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.
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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.
. 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.
is a book that should be read by all Freemasons. The work, he says, strives to provide a deeper understanding of the hidden information at work behind the scenes of the rituals of Freemasonry. What makes this book different, the author claims, is that it looks beyond the literal veil to the hidden code that underlies each of the craft rituals and the truer meaning of its ceremonies. I talked recently with Robert about his book in hopes of catching a peek behind the veil.
Recently, the great work of the 
A Sojourners post by W. Bro. Rob Lund.
, she suggests that early Renaissance Cabalists felt the temple represented a definition of sacred geometry that was mirrored in the temple by reflecting a perfect and proportional measure made “in accordance with the unalterable laws of cosmic geometry.” These ideas formed from the work of Francesco Giorgi in De Harmonia Mundi, which drew in Vitruvian principals of Architecture and integrated the foundation of Christian Cabalism with the ideas from Hermetic study to create “connections between angelic hierarchies and planetary spheres” that [rose] “up happily through the stars to the angels hearing all the way those harmonies on each level of the creation imparted by the Creator to his universe, founded on number and numerical laws of proportion.”
), published in 1533. In this text, one important idea was that the universe was divided into three worlds (degrees), which consisted of an elemental world, a celestial world, and an intellectual world, each receiving influences from the one above it. The first world was believed governed by natural magic (element) and arranged substances “in accordance with the occult sympathies between them.” The second world is concerned with celestial magic that governed “how to attract and use the influences of the stars.” Agrippa himself calling it “a kind of magic mathematical magic because its operations depend on number.” The third world represented ceremonial magic “as directed toward the super celestial world of angelic spirits.” Beyond that, Agrippa says, is the divine itself. These ideas are not about the physical temple, but instead I see it representing an unseen or perhaps inner temple, the travel in what we call today the self.
