Untempered Mortar

In the several degrees of Freemasonry we are taught that the workmen of the Temple wore their aprons in different ways.  Apprentices at the Temple were said to wear their Aprons in the peculiar manner that they might protect their clothes from being soiled by untempered mortar. This is mortar which has not been properly composed of the correct ingredients or in which these ingredients are improperly mixed. In operative Masonry this results in a weak and defective structure which will not properly stand. Therefore, untempered mortar, or improperly mixed mortar, was not to be used. The proper knowledge and understanding of how to properly mix the ingredients was essential if the apprentice wished to become a master of his craft.

For speculative Masonry, "untempered mortar" became a symbol of passions and appetites not duly restrained. This untempered mortar is also symbolic of improper mixtures in the building of one's character or the employment of bad materials in moral, ethical and spiritual architecture in the construction of the institution of Freemasonry.

Not tampering with untempered mortar is critical for the new Apprentice as well as seasoned Master Masons. It is imperative that we are creating a spiritual building - "that house not made with hands" - that can withstand the test fo time. In doing so we must ensure that our thoughts, words and deeds provides that cement which will contribute to building a spirtual ediface that is stable, beautiful, and lasting. Every action - every choice - we make either adds to the strength of the mixture, or weakens it. We must not only remain knowledgable, but use that knowledge wisely.

J.L. Haywood said:

“The innocence of a Mason is his gentleness, chivalrous determination to do no moral evil to any person, man or woman, or babe; his patient forbearance of the crudeness and ignorance of men, his charitable forgiveness of his brethren when they willfully or unconsciously do him evil; his dedication to a spiritual knighthood in behalf of the value and virtues of humanity by which alone man rises above the brutes and the world is carried forward on the upward way.” The lambskin apron presented to the initiate during his entered Apprentice Degree should be for all his life a very precious possession; the outward and visible symbol of an inward and spiritual tie."

So, as the operative mason wears their apron to prevent soiling his clothes, the speculative Mason wears his to remind him of that rectitude of conduct, strength of character and spirit of unity that is imperative toward avoiding "daubing with untempered mortar" in the building of our inner temple and thus ensuring its stability and that it will stand the test of time.

In Search of Smooth Ashlars

The internet has afforded me the opportunity to meet a great deal of wonderful men that I am honored to call my Brother. Worshipful Brother Damien from Lodge Devotion #723 in Melbourne, Australia is one who is among the top of that list. This entry was written by Brother Damien and posted on the Lodge Devotion website. It is reproduced here by gracious permission of the author.

At our January meeting, Lodge Devotion was honoured to have W Bro Alex visit us and expertly deliver the First Tracing Board Lecture with a preamble on the history of the Tracing Boards of Freemasonry.

I often notice additional and significant points within the Ritual of the Craft the more I hear it. Indeed it is said ours is a "progressive" system with interrelated and equally important parts - and that these must be understood with a keen bird's eye view of the entire ritual - although pieces of it do stand-alone. The more you listen and consider the Ritual of Freemasonry, the clearer it becomes that there is much to comprehend.

Upon hearing the First Degree Tracing Board Lecture last meeting - certain points came to the forefront of my mind and deepened my understanding of our "progressive science". One was the section of this Lecture that speaks of the importance of the Smooth Ashlar. The Smooth Ashlar is often represented as the goal of the Freemason. He starts as an unrefined Ashlar. Rough and Irregular. Needing further work in order to be perfect himself. However, becoming a Smooth Ashlar it not just a goal. The Smooth Ashlar is also an important tool - and one often missed. As explained in the subject Lecture, the "experienced craftsman" uses the Smooth Ashlar to test his square on. The Square represents morality and conduct and in the simplest of terms should guide all our actions and "inculcate the purest principles of piety and virtue". It is also one of several tools to transform the Rough Ashlar, symbolising a Freemason whose personality and character can be further improved, toward becoming a Smooth Ashlar.

The significance of testing your Square against a Smooth Ashlar should not be lost. Indeed, I think is often is. If the Ashlars represent the character of a Mason, rough moving to smooth, and the square is the tool to achieve perfect symmetry, then identifying the right "Smooth Ashlar" to test your Square on and emulate is critical. We must carefully choose the role models on which we copy ourselves. We must rigorously examine the example we strive to emulate.

Today, it could be said the many of the stones held as exemplars are shiny rather than smooth. They are faulted, and in copying a faulted example, our work too is doomed to be faulted. Not Square. Not Regular. Not Perfect. Let's both be cautious in the Ashlars we attempt to copy, and in the Ashlars we offer to others to emulate and test their moral square on.

"Watch yourself, the task is hard"

This was too good not to share. I am a member of the Masonic web-forum "The Sanctum Sanctorum" - a treasure trove of information. This exerpt was a web posting by a Brother in response to the topic "The Purpose of the Journey."

Working in stone is no easy task.

It takes years upon years of careful study and practice to develop the skill necessary to put chisel to stone and learn to chip away the flaws and imperfections which reveal the wondrous work of art within. During this time of practice, the apprentice will wear his hands to the bone, the delicate skin giving way to painful blisters, that in time will form the callouses possessed by Masters.

Many times he will contemplate the meaning of his toil. "Is all this agony really worth it?", he may ask. At times he'll miss his mark and whack his hand and cry out in pain, "Enough!", as he throws his tools across the room. He does not toil alone in his endeavors. No, he is always under the care of the watchful eye of the Master. When his tools go flying, the blood pours from his hand, the thought of giving up enters his mind, this is when he learns of the patient love of the Master. He binds the apprentices hand to stop the bleeding, picks up his tools, and says "Rest, I'll show you how its done". Then the Master approaches the stone and works the tools with a patient grace delicately removing every unwanted flaw and imperfection.

Upon the stone, the once hard and lifeless surface, the delicate features emerge. It is but an eye, the apprentice's eye, perfect in shape and form.The Master returns the tools to the apprentice, with a loving smile and says, "Watch yourself, the task is hard". With a caring nod of approval, he sets the apprentice back to work.

Marking out the ground for the foundation

(The working tool pictured left -a Skirret - was handmade by Bro. Bearss from Palmer Lodge #372, Fort Erie, Ontario)

One of the working tools of the Third Degree in the Emulation ritual is the skirret. For those of us used to the Preston-Webb tradition, this tool is not one which we are used to seeing, but it is one which is important for Master Masons to be familiar with and employ.

As you can see by the photo, it is like a spool of thread with a handle. The loose end of the thread has a loop which will catch the center pin. The skirret's thread is allowed to unwind and held taut. Once the length is reached, a piece of chalk may be used to mark the foundation, the skirret's thread ensuring a straight line. The skirret's thread, when allowed to unwind, becomes longer than any practicable ruler or straightedge but it is just as true. It is similar to a modern-day chalkline.

The Emulation ritual explains that the skirret "is an implement which acts on a centre pin, whence a line is drawn to mark out ground for the foundation of the intended structure." This is the operative use of the skirret, and the ritual goes on to explain that, for the Speculative Mason, "the Skirret points out that straight and undeviating line of conduct laid down for our pursuit in the Volume of Sacred Law." We are instructed that the skirret is a tool specifically to be used in preparation for laying a foundation.

Bro. James Marple in his article "The Mason's Skirret" points out that what makes the skirret so special is "that it is used before the foundation of a building is laid; and, therefore, the skirret is generally used before the other working tools. A skirret allows a person to see the precise location for the foundation. Consequently, the surrounding ground can easily be designated for other purposes. Initial use of the skirret enables changes to be made to the mark rather than, later, to change a finished foundation of stone or concrete."

When we consider these qualities in relation to the Volume of Sacred Law, the skirret is the tool which helps us to understand how the Volume of Sacred Law applies to our own lives. We are instructed that the Volume of the Sacred Law is "the rule and guide of our faith." How do we apply this to our daily life? Through the straight and undeviating line as set by use of the skirret. It allows us to map out the foundation of our character and allow us to see the footprint upon which our Temple will be built.

For my American Brothers, take a moment and think about how important this missing, yet vital working tool is to a Master Mason - both in the construction of your own inner Temple and in the building of our new Brothers' Temples as well.

"Because time won't give me time..."

During my work with our newer Brothers this past winter I found myself in constant discussions about the importance of the Working Tools. "These are not just symbols," I would tell them, "these are actual tools for practical application in your daily life."

Lately I have been reminded of the old saying: "Those that can -do. Those that can't - teach."

I started class this past week - a fifteen week Statistics course that is crammed into a six week summer session. For me this is a double whammy. Firstly, math has never been my strong point. There is a reason I went into human services - you sure as hell don't want me doing your taxes or anything else that requires more than basic math. Secondly, I haven't really been in a classroom for 20 years. Sitting in the class and looking around - I am definitely the old man in the room. The carrot is that if...no...when I pass this class it unlocks the key for me to start my Masters - a program to which I have already been accepted and which hinges on passing this class.

To make a long story longer, this week not only saw the beginning of this class but also my full time job, my part time job, Lodge responsibilities, Scottish Rite work, family commitments and occasionally - sleep. So I thought about those lessons taught to my new Brothers and specifically the 24" Gauge and I thought...I think I need a bigger Gauge.

But alas, there is no 36" or bigger Gauge. We have been given a 24" Gauge and are taught how to use it - to keep all in proper proportion. The trick is finding out how to make it all fit into 24 hours. I think that the trouble is that we continue to try to force a bigger object into a smaller one. We cannot force 36" of length into a 24" space. Oh, we can try but eventually something gives out and sometimes it is not something that can be fixed or replaced.

For instance, when I was younger, I worked myself to the bone. At one point I had three jobs and slept when occasion merited. Sure, we could pay the bills, but I missed time with my kids. See, they are all grown now - one with a family all her own - and I find myself wishing that I kept things in perspective...in proper proportion. My temple has some holes in it - I tried to fit too much into too little a space and I lost some valuable stone from time to time.

I reached into my toolbox and pulled out my Gauge this week. Slowly I began to cut away some of the "vices and superfluities" of life. After next week, I will be fitting things to the 24" Gauge and I am already feeling a little relieved and more relaxed. I will spend less time doing so much for everyone else and spend a little time of those things that need my attention. I think I will start with my new grandson - after my stats homework is done, of course.

How are you applying your 24" Gauge?

"I hold in my hands an instrument of death..."

One of the things that has always intrigued me has been that a central symbol - featured prominently in ritual work of the Craft - seems to be missing. Each of the working tools seem to hold a place, yet one is mysteriously absent.

What happened to the setting maul?

It's like CSI:Jerusalem. The crucial piece of evidence is missing and almost nowhere to be found. What I find interesting is that the gauge and the square are involved in the degrees, yet the setting maul does not.

Several Masonic writers including Steinmetz, Pike and Hutchens have discussed the symbolism of the trials at the Gates and the reasons for the use the specific tools and the locations where they were used. Roughly, they speculate the following:

• The First Gate: a symbol of the physical. The tool is the gauge. The blow strikes the throat, stifling speech.
• The Second Gate: a symbol of the psychical. The tool is the square. The blow strikes the heart, stifling the emotions.
• The Third Gate: a symbol of the spiritual. The tool is the setting maul - not the trowel. It is, in Hutchen's words "an instrument of brute force." It is with this instrument that ends his life with a blow to the head - the intellectual center.

More questions surface. Why does this implement not feature more prominently in the work? Why was it this instrument and this blow that kills him?

Steinmetz further comments on the setting maul in his book "Freemasonry - its Hidden Meaning":

"A setting maul is an instrument made use of by operative masons to coerce the unwieldy stone into its proper position in the building; but we, as Free and Accepted Masons are taught to make use of it for the more noble and glorious purpose of impelling ourselves into our proper positions in that building of which we are to form a part. A more recondite exposition is seen in the Constructive and Destructive aspects of Universal Law. In the hands of the ignorant and unskilled workman it becomes an instrument of death and destruction, but in the hands of the enlightened and skilled craftsman it becomes a constructive instrument with which the recalcitrant stone is forced into its proper position."

A key word jumped out at me when reading this - "recalcitrant". The stone described is not one which is difficult, but one which is stubbornly disobedient - one which is obstinately defiant of restraint. This is not a job for a simple trowel, but of a tool which is able to apply a greater level of directed force coupled with appropriate strength. In the hands of a Master Mason it can be a tool to guide stones into place. To the unskilled it is tool of destruction which will shatter the stone rather than settle it.

To me, this seems the more appropriate tool of a Master Mason. It is our duty to correct the errors of our less informed Brethren - a skilled application of the maul brings the Brother back into place. An unskilled application may shatter the Brother's confidence or damage his dignity - therefore damaging the ashlar - perhaps beyond repair.

Yet for some reason it remains missing. Perhaps some time in the future the answer will come to light, but for now we have only to speculate.

What do you think?