The Builders: A Story and Study of Masonry

by Joseph Fort Newton

If not the actual successors of the Roman College of Architects, the great order of Comacine Masters was founded upon its ruins, and continued its tradition both of symbolism and of art. Returning to Rome after the death of Diocletian, we find them busy there under Constantine and Theodosius; and from remains recently brought to knowledge it is plain that their style of building at that time was very like that of the churches built at Hexham and York in England, and those of the Ravenna, also nearly contemporary. They may not have been actually called Free-masons as early as Leader Scott insists they were,[65] but they were free in fact, traveling far and near where there was work to do, following the missionaries of the Church as far as England. When there was need for the name Free-masons, it was easily suggested by the fact that the cathedral-builders were quite distinct from the Guild-masons, the one being a universal order whereas the other was local and restricted. Older than Guild-masonry, the order of the cathedral-builders was more powerful, more artistic, and, it may be added, more religious; and it is from this order that the Masonry of today is descended.

Since the story of the Comacine Masters has come to light, no doubt any longer remains that during the building period the order of Masons was at the height of its influence and power. At that time the building art stood above all other arts, and made the other arts bow to it, commanding the services of the most brilliant intellects and of the greatest artists of the age. Moreover, its symbols were wrought into stone long before they were written on parchment, if indeed they were ever recorded at all. Efforts have been made to rob those old masters of their honor as the designers of the cathedrals, but it is in vain.[66] Their monuments are enduring and still tell the story of their genius and art. High upon the cathedrals they left cartoons in stone, of which Findel gives a list,[67] portraying with searching satire abuses current in the Church. Such figures and devices would not have been tolerated but for the strength of the order, and not even then had the Church known what they meant to the adepts.

History, like a mirage, lifts only a part of the past into view, leaving much that we should like to know in oblivion. At this distance the Middle Ages wear an aspect of smooth uniformity of faith and opinion, but that is only one of the many illusions of time by which we are deceived. What looks like uniformity was only conformity, and underneath its surface there was almost as much variety of thought as there is today, albeit not so freely expressed. Science itself, as well as religious ideas deemed heretical, sought seclusion; but the human mind was alive and active none the less, and a great secret order like Masonry, enjoying the protection of the Church, yet independent of it, invited freedom of thought and faith.[68] The Masons, by the very nature of their art, came into contact with all classes of men, and they had opportunities to know the defects of the Church. Far ahead of the masses and most of the clergy in education, in their travels to and fro, not only in Europe, but often extending to the far East, they became familiar with widely-differing religious views. They had learned to practice toleration, and their Lodges became a sure refuge for those who were persecuted for the sake of opinion by bigoted fanaticism.

While, as an order, the Comacine Masters served the Church as builders, the creed required for admission to their fraternity was never narrow, and, as we shall see, it became every year broader. Unless this fact be kept in mind, the influence of the Church upon Masonry, which no one seeks to minify, may easily be exaggerated. Not until cathedral building began to decline by reason of the impoverishment of the nations by long wars, the dissolution of the monasteries, and the advent of Puritanism, did the Church greatly influence the order; and not even then to the extent of diverting it from its original and unique mission. Other influences were at work betimes, such as the persecution of the Knights Templars and the tragic martyrdom of De Molai, making themselves felt,[69] and Masonry began to be suspected of harboring heresy. So tangled were the tendencies of that period that they are not easily followed, but the fact emerges that Masonry rapidly broadened until its final break with the Church. Hardly more than a veneer, by the time of the German Reformation almost every vestige of the impress of the Church had vanished never to return. Critics of the order have been at pains to trace this tendency, not knowing, apparently, that by so doing they only make more emphatic the chief glory of Masonry.

II

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

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

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

Amen! Amen! so mote it be!
So say we all for Charity.

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