From time immemorial the button has been used for the relatively simple function of fastening articles of dress or clothing. The ancient Greeks fastened their tunics through loops. The Knights Templar and the Orders of S.John of Jerusalem and of Thomas of Acon also used this system until the invention of the buttonhole in the 13th century.
    As dress styles changed through the centuries, buttons quickly gained ground in popularity and became prominent as decorative devices. Wearing gold, silver and ivory buttons indicated wealth, rank or social position. Elaborate and expensive buttons were embellished with insets of ivory, tortoiseshell, semi-precious and precious jewels.
    The emergence of English Freemasonry and its integration within society coincided with the Industrial Revolution in Great Britain (1750-1830), thus providing opportunities for numerous button manufacturers to respond to the demands of changing fashion. Freemasons were not immune to these influences. Indeed, clothing and regalia is drawn to the attention of brethren in a Quarterly Communication of the Grand Lodge of England, dated 24 June 1727, followed a year later by a reprimand delivered to some brethren for being improperly dressed.
    Even allowing for the fickleness of fashion, the use of buttons lingers on in masonic regalia and clothing. This may be attributed to a combination of individual tastes in fashion, art or design, extroversion of characters among brethren and a liberal acceptance by both lodges and Provincial Grand Masters (viz: Thomas Dunkerley 1724-95).
    Rather like the two blades of a pair of scissors, conformity and uniformity interact to cut the weft and warp on the rich masonic tapestry of life. Yet the individuality and personality of Freemasons can still be expressed in subtle ways: the button, watch chain and fob, lapel pins, cuff links or symbolised black tie.
    For many years a small silver button with the masonic emblem of square and compasses and the letter ‘G’ was used as the centre point of the three rosettes displayed on the Master Mason’s apron. On the regalia collar is a ‘basket button’ which has been modified over the years. The white gloves also continue to use buttons of various materials and design.
    It is, however, within the changing fashion of men’s clothing that the interest and evidence for Freemasons’ participation remains. In the 17th century the buttons on men’s coats and long waistcoats or vests were usually small, numerous and as much decorative as functional.
    During the last half of the 1700’s, picture and portrait buttons showing the profiles of people and scenes were produced, further providing an ideal method of displaying masonic symbols or letters, lodge names and numbers. Buttons could be made to complement a particular garment or person, ideal for displaying within a lodge temple or festive board.
    Very large buttons were the fashion from 1775 onwards, coinciding with the emergence in the Midlands of Matthew Boulton and James Watt introducing the bright, costly, cut-steel button that was made by attaching polished steel facets to a steel blank. Pewter became the familiar metal of the age, also used to make moulded or stamped-out buttons. For the Freemason, cast brass buttons, particularly calamine brass (which lent itself to distinguishing designs), were available. Numerous examples can be provided.
    Famous button manufacturers included Firmin & Sons, London; Gaunts of Birmingham; Clancy of Dublin and John Ward of York. Sadly, these companies appear to have left no records of their manufacturing capabilities so dating becomes a difficult art. However, a useful rule of thumb is as follows:
    Flat Button - Prior to the year 1810 – such as:
    Slightly arched - Between 1810 and 1820 button manufacturers developed the ability to round or arch the backs of their buttons.
    Closed back - From 1820 they were able to make closed backs.
    With Mr Micawber-like optimism, one can only hope that something may turn up to improve the research knowledge.
    The 18th century was the era when so many changes occurred in men’s fashions. The ‘frock’ coat became more fashionable and, until 1770, was worn for full dress. Until 1780 it was single breasted and then double breasted with collar and lapels. It was not until the Victorian era that the morning coat started to outlast the frock coat.
    Waistcoats or vests finely embroidered with either single or double-breasted rows of buttons were always popular. It is only in the last 100 years that they have come to be worn in black with dinner jackets. Sticks or canes should not be forgotten; some rare masonic examples are extant. Two hundred years ago there was a major change from the buckle to the laced shoe or boot with the advent of wearing trousers instead of stockings and knee breeches.
    However, just a century ago, the short ankle-boots were in vogue (sometimes with spats). These used a series of small buttons that may have had masonic distinguishing features. Also, rather comically, this period saw the growth of the mime or pantomime theatre productions. In one such production, Cinderella, the character ‘Buttons’ epitomises the general usage.
    One of the most interesting and beautiful buttons is the one made by John Ward of York for the York Lodge No 236. It is well known in English masonic circles that the oldest minute in speculative Freemasonry is the March entry of Old York Lodge in 1712.
    On 17 January 1870 a memorial was sent to the Grand Master, the Rt Hon The Earl of Zetland (who just happened to be a member of the lodge) to change its name to York Lodge No 236. In granting this wish, on 7 February 1870, it permitted them to celebrate their centenary on 7 July 1877. To show the close association with the City of York, they decided to have buttons made. The design shows the arms of the City of York in the centre, with the name, number and year (1777) around the edges.
    Another interesting button is a Provincial one for Dorset. This is attributed to its then Provincial Grand Master, RW Bro William Tucker, who, together with other brethren in Dorset during the early 1800’s, publicly wore them. Tucker was, to say the least, an extremely flamboyant PGM and after being warned by England’s Grand Lodge to refrain from parading in regalia in many different orders, he was dismissed from office in 1853.
    The button was made by another well known firm of the time, Jennens of London. It displays the square and compass, the All-seeing Eye, and the word ‘Dorset’ interwoven through the compass. It was produced both in coat and cuff sizes.
    We may look at the involvement of another masonic constitution and its buttons. Ireland, unlike England and Scotland became heavily immersed in the Volunteer Movement of the 1780’s period with the membership of a number of lodges joining the local Volunteer Company en masse. Masonic links were strong and masonic symbolism appears quite frequently in Volunteer records; the button being a classical example. The Volunteer uniform was commonplace for the brethren to wear at lodge meetings. The Tyler, in particular, was singled out by the lodge to be dressed in uniform, in many cases with a profusion of buttons displayed.
    Buttons, therefore, appear to have had a wider appeal among Irish lodges. Examples of their usage include Lodge Nos: 1, 4, 5, 8, 18, 40, 68, 82, 95, 100, 116, 125, 134, 141, 272, 620 and 790, initially formed between 1781 and 1783. These buttons would have been introduced at various times and for various occasions. This might be on formation or to commemorate a special anniversary. Lodges would also wear them to give the members a distinctive presence.
    Leinster Lodge No 141’s minute for 19 March 1838 resolved the following: “That in future at each regular meeting each member would be attired in Dress Coat of Black Cloth with Black velvet collar – full skirt lining of crimson satin. The cuffs peaked. The opening at sides and slashed. Buttons the GM (Gilt Metal) Lodge button. 12 on front, 4 on the skirts and 3 on each cuff.” Later minutes of 29 November and 14 January 1842 required members to wear the uniform or pay a fine of 2s 6d each, which would have been a substantial sum at the time.
    In addition to all the buttons mentioned are others of a more general nature, with no indication of manufacturer, country of origin, design, quotation or year of introduction: the frustration factor which a collector of masonic artefacts will instantly recognise. The general wear and tear these buttons have experienced becomes a challenge in itself. If only they could talk – what a tale they would tell! The use of buttons has stood the test of time; they have a long future – especially in the service of Freemasonry. Relatively cheap to produce, distinctive in appeal, flexible in use, the button provides the means whereby an individual Brother, lodge or Province can emphasise its distinctive uniqueness without being ostentatious.

Granville Angell would like to express his particular thanks to the Curator of the United Grand Lodge Museum, Mark JR Dennis.