The Builders: A Story and Study of Masonry

Unfortunately, as so often happens, no records of old Craft-masonry, save those wrought into stone, were made until the movement had begun to decline; and for that reason such documents as have come down to us do not show it at its best. Nevertheless, they range over a period of more than four centuries, and are justly held to be the title deeds of the Order. Turning to these Old Charges and Constitutions,[70] as they are called, we find a body of quaint and curious writing, both in poetry and prose, describing the Masonry of the late cathedral-building period, with glimpses at least of greater days of old. Of these, there are more than half a hundred—seventy-eight, to be exact—most of which have come to light since 1860, and all of them, it would seem, copies of documents still older. Naturally they have suffered at the hands of unskilled or unlearned copyists, as is evident from errors, embellishments, and interpolations. They were called Old Charges because they contained certain rules as to conduct and duties which, in a bygone time, were read or recited to a newly admitted member of the craft. While they differ somewhat in details, they relate substantially the same legend as to the origin of the order, its early history, its laws and regulations, usually beginning with an invocation and ending with an Amen.

Only a brief account need here be given of the dates and characteristics of these documents, of the two oldest especially, with a digest of what they have to tell us, first, of the Legend of the order; second, its early History; and third, its Moral teaching, its workings, and the duties of its members. The first and oldest of the records is known as the Regius MS which, owing to an error of David Casley who in his catalogue of the MSS in the King's Library marked it A Poem of Moral Duties, was overlooked until James Halliwell discovered its real nature in 1839. Although not a Mason, Halliwell was attracted by the MS and read an essay on its contents before the Society of Antiquarians, after which he issued two editions bearing date of 1840 and 1844. Experts give it date back to 1390, that is to say, fifteen years after the first recorded use of the name Free-mason in the history of the Company of Masons of the City of London, in 1375.[71]

More poetical in spirit than in form, the old manuscript begins by telling of the number of unemployed in early days and the necessity of finding work, "that they myght gete there lyvyngs therby." Euclid was consulted, and recommended the "onest craft of good masonry," and the origin of the order is found "yn Egypte lande." Then, by a quick shift, we are landed in England "yn tyme of good Kinge Adelstonus day," who is said to have called an assembly of Masons, when fifteen articles and as many points were agreed upon as rules of the craft, each point being duly described. The rules resemble the Ten Commandments in an extended form, closing with the legend of the Four Crowned Martyrs, as an incentive to fidelity. Then the writer takes up again the question of origins, going back this time to the days of Noah and the Flood, mentioning the tower of Babylon and the great skill of Euclid, who is said to have commenced "the syens seven." The seven sciences are then named, to-wit, Grammar, Logic, Rhetoric, Music, Astronomy, Arithmetic, Geometry, and each explained. Rich reward is held out to those who use the seven sciences aright, and the MS proper closes with the benediction:

There follows a kind of appendix, evidently added by a priest, consisting of one hundred lines in which pious exhortation is mixed with instruction in etiquette, such as lads and even men unaccustomed to polite society and correct deportment would need. These lines were in great part extracted from Instructions for Parish Priests, by Mirk, a manual in use at the time. The whole poem, if so it may be called, is imbued with the spirit of freedom, of gladness, of social good will; so much so, that both Gould and Albert Pike think it points to the existence of symbolic Masonry at the date from which it speaks, and may have been recited or sung by some club commemorating the science, but not practicing the art, of Masonry. They would find intimation of the independent existence of speculative Masonry thus early, in a society from whom all but the memory or tradition of its ancient craft had departed. One hesitates to differ with writers so able and distinguished, yet this inference seems far-fetched, if not forced. Of the existence of symbolic Masonry at that time there is no doubt, but of its independent existence it is not easy to find even a hint in this old poem. Nor would the poem be suitable for a mere social, or even a symbolic guild, whereas the spirit of genial, joyous comradeship which breathes through it is of the very essence of Masonry, and has ever been present when Masons meet.

Next in order of age is the Cooke MS, dating from the early part of the fifteenth century, and first published in 1861. If we apply the laws of higher-criticism to this old document a number of things appear, as obvious as they are interesting. Not only is it a copy of an older record, like all the MSS we have, but it is either an effort to join two documents together, or else the first part must be regarded as a long preamble to the manuscript which forms the second part. For the two are quite unlike in method and style, the first being diffuse, with copious quotations and references to authorities,[72] while the second is simple, direct, unadorned, and does not even allude to the Bible. Also, it is evident that the compiler, himself a Mason, is trying to harmonize two traditions as to the origin of the order, one tracing it through Egypt and the other through the Hebrews; and it is hard to tell which tradition he favors most. Hence a duplication of the traditional history, and an odd mixture of names and dates, often, indeed, absurd, as when he makes Euclid a pupil of Abraham. What is clear is that, having found an old Constitution of the Craft, he thought to write a kind of commentary upon it, adding proofs and illustrations of his own, though he did not manage his materials very successfully.

After his invocation,[73] the writer begins with a list of the Seven Sciences, giving quaint definitions of each, but in a different order from that recited in the Regius Poem; and he exalts Geometry above all the rest as "the first cause and foundation of all crafts and sciences." Then follows a brief sketch of the sons of Lamech, much as we find it in the book of Genesis which, like the old MS we are here studying, was compiled from two older records: the one tracing the descent from Cain, and the other from Seth. Jabal and Jubal, we are told, inscribed their knowledge of science and handicraft on two pillars, one of marble, the other of lateres; and after the flood one of the pillars was found by Hermes, and the other by Pythagoras, who taught the sciences they found written thereon. Other MSS give Euclid the part here assigned to Hermes. Surely this is all fantastic enough, but the blending of the names of Hermes, the "father of Wisdom," who is so supreme a figure in the Egyptian Mysteries, and Pythagoras who used numbers as spiritual emblems, with old Hebrew history, is significant. At any rate, by this route the record reaches Egypt where, like the Regius Poem, it locates the origin of Masonry. In thus ascribing the origin of Geometry to the Egyptians the writer was but following a tradition that the Egyptians were compelled to invent it in order to restore the landmarks effaced by the inundations of the Nile; a tradition confirmed by modern research.

Proceeding, the compiler tells us that during their sojourn in Egypt the Hebrews learned the art and secrets of Masonry, which they took with them to the promised land. Long years are rapidly sketched, and we come to the days of David, who is said to have loved Masons well, and to have given them "wages nearly as they are now." There is but a meager reference to the building of the Temple of Solomon, to which is added: "In other chronicles and old books of Masonry, it is said that Solomon confirmed the charges that David had given to Masons; and that Solomon taught them their usages differing but slightly from the customs now in use." While allusion is made to the master-artist of the temple, his name is not mentioned, except in disguise. Not one of the Old Charges of the order ever makes use of his name, but always employs some device whereby to conceal it.[74] Why so, when the name was well known, written in the Bible which lay upon the altar for all to read? Why such reluctance, if it be not that the name and the legend linked with it had an esoteric meaning, as it most certainly did have long before it was wrought into a drama? At this point the writer drops the old legend and traces the Masons into France and England, after the manner of the Regius MS, but with more detail. Having noted these items, he returns to Euclid and brings that phase of the tradition up to the advent of the order into England, adding, in conclusion, the articles of Masonic law agreed upon at an early assembly, of which he names nine, instead of the fifteen recited in the Regius Poem.

What shall we say of this Legend, with its recurring and insistent emphasis upon the antiquity of the order, and its linking of Egypt with Israel? For one thing, it explodes the fancy that the idea of the symbolical significance of the building of the Temple of Solomon originated with, or was suggested by, Bacon's New Atlantis. Here is a body of tradition uniting the Egyptian Mysteries with the Hebrew history of the Temple in a manner unmistakable. Wherefore such names as Hermes, Pythagoras, and Euclid, and how did they come into the old craft records if not through the Comacine artists and scholars? With the story of that great order before us, much that has hitherto been obscure becomes plain, and we recognize in these Old Charges the inaccurate and perhaps faded tradition of a lofty symbolism, an authentic scholarship, and an actual history. As Leader Scott observes, after reciting the old legend in its crudest form:

The significant point is that all these names and Masonic emblems point to something real which existed in some long-past time, and, as regards the organisation and nomenclature, we find the whole thing in its vital and actual working form in the Comacine Guild.[75]

Of interest here, as a kind of bridge between old legend and the early history of the order in England, and also as a different version of the legend itself, is another document dating far back. There was a MS discovered in the Bodleian Library at Oxford about 1696, supposed to have been written in the year 1436, which purports to be an examination of a Mason by King Henry VI, and is allowed by all to be genuine. Its title runs as follows: "Certain questions with answers to the same concerning the mystery of masonry written by King Henry the Sixth and faithfully copied by me, John Laylande, antiquarian, by command of his highness." Written in quaint old English, it would doubtless be unintelligible to all but antiquarians, but it reads after this fashion:

What mote it be?—It is the knowledge of nature, and the power of its various operations; particularly the skill of reckoning, of weights and measures, of constructing buildings and dwellings of all kinds, and the true manner of forming all things for the use of man.

How came it into England?—Pythagoras, a Grecian, traveled to acquire knowledge in Egypt and Syria, and in every other land where the Phoenicians had planted Masonry; and gaining admittance into all lodges of Masons, he learned much, and returned and dwelt in Grecia Magna, growing and becoming mighty wise and greatly renowned. Here he formed a great lodge at Crotona, and made many Masons, some of whom traveled into France, and there made many more, from whence, in process of time, the art passed into England.