Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry

by Albert Pike

To the Initiate were also displayed the spectacles of the chief agents of the Universal Cause, and of the distribution of the world, in the detail of its parts arranged in most regular order. The Universe itself supplied man with the model of the first Temple reared to the Divinity. The arrangement of the Temple of Solomon, the symbolic ornaments which formed its chief decorations, and the dress of the High Priest,—all, as Clemens of Alexandria, Josephus and Philo state, had reference to the order of the world. Clemens informs us that the Temple contained many emblems of the Seasons, the Sun, the Moon, the planets, the constellations Ursa Major and Minor, the zodiac, the elements, and the other parts of the world.

Josephus, in his description of the High Priest's Vestments, protesting against the charge of impiety brought against the Hebrews by other nations, for contemning the Heathen Divinities, declares it false, because, in the construction of the Tabernacle, in the vestments of the Sacrificers, and in the Sacred vessels, the whole World was in some sort represented. Of the three parts, he says, into which the Temple was divided, two represent Earth and Sea, open to all men, and the third, Heaven, God's dwelling-place, reserved for Him alone. The twelve loaves of Shew-bread signify the twelve months of the year. The Candlestick represented the twelve signs through which the Seven Planets run their courses; and the seven lights, those planets; the veils, of four colors, the four elements; the tunic of the High Priest, the earth; the Hyacinth, nearly blue, the Heavens; the ephod, of four colors, the whole of nature; the gold, Light; the breast-plate, in the middle, this earth in the centre of the world; the two Sardonyxes, used as clasps, the Sun and Moon; and the twelve precious stones of the breast-plate arranged by threes, like the Seasons, the twelve months, and the twelve signs of the zodiac. Even the loaves were arranged in two groups of six, like the zodiacal signs above and below the Equator. Clemens, the learned Bishop of Alexandria, and Philo, adopt all these explanations.

Hermes calls the Zodiac, the Grent Tent,—Tabernaculum. In the Royal Arch Degree of the American Rite, the Tabernacle has four veils, of different colors, to each of which belongs a banner. The colors of the four are White, Blue, Crimson, and Purple, and the banners bear the images of the Bull, the Lion, the Man, and the Eagle, the Constellations answering 2500 years before our era to the Equinoctial and Solstitial points: to which belong four stars, Aldebaran, Regulus, Fomalhaut, and Antares. At each of these veils there are three words: and to each division of the Zodiac, belonging to each of these Stars, are three Signs. The four signs, Taurus, Leo, Scorpio, and Aquarius, were termed the fixed signs, and are appropriately assigned to the four veils.

So the Cherubim, according to Clemens and Philo, represented the two hemispheres: their wings, the rapid course of the firmament, and of time which revolves in the Zodiac. "For the Heavens fly;" says Philo, speaking of the wings of the Cherubim: which were winged representations of the Lion, the Bull, the Eagle, and the Man; of two of which, the human-headed, winged bulls and lions, so many have been found at Nimroud; adopted as beneficent symbols, when the Sun entered Taurus at the Vernal Equinox and Leo at the Summer Solstice: and when, also, he entered Scorpio for which, on account of its malignant influences, Aquila, the eagle was substituted, at the autumnal equinox; and Aquarius (the water-bearer) at the Winter Solstice.

So, Clemens says, the candlestick with seven branches represented the seven planets, like which the seven branches were arranged and regulated, preserving that musical proportion and system of harmony of which the sun was the centre and connection. They were arranged, says Philo, by threes, like the planets above and those below the sun; between which two groups was the branch that represented him, the mediator or moderator of the celestial harmony. He is, in fact, the fourth in the musical scale, as Philo remarks, and Martianus Capella in his hymn to the Sun.

Near the candlestick were other emblems representing the heavens, earth, and the vegetative matter out of whose bosom the vapors arise. The whole temple was an abridged image of the world. There were candlesticks with four branches, symbols of the elements and the seasons; with twelve, symbols of the signs; and even with three hundred and sixty, the number of days in the year, without the supplementary days. Imitating the famous Temple of Tyre, where were the great columns consecrated to the winds and fire, the Tyrian artist placed two columns of bronze at the entrance of the porch of the temple. The hemispherical brazen sea, supported by four groups of bulls, of three each, looking to the four cardinal points of the compass, represented the bull of the Vernal Equinox, and at Tyre were consecrated to Astarte; to whom Hiram, Josephus says, had builded a temple, and who wore on her head a helmet bearing the image of a bull. And the throne of Solomon, with bulls adorning its arms, and supported on lions, like those of Horus in Egypt and of the Sun at Tyre; likewise referred to the Vernal Equinox and Summer Solstice.

Those who in Thrace adored the sun, under the name of Saba-Zeus, the Grecian Bakchos, builded to him, says Macrobius, a temple on Mount Zelmisso, its round form representing the world and the sun. A circular aperture in the roof admitted the light, and introduced the image of the sun into the body of the sanctuary, where he seemed to blaze as in the heights of Heaven, and to dissipate the darkness within that temple which was a representative symbol of the world. There the passion, death, and resurrection of Bakchos were represented.

So the Temple of Eleusis was lighted by a window in the roof. The sanctuary so lighted, Dion compares to the Universe, from which he says it differed in size alone; and in it the great lights of nature played a great part and were mystically represented. The images of the Sun, Moon, and Mercury were represented there, (the latter the same as Anubis who accompanied Isis); and they are still the three lights of a Masonic Lodge; except that for Mercury, the Master of the Lodge has been absurdly substituted.

Eusebius names as the principal Ministers in the Mysteries of Eleusis, first, the Hierophant, clothed with the attributes of the Grand Architect (Demiourgos) of the Universe. After him came the Dadoukos, or torch-bearer, representative of the Sun: then the altar-bearer, representing the Moon: and last, the Hieroceryx, bearing the caduceus, and representing Mercury. It was not permissible to reveal the different emblems and the mysterious pageantry of initiation to the Profane; and therefore we do not know the attributes, emblems, and ornaments of these and other officers; of which Apuleius and Pausanias dared not speak.

We know only that everything recounted there was marvellous; everything done there tended to astonish the Initiate: and that eyes and ears were equally astounded. The Hierophant, of lofty height, and noble features, with long hair, of a great age, grave and dignified, with a voice sweet and sonorous, sat upon a throne, clad in a long trailing robe; as the Motive-God of Nature was held to be enveloped in His work and hidden under a veil which no mortal can raise. Even His name was concealed, like that of the Demiourgos, whose name was ineffable.