Tracing Boards and Masonic Art

In the early 18th century, Freemasons brought the tools of stonemasonry, as well as other objects such as ladders and even beehives, to the Lodge, where they were arranged, and used to illustrate the ‘Mystery’ of Freemasonry. Due to the awkwardness of packing Lodges (which were usually private rooms in taverns, and hired especially for the occasion) with such cumbersome equipment, the more artistic Freemasons began to illustrate the symbols, first by drawing them on the floor in chalk and charcoal, and, later, by painting them on small squares of marble or larger canvases. The painted cloth – which could be more than six feet in length – was either hung on the wall or laid flat on the floor, and, in the latter case, became a fully functional part of the ritual. Thus, if stairs were painted on it, the initiate may have been required to walk this symbolic path, over the canvas, etc.

The tracing board, such as we can see today, had appeared by the latter half of the eighteenth century, and was typically painted on canvas and displayed on an easel, were a Master Mason delivering a standard lecture, as a part of the Degree, could point to the symbols illustrated as necessary. The tracing board is usually presented during first three “Craft” Masonic Degrees, especially in Britain, though this Masonic tool is also found in a few so-called higher Degrees.

Although the tracing boards now used in Lodge are generally printed reproductions, it is very valuable, I believe, to keep this old tradition of Masonic art alive; Freemasonry, after all, is also known as the “Craft.” Below are some of the tracing boards, and a couple of paintings based on the tracing board, that I have painted over the last few years (all oil on canvass).

Above left is a painting based on the tracing board. The tools of stonemasonry, adopted by the Freemasons, lie in the foreground along with the rough and perfect ashlar and a lamp of knowledge. A Masonic altar is depicted in the center, upon which lies the Sacred Volume and Square and Compasses. Around it are three candles, such as can be found in the Masonic Lodge today (representing the three Lesser Lights of the Sun, Moon, and Master of the Lodge), and at the center of the altar is a five-pointed star, derived from the “golden proportion” of architecture. You will note the Star to the right has a letter ‘G’ at its center. This was an early form of the Masonic “Blazing Star,” typically found on the Fellowcraft board.

Above right is a painting that draws from the three Degrees of Craft Freemasonry. Above the skull is a heart, ear, and key. The first of these emblems represents the faithful breast, and the last represents the tongue of a Freemason. Typically the key is shown hanging on a piece of string and in an upright position, as the tongue of a Freemason is said to “hang in a Brother’s defense, but never lie.”

Above left is the tracing board of the Entered Apprentice Freemason. At the bottom lies the 24 inch gauge (symbolic of the hours of the day), along with a rectangular operative tracing board (with the layout of a building) and a checkered floor. You will also see a ladder (representing Faith, Hope, and Charity), the three pillars, the Sun and Moon, etc. In the center the Sacred Volume rests on a circle, either side of which are two parallel lines, symbolic of keeping the passions within bounds.

Above center is the tracing board of the Fellowcraft Freemason. The board is typically taken up by a depiction of the middle chamber of King Solomon’s Temple (center). Beneath the Eye of God is a letter ‘G’ standing for ‘Geometry’ and the ‘Great Architect.’ In earlier times it was not unusual to see a letter ‘Y’ or ‘J’ (for ‘Yehova’ or ‘Jehova,’ and, possibly, ‘Jesus’ as Freemasonry was originally explicitly Christian).

Above right is the tracing board of the Master Mason. The scythe, broken column, hourglass, and skull, all refer to mortality and, more specifically, to the death of Hiram Abiff, the first Grand Master of Freemasonry according to legend. Hope of life beyond that of the material world (i.e., of heaven) is represented by the Eye of God, Noah’s Ark, and the sprig of acacia, supposed to have been placed at the grave of Hiram Abiff.

Above left is the tracing board of the Royal Arch Mason. In the center is the Sacred Volume and Square and Compasses (which, together, are referred to in Freemasonry as the three Great Lights), flanked by two angelic beings. Between their wings is the Name of God in Hebrew, and above are solids representing the five Platonic elements. At the top is the Eye of God in a triangle (the triangle is especially important in the symbolism of the Royal Arch), while, at the bottom, is the Ark of the Covenant, as well as a rough and a perfect ashlar or stone.

The Royal Arch is often considered the fourth Degree of Freemasonry, and was until recently held to be the final part of the Master Mason Degree, though this assertion was historically inaccurate, and has consequently been dropped. Some Masonic historians believe the Royal Arch Degree to be based on Cabalistic mysticism, though it is sometimes suggested that it was either influenced by or derived from the 17th century mystical society of the Rosicrucians. The Degree appeared in the first half of the 18th century, apparently being created in Ireland.

Above left is the tracing board of the Knights Templar, the highest Degree in the so-called York Rite of Freemasonry (right is a detail of the Templar board). This Degree is given in conjunction with the Knight of the Red Cross and the Knight of Malta, as well as a short intermediary Degree, known as the Knight of St. Paul. The York Rite Degrees are:

I. Entered Apprentice

II. Fellowcraft

III. Master Mason

IV. Mark Master

V. Past Master

VI. Most Excellent Master

VII. Royal Arch

VIII. Order of the Red Cross

IX. Order of the Knights of Malta

X. Order of the Knights Templar

At the bottom of the Templar board two swords are crossed, symbolically protecting the Bible, the pages of which are, here, held open by the medal or ‘jewel’ of the Knights Templar Mason (a white Maltese cross suspended from a black ribbon). Center of the board is a skull and crossbones, emblematic of mortality, surrounded by a triangle of candles. The skull and crossbones – a much misused symbol – was once enormously important in European art (especially during the 16th century). Originally it was painted on the reverse of portraits, indicating the mortality of the patron painted on the front. Later they were used in the Vanita, a type of still life painting in which the corruptible nature of the world was often compared to the incorruptible nature of the heavenly, spiritual, etc. Frequently the skull was set with such objects as coins, goblets, musical instruments, etc.

Above the skull in the Knights Templar board is a chalice used for wine or water, and to the left is a loaf of bread, these being the simple sustenance of the spiritual seeker. At the very top three crosses can be seen: the Calvary Cross center; the Maltese cross to the left, and the cross of the Red Cross Knight to the right. Like many of the higher Degrees, the narrative of the Knights Templar ritual is the unfolding of a quest or pilgrimage in which the Christian mysteries are encountered.