Freemasonry is a post-collegiate mostly-all male fraternity dedicated to the social development of the member to form a broader sense of the self and their community.
In this edition of Symbols and Symbolism, we look at a reading from Albert G. Mackey’s Encyclopedia of Freemasonry on the subject of Riding the Goat.
Goat riding is one of those superstition that permeates most every corner of fraternal initiation. Not exclusively a Masonic institution, goat riding or making candidates “ride the goat” has been an aspect of hazing fueled initiation meant to scare and embarrass neophytes and initiates joining the institution. Yet, the practice seems to have a more succinct history involving ancient pagan practice and ritual.
The vulgar idea that “riding the goat” constitutes a part of the ceremonies of initiation in a Masonic Lodge has its real origin in the superstition of antiquity. The old Greeks and Romans portrayed their mystical god Pan in horns and hoof and shaggy hide, and called him “goat-footed.” When the demonology of the classics was adopted and modified by the early Christians, Pan gave way to Satan, who naturally inherited his attributes; so that to the common mind the Devil was represented by a he-goat, and his best known marks were the horns, the beard, and the cloven hoofs. Then came the witch stories of the Middle Ages, and the belief in the witch orgies, where, it was said, the Devil appeared riding on a goat. These orgies of the witches, where, amid fearfully blasphemous ceremonies, they practiced initiation into their Satanic Rites, became, to the vulgar and the illiterate, the type of the Masonic Mysteries; for, as Dr. Oliver says, it was in England a common belief that the Freemasons were accustomed in their Lodges “to raise the Devil.” So the “riding of the goat,” which was believed to be practiced by the witches, was transferred to the Freemasons; and the saying remains to this day although the belief has very long since died out.
Brother John “Corky” Wheeler Daut passed away July 11, 2016 at the age of 88. In his earlier years he was Superintendent of the Department of Solid Waste for Houston, Texas. Later he was to open his own business, Daut’s Repair Service, repairing small engines and sharpening saws. Towards the end of his life he operated Pine Island Pen Works specializing in the manufacture and sale of wooden writing pens.
But he is best known for “The Small Town Texas Masons E-Magazine”that he published every month. It was a prodigious undertaking that included Masonic articles from all over the world. From Masonic News to esoteric studies to writings from the Old Masters and everything in between, the magazine covered the thought and the going-ons of Freemasonry. He wrote the last edition just weeks before his death. He also published a newsletter-magazine for his own Lodge, Waller Lodge of Pine Island Texas where he touted, “We Are The Largest, ‘Small Town Texas Lodge’ Web Site, On The Internet, Over 100 Pages of Masonic Information and Education.”
He was raised to a Master Mason in the Cedar Bayou Lodge #321 at the age of 64. Later he joined Humble Lodge #79 but demitted from both when he moved to Pine Island Texas. There he joined Waller Lodge #808 and became its Master in 2005. Along the way he affiliated with Hempsted Lodge #749 and became its Secretary.
Brother Daut’s enthusiasm for the Craft and his outreach to Masons all over the world from a small Texas community makes his accomplishments all the more laudable. He showed the world what can be done when your heart is in the right place and you possess and display the peace and harmony that Masonry teaches you.
“Well done, thou good and faithful servant! Enter thou into the joy of thy Lord!”
I recently completed digesting Dr. John Nagy’s book Building Hiram. It is another in a series of Catechism Primer formats that Nagy has published for increasing Light in Freemasons. This method of instruction follows what many Masons received as they went through the Degrees. Yet I must admit that since I last had that pleasure 27 years ago, I have not again come across this format until becoming acquainted with Coach Nagy’s work. At first it was difficult to adjust to this style of imparting information, but in Building Hiram it all seemed so natural and I have come to appreciate what the Catechism style has to offer. It makes learning follow a sequence where one building block is added to another and then another, yet at any time one may jump into the middle of the book, randomly picking any page, and jump right in without discomfort.
Building Hiram is for the Master Mason and Nagy says, “The Word before you is what I wish I had been given when I was Raised.”
Nagy goes on to say this for newly Raised Masons and I suppose even those who were Raised many moons ago:
“Should Masons take a step back and reflect on the actual picture painted before them, much more may be gleaned. In fact, further Masonic Benefit occurs only by considering the interconnections between the symbols, the overlap of themes and the rhythm of the patterns continually played out from beginning to end.”
In a paper written by Worshipful Brother Alphonse Cerza titled AND GIVE THEM PROPER INSTRUCTION Cerza says:
There is no question that the Masonic ritual is the foundation of the Craft. In it we find the message that Freemasonry has for the candidate, its philosophy, and its moral teachings. If one knows these lessons fully and complete- ly, he is indeed a wise man. Too many of us are concerned more with perfection of the words rather than securing a full understanding of the spirit and the meaning of the ritual.
Let us not make the mistake of believing that the ceremony of initiation makes a man a Mason. True, this ceremony is vital and necessary, but unless the lessons of the ceremony and the spirit of the ritual is understood it is nothing. For example, for hundreds of years in the ancient world there were a number of associations that we now call the Ancient Mysteries. These organizations had a number of things in common. One element stands out above all others: the belief that the ceremony of the Mystery purified the can- date. This basic belief more than any other factor brought these organizations to an end. Let us learn one lesson from this page of history: The ceremonies of the three degrees are of no value unless they are understood by the candidate and are grafted into everyday life. An informed and enlightened membership is a better and more successful one. This is not idle talk. Brother William H. Knutt, in 1952, at the Mid-West Conference on Masonic Education, gave a report in which it was clearly shown that when the great depression of the thirties came along, the jurisdictions in which the Craft had been offering educational programs lost the least number of members.
The Craft should be put to WORK. That there be perfection in the ritual, that members receive instruction in the ceremonies of the Craft, and that our degree work be retained is of vital importance. No fault can be found with the ritualistic work for it is the foundation of our Order. Fault should be found with the view that we stop our efforts with the conferring of the degrees. We are amiss in our duty to the Craft when we do not properly prepare our candidates and then abandon the newly-made Mason to his own devices. Lodges that devote their entire time to conferring degrees will soon find that quantity is not a substitute for quality. The quality of the membership is determined not only by the careful screening of applicants for the degrees but also in making the new member Mason in fact. This can be done by putting the new Mason to work.
John “Coach” Nagy
And this is what Nagy has consistently done in all his books maybe with a bit of a modification. Instead of putting Masons to work Nagy puts them into thinking and realizing what it all means. He connects the dots so that a Mason can get an idea of the whole picture. He puts all the pieces of the puzzle together so the Mason can now see the big picture.
Nagy works a jigsaw puzzle, one piece goes here, one piece there, then another and in the end you have a picture that forms concepts and paths to betterment and a philosophy.
Nagy tells us, “ One of the sad results that discovered Light gave to me was a picture of Masonry that was filled with gaps. The vast majority of practicing Blue Lodge Masons I’ve encountered have no more Masonic Education than what they learned and did during Degree Work. They memorized and repeated back what had been memorized and repeated to them; they had no real fundamental understanding of the wonderful Light and guidance being offered to them.”
So Nagy sets out to weave a tale of the integration of Masonic symbols, Masonic tools, Masonic illustrations and Masonic concepts into a better understanding of not only what Masonry is all about but how to use Masonry.
He starts with the Ashlars and ends with The Master’s Wages. Along the way we learn in depth about the Stone Builder’s Tools, The Orders of Architecture, The Staircase, The Four Ruffians (yes I said 4), The Ancient Penalties, The 3-4-5 Triangle, The Sacred Triad, The Square and Compasses, The Temple and The Lost Word.
On the Ashlars he says, “There is nothing whatsoever that is added to any stone selected. Removal merely reveals the Beauty that is already there within the Stone.”
On the Stone Builder’s Tools he says, “The Working-Tools are specifically designed to make sure the Work we do as Masons has Integrity. No structure, however, grand, can stand long and well if its Integrity is compromised. Masonic Ritual is a constant reminder of this truth. In fact, it is the structural theme of Masonic Ritual. As a Builder, if you do not understand this, your ability to use what you know may eventually cause your structure to fail as well.”
You are the structure, you are the stone. The Temple is you and your soul.
There is a lot of talk about Wisdom, Strength and Beauty; who represents these three virtues and what they can do for us personally.
If you read this book you will learn who the Fourth Ruffian is, that the Ancient Penalties were not enacted by others upon those who violate their Word but are self-inflicted and occur without fail, what three conditions are necessary to give the Master’s Word, what season is silently represented, What the Sacred triad is, the meaning of ABN, why you descend the winding staircase, what three Tools, when one is missing, still have three, what Officer maintains the etiquette of the Lodge, who was Gomer, what is the Death Triplet, the significance of “As Above, So Below,” how the Word is made flesh, what the Last Wage is, and much, much more. But we don’t want to tell you everything about the book for then you might not read it. And that would be a shame since it is the way in which Nagy connects everything together, the reasoning used to make a whole, that leads to the light bulb coming on for you.
This is by far the best book I have run into for Masonic education of Master Masons both individually and in a group at the Lodge. Its crowning glory is the ability Nagy has to combine many individual teachings and concepts into one big one, to make the whole of Masonry, what constitutes its nobleness, righteousness and virtues into a philosophy. What Nagy does is explain Masonic philosophy by explaining and connecting all its component parts. This philosophy we call Masonry is a way of life. A Freemason cannot live this way of life unless he can understand it. And that’s the job that Nagy does. He articulates the philosophy of Masonry so that Masons are able to practice it because they understand it. For that reason alone this book must be part of your library and the library of your Lodge.
Elena Llamas, Director of Public Relations for The Phoenixmasonry Masonic Museum and Library. Portrait by Travis Simpkins.
If you have a lot of Mason friends and follow various Masonic and related personalities, like I do, you for sure have noticed how profile photos have been shifting to the signature style portrait drawings of artist Travis Simpkins. Phoenixmasonry is pleased to have had the opportunity to interview this prolific artist so we can all learn more about him and his art.
EL (Elena Llamas): Hello, Bro. Travis, thank you for agreeing to this interview. I am honored to have the chance to talk to you about your work, which I have been admiring for quite some time now.
TS (Travis Simpkins): Thank you. It is my pleasure.
EL: Tell us about your training as an artist. When did you know you had an interest and talent for art? Did you study art formally?
TS: I’m sure I must have possessed some innate talent as a child, but I didn’t really pursue many artistic interests until my teen years.
Artist Travis Simpkins
My art education was two-fold:
I earned a Bachelor of Fine Arts (BFA) Degree from Anna Maria College [in Massachusetts] in 2002. At Anna Maria, the curriculum focused on traditional forms of art rendered through a diverse range of mediums, from painting to sculpture, but an emphasis was placed on working from life. Working from life means that you are looking at actual 3D models in front of you, be it people or objects.
I also undertook additional studies in Arizona with Photorealist artist James Frederick Mueller. Jim had some success in the 1970’s and 80’s, including a portrait commission of a former U.S. President. Along with the detailed logistics of the method, I learned a very valuable skill from Jim… the ability to create convincing portraits while working from photographs.
EL: Well, your portraits are definitely convincing!
Wolfgang Amadeus Mozart. Freemason and Composer of Masonic Music, by Travis Simpkins
TS: In my work, I still utilize both disciplines on a regular basis. I work from life while sketching objects in museums. With portraits, however, I work from photographs. Using photos offers greater freedom. I’m not limited by proximity and the internet has allowed the whole world to become an accessible market. I can accept commissions and create portraits of people I’ve never met, many of whom live thousands of miles away.
EL: That is wonderful, yes
TS: In the realm of art, portraiture has always been one of the most difficult subjects to master. It offers both a challenge and a sense of accomplishment. If you can render a human face, and do it well, then you can draw just about anything else. There will always be a demand for well-crafted, quality portraits.
EL: I believe you! You have to be true to what you see. It must be quite difficult.
Albert Pike, 33° Scottish Rite Freemason and Author of “Morals & Dogma” by Travis Simpkins
EL: Many portrait artists switch the background or medium of their work. You have a very unique and consistent signature style which involves a, and please excuse my lack of technical knowledge here, to the untrained eye it seems to involve a discreet pink background with black and white strokes in either pencil or charcoal. How did you develop this style and why have you remained consistent using it?
TS: It’s a classic sketching technique, utilized for hundreds of years, reminiscent of Old Master drawings. I just take that historic sense and extend it to contemporary subjects. The end result has a timeless quality, connecting the past and present in a relatable way.
EL: How interesting.
Benjamin Franklin. Statesman, Printer and Freemason, by Travis Simpkins
TS: I keep making portraits in that particular style for a few reasons. Firstly, I work on commission and create artwork to order. The charcoal drawings are popular and I keep getting requests for that particular aesthetic. As long as the business demand is there, I’ll keep producing them. Secondly, it’s important for an artist to have a unique style; to have their works be instantly recognizable as being created by their hand. For me, these portraits border on that signature element.
EL: Absolutely
TS: Lastly, I simply enjoy creating them. I work quickly and lack the patience for slow and tedious mediums. Drawing offers a sense of spontaneity, immediacy and expressiveness that other art forms don’t.
Theodore Roosevelt, 26th President of the United States. Freemason, by Travis Simpkins
EL: I noticed some of the Freemasons you have drawn portraits for have Masonic pins on their clothes, that is a very nice signature detail of yours.
TS: Good portraits display some attribute, prop or element to convey the subject’s personal interests and passions. Small visual details can help to tell a person’s unique story. Over the course of their Masonic journey, many Masons are deservedly honored for their achievements, and I’ve found that Masonic jewels make great portrait accessories.
EL: Besides drawing a lot of esoteric, personal, and Masonic portraits, you also have a series of archeological drawings, is this another interest of yours?
TS: I work with several museums and cultural institutions, and those sketches are based on works of art displayed in museum collections. I am usually assigned to draw certain objects, but others are chosen for my own enjoyment. Those sketches are interesting in that they offer an interpretive connection with history, with ancient works of art being filtered through my viewpoint as an artist in the present.
Worcester Art Museum: Pre-Columbian Seated Male Figure, 900-1200 AD, by Travis Simpkins
TS: In my work with the Isabella Stewart Gardner Museum, I create artwork for an ongoing HR program. I am tasked with creating sketches of works in the museum’s collection, which the museum then frames and presents as gifts to noteworthy recipients.
EL: That is awesome!
TS: I greatly enjoy the job, but more than that, I’m truly honored that the Gardner Museum recognizes the quality of my work and has chosen my art to represent their world-renowned collection.
Worcester Art Museum: Ancient Greek Corinthian Helmets, 550-450 BC, by Travis Simpkins
TS: Earlier this year, I began working as an Art Advisor with the Massachusetts Senate. One of our State Senators wanted to have college student artwork from his constituency represented in his office at the State House in Boston, and I helped draft an initiative and offered logistical advice for the project. It is quite rewarding, personally, to see the proud expressions on the faces of the students and their parents as the artwork is put on display at the state capitol.
TS: Last year, I was hired by the Worcester Historical Museum to create portraits of three generations of the Salisbury Family (17th-18th Century benefactors of the city). My artwork was put on display in the circa 1772 Salisbury Mansion, placed alongside paintings by colonial-era portraitist Gilbert Stuart. Gilbert Stuart painted the famous portrait of George Washington (used on the dollar bill) and is one of my artistic heroes, so that was quite an honor.
EL: Wow! That is fantastic!
George Washington Masonic Memorial. Cornerstone. Alexandria, Virginia, by Travis Simpkins
TS: I also work at the Worcester Art Museum, having taken on various roles from assisting in art classes to monitoring the safety and security of the artwork on display. I have also referred collectors I know to the Worcester Art Museum, and my efforts and connections in that regard have culminated in the addition of more than 300 works of art to WAM’s permanent collection, including 97 woodblock prints by Japanese artist Yoshida Toshi.
Art Security is a major concern of mine as well, both personally and professionally. I hold a certification from the International Foundation for Cultural Property Protection. I am a contributor to various art security forums, conducting research into art theft, preservation and archaeological ethics.
EL: How interesting. Keeping art safe is a challenge! Your wife is also a talented artist.
TS: My wife, Janet, is an amazing artist. She has a wonderful eye for detail. Currently, she is working on a series of miniature paintings, which have been on display in three gallery shows so far this year. We share a mutual love and respect, and I credit all of my success (artistic and otherwise) to her encouragement and support.
EL: Wonderful! How sweet! She does have an eye for detail as can be seen in the miniature painting below.
Janet Simpkins, 2×3 inch mini-painting
EL: Can anyone contact you for a portrait? If so, how and where?
TS: Portrait commissions can be made through my website: http://www.artcrimeillustrated.com
I can be emailed directly at: artcrimeillustrated@hotmail.com
Find my page on Facebook as “Travis Simpkins: Artist & Museum Professional”
Affordable prints of my portraits of historical Freemasons can be purchased through Cornerstone Book Publishers at: www.cornerstonepublishers.com
EL: Your work has rightfully earned a vibrant place in the hearts and minds of Freemasons. Is there anything I did not ask that you would like to talk about?
TS: I’m glad to hear others describe my Masonic portraits as a contribution to the fraternity, it’s meaningful to be able to play some part in my own way. It is a wonderful organization and being raised a Master Mason will always be a defining moment in my life. Since joining earlier this year, I feel that I’ve already made many lasting friendships and associations. I have experienced the start of an incredible journey and am open-minded to future opportunities in Freemasonry. All of the brethren at Morning Star Lodge in Worcester and the Grand Lodge of Massachusetts in Boston have been very welcoming and helpful. I am looking forward to joining the Scottish Rite Valley of Worcester and the Boston Consistory later this year. I hope to do a lot of traveling over the coming years and experience the Masonic art, architecture and fellowship in other areas as well.
Mark Twain, Author and Freemason. Mark Twain House & Museum. Hartford, CT, by Travis Simpkins
EL: Your work is an outstanding contribution to Freemasonry and the Fraternity is most fortunate to have had you join. Thank you again, for this interview. Bro. Travis’ portraits cost about $200 (for an 8×10 inch drawing) if you would like to get your own or get one as a gift. Phoenixmasonry will certainty keep an eye on your work to let our friends and fans know what you are up to in the future. Thank you everyone for reading!
David Lettelier. Founder of Phoenixmasonry Masonic Museum and Library, by Travis Simpkins
John Hancock, Freemason. St. Andrew’s Lodge. Boston, MA, by Travis Simpkins
Charles Lindbergh. Aviator, Author and Explorer. 1st Solo Flight Across Atlantic, by Travis Simpkins
For several years, the Gallup organization has been monitoring and measuring morality in our country. One glaring statistic always jumps out at me, specifically Americans believe morality is in decline and our values are changing. There may be several causes for this, such as the decline of organized religion, the influence of the media, and the decline of parenting. This has resulted in a new period of unrest where riots, violent protests, and a general disrespect for the law has become commonplace.
The question is, are we doing enough to promote morality in this country? The answer is simple, No. When I was performing research for my book, “Stand Up for MORALITY,” I found there were very few people addressing the problem. I found the New Zealand police trying to teach it, as well as the Israeli military, but aside from organized religion, I found very little in terms of addressing morality in this country as well as others.
There are essentially two elements for an individual’s judgement. First, our perceptions perform an essential role, such as our sense of sight, sound, smell, taste and touch. If we do not perceive a situation correctly, we are likely to arrive at an erroneous conclusion. As a veteran systems man, I can assure you, if the input is wrong, everything that ensues will be wrong. Consequently, people tend to act on impulse as opposed to dissecting a situation correctly.
The second element, is our interpretation of right and wrong, representing our moral judgement. Based on our perceptions, we then calculate what we believe to be a proper course of action which is ultimately based on our values, such as:
Implementation of the Golden Rule; do we want to do unto others, as we want others do unto us, or are we contrary and self-absorbed, only doing what is best for ourselves?
Do we believe violence of any kind, be it murder, rape, muggings, is a proper way to socialize?
Do we believe theft is justified based on our socioeconomic condition? For example, is looting and theft acceptable for the poor and disadvantaged, as opposed to working to obtain property?
These two elements, perceptions and values, is the basis for our morality. Our sense of society is ultimately based on finding commonality in moral values. It’s a “Birds of a feather” phenomenon whereby we cooperate with people who share our beliefs, and resist those who do not. If all of us possessed incompatible values and perceptions, chaos will ensue. In the past, consistent moral values were taught by organized religion, but as the concept of God has diminished, inconsistent interpretations emerge.
Since organized religion is in retreat, where should we seek our values? I do not believe the government should be the source of dogma, but it would be nice if they could devise a program to promote moral principles. I am certainly not suggesting a marriage of church and state, but rather an institution concerned with funding ethical practices.
I tend to believe nonprofit organizations have a role to play, such as civic organizations who preach patriotism and fair play, be it in Scouting, organized youth sports, the Rotary, Lions, and fraternal organizations, particularly the Masons, Oddfellows, and Knights of Columbus. If such groups opened their doors to discuss morality, or made an effort to recognize moral behavior, they can go a long way to changing the public’s sense of right and wrong.
Business can play a role within their organizations by establishing a code of conduct and strictly enforcing it. After all, there is little point in creating legislation if there is nobody to enforce it.
Finally, something has to be done about rating Hollywood movies and television shows. If aliens are monitoring our airwaves, they probably believe we have a propensity for violence, our sense of comedy is crude, we are narcissistic and resist cooperation, and are bent on the destruction of our own species. No wonder they don’t want to land here!
However, if we were to focus on promoting moral behavior, we would likely experience less crime and violence, representing a decline in costs, and we could begin to rebuild our country cooperatively.
Then again, maybe I’m just naive in the country’s desire to get along.
Keep the Faith!
Note: All trademarks both marked and unmarked belong to their respective companies.
Tim Bryce is a writer and the Managing Director of M&JB Investment Company (M&JB) of Palm Harbor, Florida and has over 30 years of experience in the management consulting field. He can be reached at timb001@phmainstreet.com
This letter will confirm that on June 8, 2016, the Grand Lodge of Massachusetts, AF. & AM., unanimously voted to recognize the Most Worshipful Prince Hall Grand Lodge F. & AM. of Texas.
Most Worshipful Harvey John Waugh, Grand Master, would be pleased to receive your recommendation for his consideration in an appointment of a Grand Representative to Massachusetts near the Most Worshipful Prince Hall Grand Lodge of Texas.
We look forward to a harmonious relationship with your Grand Lodge for many years to come.
In this installment of Symbols and Symbolism, we look at the meaning behind the iconic slogan of the York RightKnight Templars – In Hoc Signo Vinces (pronounced – in hohk sig-noh wing-kase). Translated from Latin to read “By this sign thou shalt conquer,” the motto, and its corresponding association with the passion cross are, perhaps, a misrepresentation of its original and true intention and an adoption by later Christian military orders in their conquest over the pagan world.
Despite its militaristic association, the motto and the symbols it represents have perhaps a far older symbolic meaning into the mysteries of Egypt and beyond.
From Albert Mackey’s Encyclopedia of Freemasonry:
On the Grand Standard of a Commandery of Knights Templar these words are inscribed over “a blood-red Passion Cross,” and they constitute in part the motto of the American branch of the Order. Their meaning, “By this sign thou shalt conquer,” is a substantial, but not literal, translation of the original Greek. For the origin of the motto, IN HOC SIGNO VINCES (pronounced “In hoke seeg-noh ween-case” from the Greek) we must go back to a well-known legend of the Church, which has, however, found more doubters than believers among the learned. Eusebius, who wrote a life of Constantine says that while the emperor was in Gaul, in the year 312, preparing for war with his rival, Maxentius, about the middle hours of the day, as the sun began to verge toward its setting, he saw in the heavens with his own eyes, the sun surmounted with the trophy of the cross, which was composed of light, and a legend annexed, which said “by this conquer.” This account Eusebius affirms to be in the words of Constantine.
Constantine
Lactantius, who places the occurrence at a later date and on the eve of a battle with Maxentius, in which the latter was defeated, relates it not as an actual occurrence, but as a dream or vision; and this is now the generally received opinion of those who do not deem the whole legend a fabrication. On the next day, Constantine had an image of this cross made into a banner, called the labarum, which he ever afterward used as the imperial standard. Eusebius describes it very fully. It was not a Passion Cross, such as is now used on the modern Templar standard, but the monogram of Christ. The shaft was a very long spear.
On the toll was a crown composed of Gold and precious stones, and containing the sacred symbol, namely, the Greek letter “rho” or P. intersected by the “chi” or X, which two letters are the first and second of the name “XRISTOS”, or Christ. If then, the Templars retain the motto on their banner, they should, for the sake of historical accuracy, discard the Passion Cross, and replace it with the Constantinian Chronogram, or Cross of the Labarum. But the truth is that the ancient Templars used neither the Passion Cross, nor that of Constantine, nor was the motto “In Hoc Signo Vinces” on their standard. Their only banner was the black and white Beauseant, and at the bottom of it was inscribed their motto, also in Latin, “Non nobis Domine, non-nobis, sed nomini to da gloriam, meaning “Not unto us, O Lord, not unto us, but unto Thee give the glory.” This was the song or shout of victory sung by the Templars when triumphant in battle.
Manly P Hall
Manly P. Hall, in his Secret Teachings of All Ages, finds parallels with In Hoc Sig Vinces in an examination of the Tau cross and the Crux Ansata, saying:
There are three distinct forms of the cross. The first is called the TAU (more correctly the TAV). It closely resembles the modern letter T, consisting of a horizontal bar resting on a vertical column, the two arms being of equal length. An oak tree cut off some feet above the ground and its upper part laid across the lower in this form was the symbol of the Druid god Hu. It is suspected that this symbol originated among the Egyptians from the spread of the horns of a bull or ram (Taurus or Aries) and the vertical line of its face. This is sometimes designated as the hammer cross, because if held by its vertical base it is not unlike a mallet or gavel. In one of the Qabbalistic Masonic legends, CHiram Abiff is given a hammer in the form of a TAU by his ancestor, Tubal-cain. The TAU cross is preserved to modern Masonry under the symbol of the T square. This appears to be the oldest form of the cross extant.
The TAU cross was inscribed on the forehead of every person admitted into the Mysteries of Mithras. When a king was initiated into the Egyptian Mysteries, the TAU was placed against his lips. It was tattooed upon the bodies of the candidates in some of the American Indian Mysteries. To the Qabbalist, the TAU stood for heaven and the Pythagorean tetracts. The Caduceus of Hermes was an outgrowth of the TAU cross.
The second type was that of a T, or TAU, cross surmounted by a circle, often foreshortened to the form of an upright oval. This was called by the ancients the Crux Ansata, or the cross of life (as illustrated as the ankh). It was the key to the Mysteries of antiquity and it probably gave rise to the more modern story of St. Peter’s golden key to heaven. In the Mysteries of Egypt, the candidate passed through all forms of actual and imaginary dangers, holding above his head the Crux Ansata, before which the powers of darkness fell back abashed. The student is reminded of the words In hoc signo vinces. The TAU form of the cross is not unlike the seal of Venus, as Richard Payne Knight has noted. He states: “The cross in this form is sometimes observable on coins, and several of them were found in a temple of Serapis [the Serapeum], demolished at the general destruction of those edifices by the Emperor Theodosius, and were said by the Christian antiquaries of that time to signify the future life.”
Augustus Le Plongeon, in his Sacred Mysteries Among the Mayas and Quiches, notes that the Crux Ansata, which he calls The Key to the Nile and the Symbol of Symbols, either in its complete form or as a simple TAU, was to be seen adorning the breasts of statues and bas-reliefs at Palenque, Copan, and throughout Central America. He notes that it was always associated with water; that among the Babylonians it was the emblem of the water gods; among the Scandinavians, of heaven and immortality; and among the Mayas, of rejuvenation and freedom from physical suffering.The third form of the cross is the familiar Roman or Greek type, which is closely associated with the crucifixion of Jesus Christ, although it is improbable that the cross used resembled its more familiar modern form. There are unlimited sub-varieties of crosses, differing in the relative proportions of their vertical and horizontal sections.
The third form of the cross is the familiar Roman or Greek type, which is closely associated with the crucifixion of Jesus Christ, although it is improbable that the cross used resembled its more familiar modern form. There are unlimited sub-varieties of crosses, differing in the relative proportions of their vertical and horizontal sections. Among the secret orders of different generations, we find compounded crosses, such as the triple TAU in the Royal Arch of Freemasonry and the double and triple crosses of both Masonic and Roman Catholic symbolism.
To the Christian, the cross has a twofold significance.
First, it is the symbol of the death of his Redeemer, through whose martyrdom he feels that he partakes of the glory of God; secondly, it is the symbol of humility, patience, and the burden of life. It is interesting that the cross should be both a symbol of life and a symbol of death. Many nations deeply considered the astronomical aspect of religion, and it is probable that the Persians, Greeks, and Hindus looked upon the cross as a symbol of the equinoxes and the solstices, in the belief that at certain seasons of the year the sun was symbolically crucified upon these imaginary celestial angles.
In this Sojourners post, a observant brother from the Prince Hall tradition asks a very important question about access in the modern age of Freemasonry – Who has it, why, and should it be exclusive? This piece, while brief, explores at least in part these ideas as more and more of a diverse audience is gaining exposure to the meanings of Freemasonry.
The Meaning of Freemasonry
A Sojourners post by Richard E. Gordon III
Many things have been said of the Craft, as such, I will not attempt to reiterate them here, but will attempt to express what freemasonry means to me.
My journey began long before I was made a Mason. There was a longing in my heart to understand the deeper mysteries of the world, their respective interrelations and manifestations, and a desire to know the Truth. I would spend many hours reading books of seemingly different natures, only to be delighted to discover a connection between subjects. These associations were meaningful to me because, as I had worked to achieve insight and understanding, I came closer to a more enlightened view of reality. I felt as if I was coming out of the darkness into something a little more distinguishable, a little more clear.
My worldview began to change. I read The Hiram Key, by Robert Lomas and Christopher Knight in college, as the first book about freemasonry I read as a non-mason. I had sensed a continuous stream of knowledge, some would say, from time immemorial, but this book put into focus what I had already sensed. I had realized I wanted to join the Order, out of curiosity, but also to further development, and to honor those wise men that had gone on before me. One could say that, I was seeking to revive the spirit of the Adept within myself. To be a vessel of the divine spark.
Upon being Raised, I was struck at how real it seemed, as during my initiation, I called out and protested as if I was actually the Master in the Temple. My answer to those who would accost me for the secrets of the Temple, was simply ‘Kill Me’. For I knew I could not get away, and I knew I could not oblige them. As the final blow came, I was thrown backward onto my death shroud, and accidentally caught my foot on a brother. My foot was wrenched aside, twisted, my senses not knowing of where the pain and darkness was truly from. I must say this experience changed me. I truly felt death had come, and the embrace of the shroud was comforting. The Lion’s Paw I had received from my father, and it was a very special moment in my life. This cemented my Quest.
From that point on, I strived to the higher ideals of the Order, subduing my passions and improving myself in science and history. Knowledge is a wonderful gift, but it means nothing if it is not put into practice for the benefit of All. Freemasonry then, helped me to become a man, instilling the virtues that, if all possessed, would surely rebuild the Heavenly Temple on Earth. The meaning of freemasonry is to give purpose. This in turn, gives us the ability to, hopefully, transcend into a Higher and more Lofty state of Society, in the spiritual/alchemical sense of the Philosopher’s Stone. There is one drastic hitch or impediment to this dream, however, and that is the insistence of the rules and regulations of the Craft to deny women, the fairer sex, entry into the Order. How can we as Masons do this injustice to over half the population of the world?
I want my brothers to consider this in earnest. Can we rightly deny our sisters, mothers, daughters, wives, lovers, the joys and spiritual guidance that Freemasonry has to offer? Eastern Star is separate but not equal. It is simply not enough, and in the long run, will hurt the progression of establishing the Temple Cornerstone of the World, for all to enjoy and benefit. Freemasonry is more then just a fraternity, and should be recognized as such, but that task will be thwarted if we deny others the right, who are already Masons in their heart, the opportunity to join the Craft. Was it not Mary of Bethany Jesus’s most beloved disciple? Is not Venus the birther of all Men? Why do we close our doors to her?
I shall simply say that, the meaning of freemasonry is that of continuation, of the hopes and dreams of the Adept.
Richard E. Gordon III
Richard E. Gordon III, was raised a Master Mason in 2010, in Golden Square Lodge #23, 4th Masonic District, Prince Hall Affiliation, Urbana, Ohio, and is a member of Miami Consistory #26 in the Valley of Dayton. He holds a Masters Degree in Applied Behavioral Science from Wright State University and won the “Outstanding Graduate Student Award” (2010) in the Applied Behavioral Science (ABS) program. He also obtained his Bachelors in Psychology in 2007 at Wittenberg University, where he founded and led the Society for Extraordinary Phenomena (SEP). Richard worked as a medical lab researcher at Wright State University Boonshoft School of Medicine in the STREAMS program, which is dedicated to fostering biomedical research experiences for minority students, and studied the biomedical effects of intermittent hypoxia in neonatal rats, with implications for conditions such as sleep apnea and aerospace industry considerations. He is a Research Associate with Vision Genomics, LLC.
Masonic author Joshua Lorenzo Newett spent some time recently to talk about his new work of fiction, In Remembrance of Things Lost. Yet, as Joshua tells it, the work is underpinned with Masonic and esoteric themes that center on purpose, recovery and the story of one mans journey of becoming a Freemason, a journey that, in some respects may mirror the authors.
Masonic Traveler (MT): Joshua, thanks for taking the time to talk about yourself and your new book. Let’s start at the beginning, tell us, who Joshua Lorenzo Newett is?
Joshua Lorenzo Newett (JLN): Well here are the particulars. I am 36 years old, and am currently a lecturer at the Korean Navy Academy in Jinhae, South Korea, although I am originally from Philadelphia, Pennsylvania. I am a member of Pusan, Korea Lodge, No. 1675, on the Rolls of the Grand Lodge of Scotland as well as a member of the Seoul Valley of the Scottish Rite (SJ).
MT: How long have you studied Freemasonry? What led you there?
JLN: An uncle of mine is a Freemason so, from a young age, I’ve been aware and interested in the organization.
In high school and university I got into existential philosophy which asks all of the big questions: Where are we? What are we? Where do we come from? Where are we going? Why does it matter? What is the good life? Existential philosophy led me to the study of history and International Relations which eventually led me back to the original questions posed.
When I was thirty three I contact a member of Pusan Lodge via the internet and went to my first meeting.
In Remembrance of Things Lost by Joshua Lorenzo Newett
MT: Interesting age to seek something like that. So, with that background, tell us about your latest book In Remembrance of Things Lost.
JLN: I originally started it as a first person narrative written from the vantage point of Count St. Germaine but that story-line took a back seat to a third person narrative about Thad Gordon, a boy who becomes troubled after his family moves from Walpole, Massachusetts to East Hampton, New York. He is a bit self-defeating in his undertakings and sabotages several important relationships in university. He becomes totally disillusioned and moves to Korea to sort of drink himself to death. I don’t want to spoil the plot for anyone so I won’t go any further.
MT: You mentioned in your initial inquiry that that the protagonist meets a man that may, or may not, be the legendary Count St. Germain who leads him to find Freemasonry which later helps him put his life in order. Would you say this is more a story about the journey, the destination or both?
JLN:I’d say this story is more about the journey. In most tales I find the journey is the most interesting part of the story. For example I recently read a book about the 1893 Chicago World’s Fair, (The Devil in the White City) and while the fair was interesting the journey undertaken to bring it into existence was far more so.
MT: What inspired the book? What made you put pen to paper?
JLN: With all my books I try for three things; the reader learns something about the world at large, they relate to the characters and when the book is finished it stays with them, maybe even changes them in some small way. Ralph Waldo Emmerson said “I cannot remember the books I’ve read any more than the meals I have eaten; even so, they have made me.” I really believe that. Reading is such an intimate thing. It lets you occupy the same mental space as the author. For me there is nothing like finding an author I can really relate to. I guess at the end of the day that’s why I write.
My books usually start out as something completely different. I think the genesis of this one came years ago while I was reading Blood Meridian. The Judge Holden character leapt off the page. I loved the way Cormac McCarthy wrote him, how it was subtly suggested he may be immortal and have supernatural powers, but I didn’t like the way Holden, who was a real historical figure, represented the animalistic and base aspects of humankind. I wanted to create a similar character but make him more benevolent and nuanced. A few years later I was reading up on Count St. Germaine and I thought this guy is your Judge Holden.
Another aim I had in writing the book was to pique the curiosity of non-masons and get them interested in masonry.
MT: How so? What were some of the kernels of Masonry that you included?
JLN: First there are several images used, such as a description of a masonic ring. Thad picks up a thread with what may or may not have been the journal of CSM and follows it to his local lodge. He joins it then he joins the SR. I purposefully left the details sparse so if the readers’ interest was piqued they’d look for answers on their own.
MT: What was the hardest thing about writing this book?
JLN: For me the hardest part about writing in general are the endless revisions. When I finish a first draft of a book I let it sit for a bit and then go back and reread it. For the most part I usually really like it and actually often surprise myself like “oh wow I wrote that? I don’t even remember writing that!” I like that a lot. Then comes the hard part, rewrites and revisions. I’ll do several rewrites and revisions before I send it away to my agent for an initial read. He’ll send it back with suggestions. Several more rewrites later I’ll send it to my editor, then when it comes back rewrite it again. That process repeats several times.
By the time the book is ready, I’ve read the material so many times I’m sickened at the thought of having to read it again.
MT: I totally get that feeling. Sometimes it’s nice to be able to shoot from the hip, but unless you’re a dead-eye, you end up with some pretty wild grammar. Any future book plans?
JLN: This is my third book. My second, Wine Tasting is Bullshit, will be out in December of 2016. I am also finishing the first draft of a new one tentatively titled Hiraeth about a great cataclysm that brings civilization to its knees and the survivors who restart and preserve the knowledge of the past. I’m also working on a concept album and an accompanying book of short stories about the fictional character of John Melhern (1898- 1983). The album and stories are about his life. A lot of it is about war. The time he spent in Europe in WWI, losing one of his sons in WWII, and his grandson being drafted into the Vietnam War. It’s also about the passage of time and his inability to understand what the world has become.
And of course there are a few loves stories thrown in for good measure.
MT: Joshua, thanks so much for taking the time to share your work with us. It sounds like a non-traditional take on some old traditional themes.
You can find Joshua Lorenzo Newett’s book, In Remembrance of Things Lost, in print and as an epub on Amazon. And, you can follow more of Joshua Lorenzo Newett’s work at his website, joshua-lorenzo-newett.com.
Managing the Future of Freemasonry A Book of Optimism
A new book takes an optimistic approach to the vexing issue of declining membership. Managing the Future of Freemasonry: The Book of Optimism, by Dr David West, is a work by a man who understands philosophical thinking. A graduate in and of Philosophy from the University of Leicester, West has taught at universities in England and Canada and worked in top industries and holding government roles working to fathom the the future of work. He has been an adviser to a Cabinet Minister and founded The Working Manager Ltd, creating the core content of its management education process. An active Freemason of his mother lodge, St Laurence No. 5511, West suggests he sees the possibilities of the future.
From the press release about his book,
The numbers are staggering; since 1959, worldwide membership of Freemasonry has declined by almost 75%, akin to numerous other societies and groups tasked with being positive pillars of the community.
According to Dr. David West, this sudden decline is the result of significant negative changes to society as a whole. In his powerful and evidence based new book, West outlines the problem and suggests plausible solutions for a revival of Freemasonry.
The golden years of Freemasonry have passed with the departure of a world never likely to return. We cannot pretend that our membership problem will simply go away. If we are to rescue our order, we must take an objective look at ourselves and understand the society we now face. Our challenge will be to renew our ideals and bring them to the attention of a new audience, one that we as yet know little about. This will require hard work, open-mindedness, creativity and above all leadership. The optimism which runs through this book depends upon our ability to change, knowing that holding on to the past will be the last thing our order does. West says,
I’m totally convinced that a resurgence of Freemasonry is possible, However, we must first take an objective look at how our society has changed, what has caused this change and what needs to be done to repair things. When we know this, we can ‘redesign’ Freemasonry to be a vital building block in getting society back on track. It’s all down to proper management, lateral thinking and a departure from our old mind-set.
Hard work, open-mindedness, creativity, and above all leadership are skills that Freemasonry needs to hone and be willing to put into action because, after all, reversal of the decline will be far from immediate. Complacency has already become our enemy and, with societal discord now at an all-time high, we have a bold opportunity ahead of us to work for tangible change.
. Yet, as Joshua tells it, the work is underpinned with Masonic and esoteric themes that center on purpose, recovery and the story of one mans journey of becoming a Freemason, a journey that, in some respects may mirror the authors.
. The Judge Holden character leapt off the page. I loved the way Cormac McCarthy wrote him, how it was subtly suggested he may be immortal and have supernatural powers, but I didn’t like the way Holden, who was a real historical figure, represented the animalistic and base aspects of humankind. I wanted to create a similar character but make him more benevolent and nuanced. A few years later I was reading up on Count St. Germaine and I thought this guy is your Judge Holden.
, by Dr David West, is a work by a man who understands philosophical thinking. A graduate in and of Philosophy from the University of Leicester, West has taught at universities in England and Canada and worked in top industries and holding government roles working to fathom the the future of work. He has been an adviser to a Cabinet Minister and founded The Working Manager Ltd, creating the core content of its management education process. An active Freemason of his mother lodge, St Laurence No. 5511, West suggests he sees the possibilities of the future.