Here, then, are the real foundations of Masonry, both material and moral: in the deep need and aspiration of man, and his creative impulse; in his instinctive Faith, his quest of the Ideal, and his love of the Light. Underneath all his building lay the feeling, prophetic of his last and highest thought, that the earthly house of his life should be in right relation with its heavenly prototype, the world-temple—imitating on earth the house not made with hands, eternal in the heavens. If he erected a square temple, it was an image of the earth; if he built a pyramid, it was a picture of a beauty shown him in the sky; as, later, his cathedral was modelled after the mountain, and its dim and lofty arch a memory of the forest vista—its altar a fireside of the soul, its spire a prayer in stone. And as he wrought his faith and dream into reality, it was but natural that the tools of the builder should become emblems of the thoughts of the thinker. Not only his tools, but, as we shall see, the very stones with which he worked became sacred symbols—the temple itself a vision of that House of Doctrine, that Home of the Soul, which, though unseen, he is building in the midst of the years.
FOOTNOTES:
[1] Primitive Art in Egypt.
[2] Chapter iii, aphorism 2.
[3] Architecture, by Lethaby, chap. i.
[4] Architecture, by Lethaby, chap. ii.
[5] Dawn of Civilization.
[6] Dawn of Astronomy, Norman Lockyer.
[7] Churchward, in his Signs and Symbols of Primordial Man (chap. xv), holds that the pyramid was typical of heaven, Shu, standing on seven steps, having lifted the sky from the earth in the form of a triangle; and that at each point stood one of the gods, Sut and Shu at the base, the apex being the Pole Star where Horus of the Horizon had his throne. This is, in so far, true; but the pyramid emblem was older than Osiris, Isis, and Horus, and runs back into an obscurity beyond knowledge.