Hello and welcome to this tour of three of the historic masonic sites in the City of London that are inextricably linked with Freemasonry and its development. We start our journey on the spot where once stood the entrance to the Goose and Gridiron Ale-house, some fifty metres north of the last step leading to St. Paul’s Cathedral. It is here that the foundation of the undisputed first Grand Lodge in the world took place on 24 June 1717.
Unfortunately, and rather surprisingly, there appear to be no mementos of this historic tavern situated in what was St. Paul’s Church Yard and the only surviving item, now in the Museum of London, is the pub sign. Up until the Great Fire of London in 1666, the Goose and Gridiron was known as the Mitre. After being devastated in the blaze, it was rebuilt and renamed The Lyre, on account of the tavern’s musical associations (a musical society met on its premises), and took as its sign Apollo’s lyre surmounted by a swan. However, this image was often unrecognised and misinterpreted and a new name was born from the error: Goose and Gridiron.
battle for the blue plaque
It was in this tavern that four London lodges came together to launch Freemasonry, electing Anthony Sayer (1672-1741/2) – the ‘oldest Master Mason and then Master of a Lodge’ – as its Grand Master. It must be noted here, however, that the only source for all the information we have about the premier Grand Lodge in 1717 is from James Anderson’s reports that were published more than two decades later in 1738.
Moving on now, if you look to your right you will see, on the last column of the building you are facing, the official blue plaque commemorating the foundation of the Grand Lodge. It simply states:
Near This Site
The Grand Lodge
First Met in 1717
Nonetheless, after eight years of perseverance, on 15 June 2005, the then Lord Mayor, Alderman Very Worshipful Brother Michael Savory, finally unveiled the blue plaque that we are now so proud of.
foundations of freemasonry
It is interesting to consider how amazed our founding forefathers would no doubt be at the spread of Freemasonry through the four quarters of the globe. You see, the four lodges did not originally meet with the aim of forming a Grand Lodge. Rather, their decision to unite stemmed from a need to strengthen each individual lodge’s membership. Indeed, in unity they found this strength and it was at the initiative of other lodges wishing to join the group that a Grand Lodge was declared and formed as a controlling body. Freemasonry has never looked back.
Follow me now please, past Paternoster Square, Goldsmiths, The Saddlers’ Hall and Guildhall Yard, and let us make our way into the passage entrance of Mason’s Avenue. Now, once we move twenty metres into the alleyway, we are standing in front of the Select Trust Building.
Let me first point out that the whole of this two- hundred-yard-long avenue has not changed in four centuries. The imitation Tudor-style buildings are recent, of course, but the shape and size of the alley has remained identical and right here, on what is now 12-15 Mason’s Avenue, stood the Hall of the Worshipful Company of Masons, one of the City of London Livery Companies with which our society is closely, and at times quite wrongly, identified.
The Masons Company has its earliest record dating to 1356 and received its Grant of Arms in 1472. By then the building on this site was already functional and it was only demolished in 1865, some four hundred years later. As a reminder of the old days, the present building, which was completed in 1980, has the beautiful stained-glass windows with masonic emblems incorporated into the design. A gilded inscription embedded into the wall serves as a further reminder. It reads:
On This Site Stood
The Hall Of The
A 1463 – 1865 D
For our third and sadly last stop on this tour, let us walk the short distance to the Royal Exchange. From this vantage point you have a particularly good view of the main entrance to the Bank of England, which is popularly known as ‘The Old Lady of Threadneedle Street’.
The Bank of England has been situated in this area since its inception in 1694, with three bank buildings rising on this same site since 1734. As an interesting aside, did you know that the Bank of England was the first purpose-built bank in the British Isles? Another notable, and quite surprising fact is that the Bank of England remained a private entity until the Parliament Act of 1946, after which it was finally nationalised.
soane’s speedy advancement
Returning to the building, Sir John Soane (1753-1837) was the bank’s third architect and worked on it for forty-five years (1788-1833). However, the only part of his work that still remains is ‘the curtain wall’, which is the elongated windowless screen wall that you can see along the front. This wall encloses the whole of the block, which consists of an area of three and a half acres containing the premises of the bank.
The Duke of Sussex, who was elected as the new Grand Master of the United Grand Lodge of England in 1813, favoured Soane’s architectural work. As such, when the Duke of Sussex directed the extension of the Grand Lodge premises in Great Queen Street, one of his many dynamic and innovative activities, it was Soane who undertook and completed the task.
On 25 November 1813, an emergency meeting of the Grand Master’s Lodge, No. 1, under the Grand Lodge of the Antients, was held at the Crown and Anchor Tavern in the Strand. At this meeting Soane was initiated as an Entered Apprentice, passed to the degree of a Fellowcraft and raised to the degree of a Master Mason. In addition, following the inauguration of the United Grand Lodge of England, Soane was formally appointed President of the Board of Works and given the appropriate high masonic rank of Grand Superintendent of Works – both a well-deserved and speedy advancement by any standard.
This brings us to the end of our tour in which I hope to have shown you the significance of the City of London to the history of Freemasonry, along the way unearthing a few masonic gems that you may not have known existed. Thank you very much for joining me – I hope you have enjoyed your trip and I wish you a safe journey home.
Croydon Freemason Cyril Spackman was a man of many talents, including winning the design competition for the Hall Stone Jewel, as Alan Chard explains
At a special meeting of Grand Lodge in June 1919, the Grand Master, the Duke of Connaught, expressed a wish that a memorial be established to commemorate those brethren who had made the supreme sacrifice in the 1914-1918 war.
It was agreed that this memorial should be a building of a central home for Freemasonry on a site to be selected in London.
The Masonic Million Memorial Fund was then launched in September that year and brethren both at home and overseas were invited to contribute to raise the £1m needed to finance the work.
The contributions from individuals and Lodges were to be recognised by the award of a commemorative jewel.
For the jewel design it was decided to hold an open competition with a £75 prize for the winner, and at the Grand Lodge meeting in June 1921 it was announced that the design selected was that submitted by Cyril Saunders Spackman.
He was initiated into Panmure Lodge No. 720 on 21 January 1918 when 30 years old. The Lodge was to become a Hall Stone Jewel Lodge, although Spackman resigned in February 1923.
But in 1937 he thought there was a need for a new Surrey Lodge to be formed to cater for professions such as engineers, architects, surveyors etc. This led to the founding of Beaux Arts Lodge No. 5707, consecrated at Sutton Masonic Hall on 28 January 1938. Spackman and Sadler, his father-in-law, were both founder members, Spackman being the first secretary, and Sadler the first Master.
With the coming of war, Surrey County Council requisitioned the Hall for use as a rest centre, but Spackman came to the rescue and offered the Lodge the use of his studio for its meetings.
As a result, the Lodge met there regularly from 1939 to 1948. Spackman became Master in January 1940, and had the unique distinction of being installed in a ceremony conducted in his own home.
He remained secretary right up to his death, and even during his year in the chair, he continued to deal with Lodge affairs, although another Brother was secretary by name.
He was a man of many talents – architect, painter, sculptor, teacher, writer, Freemason. He was born in Cleveland, Ohio on 15 August 1887, the only son of a Welsh Methodist minister the Rev. John and Adele Saunders Spackman.
Educated in schools on both sides of the Atlantic, in 1922 he was commissioned to paint the portrait of a prominent Croydon Freemason, Richard Joseph Sadler.
Mr Sadler had a daughter, Ada Victoria, and romance blossomed, and later that year they were married. The Croydon Times (19 August 1958), in an interview with Spackman, reported:
A high-ranking Surrey Freemason, he recalled that it was Freemasonry that led to his marriage with Miss Queenie Sadler, the well-known Croydon violinist in 1922, and to his coming to live in Croydon. He first met her when he was asked to paint the portrait of her father, who was then a prominent Freemason. “And it was a real Masonic wedding, in St Matthew’s, George Street” Mr Spackman remembered.
They had one daughter, who became a writer, and a son who became an RAF pilot, and who then flew with British Overseas Airways Corporation. Then he became a designer and test pilot with Miles Beagle Aircraft. Tragically he was killed during a flight at the age of 35.
At their home in East Croydon, Cyril Spackman had a splendid studio built to his own design in which he could exhibit his own works and hold meetings.
Hall Stone Jewel
The Masonic Million Memorial Fund Commemorative Jewel, issued to individual subscribers. The design was described at the time as follows:
“The jewel is in the form of a cross, symbolising Sacrifice, with a perfect square at the four ends, on the left and right squares being the dates 1914-1918, the years in which the supreme sacrifice was made. Between these is a winged figure of Peace presenting the representation of a Temple with special Masonic allusion in the Pillars, Porch and Steps. The medal is suspended by the Square and Compasses, attached to a ribband, the whole thus symbolising the Craft’s gift of a Temple in memory of those brethren who gave all for King and Country, Peace and Victory, Liberty and Brotherhood.”
In 1930 he was elected a Licentiate of the Royal Institute of British Architects. Although he trained as an architect he had always wanted to be a painter, and in 1913 he exhibited for the first time at the Royal Academy of Arts Summer Exhibition at the age of 26.
The work accepted was Westminster Abbey – the West Front. In 1916 another work was accepted – Crickhowell Bridge, Wales and the following year The Edge of the Coppice was approved.
One commission he must have enjoyed was for Queen Mary’s Doll’s House. Queen Mary had always been an enthusiastic collector of antiques, especially miniatures, and the Doll’s House was intended to be not just a gift, but also to promote the work of leading British artists, designers and craftsmen.
Built on the scale of 1:12 it was completed in time to appear at the British Empire Exhibition at Wembley in 1924. After the exhibition closed it was taken to Windsor Castle for permanent exhibition, where it has remained to this day.
The architect of the house was Sir Edward Lutyens – one of the three assessors for the design competition in 1924-1926 to select an architect for the new Freemasons’ Hall in Great Queen Street, London.
More than 1,500 craftsmen and artists were invited by him to participate in the construction of the house and its furnishings, including Spackman, who contributed Fir Trees against a Sunset Sky.
Honours now came to Cyril Spackman, and in 1916 he was elected a member of the Royal Miniature Society and the Royal Society of British Artists (RSBA).
For Freemasons, his most important commission was the design in 1921 of the Hall Stone Jewel for the United Grand Lodge of England, which was exhibited at the Royal Academy Summer Exhibition in 1922.
He was very proud that the jewel is a main feature in the central panel of the stained glass window behind the shrine on the first floor vestibule at Freemasons’ Hall.
However, there is one interesting change in the jewel in the panel. When he designed it in 1921 this was prior to the architectural competition for the new building.
When the window was designed several years later, the façade was now known, so the winged figure of Peace, instead of holding a model of a classic temple – as in the jewel itself – is actually holding a model of the Tower façade for the building.
The Duke of Devonshire was Grand Master 1947-1950, and in 1950 Spackman exhibited at a Winter Exhibition of the RSBA a bust of the Duke, and in December that year he presented it to Grand Lodge.
In 1944 he was admitted into the Worshipful Company of Masons, which had its origins in the operative guild formed to control the stone trade in London.
Spackman was generous with his time and talents and was a well-known and active figure in the local community. He was chairman of the Croydon University Extension Committee, the Committee of the Croydon Writers Circle, an Honorary Vice-President of the Croydon Symphony Orchestra and a Vice-President of the Croydon Camera Club.
Not only were Lodge meetings held at his home, but he let it out to local cultural groups, and in the studio he took private lessons and held classes in architecture, painting, sculpture and drawing.
He had an international reputation, and his works were widely exhibited from the Walker Art Gallery in Liverpool to the Cleveland Museum of Art in the United States. As a writer his one major publication appears to have been Colour Prints of a Dream Garden and Old World Garden, a collection of prints taken from original drawings, some of which had been exhibited at the Royal Academy.
Some of his work has been left to posterity. There are prints in the British Museum, drawings in the permanent art collections in some City Art Galleries, and works in private collections in the UK, USA, France, Holland and Sweden – and, of course, the Hall Stone Jewel.
Cyril Spackman died of a heart attack on 16 May 1963 at the age of 76.
Acknowledgements: The author wishes to thank the National Art Library, the Royal Academy of Arts, the Royal Society of British Artists, the Royal Society of Arts Commerce and Manufacture, the Royal Institute of British Architects, Croydon Local History and Archives, Westminster Central Reference Library and the Library and Museum of Freemasonry. Particular thanks are due to Dr Susan Owens (Royal Collection Trust), Peter Clark (Worshipful Company of Masons), Stephen Freeth and Juliet Barnes (Corporation of London), Stephen Briney (Panmure Lodge No. 720), Douglas Burford (Beaux Arts Lodge) and James Nye (Remigium Lodge No. 7343).