; the whole early part of life, from childhood, or, sometimes, from infancy, to manhood.

This is a pretty straight forward idea, especially as it says to us that “we ought industriously to occupy our minds in the attainment of useful knowledge”, but how does this apply to an older initiate, someone who is no longer in his youth.  Is it a wistful thought to what was achieved when younger and in still in school?  Taken on a deeper level, it could allude to the idea of the degree itself, the First degree being synonymous to mean that in the first, the candidate comes to the lodge as a youth (despite his chronological or physical age) with a clean slate of perception and a clean pallet of interpretation.  In a sense, he comes as blank slate to its teachings or to the ideas before him.  The degree being his introduction from exterior life to interior life which ushers him both into the fraternity and into the concept of the undertaking.  Pike, in the first degree lecture in Morals and Dogma, calls this the focusing of the aspirants “unregulated force” – the channel by which they constrain their previously raw, infantile state, into that of a focused and youthful aspirant no matter their age.

Next, the candidate enters into his Manhood, more literally the 2nd degree, of which the ceremony says of it “we should apply our knowledge to the discharge of our respective duties to God, our neighbors, and ourselves” which is a really active process to live by.  We, in essence, are to achieve much by way of our doing, essentially, the work of our daily life towards our deity in worship and practice, our community in which we live and reside, but more specifically as we apply it to ourselves in continuing to apply what we’ve learned in our youth to this state of existence.

The Free Dictionary defines Manhood as:
1. The state or time of being an adult male human.
2. The composite of qualities, such as courage, determination, and vigor, often thought to be appropriate to a man.
3. Adult males considered as a group; men.
4. The state of being human.

In the third entry, we can take much from it beyond it simply being our middle state of being.  It is in fact our ability to BE in the first place, our SELF in daily practice.  Interesting as this is, the second degree in which our further education takes place is not only about the practice of our youth but also our ability to learn and apply that education to our life.

Campbell says of the age progression that “As a child, you are brought up in a world of discipline, of obedience, and you are dependant on others.  All this has to be transcended when you come to maturity, so that you can live not in dependency but with self-responsible authority.”[2] This is, in essence, the heart of the three degree progression and the fundamental of the three steps – he becoming a man (or woman, respecting your discipline)!

Old age is a bit more of a troubling and complex issue.  So often in modern society we look at old age as a point of retirement where work and physical activity dramatically changes or diminishes.  In this description, the idea of old age holds true in that the degree says of old age that in it “we may enjoy the happy reflections consequent on a well-spent life, and die in the hope of a glorious immortality”

There are several interesting meanings we can take from this especially that it is in the degrees that these physical changes are metaphorically said to take place which can become a literal interpretation, and that once attained the Master Mason can live through them – literally to reflect on the life well spent.  What’s troubling here is that the major portion of the work of the lodge is spent in the third degree and a caution must be considered so as to not see the work of the Master Mason as just one of reflection and of casual rest lest no work, as described in Manhood, be completed.

Old Age is essentially defined as ones age nearing or passing the average life span of human beings, and thus at the end of the human life cycle.  In the U.S. this is considered to be 78 years old giving a distinct impression as to when one should then become a True Master.  It really is at a twilight of life period, one of great age and maturity where little change and much reflection takes place.  This gives us an interesting perspective on the meaning as it implies a near end of physical life period of time which squares with the degrees lesson as the period of reflection of a life well spent.  We become the Master of our all, ready to pass our knowledge on to the next generation.

With this vantage, we can take pause to deeply consider that our daily working of the degrees, intrinsically, could (or should) be conducted in the 2nd state, our manhood in which we conversely learn and grow.

Cirlot, in his Dictionary of Symbols, makes an interesting point in that the idea of progression in the stages of age is not unique to Masonry.  Besides the stages themselves, the number three (3) is a representation of synthesis and unites the “solution of conflict posed by dualism.” In other words, the third object brings about balance for the first two opposing states.  Think of the balance of three dots, one stacked above two.

From this point, the degree breaks off to correlate these first steps with the three principal pillars of the lodge as Wisdom, Strength and Beauty which also has an interesting Kabalistic point of reference in the three pillars that make up the structure of the tree of life.  Keep in mind, the orientation assumes the viewer reverse the structure to mirror ones own standing rather than simply reflect the observer.

Wisdom, the left hand pillar of mercy, is an active pillar and representative of alchemical fire, which is the principal of spirituality, often called the pillar of Jachin.  It is a masculine pillar, and relates to our mental energy, our loving kindness, and our creative inspiration as we traverse it up the Kabbalaistic tree through the Sephirot.

Strength is the right hand pillar and takes the form of severity, shaped into the alchemical symbol of water.  It can represent darkness, but it is a passive symbol that is feminine in nature and called the pillar of Boaz.  Upon it we find the points of our thoughts and ideas, our feelings and emotions, and the physicality of our physical experience, our sensations, each an aspect of its Cabalistic progression.

Beauty, then, takes on the role of synthesis of the two, the pillar of mildness; it is upon this pillar that the novitiate is transformed through his progressive states as he progresses.  The central pillar of Beauty is representative of Jehovah, the Tetragrammaton which represents deity itself upon which our crown of being resides balanced through feeling and emotion from our foundation of justice and mercy, all of which springs from our link to the everyday world.

These aspects of the Kabbalah are not specific attributes of the study in the blue lodge, rather elements of deeper esoteric study, found more specifically in the degrees of the Scottish Rite.  Because of the pillars, and their deeper symbolic meaning, it does, however, necessitate looking at them deeper to see the relationship between them as the blue lodge degrees seem to have parallels in the study of the Kabbalah – a happy accident at some time past or with purpose to link the ideas together.  Wisdom, Strength, and Beauty are specific aspects of the lower three degrees and emphasized here in the first three steps into the middle chamber, necessitating their deeper esoteric study to fully grasp their broader importance.

As the degree instructs – Wisdom is to contrive, Strength is to support, and Beauty is to adorn all great and important undertakings – which are the fundamentals of the three pillars in the Kabbalaistic study.

Conversely, as the degree states, these three pillars “allude to the three principal officers of the Lodge, viz.: Master, and Senior and Junior Wardens.” and can be interpreted as such in both a micro (in lodge) fashion and in a broader macro tradition of Masonry itself – in this Kabbalaistic formulation.  When the alchemical aspects of wisdom and strength are combined we can see the 6 pointed star appears, the symbol of transformation, often depicted in the conjoining of the square and compass in which Masons are instructed to square their actions and circumscribe their passions, which also corresponds to the link between the Saints Johns – the Baptist as the principal of alchemical water, and the Evangelist as the symbol of alchemical fire, both of whom have much deeper esoteric connections in Masonry. Also, the figures of the lodge leadership have a deeper connection as you begin to look at their alchemical connections too, when you look at their relationship to the Sun and moon, and the aspirant candidate as the solution of conflict, as Cirlot described, and as defined in the first degree – the three sphere aspect to balance the two of conflict.

From these short first few tentative steps, we can see that there is a wealth of Masonic symbols at hand, but we are only one third into our progression.  Our next step takes us deeper into the middle chamber to its central position where we encounter an interesting juxtaposition of the physical world to our very human aspect of being through our senses.

For now, reflect a time on these first three steps and consider what comes next upon the path.

Continue to Part 2-5 steps upon the stair | Part 3

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