HCLS Chapters-of-Our-Lives Time Capsule installed in a beautiful circular bench in the lobby at HCLS Central Branch in Columbia, Maryland. A plaque displayed on the site that reads:

 

Within this bench rests a Time Capsule that captures the essence of Howard County Library System (HCLS) in 2015, our 75th Anniversary.

 

Its contents reflect our unwavering heritage as a 20th and 21st century educational institution with a mission to deliver equal opportunity in education for everyone through a curriculum that comprises Three Pillars: Self-Directed Education, Research Assistance & Instruction, and Instructive & Enlightening Experiences.

Symbolic of our timeless mission, this Time Capsule is a collection of three containers, all part of a 75-year plan:?

To connect our past, present, and future, HCLS appointed 136 Howard County middle students to serve as Guardians. On October 24, 2015, they pledged to champion the HCLS legacy, keeping it safe for the next 25 years.

 

October 27, 2040 The Class of 2015 will reconvene to pass on the role of Guardian to the next generation (Class of 2040). Together, the two generations will open and reseal the 2015 container, then fill the 2040 container.

October 24, 2065 The Class of 2040 will gather to pass on the role of Guardian to the Class of 2065. Together, they will open and re-seal the 2015 and 2040 containers, then fill the 2065 container.

October 21, 2090 The Class of 2065 will gather on the occasion of Howard County Library Systems sesquicentennial (150th) anniversary to open the Time Capsule.

Dedicated this 24th day of October, 2015 to the always forward-looking citizens of Howard County, MD.

Salem United Church, Salem, Ontario, Canada.

 

Masonic Square and Compasses:

 

The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".

 

However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.

 

Square and Compasses:

 

Source: Mackey's Encyclopedia of Freemasonry

 

These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.

 

So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.

 

If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.

 

It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).

In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:

Yet I this forme of formelesse Deity,

Drewe by the Squire and Compasse of our Creed.

In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.

Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.

 

The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."

 

Square and Compass:

 

Source: The Builder October 1916

By Bro. B. C. Ward, Iowa

 

Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.

 

As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.

 

Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.

 

The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."

Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,

 

"You should not in the valley stay

While the great horizons stretch away

The very cliffs that wall you round

Are ladders up to higher ground.

And Heaven draws near as you ascend,

The Breeze invites, the Stars befriend.

All things are beckoning to the Best,

Then climb toward God and find sweet Rest.”

 

The secrets of Freemasonry are concerned with its traditional modes of recognition. It is not a secret society, since all members are free to acknowledge their membership and will do so in response to enquiries for respectable reasons. Its constitutions and rules are available to the public. There is no secret about any of its aims and principles. Like many other societies, it regards some of its internal affairs as private matters for its members. In history there have been times and places where promoting equality, freedom of thought or liberty of conscience was dangerous. Most importantly though is a question of perspective. Each aspect of the craft has a meaning. Freemasonry has been described as a system of morality, veiled in allegory and illustrated by symbols. Such characteristics as virtue, honour and mercy, such virtues as temperance, fortitude, prudence and justice are empty clichés and hollow words unless presented within an ordered and closed framework. The lessons are not secret but the presentation is kept private to promote a clearer understanding in good time. It is also possible to view Masonic secrecy not as secrecy in and of itself, but rather as a symbol of privacy and discretion. By not revealing Masonic secrets, or acknowledging the many published exposures, freemasons demonstrate that they are men of discretion, worthy of confidences, and that they place a high value on their word and bond.

 

Masonic Square and Compasses.

 

The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".

 

However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.

 

Square and Compasses:

 

Source: Mackey's Encyclopedia of Freemasonry

 

These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.

 

So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.

 

If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.

 

It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).

In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:

Yet I this forme of formelesse Deity,

Drewe by the Squire and Compasse of our Creed.

In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.

Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.

 

The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."

 

Square and Compass:

 

Source: The Builder October 1916

By Bro. B. C. Ward, Iowa

 

Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.

 

As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.

 

Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.

 

The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."

Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,

 

"You should not in the valley stay

While the great horizons stretch away

The very cliffs that wall you round

Are ladders up to higher ground.

And Heaven draws near as you ascend,

The Breeze invites, the Stars befriend.

All things are beckoning to the Best,

Then climb toward God and find sweet Rest."

Scavenge Challenge - Apr2013 - Scavchal #24 - Education Centre - This month we are reprising an old Education Centre topic. Please read the instructive material and then make a low-key shot & a high-key shot.

 

I wanted to try this outdoors instead of setting something up indoors. This is taken with light from the right from a street lamp which is illuminating some of the trees! Hope this meets the Assignment!

 

Thanks for dropping in, your comments and views are always appreciated.

Explore more details here : www.childrensgarden.ca/ Nursery School is a type of early childhood education program. It is generally offered as a formal educational for kids aged three or four. Pre-kindergarten can take in a different settings, including government schools, private and open nursery schools, religious organizations and child care centers. Here at Children's Garden we make a protected, welcoming environment with learning projects that help every child develop to their maximum potential. Children gain a decently balanced social and instructive establishment at Children's Garden Nursery School.

 

Square and Compasses - This symbolic stone was removed from above the entrance to the Lambton Mills Masonic Temple erected by Mimico Lodge on the north side of Dundas Street in 1882.

 

Masonic Square and Compasses.

 

The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".

 

However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.

 

Square and Compasses:

 

Source: Mackey's Encyclopedia of Freemasonry

 

These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.

 

So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.

 

If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.

 

It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).

In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:

Yet I this forme of formelesse Deity,

Drewe by the Squire and Compasse of our Creed.

In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.

Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.

 

The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."

 

Square and Compass:

 

Source: The Builder October 1916

By Bro. B. C. Ward, Iowa

 

Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.

 

As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.

 

Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.

 

The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."

Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,

 

"You should not in the valley stay

While the great horizons stretch away

The very cliffs that wall you round

Are ladders up to higher ground.

And Heaven draws near as you ascend,

The Breeze invites, the Stars befriend.

All things are beckoning to the Best,

Then climb toward God and find sweet Rest.”

 

The secrets of Freemasonry are concerned with its traditional modes of recognition. It is not a secret society, since all members are free to acknowledge their membership and will do so in response to enquiries for respectable reasons. Its constitutions and rules are available to the public. There is no secret about any of its aims and principles. Like many other societies, it regards some of its internal affairs as private matters for its members. In history there have been times and places where promoting equality, freedom of thought or liberty of conscience was dangerous. Most importantly though is a question of perspective. Each aspect of the craft has a meaning. Freemasonry has been described as a system of morality, veiled in allegory and illustrated by symbols. Such characteristics as virtue, honour and mercy, such virtues as temperance, fortitude, prudence and justice are empty clichés and hollow words unless presented within an ordered and closed framework. The lessons are not secret but the presentation is kept private to promote a clearer understanding in good time. It is also possible to view Masonic secrecy not as secrecy in and of itself, but rather as a symbol of privacy and discretion. By not revealing Masonic secrets, or acknowledging the many published exposures, freemasons demonstrate that they are men of discretion, worthy of confidences, and that they place a high value on their word and bond.

 

Masonic Square and Compasses.

 

The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".

 

However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.

 

Square and Compasses:

 

Source: Mackey's Encyclopedia of Freemasonry

 

These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.

 

So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.

 

If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.

 

It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).

In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:

Yet I this forme of formelesse Deity,

Drewe by the Squire and Compasse of our Creed.

In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.

Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.

 

The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."

 

Square and Compass:

 

Source: The Builder October 1916

By Bro. B. C. Ward, Iowa

 

Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.

 

As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.

 

Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.

 

The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."

Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,

 

"You should not in the valley stay

While the great horizons stretch away

The very cliffs that wall you round

Are ladders up to higher ground.

And Heaven draws near as you ascend,

The Breeze invites, the Stars befriend.

All things are beckoning to the Best,

Then climb toward God and find sweet Rest."

Phoenix Chapter No. 34 Cookstown Ontario Canada RAM practice.

 

A traditional Masonic light bulb showing a Square and Compasses.

 

Square and Compasses - This symbolic stone was removed from above the entrance to the Lambton Mills Masonic Temple erected by Mimico Lodge on the north side of Dundas Street in 1882.

 

Masonic Square and Compasses.

 

The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".

 

However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.

 

Square and Compasses:

 

Source: Mackey's Encyclopedia of Freemasonry

 

These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.

 

So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.

 

If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.

 

It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).

In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:

Yet I this forme of formelesse Deity,

Drewe by the Squire and Compasse of our Creed.

In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.

Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.

 

The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."

 

Square and Compass:

 

Source: The Builder October 1916

By Bro. B. C. Ward, Iowa

 

Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.

 

As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.

 

Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.

 

The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."

Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,

 

"You should not in the valley stay

While the great horizons stretch away

The very cliffs that wall you round

Are ladders up to higher ground.

And Heaven draws near as you ascend,

The Breeze invites, the Stars befriend.

All things are beckoning to the Best,

Then climb toward God and find sweet Rest.”

 

The secrets of Freemasonry are concerned with its traditional modes of recognition. It is not a secret society, since all members are free to acknowledge their membership and will do so in response to enquiries for respectable reasons. Its constitutions and rules are available to the public. There is no secret about any of its aims and principles. Like many other societies, it regards some of its internal affairs as private matters for its members. In history there have been times and places where promoting equality, freedom of thought or liberty of conscience was dangerous. Most importantly though is a question of perspective. Each aspect of the craft has a meaning. Freemasonry has been described as a system of morality, veiled in allegory and illustrated by symbols. Such characteristics as virtue, honour and mercy, such virtues as temperance, fortitude, prudence and justice are empty clichés and hollow words unless presented within an ordered and closed framework. The lessons are not secret but the presentation is kept private to promote a clearer understanding in good time. It is also possible to view Masonic secrecy not as secrecy in and of itself, but rather as a symbol of privacy and discretion. By not revealing Masonic secrets, or acknowledging the many published exposures, freemasons demonstrate that they are men of discretion, worthy of confidences, and that they place a high value on their word and bond.

 

Masonic Square and Compasses.

 

The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".

 

However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.

 

Square and Compasses:

 

Source: Mackey's Encyclopedia of Freemasonry

 

These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.

 

So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.

 

If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.

 

It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).

In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:

Yet I this forme of formelesse Deity,

Drewe by the Squire and Compasse of our Creed.

In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.

Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.

 

The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."

 

Square and Compass:

 

Source: The Builder October 1916

By Bro. B. C. Ward, Iowa

 

Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.

 

As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.

 

Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.

 

The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."

Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,

 

"You should not in the valley stay

While the great horizons stretch away

The very cliffs that wall you round

Are ladders up to higher ground.

And Heaven draws near as you ascend,

The Breeze invites, the Stars befriend.

All things are beckoning to the Best,

Then climb toward God and find sweet Rest."

Behind the scenes silliness. Camera class at Craig Gum Studio with Craig Gum and Jeremy Barton. Model Emily Barford. Working on knowing camera and changing aperture, shutter speed and ISO. I like some of these images but need to work toward better focus and less grain. Other feedback, instructive/constructive criticism welcome.

Camera class at Craig Gum Studio with Craig Gum and Jeremy Barton. Model Emily Barford. Working on knowing camera and changing aperture, shutter speed and ISO. I like some of these images but need to work toward better focus and less grain. Other feedback, instructive/constructive criticism welcome.

Our second graders traveled back in time this week. We visited a local living history program that focused on daily life in Colonial Times. The students visited the bed chamber, sawed and chopped wood, cooked by the hearth, and visited the Colonial store thanks to a variety of staff dressed in period clothing. The shingles above adorned the outside of the structure. The barrels and ink wells I found within the store. I always love this field trip for its ability to bring alive history for 7 and 8-year olds in a very hands-on manner! The kids always remember this trip for years to come! It was a very chilly day, but that was also instructive to the kids as to the luxuries we have now in the 21st century!

Masonic Rough Aslar and Tracing Board.

 

A Masonic Moment- The Tracing Board

 

We are told in the Junior Wardens lecture the Tracing Board is one of the three Immovable Jewels for the Worshipful Master to “lay lines and draw designs on”. From time immemorial, man has recorded his experiences and relationships to the world through various images of the human condition. As we advanced, man learned the value of tracing out for himself pictures of ideas and then communicating them in elaborate pictorial language to his companions. These visuals were eventually applied to practical projects like the planning of battles, laying out of settlements and drafting of buildings.

In our Craft, Hiram Abiff’s Tracing Board was traditionally believed to been made of wood, coated with wax. Each day he would draw his measurements and symbols into the wax to instruct his Master Masons of the work that was to be accomplished. At the end of the day he would simply scrape off the wax and pour a new layer onto the board to ready it for the next day’s work. Much closer to the recent past, when Lodges were held in secret locations, the Tyler would draw an oblong square into the dirt that represented the form of the lodge. The Masters plan was then drawn along with the working tools that were to be used in the degree. Through the years the Masonic Tracing Board progressed to using charcoal or chalk on the floor of taverns where lodges were usually held. At this time several exposures of Freemasonry were published, one appearing in 1762 stating the images they drew on the floor were not to be seen by the profane.

 

Freemasonry has always been about the use of images and symbols which regular words are too simple to explain, allowing us to use our individual insight to de-code the messages. During the closing of our Lodges the meaning of the words “...nothing remains but, according to ancient custom, to lock up our secrets ...” is a reference to the now antiquated use of these Tracing Boards that were erased from the floor to leave no trace of the form of the lodge or the instructive drawings. After the lecture the lodge Stewards or the Entered Apprentices would get a broom or mop and remove all evidence of these drawings. This was a tedious and messy procedure so cloths or rugs were eventually created which could be laid on the floor and simply folded up when the lecture was completed.

 

The Tracing Boards used in the Emulation Lodge of Improvement in London were designed and painted by John Harris in 1845 and measured approximately 6 feet x 3 feet. These Tracing Board images created for each of the three degrees are the ones we commonly see on the walls of our lodges still today. The First Degree Tracing Board represents the Universe, both the inner one and the one stretching to infinity. It pictures life emerging from the eternal centre and radiating outwards. The Second Degree Tracing Board may be described as an intermediate stage of life’s journey and the beginning of ascension from a lower to a higher plane. The Third degree Tracing Board is simpler, there are fewer objects but their import is deeper than the other two, with different symbols and a coded Masonic cypher. Tracing Boards are designed with the objective of directing candidates along a path where their interpretations will vary from brother to brother and many books have been written amplifying their various meanings.

 

Tracing Boards should not be confused with Trestle Boards, the two are entirely different. The Trestle Board is a framework from which the Master inscribes ideas to direct the workman in their labours. It is usually in written form containing words, diagrams and figures, allowing the Tracing Board to be created as a picture formally drawn, containing a delineation of the symbols of the degree to which it belongs. It is through the Tracing Boards we introduce the brethren to their next step, a step that they must decipherer on their own to continue their personal journey through the mysteries of Freemasonry. The Tracing Board teaches us clearly that the path to realization of brotherly love is through the study of spiritual teachings and the development and strengthening of those myriad of virtues we hold dear including the ultimate trio of Faith, Hope and Mercy.

 

W Bro Garry Perkins FCF

MAHAVATAR BABAJI CAVE

Mahāvatār Bābājī (literally; Great Avatar Dear Father) is the name given to an Indian saint and yogi by Lahiri Mahasaya and several of his disciples,[2] who reported meeting him between 1861 and 1935. Some of these meetings were described by Paramahansa Yogananda in his book Autobiography of a Yogi, including a first-hand report of Yogananda's own meeting with the yogi.[3]Another first hand account was given by Yukteswar Giri in his book The Holy Science.[4] According to Sri M's autobiography (Apprenticed to a Himalayan Master) Babaji, was Shiva. In the second last chapter of his book, he mentions Babaji changing his form to that of Shiva. All of these accounts, along with additional reported meetings, are described in various biographies.[5][6][7]According to Yogananda's autobiography, Babaji has resided for at least hundreds of years in the remote Himalayan regions of India, seen in person by only a small number of disciples and others.[3][8] The death less Master is more than 2000 years old. He belongs to a very powerful lineage of Siddha Boganthar and Rishi Agastya as his Gurus. He acquired this deathless, non perishable body through tough yogik kriyas.

Again, according to his autobiography, shortly before Yogananda left for America in 1920, Babaji came to his home in Calcutta, where the young monk sat deeply praying for divine assurance regarding the mission he was about to undertake. Babaji said to him: "Follow the behest of your guru and go to America. Fear not; you shall be protected. You are the one I have chosen to spread the message of Kriya Yoga in the West

There are very few accounts of Babaji's childhood. One source of information is the book Babaji and the 18 Siddha Kriya Yoga tradition by Marshal Govindan.[9]According to Govindan, Babaji was named Nagarajan (king of serpents) by his parents. [8] V.T. Neelakantan and S.A.A. Ramaiah founded on 17 October 1952, (they claim – at the request of Babaji) a new organization, "Kriya Babaji Sangah," dedicated to the teaching of Babaji's Kriya Yoga. They claim that in 1953 Mahavatar Babaji told them that he was born on 30 November 203 CE in a small coastal village now known as Parangipettai, Cuddalore district of Tamil Nadu, India.[10] Babaji's Kriya Yoga Order of Acharyas Trust (Kriya Babaji Sangah) and their branch organizations claim his place and date of birth.[10] He was a disciple of Bogar and his birth name is Nagarajan.[9][10]

In Paramahansa Yogananda's Autobiography of a Yogi, many references are made to Mahavatar Babaji, including from Lahirī and Sri Yukteshwar.[3] In his book The Second Coming of Christ, Yogananda states that Jesus Christ went to India and conferred with Mahavatar Babaji.[8] This would make Babaji at least 2000 years old.[11] According to Govindan's book, Babaji Nagaraj's father was the priest of the village's temple. Babaji revealed only those details which he believed to be formative as well as potentially instructive to his disciples. Govindan mentioned one incident like this: "One time Nagaraj's mother had got one rare jackfruit for a family feast and put it aside. Babaji was only 4 years old at that time. He found the jackfruit when his mother was not around and ate it all. When his mother came to know about it, she flew in blind rage and stuffed a cloth inside Babaji's mouth, nearly suffocating him, but he survived. Later on he thanked God for showing him that she was to be loved without attachment or illusion. His Love for his mother became unconditional and detached."[9]

When Nagaraj was about 5 years old, someone kidnapped him and sold him as a slave in Calcutta (now Kolkata). His new owner however was a kind man and he freed Nagaraj shortly thereafter. Nagaraj then joined a small group of wandering sannyāsin due to their radiant faces and love for God. During the next few years, he wandered from place to place, studying holy scriptures like the Vedas, Upanishad, Mahabharata, Ramayana, Bhagavad Gita.

According to Marshall Govindan's book, at the age of eleven, he made a difficult journey on foot and by boat with a group of ascetics to Kataragama, Sri Lanka. Nagaraj met Siddha Bhogarnathar and became his disciple. Nagaraj performed intensive yogic sadhana for a long time with him. Bhogarnathar inspired Nagaraj to seek his initiation into Kriya Kundalini Pranayam from Siddha Agastya. Babaji became a disciple of Siddha Agastya. Nagaraj was initiated into the secrets of Kriya Kundalini Pranayama or "Vasi Yogam". Babaji made a long pilgrimage to Badrinath and spent eighteen months practising yogic kriyataught to him by Siddha Agastya and Bhogarnathar. Babaji attained self-realization shortly thereafter.[9]

It is claimed that these revelations were made by Babaji himself to S.A.A. Ramaiah, a young graduate student in geology at the University of Madras and V.T. Neelakantan, a famous journalist, and close student of Annie Besant, President of the Theosophical Society and mentor of Krishnamurti. Babaji was said to have appeared to each of them independently and then brought them together to work for his Mission in 1942

By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com

 

Camera class at Craig Gum Studio with Craig Gum and Jeremy Barton. Model Emily Barford. Working on knowing camera and changing aperture, shutter speed and ISO. I like some of these images but need to work toward better focus and less grain. Other feedback, instructive/constructive criticism welcome.

Masonic brass door knocker.

 

Masonic Square and Compasses:

 

The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".

 

However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.

 

Square and Compasses:

 

Source: Mackey's Encyclopedia of Freemasonry

 

These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.

 

So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.

 

If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.

 

It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).

In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:

Yet I this forme of formelesse Deity,

Drewe by the Squire and Compasse of our Creed.

In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.

Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.

 

The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."

 

Square and Compass:

 

Source: The Builder October 1916

By Bro. B. C. Ward, Iowa

 

Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.

 

As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.

 

Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.

 

The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."

Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,

 

"You should not in the valley stay

While the great horizons stretch away

The very cliffs that wall you round

Are ladders up to higher ground.

And Heaven draws near as you ascend,

The Breeze invites, the Stars befriend.

All things are beckoning to the Best,

Then climb toward God and find sweet Rest.”

 

The secrets of Freemasonry are concerned with its traditional modes of recognition. It is not a secret society, since all members are free to acknowledge their membership and will do so in response to enquiries for respectable reasons. Its constitutions and rules are available to the public. There is no secret about any of its aims and principles. Like many other societies, it regards some of its internal affairs as private matters for its members. In history there have been times and places where promoting equality, freedom of thought or liberty of conscience was dangerous. Most importantly though is a question of perspective. Each aspect of the craft has a meaning. Freemasonry has been described as a system of morality, veiled in allegory and illustrated by symbols. Such characteristics as virtue, honour and mercy, such virtues as temperance, fortitude, prudence and justice are empty clichés and hollow words unless presented within an ordered and closed framework. The lessons are not secret but the presentation is kept private to promote a clearer understanding in good time. It is also possible to view Masonic secrecy not as secrecy in and of itself, but rather as a symbol of privacy and discretion. By not revealing Masonic secrets, or acknowledging the many published exposures, freemasons demonstrate that they are men of discretion, worthy of confidences, and that they place a high value on their word and bond.

 

Masonic Square and Compasses.

 

The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".

 

However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.

 

Square and Compasses:

 

Source: Mackey's Encyclopedia of Freemasonry

 

These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.

 

So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.

 

If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.

 

It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).

In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:

Yet I this forme of formelesse Deity,

Drewe by the Squire and Compasse of our Creed.

In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.

Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.

 

The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."

 

Square and Compass:

 

Source: The Builder October 1916

By Bro. B. C. Ward, Iowa

 

Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.

 

As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.

 

Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.

 

The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."

Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,

 

"You should not in the valley stay

While the great horizons stretch away

The very cliffs that wall you round

Are ladders up to higher ground.

And Heaven draws near as you ascend,

The Breeze invites, the Stars befriend.

All things are beckoning to the Best,

Then climb toward God and find sweet Rest."

I consider this a flawed image but am including it anyway; sometimes our "errors" are more instructive than our great shots. In fact, I'm sure that is true most of the time. Here I was trying to juxtapose a breaking wave with the rugged coastal rock. Great elements, but how to best arrange them in the frame? That was the question.

 

This image was cropped from a horizontal. The original was too "busy" for my liking, especially on the right side. The square cropping helps... a little. But it still feels out of balance to me, despite some wonderful elements. Staring at it, wondering what went wrong, I realized the wave is breaking in the "wrong" place. Look at all that empty space up top! If the wave were placed higher and to the left, I might have something. A square crop demands a formal design scheme; this is too random. I really needed top half water, bottom half rock. Equal balance. This in itself is quite unusual, as I find I usually prefer either foreground or background to be dominant in a landscape shot.

 

Regardless of compositional requirements, I needed the wave. A promising morning had collapsed into dull light. The rocks had become progressively darker as the day unfolded, forcing me to search for some element - like a green wave - to bring the scene to life. My assessment was right on; I merely failed in the execution. And I didn't stick with it, either, until a wave broke where I wanted it to; Ansel Adams I'm not. It was beginning to rain, the waves were increasing in size, and I was too close to the edge to remain there safely for long - every so often these waves catch an unsuspecting tourist who underestimated their sheer force and/or wasn't paying attention.

 

Don't use this image on websites, blogs or other media without explicit permission.

© All rights reserved

 

Backcountry Windmill Cutting Cheese

Ol’ “Sneaky Pete” the windmill is up to his old tricks again. I find he is more than willing to try to interfere with the clock work universe. Here he is trying to slice and dice up the moon again. I’ve caught him several times attempting what must surely be a crime anywhere but Wyotana.

Windmill Weekend (Windmill Junkies Unite)

“Sneaky’s” full time job is to pump air into a small pond that has barnyard ducks on it. This de-stratifies the pond and makes it more able to deal with the extra poop load from the ducks. It also keeps a pretty good hole open in the ice during most of the winter. Well, with the help of the aforementioned water fowl helping. He has been very good at pumping air over his career. I can’t even imagine how many times it has turned around over a couple of decades.

Photographic Musings: (Long but instructive)

More angles in this thing…didn’t have a clue what to use as a level horizon lololol.

Fellow students, what to do you have to do to get this kind of shot?

OK, Full Moon up during the day (maybe 2 chances a month IF the weather cooperates). Then the moon about 2 times a year lines up just so with the topography. (Topography is my master). It has to be somewhat windy.

Where to set this up, you have to be at least 300 yards away from the close object (windmill) with a 400mm lens. That puts the windmill in the same focal depth of field as the moon at infinity. I work up to 1200 mm this way for some distance perspectives. The further back you go with a larger lens will give you a relatively bigger moon in the image.

THEN with all that conveniently arranged, you have to Set your camera to the dreaded M – mode. I know, it’s scary in there. Set your priority that you need most. Blurred windmill…… OK, 1/15th of a second exposure to allow the blur. That’s pretty much set in stone so adjust the camera shutter to 1/15th. Balancing the exposure now is easy now.

That leaves only two other things to adjust, ISO (camera sensitivity) and F-stop (aperture/iris size in your lens.) F-stop controls your depth of field which you want very deep. So a high enough F-stop number to focus both is required. I used f-22 for this. Lower f stop settings will thin your depth of field. You would have to move back too far to fill the frame.

One setting left. Turn your camera sensitivity to what is required to give you the proper image in “live view” or in your mirrorless camera. In a mirrorless camera, what you see in the eyepiece is what you get. You get to watch your settings change live real time in the eyepiece. What ever it takes. Rule number one of photography is to get the picture. Damn the high ISO if it is needed. Fortunately this is still some daylight in the frame. 📷

Location: Bliss Dinosaur Ranch, Wyoming / Montana borderlands (Wyotana)

Title: Backcountry Windmill Cutting Cheese

  

blissphotographics.com/backcountry-windmill-cutting-cheese/

exposureoflife.com/2011/01/picture-perfect/

In September 2010 I attended a workshop on HDR photography with Trey Ratcliff in London, it was great fun and very instructive. Thanks a lot Trey and everyone else attending for make it a superb weekend.

∞

We went to the British Museum (here's a photo I made the first time I was there) to shoot some photos to use at the workshop, this is one of the photos I shot there and processed afterwards.

It's not that often I make a black and white HDR photography (I think they are kind of hard to get just right). But this one worked better that way, cause the museum is almost "black and white" in real life.

It's a 5 RAW exposure HDR made in Photomatrix. Converted to black and white and cleaned it up in Photoshop.

 

[exif show="camera,aperture,shutter,focus,iso,time,location,"]

up north, all signs tend to be quite instructive.

Inside the walls, instead of historical buildings and instructive plaques, there's more city. Many blocks of banks and shacks and 7-11's and such...

PB050015

 

THE JOURNAL OF A VOYAGE TO LISBON

 

by Henry Fielding

 

INTRODUCTION TO SEVERAL WORKS

When it was determined to extend the present edition of Fielding, not merely by the addition of Jonathan Wild to the three universally popular novels, but by two volumes of Miscellanies, there could be no doubt about at least one of the contents of these latter. The Journal of a Voyage to Lisbon, if it does not rank in my estimation anywhere near to Jonathan Wild as an example of our author's genius, is an invaluable and delightful document for his character and memory. It is indeed, as has been pointed out in the General Introduction to this series, our main source of indisputable information as to Fielding dans son naturel, and its value, so far as it goes, is of the very highest. The gentle and unaffected stoicism which the author displays under a disease which he knew well was probably, if not certainly, mortal, and which, whether mortal or not, must cause him much actual pain and discomfort of a kind more intolerable than pain itself; his affectionate care for his family; even little personal touches, less admirable, but hardly less pleasant than these, showing an Englishman's dislike to be "done" and an Englishman's determination to be treated with proper respect, are scarcely less noticeable and important on the biographical side than the unimpaired brilliancy of his satiric and yet kindly observation of life and character is on the side of literature.

 

There is, as is now well known since Mr. Dobson's separate edition of the Voyage, a little bibliographical problem about the first appearance of this Journal in 1755. The best known issue of that year is much shorter than the version inserted by Murphy and reprinted here, the passages omitted being chiefly those reflecting on the captain, etc., and so likely to seem invidious in a book published just after the author's death, and for the benefit, as was expressly announced, of his family. But the curious thing is that there is ANOTHER edition, of date so early that some argument is necessary to determine the priority, which does give these passages and is identical with the later or standard version. For satisfaction on this point, however, I must refer readers to Mr. Dobson himself.

 

There might have been a little, but not much, doubt as to a companion piece for the Journal; for indeed, after we close this (with or without its "Fragment on Bolingbroke"), the remainder of Fielding's work lies on a distinctly lower level of interest. It is still interesting, or it would not be given here. It still has—at least that part which here appears seems to its editor to have—interest intrinsic and "simple of itself." But it is impossible for anybody who speaks critically to deny that we now get into the region where work is more interesting because of its authorship than it would be if its authorship were different or unknown. To put the same thing in a sharper antithesis, Fielding is interesting, first of all, because he is the author of Joseph Andrews, of Tom Jones, of Amelia, of Jonathan Wild, of the Journal. His plays, his essays, his miscellanies generally are interesting, first of all, because they were written by Fielding.

 

Yet of these works, the Journey from this World to the Next (which, by a grim trick of fortune, might have served as a title for the more interesting Voyage with which we have yoked it) stands clearly first both in scale and merit. It is indeed very unequal, and as the author was to leave it unfinished, it is a pity that he did not leave it unfinished much sooner than he actually did. The first ten chapters, if of a kind of satire which has now grown rather obsolete for the nonce, are of a good kind and good in their kind; the history of the metempsychoses of Julian is of a less good kind, and less good in that kind. The date of composition of the piece is not known, but it appeared in the Miscellanies of 1743, and may represent almost any period of its author's development prior to that year. Its form was a very common form at the time, and continued to be so. I do not know that it is necessary to assign any very special origin to it, though Lucian, its chief practitioner, was evidently and almost avowedly a favorite study of Fielding's. The Spanish romancers, whether borrowing it from Lucian or not, had been fond of it; their French followers, of whom the chief were Fontenelle and Le Sage, had carried it northwards; the English essayists had almost from the beginning continued the process of acclimatization. Fielding therefore found it ready to his hand, though the present condition of this example would lead us to suppose that he did not find his hand quite ready to it. Still, in the actual "journey," there are touches enough of the master—not yet quite in his stage of mastery. It seemed particularly desirable not to close the series without some representation of the work to which Fielding gave the prime of his manhood, and from which, had he not, fortunately for English literature, been driven decidedly against his will, we had had in all probability no Joseph Andrews, and pretty certainly no Tom Jones. Fielding's periodical and dramatic work has been comparatively seldom reprinted, and has never yet been reprinted as a whole. The dramas indeed are open to two objections—the first, that they are not very "proper;" the second, and much more serious, that they do not redeem this want of propriety by the possession of any remarkable literary merit. Three (or two and part of a third) seemed to escape this double censure—the first two acts of the Author's Farce (practically a piece to themselves, for the Puppet Show which follows is almost entirely independent); the famous burlesque of Tom Thumb, which stands between the Rehearsal and the Critic, but nearer to the former; and Pasquin, the maturest example of Fielding's satiric work in drama. These accordingly have been selected; the rest I have read, and he who likes may read. I have read many worse things than even the worst of them, but not often worse things by so good a writer as Henry Fielding. The next question concerned the selection of writings more miscellaneous still, so as to give in little a complete idea of Fielding's various powers and experiments. Two difficulties beset this part of the task—want of space and the absence of anything so markedly good as absolutely to insist on inclusion. The Essay on Conversation, however, seemed pretty peremptorily to challenge a place. It is in a style which Fielding was very slow to abandon, which indeed has left strong traces even on his great novels; and if its mannerism is not now very attractive, the separate traits in it are often sharp and well-drawn. The book would not have been complete without a specimen or two of Fielding's journalism. The Champion, his first attempt of this kind, has not been drawn upon in consequence of the extreme difficulty of fixing with absolute certainty on Fielding's part in it. I do not know whether political prejudice interferes, more than I have usually found it interfere, with my judgment of the two Hanoverian-partisan papers of the '45 time. But they certainly seem to me to fail in redeeming their dose of rancor and misrepresentation by any sufficient evidence of genius such as, to my taste, saves not only the party journalism in verse and prose of Swift and Canning and Praed on one side, but that of Wolcot and Moore and Sydney Smith on the other. Even the often-quoted journal of events in London under the Chevalier is overwrought and tedious. The best thing in the True Patriot seems to me to be Parson Adams' letter describing his adventure with a young "bowe" of his day; and this I select, together with one or two numbers of the Covent Garden Journal. I have not found in this latter anything more characteristic than Murphy's selection, though Mr. Dobson, with his unfailing kindness, lent me an original and unusually complete set of the Journal itself.

 

It is to the same kindness that I owe the opportunity of presenting the reader with something indisputably Fielding's and very characteristic of him, which Murphy did not print, and which has not, so far as I know, ever appeared either in a collection or a selection of Fielding's work. After the success of David Simple, Fielding gave his sister, for whom he had already written a preface to that novel, another preface for a set of Familiar Letters between the characters of David Simple and others. This preface Murphy reprinted; but he either did not notice, or did not choose to attend to, a note towards the end of the book attributing certain of the letters to the author of the preface, the attribution being accompanied by an agreeably warm and sisterly denunciation of those who ascribed to Fielding matter unworthy of him. From these the letter which I have chosen, describing a row on the Thames, seems to me not only characteristic, but, like all this miscellaneous work, interesting no less for its weakness than for its strength. In hardly any other instance known to me can we trace so clearly the influence of a suitable medium and form on the genius of the artist. There are some writers—Dryden is perhaps the greatest of them—to whom form and medium seem almost indifferent, their all-round craftsmanship being such that they can turn any kind and every style to their purpose. There are others, of whom I think our present author is the chief, who are never really at home but in one kind. In Fielding's case that kind was narrative of a peculiar sort, half-sentimental, half-satirical, and almost wholly sympathetic—narrative which has the singular gift of portraying the liveliest character and yet of admitting the widest disgression and soliloquy.

 

Until comparatively late in his too short life, when he found this special path of his (and it is impossible to say whether the actual finding was in the case of Jonathan or in the case of Joseph), he did but flounder and slip. When he had found it, and was content to walk in it, he strode with as sure and steady a step as any other, even the greatest, of those who carry and hand on the torch of literature through the ages. But it is impossible to derive full satisfaction from his feats in this part of the race without some notion of his performances elsewhere; and I believe that such a notion will be supplied to the readers of his novels by the following volumes, in a very large number of cases, for the first time.

  

THE JOURNAL OF A VOYAGE TO LISBON

  

DEDICATION TO THE PUBLIC

Your candor is desired on the perusal of the following sheets, as they are the product of a genius that has long been your delight and entertainment. It must be acknowledged that a lamp almost burnt out does not give so steady and uniform a light as when it blazes in its full vigor; but yet it is well known that by its wavering, as if struggling against its own dissolution, it sometimes darts a ray as bright as ever. In like manner, a strong and lively genius will, in its last struggles, sometimes mount aloft, and throw forth the most striking marks of its original luster.

 

Wherever these are to be found, do you, the genuine patrons of extraordinary capacities, be as liberal in your applauses of him who is now no more as you were of him whilst he was yet amongst you. And, on the other hand, if in this little work there should appear any traces of a weakened and decayed life, let your own imaginations place before your eyes a true picture in that of a hand trembling in almost its latest hour, of a body emaciated with pains, yet struggling for your entertainment; and let this affecting picture open each tender heart, and call forth a melting tear, to blot out whatever failings may be found in a work begun in pain, and finished almost at the same period with life. It was thought proper by the friends of the deceased that this little piece should come into your hands as it came from the hands of the author, it being judged that you would be better pleased to have an opportunity of observing the faintest traces of a genius you have long admired, than have it patched by a different hand, by which means the marks of its true author might have been effaced. That the success of the last written, though first published, volume of the author's posthumous pieces may be attended with some convenience to those innocents he hath left behind, will no doubt be a motive to encourage its circulation through the kingdom, which will engage every future genius to exert itself for your pleasure. The principles and spirit which breathe in every line of the small fragment begun in answer to Lord Bolingbroke will unquestionably be a sufficient apology for its publication, although vital strength was wanting to finish a work so happily begun and so well designed. PREFACE THERE would not, perhaps, be a more pleasant or profitable study, among those which have their principal end in amusement, than that of travels or voyages, if they were wrote as they might be and ought to be, with a joint view to the entertainment and information of mankind. If the conversation of travelers be so eagerly sought after as it is, we may believe their books will be still more agreeable company, as they will in general be more instructive and more entertaining. But when I say the conversation of travelers is usually so welcome, I must be understood to mean that only of such as have had good sense enough to apply their peregrinations to a proper use, so as to acquire from them a real and valuable knowledge of men and things, both which are best known by comparison. If the customs and manners of men were everywhere the same, there would be no office so dull as that of a traveler, for the difference of hills, valleys, rivers, in short, the various views of which we may see the face of the earth, would scarce afford him a pleasure worthy of his labor; and surely it would give him very little opportunity of communicating any kind of entertainment or improvement to others.

 

To make a traveler an agreeable companion to a man of sense, it is necessary, not only that he should have seen much, but that he should have overlooked much of what he hath seen. Nature is not, any more than a great genius, always admirable in her productions, and therefore the traveler, who may be called her commentator, should not expect to find everywhere subjects worthy of his notice. It is certain, indeed, that one may be guilty of omission, as well as of the opposite extreme; but a fault on that side will be more easily pardoned, as it is better to be hungry than surfeited; and to miss your dessert at the table of a man whose gardens abound with the choicest fruits, than to have your taste affronted with every sort of trash that can be picked up at the green-stall or the wheel-barrow. If we should carry on the analogy between the traveler and the commentator, it is impossible to keep one's eye a moment off from the laborious much-read doctor Zachary Gray, of whose redundant notes on Hudibras I shall only say that it is, I am confident, the single book extant in which above five hundred authors are quoted, not one of which could be found in the collection of the late doctor Mead.

 

As there are few things which a traveler is to record, there are fewer on which he is to offer his observations: this is the office of the reader; and it is so pleasant a one, that he seldom chooses to have it taken from him, under the pretense of lending him assistance. Some occasions, indeed, there are, when proper observations are pertinent, and others when they are necessary; but good sense alone must point them out. I shall lay down only one general rule; which I believe to be of universal truth between relator and hearer, as it is between author and reader; this is, that the latter never forgive any observation of the former which doth not convey some knowledge that they are sensible they could not possibly have attained of themselves.

 

But all his pains in collecting knowledge, all his judgment in selecting, and all his art in communicating it, will not suffice, unless he can make himself, in some degree, an agreeable as well as an instructive companion. The highest instruction we can derive from the tedious tale of a dull fellow scarce ever pays us for our attention. There is nothing, I think, half so valuable as knowledge, and yet there is nothing which men will give themselves so little trouble to attain; unless it be, perhaps, that lowest degree of it which is the object of curiosity, and which hath therefore that active passion constantly employed in its service. This, indeed, it is in the power of every traveler to gratify; but it is the leading principle in weak minds only.

 

To render his relation agreeable to the man of sense, it is therefore necessary that the voyager should possess several eminent and rare talents; so rare indeed, that it is almost wonderful to see them ever united in the same person. And if all these talents must concur in the relator, they are certainly in a more eminent degree necessary to the writer; for here the narration admits of higher ornaments of style, and every fact and sentiment offers itself to the fullest and most deliberate examination. It would appear, therefore, I think, somewhat strange if such writers as these should be found extremely common; since nature hath been a most parsimonious distributor of her richest talents, and hath seldom bestowed many on the same person. But, on the other hand, why there should scarce exist a single writer of this kind worthy our regard; and, whilst there is no other branch of history (for this is history) which hath not exercised the greatest pens, why this alone should be overlooked by all men of great genius and erudition, and delivered up to the Goths and Vandals as their lawful property, is altogether as difficult to determine. And yet that this is the case, with some very few exceptions, is most manifest. Of these I shall willingly admit Burnet and Addison; if the former was not, perhaps, to be considered as a political essayist, and the latter as a commentator on the classics, rather than as a writer of travels; which last title, perhaps, they would both of them have been least ambitious to affect. Indeed, if these two and two or three more should be removed from the mass, there would remain such a heap of dullness behind, that the appellation of voyage-writer would not appear very desirable. I am not here unapprised that old Homer himself is by some considered as a voyage-writer; and, indeed, the beginning of his Odyssey may be urged to countenance that opinion, which I shall not controvert. But, whatever species of writing the Odyssey is of, it is surely at the head of that species, as much as the Iliad is of another; and so far the excellent Longinus would allow, I believe, at this day.

 

But, in reality, the Odyssey, the Telemachus, and all of that kind, are to the voyage-writing I here intend, what romance is to true history, the former being the confounder and corrupter of the latter. I am far from supposing that Homer, Hesiod, and the other ancient poets and mythologists, had any settled design to pervert and confuse the records of antiquity; but it is certain they have effected it; and for my part I must confess I should have honored and loved Homer more had he written a true history of his own times in humble prose, than those noble poems that have so justly collected the praise of all ages; for, though I read these with more admiration and astonishment, I still read Herodotus, Thucydides, and Xenophon with more amusement and more satisfaction. The original poets were not, however, without excuse. They found the limits of nature too straight for the immensity of their genius, which they had not room to exert without extending fact by fiction: and that especially at a time when the manners of men were too simple to afford that variety which they have since offered in vain to the choice of the meanest writers. In doing this they are again excusable for the manner in which they have done it.

 

Ut speciosa dehine miracula promant.

They are not, indeed, so properly said to turn reality into fiction, as fiction into reality. Their paintings are so bold, their colors so strong, that everything they touch seems to exist in the very manner they represent it; their portraits are so just, and their landscapes so beautiful, that we acknowledge the strokes of nature in both, without inquiring whether Nature herself, or her journeyman the poet, formed the first pattern of the piece. But other writers (I will put Pliny at their head) have no such pretensions to indulgence; they lie for lying sake, or in order insolently to impose the most monstrous improbabilities and absurdities upon their readers on their own authority; treating them as some fathers treat children, and as other fathers do laymen, exacting their belief of whatever they relate, on no other foundation than their own authority, without ever taking the pains or adapting their lies to human credulity, and of calculating them for the meridian of a common understanding; but, with as much weakness as wickedness, and with more impudence often than either, they assert facts contrary to the honor of God, to the visible order of the creation, to the known laws of nature, to the histories of former ages, and to the experience of our own, and which no man can at once understand and believe. If it should be objected (and it can nowhere be objected better than where I now write, 12 as there is nowhere more pomp of bigotry) that whole nations have been firm believers in such most absurd suppositions, I reply, the fact is not true. They have known nothing of the matter, and have believed they knew not what. It is, indeed, with me no matter of doubt but that the pope and his clergy might teach any of those Christian heterodoxies, the tenets of which are the most diametrically opposite to their own; nay, all the doctrines of Zoroaster, Confucius, and Mahomet, not only with certain and immediate success, but without one Catholic in a thousand knowing he had changed his religion.

 

What motive a man can have to sit down, and to draw forth a list of stupid, senseless, incredible lies upon paper, would be difficult to determine, did not Vanity present herself so immediately as the adequate cause. The vanity of knowing more than other men is, perhaps, besides hunger, the only inducement to writing, at least to publishing, at all. Why then should not the voyage-writer be inflamed with the glory of having seen what no man ever did or will see but himself? This is the true source of the wonderful in the discourse and writings, and sometimes, I believe, in the actions of men. There is another fault, of a kind directly opposite to this, to which these writers are sometimes liable, when, instead of filling their pages with monsters which nobody hath ever seen, and with adventures which never have, nor could possibly have, happened to them, waste their time and paper with recording things and facts of so common a kind, that they challenge no other right of being remembered than as they had the honor of having happened to the author, to whom nothing seems trivial that in any manner happens to himself.

 

Of such consequence do his own actions appear to one of this kind, that he would probably think himself guilty of infidelity should he omit the minutest thing in the detail of his journal. That the fact is true is sufficient to give it a place there, without any consideration whether it is capable of pleasing or surprising, of diverting or informing, the reader. I have seen a play (if I mistake not it is one of Mrs. Behn's or of Mrs. Centlivre's) where this vice in a voyage-writer is finely ridiculed. An ignorant pedant, to whose government, for I know not what reason, the conduct of a young nobleman in his travels is committed, and who is sent abroad to show my lord the world, of which he knows nothing himself, before his departure from a town, calls for his Journal to record the goodness of the wine and tobacco, with other articles of the same importance, which are to furnish the materials of a voyage at his return home. The humor, it is true, is here carried very far; and yet, perhaps, very little beyond what is to be found in writers who profess no intention of dealing in humor at all. Of one or other, or both of these kinds, are, I conceive, all that vast pile of books which pass under the names of voyages, travels, adventures, lives, memoirs, histories, etc., some of which a single traveler sends into the world in many volumes, and others are, by judicious booksellers, collected into vast bodies in folio, and inscribed with their own names, as if they were indeed their own travels: thus unjustly attributing to themselves the merit of others.

 

Now, from both these faults we have endeavored to steer clear in the following narrative; which, however the contrary may be insinuated by ignorant, unlearned, and fresh-water critics, who have never traveled either in books or ships, I do solemnly declare doth, in my own impartial opinion, deviate less from truth than any other voyage extant; my lord Anson's alone being, perhaps, excepted. Some few embellishments must be allowed to every historian; for we are not to conceive that the speeches in Livy, Sallust, or Thucydides, were literally spoken in the very words in which we now read them. It is sufficient that every fact hath its foundation in truth, as I do seriously aver is the ease in the ensuing pages; and when it is so, a good critic will be so far from denying all kind of ornament of style or diction, or even of circumstance, to his author, that he would be rather sorry if he omitted it; for he could hence derive no other advantage than the loss of an additional pleasure in the perusal.

 

Again, if any merely common incident should appear in this journal, which will seldom I apprehend be the case, the candid reader will easily perceive it is not introduced for its own sake, but for some observations and reflections naturally resulting from it; and which, if but little to his amusement, tend directly to the instruction of the reader or to the information of the public; to whom if I choose to convey such instruction or information with an air of joke and laughter, none but the dullest of fellows will, I believe, censure it; but if they should, I have the authority of more than one passage in Horace to allege in my defense. Having thus endeavored to obviate some censures, to which a man without the gift of foresight, or any fear of the imputation of being a conjurer, might conceive this work would be liable, I might now undertake a more pleasing task, and fall at once to the direct and positive praises of the work itself; of which indeed, I could say a thousand good things; but the task is so very pleasant that I shall leave it wholly to the reader, and it is all the task that I impose on him. A moderation for which he may think himself obliged to me when he compares it with the conduct of authors, who often fill a whole sheet with their own praises, to which they sometimes set their own real names, and sometimes a fictitious one. One hint, however, I must give the kind reader; which is, that if he should be able to find no sort of amusement in the book, he will be pleased to remember the public utility which will arise from it. If entertainment, as Mr. Richardson observes, be but a secondary consideration in a romance; with which Mr. Addison, I think, agrees, affirming the use of the pastry cook to be the first; if this, I say, be true of a mere work of invention, sure it may well be so considered in a work founded, like this, on truth; and where the political reflections form so distinguishing a part. But perhaps I may hear, from some critic of the most saturnine complexion, that my vanity must have made a horrid dupe of my judgment, if it hath flattered me with an expectation of having anything here seen in a grave light, or of conveying any useful instruction to the public, or to their guardians. I answer, with the great man whom I just now quoted, that my purpose is to convey instruction in the vehicle of entertainment; and so to bring about at once, like the revolution in the Rehearsal, a perfect reformation of the laws relating to our maritime affairs: an undertaking, I will not say more modest, but surely more feasible, than that of reforming a whole people, by making use of a vehicular story, to wheel in among them worse manners than their own.

  

INTRODUCTION

In the beginning of August, 1753, when I had taken the duke of Portland's medicine, as it is called, near a year, the effects of which had been the carrying off the symptoms of a lingering imperfect gout, I was persuaded by Mr. Ranby, the king's premier sergeant-surgeon, and the ablest advice, I believe, in all branches of the physical profession, to go immediately to Bath. I accordingly wrote that very night to Mrs. Bowden, who, by the next post, informed me she had taken me a lodging for a month certain. Within a few days after this, whilst I was preparing for my journey, and when I was almost fatigued to death with several long examinations, relating to five different murders, all committed within the space of a week, by different gangs of street-robbers, I received a message from his grace the duke of Newcastle, by Mr. Carrington, the king's messenger, to attend his grace the next morning, in Lincoln's-inn-fields, upon some business of importance; but I excused myself from complying with the message, as, besides being lame, I was very ill with the great fatigues I had lately undergone added to my distemper.

 

His grace, however, sent Mr. Carrington, the very next morning, with another summons; with which, though in the utmost distress, I immediately complied; but the duke, happening, unfortunately for me, to be then particularly engaged, after I had waited some time, sent a gentleman to discourse with me on the best plan which could be invented for putting an immediate end to those murders and robberies which were every day committed in the streets; upon which I promised to transmit my opinion, in writing, to his grace, who, as the gentleman informed me, intended to lay it before the privy council.

 

Though this visit cost me a severe cold, I, notwithstanding, set myself down to work; and in about four days sent the duke as regular a plan as I could form, with all the reasons and arguments I could bring to support it, drawn out in several sheets of paper; and soon received a message from the duke by Mr. Carrington, acquainting me that my plan was highly approved of, and that all the terms of it would be complied with. The principal and most material of those terms was the immediately depositing six hundred pound in my hands; at which small charge I undertook to demolish the then reigning gangs, and to put the civil policy into such order, that no such gangs should ever be able, for the future, to form themselves into bodies, or at least to remain any time formidable to the public.

 

I had delayed my Bath journey for some time, contrary to the repeated advice of my physical acquaintance, and to the ardent desire of my warmest friends, though my distemper was now turned to a deep jaundice; in which case the Bath waters are generally reputed to be almost infallible. But I had the most eager desire of demolishing this gang of villains and cut-throats, which I was sure of accomplishing the moment I was enabled to pay a fellow who had undertaken, for a small sum, to betray them into the hands of a set of thief-takers whom I had enlisted into the service, all men of known and approved fidelity and intrepidity.

 

After some weeks the money was paid at the treasury, and within a few days after two hundred pounds of it had come to my hands, the whole gang of cut-throats was entirely dispersed, seven of them were in actual custody, and the rest driven, some out of the town, and others out of the kingdom. Though my health was now reduced to the last extremity, I continued to act with the utmost vigor against these villains; in examining whom, and in taking the depositions against them, I have often spent whole days, nay, sometimes whole nights, especially when there was any difficulty in procuring sufficient evidence to convict them; which is a very common case in street-robberies, even when the guilt of the party is sufficiently apparent to satisfy the most tender conscience. But courts of justice know nothing of a cause more than what is told them on oath by a witness; and the most flagitious villain upon earth is tried in the same manner as a man of the best character who is accused of the same crime. Meanwhile, amidst all my fatigues and distresses, I had the satisfaction to find my endeavors had been attended with such success that this hellish society were almost utterly extirpated, and that, instead of reading of murders and street-robberies in the news almost every morning, there was, in the remaining part of the month of November, and in all December, not only no such thing as a murder, but not even a street-robbery committed. Some such, indeed, were mentioned in the public papers; but they were all found on the strictest inquiry, to be false. In this entire freedom from street-robberies, during the dark months, no man will, I believe, scruple to acknowledge that the winter of 1753 stands unrivaled, during a course of many years; and this may possibly appear the more extraordinary to those who recollect the outrages with which it began. Having thus fully accomplished my undertaking, I went into the country, in a very weak and deplorable condition, with no fewer or less diseases than a jaundice, a dropsy, and an asthma, altogether uniting their forces in the destruction of a body so entirely emaciated that it had lost all its muscular flesh. Mine was now no longer what was called a Bath case; nor, if it had been so, had I strength remaining sufficient to go thither, a ride of six miles only being attended with an intolerable fatigue. I now discharged my lodgings at Bath, which I had hitherto kept. I began in earnest to look on my case as desperate, and I had vanity enough to rank myself with those heroes who, of old times, became voluntary sacrifices to the good of the public. But, lest the reader should be too eager to catch at the word VANITY, and should be unwilling to indulge me with so sublime a gratification, for I think he is not too apt to gratify me, I will take my key a pitch lower, and will frankly own that I had a stronger motive than the love of the public to push me on: I will therefore confess to him that my private affairs at the beginning of the winter had but a gloomy aspect; for I had not plundered the public or the poor of those sums which men, who are always ready to plunder both as much as they can, have been pleased to suspect me of taking: on the contrary, by composing, instead of inflaming the quarrels of porters and beggars (which I blush when I say hath not been universally practiced), and by refusing to take a shilling from a man who most undoubtedly would not have had another left, I had reduced an income of about five hundred pounds 13 a-year of the dirtiest money upon earth to little more than three hundred pounds; a considerable proportion of which remained with my clerk; and, indeed, if the whole had done so, as it ought, he would be but ill paid for sitting almost sixteen hours in the twenty-four in the most unwholesome, as well as nauseous air in the universe, and which hath in his case corrupted a good constitution without contaminating his morals.

 

The public will not, therefore, I hope, think I betray a secret when I inform them that I received from the Government a yearly pension out of the public service money; which, I believe, indeed, would have been larger had my great patron been convinced of an error, which I have heard him utter more than once, that he could not indeed say that the acting as a principal justice of peace in Westminster was on all accounts very desirable, but that all the world knew it was a very lucrative office. Now, to have shown him plainly that a man must be a rogue to make a very little this way, and that he could not make much by being as great a rogue as he could be, would have required more confidence than, I believe, he had in me, and more of his conversation than he chose to allow me; I therefore resigned the office and the farther execution of my plan to my brother, who had long been my assistant. And now, lest the case between me and the reader should be the same in both instances as it was between me and the great man, I will not add another word on the subject.

 

But, not to trouble the reader with anecdotes, contrary to my own rule laid down in my preface, I assure him I thought my family was very slenderly provided for; and that my health began to decline so fast that I had very little more of life left to accomplish what I had thought of too late. I rejoiced therefore greatly in seeing an opportunity, as I apprehended, of gaining such merit in the eye of the public, that, if my life were the sacrifice to it, my friends might think they did a popular act in putting my family at least beyond the reach of necessity, which I myself began to despair of doing. And though I disclaim all pretense to that Spartan or Roman patriotism which loved the public so well that it was always ready to become a voluntary sacrifice to the public good, I do solemnly declare I have that love for my family.

 

After this confession therefore, that the public was not the principal deity to which my life was offered a sacrifice, and when it is farther considered what a poor sacrifice this was, being indeed no other than the giving up what I saw little likelihood of being able to hold much longer, and which, upon the terms I held it, nothing but the weakness of human nature could represent to me as worth holding at all; the world may, I believe, without envy, allow me all the praise to which I have any title. My aim, in fact, was not praise, which is the last gift they care to bestow; at least, this was not my aim as an end, but rather as a means of purchasing some moderate provision for my family, which, though it should exceed my merit, must fall infinitely short of my service, if I succeeded in my attempt. To say the truth, the public never act more wisely than when they act most liberally in the distribution of their rewards; and here the good they receive is often more to be considered than the motive from which they receive it. Example alone is the end of all public punishments and rewards. Laws never inflict disgrace in resentment, nor confer honor from gratitude. "For it is very hard, my lord," said a convicted felon at the bar to the late excellent judge Burnet, "to hang a poor man for stealing a horse." "You are not to be hanged sir," answered my ever-honored and beloved friend, "for stealing a horse, but you are to be hanged that horses may not be stolen." In like manner it might have been said to the late duke of Marlborough, when the parliament was so deservedly liberal to him, after the battle of Blenheim, "You receive not these honors and bounties on account of a victory past, but that other victories may be obtained."

 

I was now, in the opinion of all men, dying of a complication of disorders; and, were I desirous of playing the advocate, I have an occasion fair enough; but I disdain such an attempt. I relate facts plainly and simply as they are; and let the world draw from them what conclusions they please, taking with them the following facts for their instruction: the one is, that the proclamation offering one hundred pounds for the apprehending felons for certain felonies committed in certain places, which I prevented from being revived, had formerly cost the government several thousand pounds within a single year. Secondly, that all such proclamations, instead of curing the evil, had actually increased it; had multiplied the number of robberies; had propagated the worst and wickedest of perjuries; had laid snares for youth and ignorance, which, by the temptation of these rewards, had been sometimes drawn into guilt; and sometimes, which cannot be thought on without the highest horror, had destroyed them without it. Thirdly, that my plan had not put the government to more than three hundred pound expense, and had produced none of the ill consequences above mentioned; but, lastly, had actually suppressed the evil for a time, and had plainly pointed out the means of suppressing it for ever. This I would myself have undertaken, had my health permitted, at the annual expense of the above-mentioned sum.

 

After having stood the terrible six weeks which succeeded last Christmas, and put a lucky end, if they had known their own interests, to such numbers of aged and infirm valetudinarians, who might have gasped through two or three mild winters more, I returned to town in February, in a condition less despaired of by myself than by any of my friends. I now became the patient of Dr. Ward, who wished I had taken his advice earlier. By his advice I was tapped, and fourteen quarts of water drawn from my belly. The sudden relaxation which this caused, added to my enervate, emaciated habit of body, so weakened me that within two days I was thought to be falling into the agonies of death. I was at the worst on that memorable day when the public lost Mr. Pelham. From that day I began slowly, as it were, to draw my feet out of the grave; till in two months' time I had again acquired some little degree of strength, but was again full of water. During this whole time I took Mr. Ward's medicines, which had seldom any perceptible operation. Those in particular of the diaphoretic kind, the working of which is thought to require a great strength of constitution to support, had so little effect on me, that Mr. Ward declared it was as vain to attempt sweating me as a deal board. In this situation I was tapped a second time. I had one quart of water less taken from me now than before; but I bore all the consequences of the operation much better. This I attributed greatly to a dose of laudanum prescribed by my surgeon. It first gave me the most delicious flow of spirits, and afterwards as comfortable a nap.

 

The month of May, which was now begun, it seemed reasonable to expect would introduce the spring, and drive of that winter which yet maintained its footing on the stage. I resolved therefore to visit a little house of mine in the country, which stands at Ealing, in the county of Middlesex, in the best air, I believe, in the whole kingdom, and far superior to that of Kensington Gravel-pits; for the gravel is here much wider and deeper, the place higher and more open towards the south, whilst it is guarded from the north wind by a ridge of hills, and from the smells and smoke of London by its distance; which last is not the fate of Kensington, when the wind blows from any corner of the east.

 

Obligations to Mr. Ward I shall always confess; for I am convinced that he omitted no care in endeavoring to serve me, without any expectation or desire of fee or reward.

 

The powers of Mr. Ward's remedies want indeed no unfair puffs of mine to give them credit; and though this distemper of the dropsy stands, I believe, first in the list of those over which he is always certain of triumphing, yet, possibly, there might be something particular in my case capable of eluding that radical force which had healed so many thousands. The same distemper, in different constitutions, may possibly be attended with such different symptoms, that to find an infallible nostrum for the curing any one distemper in every patient may be almost as difficult as to find a panacea for the cure of all.

 

But even such a panacea one of the greatest scholars and best of men did lately apprehend he had discovered. It is true, indeed, he was no physician; that is, he had not by the forms of his education acquired a right of applying his skill in the art of physic to his own private advantage; and yet, perhaps, it may be truly asserted that no other modern hath contributed so much to make his physical skill useful to the public; at least, that none hath undergone the pains of communicating this discovery in writing to the world. The reader, I think, will scarce need to be informed that the writer I mean is the late bishop of Cloyne, in Ireland, and the discovery that of the virtues of tar-water.

 

I then happened to recollect, upon a hint given me by the inimitable and shamefully-distressed author of the Female Quixote, that I had many years before, from curiosity only, taken a cursory view of bishop Berkeley's treatise on the virtues of tar-water, which I had formerly observed he strongly contends to be that real panacea which Sydenham supposes to have an existence in nature, though it yet remains undiscovered, and perhaps will always remain so.

 

Upon the reperusal of this book I found the bishop only asserting his opinion that tar-water might be useful in the dropsy, since he had known it to have a surprising success in the cure of a most stubborn anasarca, which is indeed no other than, as the word implies, the dropsy of the flesh; and this was, at that time, a large part of my complaint.

 

After a short trial, therefore, of a milk diet, which I presently found did not suit with my case, I betook myself to the bishop's prescription, and dosed myself every morning and evening with half a pint of tar-water.

 

It was no more than three weeks since my last tapping, and my belly and limbs were distended with water. This did not give me the worse opinion of tar-water; for I never supposed there could be any such virtue in tar-water as immediately to carry off a quantity of water already collected. For my delivery from this I well knew I must be again obliged to the trochar; and that if the tar-water did me any good at all it must be only by the slowest degrees; and that if it should ever get the better of my distemper it must be by the tedious operation of undermining, and not by a sudden attack and storm.

 

Some visible effects, however, and far beyond what my most sanguine hopes could with any modesty expect, I very soon experienced; the tar-water having, from the very first, lessened my illness, increased my appetite, and added, though in a very slow proportion, to my bodily strength. But if my strength had increased a little my water daily increased much more. So that, by the end of May, my belly became again ripe for the trochar, and I was a third time tapped; upon which, two very favorable symptoms appeared. I had three quarts of water taken from me less than had been taken the last time; and I bore the relaxation with much less (indeed with scarce any) faintness.

 

Those of my physical friends on whose judgment I chiefly depended seemed to think my only chance of life consisted in having the whole summer before me; in which I might hope to gather sufficient strength to encounter the inclemencies of the ensuing winter. But this chance began daily to lessen. I saw the summer mouldering away, or rather, indeed, the year passing away without intending to bring on any summer at all. In the whole month of May the sun scarce appeared three times. So that the early fruits came to the fullness of their growth, and to some appearance of ripeness, without acquiring any real maturity; having wanted the heat of the sun to soften and meliorate their juices. I saw the dropsy gaining rather than losing ground; the distance growing still shorter between the tappings. I saw the asthma likewise beginning again to become more troublesome. I saw the midsummer quarter drawing towards a close. So that I conceived, if the Michaelmas quarter should steal off in the same manner, as it was, in my opinion, very much to be apprehended it would, I should be delivered up to the attacks of winter before I recruited my forces, so as to be anywise able to withstand them.

 

I now began to recall an intention, which from the first dawnings of my recovery I had conceived, of removing to a warmer climate; and, finding this to be approved of by a very eminent physician, I resolved to put it into immediate execution. Aix in Provence was the place first thought on; but the difficulties of getting thither were insuperable. The Journey by land, beside the expense of it, was infinitely too long and fatiguing; and I could hear of no ship that was likely to set out from London, within any reasonable time, for Marseilles, or any other port in that part of the Mediterranean.

 

Lisbon was presently fixed on in its room. The air here, as it was near four degrees to the south of Aix, must be more mild and warm, and the winter shorter and less piercing.

 

It was not difficult to find a ship bound to a place with which we carry on so immense a trade. Accordingly, my brother soon informed me of the excellent accommodations for passengers which were to be found on board a ship that was obliged to sail for Lisbon in three days. I eagerly embraced the offer, notwithstanding the shortness of the time; and, having given my brother full power to contract for our passage, I began to prepare my family for the voyage with the utmost expedition.

 

But our great haste was needless; for the captain having twice put off his sailing, I at length invited him to dinner with me at Fordhook, a full week after the time on which he had declared, and that with many asseverations, he must and would weigh anchor.

 

He dined with me according to his appointment; and when all matters were settled between us, left me with positive orders to be on board the Wednesday following, when he declared he would fall down the river to Gravesend, and would not stay a moment for the greatest man in the world. He advised me to go to Gravesend by land, and there wait the arrival of his ship, assigning many reasons for this, every one of which was, as I well remember, among those that had before determined me to go on board near the Tower.

  

THE VOYAGE

WEDNESDAY, June 26, 1754.—On this day the most melancholy sun I had ever beheld arose, and found me awake at my house at Fordhook. By the light of this sun I was, in my own opinion, last to behold and take leave of some of those creatures on whom I doted with a mother-like fondness, guided by nature and passion, and uncured and unhardened by all the doctrine of that philosophical school where I had learned to bear pains and to despise death. In this situation, as I could not conquer Nature, I submitted entirely to her, and she made as great a fool of me as she had ever done of any woman whatsoever; under pretense of giving me leave to enjoy, she drew me in to suffer, the company of my little ones during eight hours; and I doubt not whether, in that time, I did not undergo more than in all my distemper.

 

At twelve precisely my coach was at the door, which was no sooner told me than I kissed my children round, and went into it with some little resolution. My wife, who behaved more like a heroine and philosopher, though at the same time the tenderest mother in the world, and my eldest daughter, followed me; some friends went with us, and others here took their leave; and I heard my behavior applauded, with many murmurs and praises to which I well knew I had no title; as all other such philosophers may, if they have any modesty, confess on the like occasions.

 

In two hours we arrived in Rotherhithe, and immediately went on board, and were to have sailed the next morning; but, as this was the king's proclamation-day, and consequently a holiday at the custom-house, the captain could not clear his vessel till the Thursday; for these holidays are as strictly observed as those in the popish calendar, and are almost as numerous. I might add that both are opposite to the genius of trade, and consequently contra bonum publicum.

 

To go on board the ship it was necessary first to go into a boat; a matter of no small difficulty, as I had no use of my limbs, and was to be carried by men who, though sufficiently strong for their burden, were, like Archimedes, puzzled to find a steady footing. Of this, as few of my readers have not gone into wherries on the Thames, they will easily be able to form to themselves an idea. However, by the assistance of my friend, Mr. Welch, whom I never think or speak of but with love and esteem, I conquered this difficulty, as I did afterwards that of ascending the ship, into which I was hoisted with more ease by a chair lifted with pulleys. I was soon seated in a great chair in the cabin, to refresh myself after a fatigue which had been more intolerable, in a quarter of a mile's passage from my coach to the ship, than I had before undergone in a land-journey of twelve miles, which I had traveled with the utmost expedition.

 

This latter fatigue was, perhaps, somewhat heightened by an indignation which I could not prevent arising in my mind. I think, upon my entrance into the boat, I presented a spectacle of the highest horror. The total loss of limbs was apparent to all who saw me, and my face contained marks of a most diseased state, if not of death itself. Indeed, so ghastly was my countenance, that timorous women with child had abstained from my house, for fear of the ill consequences of looking at me. In this condition I ran the gauntlope (so I think I may justly call it) through rows of sailors and watermen, few of whom failed of paying their compliments to me by all manner of insults and jests on my misery. No man who knew me will think I conceived any personal resentment at this behavior; but it was a lively picture of that cruelty and inhumanity in the nature of men which I have often contemplated with concern, and which leads the mind into a train of very uncomfortable and melancholy thoughts. It may be said that this barbarous custom is peculiar to the English, and of them only to the lowest degree; that it is an excrescence of an uncontrolled licentiousness mistaken for liberty, and never shows itself in men who are polished and refined in such manner as human nature requires to produce that perfection of which it is susceptible, and to purge away that malevolence of disposition of which, at our birth, we partake in common with the savage creation. This may be said, and this is all that can be said; and it is, I am afraid, but little satisfactory to account for the inhumanity of those who, while they boast of being made after God's own image, seem to bear in their minds a resemblance of the vilest species of brutes; or rather, indeed, of our idea of devils; for I don't know that any brutes can be taxed with such malevolence. A sirloin of beef was now placed on the table, for which, though little better than carrion, as much was charged by the master of the little paltry ale-house who dressed it as would have been demanded for all the elegance of the King's Arms, or any other polite tavern or eating-house! for, indeed, the difference between the best house and the worst is, that at the former you pay largely for luxury, at the latter for nothing.

 

Thursday, June 27.—This morning the captain, who lay on shore at his own house, paid us a visit in the cabin, and behaved like an angry bashaw, declaring that, had he known we were not to be pleased, he would not have carried us for five hundred pounds. He added many asseverations that he was a gentleman, and despised money; not forgetting several hints of the presents which had been made him for his cabin, of twenty, thirty, and forty guineas, by several gentlemen, over and above the sum for which they had contracted. This behavior greatly surprised me, as I knew not how to account for it, nothing having happened since we parted from the captain the evening before in perfect good humor; and all this broke forth on the first moment of his arrival this morning. He did not, however, suffer my amazement to have any long continuance before he clearly showed me that all this was meant only as an apology to introduce another procrastination (being the fifth) of his weighing anchor, which was now postponed till Saturday, for such was his will and pleasure.

 

Besides the disagreeable situation in which we then lay, in the confines of Wapping and Rotherhithe, tasting a delicious mixture of the air of both these sweet places, and enjoying the concord of sweet sounds of seamen, watermen, fish-women, oyster-women, and of all the vociferous inhabitants of both shores, composing altogether a greater variety of harmony than Hogarth's imagination hath brought together in that print of his, which is enough to make a man deaf to look at—I had a more urgent cause to press our departure, which was, that the dropsy, for which I had undergone three tappings, seemed to threaten me with a fourth discharge before I should reach Lisbon, and when I should have nobody on board capable of performing the operation; but I was obliged to hearken to the voice of reason, if I may use the captain's own words, and to rest myself contented. Indeed, there was no alternative within my reach but what would have cost me much too dear. There are many evils in society from which people of the highest rank are so entirely exempt, that they have not the least knowledge or idea of them; nor indeed of the characters which are formed by them. Such, for instance, is the conveyance of goods and passengers from one place to another. Now there is no such thing as any kind of knowledge contemptible in itself; and, as the particular knowledge I here mean is entirely necessary to the well understanding and well enjoying this journal; and, lastly, as in this case the most ignorant will be those very readers whose amusement we chiefly consult, and to whom we wish to be supposed principally to write, we will here enter somewhat largely into the discussion of this matter; the rather, for that no ancient or modern author (if we can trust the catalogue of doctor Mead's library) hath ever undertaken it, but that it seems (in the style of Don Quixote) a task reserved for my pen alone.

 

When I first conceived this intention I began to entertain thoughts of inquiring into the antiquity of traveling; and, as many persons have performed in this way (I mean have traveled) at the expense of the public, I flattered myself that the spirit of improving arts and sciences, and of advancing useful and substantial learning, which so eminently distinguishes this age, and hath given rise to more speculative societies in Europe than I at present can recollect the names of—perhaps, indeed, than I or any other, besides their very near neighbors, ever heard mentioned—would assist in promoting so curious a work; a work begun with the same views, calculated for the same purposes, and fitted for the same uses, with the labors which those right honorable societies have so cheerfully undertaken themselves, and encouraged in others; sometimes with the highest honors, even with admission into their colleges, and with enrollment among their members.

 

From these societies I promised myself all assistance in their power, particularly the communication of such valuable manuscripts and records as they must be supposed to have collected from those obscure ages of antiquity when history yields us such imperfect accounts of the residence, and much more imperfect of the travels, of the human race; unless, perhaps, as a curious and learned member of the young Society of Antiquarians is said to have hinted his conjectures, that their residence and their travels were one and the same; and this discovery (for such it seems to be) he is said to have owed to the lighting by accident on a book, which we shall have occasion to mention presently, the contents of which were then little known to the society.

 

The king of Prussia, moreover, who, from a degree of benevolence and taste which in either case is a rare production in so northern a climate, is the great encourager of art and science, I was well assured would promote so useful a design, and order his archives to be searched on my behalf. But after well weighing all these advantages, and much meditation on the order of my work, my whole design was subverted in a moment by hearing of the discovery just mentioned to have been made by the young antiquarian, who, from the most ancient record in the world (though I don't find the society are all agreed on this point), one long preceding the date of the earliest modern collections, either of books or butterflies, none of which pretend to go beyond the flood, shows us that the first man was a traveler, and that he and his family were scarce settled in Paradise before they disliked their own home, and became passengers to another place. Hence it appears that the humor of traveling is as old as the human race, and that it was their curse from the beginning. By this discovery my plan became much shortened, and I found it only necessary to treat of the conveyance of goods and passengers from place to place; which, not being universally known, seemed proper to be explained before we examined into its original. There are indeed two different ways of tracing all things used by the historian and the antiquary; these are upwards and downwards.

 

The former shows you how things are, and leaves to others to discover when they began to be so. The latter shows you how things were, and leaves their present existence to be examined by others. Hence the former is more useful, the latter more curious. The former receives the thanks of mankind; the latter of that valuable part, the virtuosi.

 

In explaining, therefore, this mystery of carrying goods and passengers from one place to another, hitherto so profound a secret to the very best of our readers, we shall pursue the historical method, and endeavor to show by what means it is at present performed, referring the more curious inquiry either to some other pen or to some other opportunity.

 

Now there are two general ways of performing (if God permit) this conveyance, viz., by land and water, both of which have much variety; that by land being performed in different vehicles, such as coaches, caravans, wagons, etc.; and that by water in ships, barges, and boats, of various sizes and denominations. But, as all these methods of conveyance are formed on the same principles, they agree so well together, that it is fully sufficient to comprehend them all in the general view, without descending to such minute particulars as would distinguish one method from another.

 

Common to all of these is one general principle that, as the goods to be conveyed are usually the larger, so they are to be chiefly considered in the conveyance; the owner being indeed little more than an appendage to his trunk, or box, or bale, or at best a small part of his own baggage, very little care is to be taken in stowing or packing them up with convenience to himself; for the conveyance is not of passengers and goods, but of goods and passengers.

 

Secondly, from this conveyance arises a new kind of relation, or rather of subjection, in the society, by which the passenger becomes bound in allegiance to his conveyer. This allegiance is indeed only temporary and local, but the most absolute during its continuance of any known in Great Britain, and, to say truth, scarce consistent with the liberties of a free people, nor could it be reconciled with them, did it not move downwards; a circumstance universally apprehended to be incompatible to all kinds of slavery; for Aristotle in his Politics hath proved abundantly to my satisfaction that no men are born to be slaves, except barbarians; and these only to such as are not themselves barbarians; and indeed Mr. Montesquieu hath carried it very little farther in the case of the Africans; the real truth being that no man is born to be a slave, unless to him who is able to make him so.

 

Thirdly, this subjection is absolute, and consists of a perfect resignation both of body and soul to the disposal of another; after which resignation, during a certain time, his subject retains no more power over his own will than an Asiatic slave, or an English wife, by the laws of both countries, and by the customs of one of them. If I should mention the instance of a stage-coachman, many of my readers would recognize the truth of what I have here observed; all, indeed, that ever have been under the dominion of that tyrant, who in this free country is as absolute as a Turkish bashaw. In two particulars only his power is defective; he cannot press you into his service, and if you enter yourself at one place, on condition of being discharged at a certain time at another, he is obliged to perform his agreement, if God permit, but all the intermediate time you are absolutely under his government; he carries you how he will, when he will, and whither he will, provided it be not much out of the road; you have nothing to eat or to drink, but what, and when, and where he pleases. Nay, you cannot sleep unless he pleases you should; for he will order you sometimes out of bed at midnight and hurry you away at a moment's warning: indeed, if you can sleep in his vehicle he cannot prevent it; nay, indeed, to give

Instructive art

In the quiet little town of Yungaburra, we found this little treasure island for booklovers: Spencer & Murphy second-hand bookshop... I spent ages in this shop, and had an instructive little chat with the owner (who gladely showed me the only book in French he had: a beautiful old Molière edition).

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HCLS Chapters-of-Our-Lives Time Capsule installed in a beautiful circular bench in the lobby at HCLS Central Branch in Columbia, Maryland. A plaque displayed on the site that reads:

 

Within this bench rests a Time Capsule that captures the essence of Howard County Library System (HCLS) in 2015, our 75th Anniversary.

 

Its contents reflect our unwavering heritage as a 20th and 21st century educational institution with a mission to deliver equal opportunity in education for everyone through a curriculum that comprises Three Pillars: Self-Directed Education, Research Assistance & Instruction, and Instructive & Enlightening Experiences.

Symbolic of our timeless mission, this Time Capsule is a collection of three containers, all part of a 75-year plan:

 

To connect our past, present, and future, HCLS appointed 136 Howard County middle students to serve as Guardians. On October 24, 2015, they pledged to champion the HCLS legacy, keeping it safe for the next 25 years.

 

October 27, 2040 – The Class of 2015 will reconvene to pass on the role of Guardian to the next generation (Class of 2040). Together, the two generations will open and reseal the 2015 container, then fill the 2040 container.

October 24, 2065 – The Class of 2040 will gather to pass on the role of Guardian to the Class of 2065. Together, they will open and re-seal the 2015 and 2040 containers, then fill the 2065 container.

October 21, 2090 – The Class of 2065 will gather on the occasion of Howard County Library System’s sesquicentennial (150th) anniversary to open the Time Capsule.

Dedicated this 24th day of October, 2015 to the always forward-looking citizens of Howard County, MD.

A4 'Draw on the Mountain' sketchbook, 90gsm, graphite pencil H, 60mins, 11-12noon. Fine but cold, fierce westerly wind.

 

Australia's Tintern Abbey, this is the Blast Furnace archaeological site at Lithgow, one of a dozen locations for the "Draw on the Mountain" drawing festival, 20-29 September. Only Australia could glorify an archaeological dig based on a factory established in 1907.

 

A very instructive session, though the sketch is very inadequate. I think I've worked out how Turner, Girtin and their ilk rendered their huge abbey watercolors: initial contour-only sketches (several no doubt given their attention to detail and overall page dimensions) followed by the addition of tone/shadow based on the "best" time of day to one of them, "pre-drawn" before the plein air session. All of Turner's and Girtin's abbey watercolors would have been done in the studio, but based on very many plein air contour sketches and one or two specifically documenting tone.

 

Using a 4x6" Albertian veil applied to a 5.5x6" sketch would have produced better perspective, but not necessarily the amount of detail captured.

 

I'd love to sketch this again, but travelling by train for nearly four hours to the destination and another four hours back home for just two pages of sketching sounds like overkill. Grateful though for having seen the forests of unusual eucalypt trees around Lithgow and Bell.

 

See reference photos at sketchblog gasp2011.wordpress.com

HCLS Chapters-of-Our-Lives Time Capsule installed in a beautiful circular bench in the lobby at HCLS Central Branch in Columbia, Maryland. A plaque displayed on the site that reads:

 

Within this bench rests a Time Capsule that captures the essence of Howard County Library System (HCLS) in 2015, our 75th Anniversary.

 

Its contents reflect our unwavering heritage as a 20th and 21st century educational institution with a mission to deliver equal opportunity in education for everyone through a curriculum that comprises Three Pillars: Self-Directed Education, Research Assistance & Instruction, and Instructive & Enlightening Experiences.

Symbolic of our timeless mission, this Time Capsule is a collection of three containers, all part of a 75-year plan:

 

To connect our past, present, and future, HCLS appointed 136 Howard County middle students to serve as Guardians. On October 24, 2015, they pledged to champion the HCLS legacy, keeping it safe for the next 25 years.

 

October 27, 2040 – The Class of 2015 will reconvene to pass on the role of Guardian to the next generation (Class of 2040). Together, the two generations will open and reseal the 2015 container, then fill the 2040 container.

October 24, 2065 – The Class of 2040 will gather to pass on the role of Guardian to the Class of 2065. Together, they will open and re-seal the 2015 and 2040 containers, then fill the 2065 container.

October 21, 2090 – The Class of 2065 will gather on the occasion of Howard County Library System’s sesquicentennial (150th) anniversary to open the Time Capsule.

Dedicated this 24th day of October, 2015 to the always forward-looking citizens of Howard County, MD.

MAHAVATAR BABAJI CAVE

Mahāvatār Bābājī (literally; Great Avatar Dear Father) is the name given to an Indian saint and yogi by Lahiri Mahasaya and several of his disciples,[2] who reported meeting him between 1861 and 1935. Some of these meetings were described by Paramahansa Yogananda in his book Autobiography of a Yogi, including a first-hand report of Yogananda's own meeting with the yogi.[3]Another first hand account was given by Yukteswar Giri in his book The Holy Science.[4] According to Sri M's autobiography (Apprenticed to a Himalayan Master) Babaji, was Shiva. In the second last chapter of his book, he mentions Babaji changing his form to that of Shiva. All of these accounts, along with additional reported meetings, are described in various biographies.[5][6][7]According to Yogananda's autobiography, Babaji has resided for at least hundreds of years in the remote Himalayan regions of India, seen in person by only a small number of disciples and others.[3][8] The death less Master is more than 2000 years old. He belongs to a very powerful lineage of Siddha Boganthar and Rishi Agastya as his Gurus. He acquired this deathless, non perishable body through tough yogik kriyas.

Again, according to his autobiography, shortly before Yogananda left for America in 1920, Babaji came to his home in Calcutta, where the young monk sat deeply praying for divine assurance regarding the mission he was about to undertake. Babaji said to him: "Follow the behest of your guru and go to America. Fear not; you shall be protected. You are the one I have chosen to spread the message of Kriya Yoga in the West

There are very few accounts of Babaji's childhood. One source of information is the book Babaji and the 18 Siddha Kriya Yoga tradition by Marshal Govindan.[9]According to Govindan, Babaji was named Nagarajan (king of serpents) by his parents. [8] V.T. Neelakantan and S.A.A. Ramaiah founded on 17 October 1952, (they claim – at the request of Babaji) a new organization, "Kriya Babaji Sangah," dedicated to the teaching of Babaji's Kriya Yoga. They claim that in 1953 Mahavatar Babaji told them that he was born on 30 November 203 CE in a small coastal village now known as Parangipettai, Cuddalore district of Tamil Nadu, India.[10] Babaji's Kriya Yoga Order of Acharyas Trust (Kriya Babaji Sangah) and their branch organizations claim his place and date of birth.[10] He was a disciple of Bogar and his birth name is Nagarajan.[9][10]

In Paramahansa Yogananda's Autobiography of a Yogi, many references are made to Mahavatar Babaji, including from Lahirī and Sri Yukteshwar.[3] In his book The Second Coming of Christ, Yogananda states that Jesus Christ went to India and conferred with Mahavatar Babaji.[8] This would make Babaji at least 2000 years old.[11] According to Govindan's book, Babaji Nagaraj's father was the priest of the village's temple. Babaji revealed only those details which he believed to be formative as well as potentially instructive to his disciples. Govindan mentioned one incident like this: "One time Nagaraj's mother had got one rare jackfruit for a family feast and put it aside. Babaji was only 4 years old at that time. He found the jackfruit when his mother was not around and ate it all. When his mother came to know about it, she flew in blind rage and stuffed a cloth inside Babaji's mouth, nearly suffocating him, but he survived. Later on he thanked God for showing him that she was to be loved without attachment or illusion. His Love for his mother became unconditional and detached."[9]

When Nagaraj was about 5 years old, someone kidnapped him and sold him as a slave in Calcutta (now Kolkata). His new owner however was a kind man and he freed Nagaraj shortly thereafter. Nagaraj then joined a small group of wandering sannyāsin due to their radiant faces and love for God. During the next few years, he wandered from place to place, studying holy scriptures like the Vedas, Upanishad, Mahabharata, Ramayana, Bhagavad Gita.

According to Marshall Govindan's book, at the age of eleven, he made a difficult journey on foot and by boat with a group of ascetics to Kataragama, Sri Lanka. Nagaraj met Siddha Bhogarnathar and became his disciple. Nagaraj performed intensive yogic sadhana for a long time with him. Bhogarnathar inspired Nagaraj to seek his initiation into Kriya Kundalini Pranayam from Siddha Agastya. Babaji became a disciple of Siddha Agastya. Nagaraj was initiated into the secrets of Kriya Kundalini Pranayama or "Vasi Yogam". Babaji made a long pilgrimage to Badrinath and spent eighteen months practising yogic kriyataught to him by Siddha Agastya and Bhogarnathar. Babaji attained self-realization shortly thereafter.[9]

It is claimed that these revelations were made by Babaji himself to S.A.A. Ramaiah, a young graduate student in geology at the University of Madras and V.T. Neelakantan, a famous journalist, and close student of Annie Besant, President of the Theosophical Society and mentor of Krishnamurti. Babaji was said to have appeared to each of them independently and then brought them together to work for his Mission in 1942

By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com

 

Over.

 

(Taking a question from the audience.)

Masonic Square and Compasses:

 

The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".

 

However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.

 

Square and Compasses:

 

Source: Mackey's Encyclopedia of Freemasonry

 

These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.

 

So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.

 

If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.

 

It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).

In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:

Yet I this forme of formelesse Deity,

Drewe by the Squire and Compasse of our Creed.

In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.

Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.

 

The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."

 

Square and Compass:

 

Source: The Builder October 1916

By Bro. B. C. Ward, Iowa

 

Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.

 

As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.

 

Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.

 

The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."

Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,

 

"You should not in the valley stay

While the great horizons stretch away

The very cliffs that wall you round

Are ladders up to higher ground.

And Heaven draws near as you ascend,

The Breeze invites, the Stars befriend.

All things are beckoning to the Best,

Then climb toward God and find sweet Rest.”

 

The secrets of Freemasonry are concerned with its traditional modes of recognition. It is not a secret society, since all members are free to acknowledge their membership and will do so in response to enquiries for respectable reasons. Its constitutions and rules are available to the public. There is no secret about any of its aims and principles. Like many other societies, it regards some of its internal affairs as private matters for its members. In history there have been times and places where promoting equality, freedom of thought or liberty of conscience was dangerous. Most importantly though is a question of perspective. Each aspect of the craft has a meaning. Freemasonry has been described as a system of morality, veiled in allegory and illustrated by symbols. Such characteristics as virtue, honour and mercy, such virtues as temperance, fortitude, prudence and justice are empty clichés and hollow words unless presented within an ordered and closed framework. The lessons are not secret but the presentation is kept private to promote a clearer understanding in good time. It is also possible to view Masonic secrecy not as secrecy in and of itself, but rather as a symbol of privacy and discretion. By not revealing Masonic secrets, or acknowledging the many published exposures, freemasons demonstrate that they are men of discretion, worthy of confidences, and that they place a high value on their word and bond.

 

Masonic Square and Compasses.

 

The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".

 

However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.

 

Square and Compasses:

 

Source: Mackey's Encyclopedia of Freemasonry

 

These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.

 

So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.

 

If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.

 

It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).

In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:

Yet I this forme of formelesse Deity,

Drewe by the Squire and Compasse of our Creed.

In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.

Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.

 

The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."

 

Square and Compass:

 

Source: The Builder October 1916

By Bro. B. C. Ward, Iowa

 

Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.

 

As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.

 

Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.

 

The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."

Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,

 

"You should not in the valley stay

While the great horizons stretch away

The very cliffs that wall you round

Are ladders up to higher ground.

And Heaven draws near as you ascend,

The Breeze invites, the Stars befriend.

All things are beckoning to the Best,

Then climb toward God and find sweet Rest."

Camera class at Craig Gum Studio with Craig Gum and Jeremy Barton. Model Emily Barford. Working on knowing camera and changing aperture, shutter speed and ISO. I like some of these images but need to work toward better focus and less grain. Other feedback, instructive/constructive criticism welcome.

Camera class at Craig Gum Studio with Craig Gum and Jeremy Barton. Model Emily Barford. Working on knowing camera and changing aperture, shutter speed and ISO. I like some of these images but need to work toward better focus and less grain. Other feedback, instructive/constructive criticism welcome.

Camera class at Craig Gum Studio with Craig Gum and Jeremy Barton. Model Emily Barford. Working on knowing camera and changing aperture, shutter speed and ISO. I like some of these images but need to work toward better focus and less grain. Other feedback, instructive/constructive criticism welcome.

Text

 

CHAPTER V.

THE VILLAGES AND NEIGHBORHOOD AT THE BEGINNING OF THE CENTURY.

NOTWITHSTANDING the number of shops and mills at Pawtucket falls at the beginning of the present century, the number of men employed in the whole of these establishments was probably no greater than in many modern factories that are not now-a-days considered large. In 1803 there were only seventeen dwelling houses* the Massachusetts side and about twice that number in the Rhode Island part, while Central Falls then had but two dwelling-houses, a chocolate mill, and a small shed used for manufacturing. The community thus lived in about fifty houses, many of them known to be small, but in accordance with the custom of the period large families frequently dwelt in narrow quarters, so that the population was undoubtedly larger than at first might be inferred. Some of these old houses still exist and form interesting reminders of the past; and although it is impossible to determine the exact location of many of those that have given place to modern edifices, yet an approximate knowledge of their situation is a material help in realizing the aspect and condition of the villages at that period. An account dealing with these early dwellings, and including glimpses of the neighborhood life, compiled from the narrative of an eye-witness**, may present an instructive picture of the times and people. Only one street—the old main road, now Main and Walcott streets—then led through the east side village. The lower part of Walcott street, from the junction with Main street, was not then in existence, and Broadway was not laid out until about 1804. Various private roads and lanes existed, which finally became accepted streets. The majority of the houses were assembled in a group on the lower part of the road close to the bridge and falls. On the south side of the street leading from the bridge, was, first, the linseed oil mill, and next to it on the river bank, was the old Bucklin grist mill. Hugh Kennedy’s low gambrel-roofed house stood on the south side of the street near the present southeast corner of River and Main streets, on the site occupied by the Pawtucket

*Benedict’s Reminiscences, Nos. 24 and 26. **Rev. Dr. David Benedict.

Salem Cemetery Ontario Canada.

 

Masonic Square and Compasses:

 

The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".

 

However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.

 

Square and Compasses:

 

Source: Mackey's Encyclopedia of Freemasonry

 

These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.

 

So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.

 

If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.

 

It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).

In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:

Yet I this forme of formelesse Deity,

Drewe by the Squire and Compasse of our Creed.

In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.

Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.

 

The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."

 

Square and Compass:

 

Source: The Builder October 1916

By Bro. B. C. Ward, Iowa

 

Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.

 

As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.

 

Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.

 

The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."

Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,

 

"You should not in the valley stay

While the great horizons stretch away

The very cliffs that wall you round

Are ladders up to higher ground.

And Heaven draws near as you ascend,

The Breeze invites, the Stars befriend.

All things are beckoning to the Best,

Then climb toward God and find sweet Rest.”

 

The secrets of Freemasonry are concerned with its traditional modes of recognition. It is not a secret society, since all members are free to acknowledge their membership and will do so in response to enquiries for respectable reasons. Its constitutions and rules are available to the public. There is no secret about any of its aims and principles. Like many other societies, it regards some of its internal affairs as private matters for its members. In history there have been times and places where promoting equality, freedom of thought or liberty of conscience was dangerous. Most importantly though is a question of perspective. Each aspect of the craft has a meaning. Freemasonry has been described as a system of morality, veiled in allegory and illustrated by symbols. Such characteristics as virtue, honour and mercy, such virtues as temperance, fortitude, prudence and justice are empty clichés and hollow words unless presented within an ordered and closed framework. The lessons are not secret but the presentation is kept private to promote a clearer understanding in good time. It is also possible to view Masonic secrecy not as secrecy in and of itself, but rather as a symbol of privacy and discretion. By not revealing Masonic secrets, or acknowledging the many published exposures, freemasons demonstrate that they are men of discretion, worthy of confidences, and that they place a high value on their word and bond.

 

Masonic Square and Compasses.

 

The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".

 

However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.

 

Square and Compasses:

 

Source: Mackey's Encyclopedia of Freemasonry

 

These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.

 

So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.

 

If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.

 

It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).

In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:

Yet I this forme of formelesse Deity,

Drewe by the Squire and Compasse of our Creed.

In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.

Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.

 

The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."

 

Square and Compass:

 

Source: The Builder October 1916

By Bro. B. C. Ward, Iowa

 

Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.

 

As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.

 

Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.

 

The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."

Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,

 

"You should not in the valley stay

While the great horizons stretch away

The very cliffs that wall you round

Are ladders up to higher ground.

And Heaven draws near as you ascend,

The Breeze invites, the Stars befriend.

All things are beckoning to the Best,

Then climb toward God and find sweet Rest."

HCLS Chapters-of-Our-Lives Time Capsule installed in a beautiful circular bench in the lobby at HCLS Central Branch in Columbia, Maryland. A plaque displayed on the site that reads:

 

Within this bench rests a Time Capsule that captures the essence of Howard County Library System (HCLS) in 2015, our 75th Anniversary.

 

Its contents reflect our unwavering heritage as a 20th and 21st century educational institution with a mission to deliver equal opportunity in education for everyone through a curriculum that comprises Three Pillars: Self-Directed Education, Research Assistance & Instruction, and Instructive & Enlightening Experiences.

Symbolic of our timeless mission, this Time Capsule is a collection of three containers, all part of a 75-year plan:

 

To connect our past, present, and future, HCLS appointed 136 Howard County middle students to serve as Guardians. On October 24, 2015, they pledged to champion the HCLS legacy, keeping it safe for the next 25 years.

 

October 27, 2040 – The Class of 2015 will reconvene to pass on the role of Guardian to the next generation (Class of 2040). Together, the two generations will open and reseal the 2015 container, then fill the 2040 container.

October 24, 2065 – The Class of 2040 will gather to pass on the role of Guardian to the Class of 2065. Together, they will open and re-seal the 2015 and 2040 containers, then fill the 2065 container.

October 21, 2090 – The Class of 2065 will gather on the occasion of Howard County Library System’s sesquicentennial (150th) anniversary to open the Time Capsule.

Dedicated this 24th day of October, 2015 to the always forward-looking citizens of Howard County, MD.

A brass Masonic Square and Compasses vesta case.

 

A Canadian Masonic baseball cap with a red maple leaf and a blue Square and Compasses on a black cap. The design was good but I prefer the more durable double thick curved visors.

 

Masonic Square and Compasses.

 

The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".

 

However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.

 

Square and Compasses:

 

Source: Mackey's Encyclopedia of Freemasonry

 

These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.

 

So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.

 

If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.

 

It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).

In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:

Yet I this forme of formelesse Deity,

Drewe by the Squire and Compasse of our Creed.

In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.

Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.

 

The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."

 

Square and Compass:

 

Source: The Builder October 1916

By Bro. B. C. Ward, Iowa

 

Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.

 

As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.

 

Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.

 

The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."

Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,

 

"You should not in the valley stay

While the great horizons stretch away

The very cliffs that wall you round

Are ladders up to higher ground.

And Heaven draws near as you ascend,

The Breeze invites, the Stars befriend.

All things are beckoning to the Best,

Then climb toward God and find sweet Rest."

 

Inside the Freemasons | Documentary, Reality-TV

youtu.be/tRrG_KMMvNY?si=oszbwa84dk70lIYT

Strange mix of naked lady manga and instructive cookery and travel manga. I wonder which these guys are reading?

a very instructive visit!

Chair back of the Worshipful Master.

 

Masonic Square and Compasses:

 

The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".

 

However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.

 

Square and Compasses:

 

Source: Mackey's Encyclopedia of Freemasonry

 

These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.

 

So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.

 

If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.

 

It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).

In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:

Yet I this forme of formelesse Deity,

Drewe by the Squire and Compasse of our Creed.

In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.

Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.

 

The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."

 

Square and Compass:

 

Source: The Builder October 1916

By Bro. B. C. Ward, Iowa

 

Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.

 

As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.

 

Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.

 

The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."

Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,

 

"You should not in the valley stay

While the great horizons stretch away

The very cliffs that wall you round

Are ladders up to higher ground.

And Heaven draws near as you ascend,

The Breeze invites, the Stars befriend.

All things are beckoning to the Best,

Then climb toward God and find sweet Rest.”

 

The secrets of Freemasonry are concerned with its traditional modes of recognition. It is not a secret society, since all members are free to acknowledge their membership and will do so in response to enquiries for respectable reasons. Its constitutions and rules are available to the public. There is no secret about any of its aims and principles. Like many other societies, it regards some of its internal affairs as private matters for its members. In history there have been times and places where promoting equality, freedom of thought or liberty of conscience was dangerous. Most importantly though is a question of perspective. Each aspect of the craft has a meaning. Freemasonry has been described as a system of morality, veiled in allegory and illustrated by symbols. Such characteristics as virtue, honour and mercy, such virtues as temperance, fortitude, prudence and justice are empty clichés and hollow words unless presented within an ordered and closed framework. The lessons are not secret but the presentation is kept private to promote a clearer understanding in good time. It is also possible to view Masonic secrecy not as secrecy in and of itself, but rather as a symbol of privacy and discretion. By not revealing Masonic secrets, or acknowledging the many published exposures, freemasons demonstrate that they are men of discretion, worthy of confidences, and that they place a high value on their word and bond.

 

Masonic Square and Compasses.

 

The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".

 

However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.

 

Square and Compasses:

 

Source: Mackey's Encyclopedia of Freemasonry

 

These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.

 

So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.

 

If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.

 

It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).

In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:

Yet I this forme of formelesse Deity,

Drewe by the Squire and Compasse of our Creed.

In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.

Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.

 

The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."

 

Square and Compass:

 

Source: The Builder October 1916

By Bro. B. C. Ward, Iowa

 

Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.

 

As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.

 

Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.

 

The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."

Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,

 

"You should not in the valley stay

While the great horizons stretch away

The very cliffs that wall you round

Are ladders up to higher ground.

And Heaven draws near as you ascend,

The Breeze invites, the Stars befriend.

All things are beckoning to the Best,

Then climb toward God and find sweet Rest."

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Fig. 53 (p. 75) - Labyrinth with the four elements. In Guillaume de la Perriere – Le Theatre des bon engins (Paris, 1539). Fig. 399 in:

KERN, Hermann (1982). Labyrinthe: Erscheiningsformen und Deutungen; 5000 Jahre Gegenwart eines Urbilds. Prestel-Verlag, München. ISBN 3-7913-0614-6

This book is, in my opinion, still the best reference for the subject of the labyrinth. The literature is wide and varied, pointing to a timeless interest all over the world. Its attraction can be explained by the ‘Fourth Quadrant’ nature of the labyrinth. However, a heightened attention to the subject does not necessarily point to a position (of the observed) in the last quadrant of a communication.

A dated compilation of ‘Mazes and how to thread them’ can be found in:

DUDENEY, Henry E. (1917/1947). Amusements in Mathematics. Thomas Nelson and Sons, London. This same book (p. 119ff ) has an instructive chapter on ‘Magic Square Problems’.

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