Bond of brothers
Featuring Freemasons who led and served on land, sea and air from the Second Boer War to the end of the Second World War, a new exhibition at Freemasons’ Hall showcases a photographic history of extraordinary spirit, humanity and comradeship, both in war and peace
While showing visitors around the Brothers in Alms exhibition of war photographs he’s curated at Freemasons’ Hall, curator Brian Deutsch was stopped in front of an image of No. 1 Squadron by a Freemason. ‘That’s my uncle!’ the man said, pointing to a figure in a group photograph. This is the sort of reaction Deutsch hopes to inspire. ‘You might see relatives or people who were in your lodge.’
The exhibition features more than 200 images covering the war and the home front. The masonic element comes through the presence of prominent military masons such as Haig, French, Kitchener, Jellicoe and Churchill, as well as lesser-known war heroes such as Bernard Freyberg VC. There are also female Freemasons, such as Dame Florence Leach, who founded the Women’s Army Auxiliary Corps and was a member of Golden Rule Lodge, No 1. Many American participants in World War I were Freemasons, including future generals Patton and MacArthur and a young Franklin D Roosevelt. The Duke of Connaught, who was Grand Master of UGLE during the war, is also featured. But the theme of Freemasonry goes beyond the personalities involved.‘
A lot of them have connections to Freemasonry, but the theme of the exhibition is humanity and caring, which is a banner of Freemasonry,’ explains Deutsch. ‘I wanted to show how the spirit of life will ultimately triumph. A lot of that is because the comradeship during the war carried on afterwards. A lot of soldiers actually became Freemasons following the war after seeing what it meant for their officers.’
'Lots of soldiers joined Freemasonry following the war after seeing what it meant for their officers'
The exhibition highlights the charitable work of Freemasons, as well as the importance of Freemasonry to leading wartime figures. Lord Haig espoused the principals of Freemasonry throughout his career, devoting his post-war life to improving the welfare of ex-servicemen.
While the connections to Freemasonry of the war’s leading soldiers are well known, others are more obscure. There are three airmen who were the first to down a German airship on British soil. ‘They had the gavel for their RAF lodge, Ad Astra Lodge, No. 3808, made from metal taken from the airship,’ says Deutsch. Another photo shows soldiers home from the front being treated to tea at the Connaught Rooms by the Freemasons.
Photographs were selected for a variety of reasons. Many are simply excellent pictures, either in terms of composition or because they capture something particularly interesting or unusual. There are photos of elephants ploughing the Surrey fields in place of the horses being used to serve the military; there are 18,000 US soldiers replicating the Statue of Liberty on a field in Iowa to promote the sale of war bonds; there’s a homesick soldier in his trench, painting street signs for King’s Cross, Love Lane and Devil’s Dyke on Scraps of wood; there are four members of the Women’s Army Auxiliary Corps enjoying a day at the beach. There are also cameos from Sir Ernest Shackleton, Douglas Fairbanks and TE Lawrence.
The royals are a significant presence. George V is seen visiting the front, while The Prince of Wales, the future Edward VIII, is shown on a postcard used to raise money for the war effort. As the heir, he was not allowed to serve at the front, whereas his brother Albert – the future George VI – served at the Battle of Jutland. He was the last king to take part in a battle. All three were Freemasons. As Deutsch explains, ‘the Royal Family’s role was transformed by the war.’
The exhibition runs until November 2019 and is on the second-floor corridor of Freemasons’ Hall. It’s open to the public from 10am to 1.30pm, Monday to Friday. Those unable to get to London can visit www.brothersinalms.org.uk to see the entire exhibition online.
A feast for eyes and mind
From the homemade to the exquisite, this is the history of Freemasonry made vividly alive
Nothing draws together the many facets of Freemasonry as well as the masonic jewel. The current exhibition at the Library and Museum at Great Queen Street illustrates three centuries of the Craft through its outstanding collection of jewels and reminds us how much lies behind each one of them, with their fascinating stories being told in detail.
There is everything from simple jewels handmade by prisoners of war to glorious pieces crafted in gold for Grand Masters. It exemplifies every aspect of masonic history and how Freemasonry became – and remains – crucial to the countries which formed the British Empire.
As well as lodge jewels from around the world, there are charity and consecration jewels, as well as those made for Past Masters and founders and many other artefacts. Some are exquisitely hand-painted or enamelled and are complemented by excellent accompanying notes.
The exhibition has rare items of masonic history, from Elias Ashmole, through the merger of the Antients and Moderns, to modern jewels. It is astonishing to see the initiate’s apron worn by the Prince of Wales in 1919, an improvised apron worn at the Siege of Ladysmith and Sir Winston Churchill’s apron.
For Freemasons, this exhibition illustrates the remarkable depth and range of the Craft, while for the non-mason it helps to connect three centuries of British history and explains the significance of Freemasonry with remarkable clarity. It would, if it were possible, make for a wonderful permanent exhibition.
Review by Richard Jaffa
Bejewelled: Badges, Brotherhood and Identity, at the Library and Museum of Freemasonry, until 24 August 2019, free admission
Those who dwell in the silent cities
With Rudyard Kipling as one of its founding members, how did a masonic lodge created for those serving in the Imperial War Graves Commission in northern France find its way to London?
From Gallipoli, the Middle East and Salonika to the European nations along the Western Front, the sites of many First World War graves were unknown, and in areas where fighting had been heaviest, bodies lay unburied.
The commander of a mobile unit of the British Red Cross, Sir Fabian Ware, decided that the final resting places of the dead would not be lost. His unit therefore began recording and caring for all the graves they could find. By 1915, this work was given official recognition by the War Office and incorporated into the British Army as the Graves Registration Commission.
With the support of Edward, Prince of Wales, Ware submitted a memorandum on the subject to the Imperial War Conference, and in May 1917 the Imperial War Graves Commission, today called the Commonwealth War Graves Commission, was established by a Royal Charter.
Undertaking the reburial of the fallen soldiers of Britain and its empire, the commission was empowered to buy land in order to build cemeteries and memorials wherever required. Its work began in earnest after the 1918 armistice that ended the fighting. That year, some 587,000 graves were identified, with a further 559,000 casualties registered as having no known grave.
For commission members who were masons, creating a lodge was the logical progression – the commission was free from political control and was tasked with caring for the graves of men and women from many religions.
With the commission making its headquarters just outside St Omer in March 1919, Lodge No. 12 was consecrated nearby on 7 January 1922 in both the French and English rites.
Lodge No. 12’s founders included Sir Fabian himself, Sir Herbert Ellissen and Conservative politician Sir Henry Maddocks. But perhaps the most famous founder was Rudyard Kipling, who had joined the commission as literary adviser.
Kipling inspired the eventual name of the lodge: The Builders of the Silent Cities. In the words of the by-laws of No. 12, the name ‘beautifully expresses the vocation of its members, whose sympathetic labour is to construct and maintain permanent resting places and memorials to the glorious and valiant dead of the British Empire who fell in the Great War’.
During the 1920s, No. 12 was an active lodge, holding eight meetings a year and giving an opportunity for the study of Freemasonry without encroaching on Degree ceremonies. According to ‘35 Masters, The Story of the Builders of the Silent Cities Lodge, No. 4948’, the lodge built up ‘an enviable reputation for excellent working’, including a modified version of the Sussex working in the Third Degree. It was the only lodge in France to do so and was carried out as a mark of respect for Kipling, who was a Sussex man.
In 1925, the commission moved to London, and many of the senior members of No. 12 were transferred to England. This naturally led to the need for a London lodge, and on 5 December 1927, the Builders of the Silent Cities Lodge, No. 4948, was consecrated under the English Constitution.
‘O valiant hearts who to your glory came, Through dust of conflict and through battle flame; Tranquil you lie, your knightly virtue proved, Your memory hallowed in the land you loved’ A line from the hymn ‘Oh Valiant Hearts’, which is sung at the end of Lodge No. 4948 meetings
A HALL STONE LODGE
While Ware had been a founder member of No. 12, he was not a member of a lodge in the English Constitution at the time so could not play a similar role in the formation of No. 4948. Ellissen therefore became the first Master and shouldered the burden of most of the work during the lodge’s formative years.
With Freemasons’ Hall a memorial to the brethren who fell in the First World War, it will come as no surprise that Ellissen’s first resolution was that No. 4948 should become a Hall Stone Lodge. Grand Lodge had launched a campaign to raise funds to help in the Hall’s construction, with a target of £1 million. Lodges that contributed an average of 10 guineas per member were to be recorded in the new building as Hall Stone Lodges and the Master of each entitled to wear a special medal on a collarette. Ellissen was determined that the medal should be attained during his Mastership, so that future brethren should know that every Master from the first onwards had worn it during their year of office.
Since its inception, Lodge No. 4948 has had a number of different London homes, meeting at Andertons’ Hotel in Fleet Street, The Rembrandt Hotel on Thurloe Street, The Mostyn Hotel on Portman Square, the Royal Commonwealth Society on Northumberland Avenue and The Park Court Hotel in Bayswater. In 2001, however, it returned home to Freemasons’ Hall in Great Queen Street, where it was originally consecrated and still meets today on the third Friday of January, February, March and November.
At the end of every meeting of Lodge No. 4948, ‘Oh Valiant Hearts’ is sung, a hymn specially written for a War Anniversary Intercession Service held in Westminster Abbey in August 1917. Originally titled ‘The Supreme Sacrifice’, the hymn is a fitting tribute to those who dwell in the silent cities.
Thanks to ‘35 Masters, The Story of the Builders of the Silent Cities Lodge’ and ‘The Fiftieth Anniversary of the Builders of the Silent Cities Lodge’. For more information about the Imperial War Graves Commission, now known as the Commonwealth War Graves Commission, go to www.cwgc.org.
With 2018 marking the 150th anniversary of the initiation of Albert Edward, The Prince of Wales, into Freemasonry, John Hamill reflects on why the ceremony happened in Sweden
In late 1868, HRH Prince Albert Edward, The Prince of Wales, had a very busy two days while on a private visit to Sweden, where King Charles XV was Grand Master of the Swedish Order of Freemasons, a progressive system of eleven degrees.
The eldest son of Queen Victoria and future King Edward VII received the first six degrees of the Swedish Rite on 20 December. He received the remaining four degrees on 21 December, after which he was received into the eleventh and highest degree of Knight Commander of the Red Cross, which is also a civil honour, making him a Knight Commander of the Order of King Charles XIII. The prince was to always wear the collarette and jewel of that dual honour with his masonic regalia.
The question has been asked as to why the Prince of Wales entered Freemasonry abroad. The wits of the day suggested it was because he was in awe of his mother, Queen Victoria, who, they claimed, was not well disposed towards Freemasonry. However, this does not square with the fact that she was royal patron of the then-three national masonic charities.
More likely, it would have been a question of protocol, as well as a wish not to have to make the decision as to which lodge and which senior brother should have the honour of initiating the heir to the throne. Those problems were solved in Sweden, where the ceremonies were conducted by that country’s king and crown prince.
News of the event was sent to England, and it was unanimously agreed that the prince should be appointed a Past Grand Master, which resolved any protocol problems and was in line with what had happened since 1767 to members of the royal family who joined the Craft. As a precaution, as few of the then-senior members of Grand Lodge were conversant with the Swedish degrees, a request was made to Sweden for English translations of the first three degrees of their system, which was quickly answered and showed that they had the same basic import as the English equivalents.
At the Quarterly Communication held on 1 December 1869, the Prince of Wales was received, proclaimed and welcomed as Past Grand Master. In his response to his welcome from the Grand Master, the Earl of Zetland, the prince said that he felt it ‘a deep honour to be there that day and to be admitted into the Grand Lodge of England’. He had already intimated that he intended to join lodges in England and was to be Master of four lodges and a founder and first Master of three new lodges.
‘The presence of the prince at the head of Freemasonry gave it a newfound respectability and social cachet’
AN ENTHUSIASTIC MASON
In 1874, the Grand Master, Lord Ripon, suddenly announced his resignation, as he had converted to Roman Catholicism. While Ripon had no doubts as to the compatibility of Freemasonry and his faith, the pope had recently issued an encyclical against Freemasonry, so Ripon felt he could not continue as an active Freemason.
What could have been a crisis for Grand Lodge was quickly averted by the Deputy Grand Master, Lord Carnarvon, who suggested that the Prince of Wales be approached to stand for election. With the prince readily agreeing, the Annual Investiture was held at the Royal Albert Hall on 28 April 1875 to enable as many brethren as possible (over 7,000) to see the Prince of Wales installed as Grand Master. It was an office he was to be annually re-elected to until he came to the throne in 1901.
The prince was an enthusiastic mason. As Grand Master, he was ex officio First Grand Principal in the Royal Arch. He was Grand Master of the Mark Degree 1886–1901; Grand Master of the Knights Templar 1873–1901; and became 33rd Degree and Grand Patron of the Ancient and Accepted Rite. He was also Grand Patron of the Grand Lodges of Ireland and Scotland.
The prince also helped to bring two of his brothers, and his son, into the Craft. The prince was also a great publicist for Freemasonry. When asked to lay the foundation stones of new buildings and other public structures, he would usually insist that it be done with masonic ceremonies in full view of the public. As Prince of Wales he undertook a number of major overseas tours – notably to India and North America – and wherever he went he ensured that he had contact with the local Freemasons.
If it was not possible to attend a formal meeting, the prince ensured that he met groups of local brethren in a social setting, particularly in those areas where English lodges were meeting. As a result of his visits, there was a significant increase in the number of lodges in what were then parts of the British Empire.
At home, the presence of the prince at the head of Freemasonry gave it a newfound respectability and social cachet. During the prince’s 26 years as Grand Master, the number of lodges almost doubled, and membership was seen as a mark of the brethren’s standing in their local communities.
On coming to the throne in 1901, Albert Edward ceased active participation in Freemasonry and took the title of Protector of the Craft, maintaining an interest in its activities until his death in 1910.
Letters to the Editor - NO. 42 SUMMER 2018
Under the English Constitution
Although Albert Edward, The Prince of Wales, had been initiated into the Swedish Order of Freemasons in 1868 (John Hamill, summer 2018 edition of Freemasonry Today), it was not until 1871 that he attended an English lodge – Jerusalem Lodge, No. 197 – at the centenary celebrations presided over by the Master Sir Charles Hutton Gregory, Past President of the Institute of Civil Engineers.
This was reported in the Daily News of 1 March: ‘Friday, the 24 February, will be henceforth a memorable day in the annals of Modern Freemasonry, for it marks the introduction of the Heir to the English Crown to one of those private “Lodges”, which are so numerous as to form a not unimportant item in the social life of the country…
‘His Royal Highness wisely selected a Centenary Festival as the occasion of his first visit to a private Masonic gathering, and, quite as wisely, chose a Lodge which has the reputation of picking out men of scientific attainment or versatile accomplishments as its Members.’
A Centenary Jewel was designed to mark the occasion when the Prince was present as an Honorary Member of the Lodge, but, to the chagrin of the lodge, this did not conform to the design regulations for Centenary Jewels, and it was not until 1884 that these constraints were circumnavigated by designating the Jewel as ‘Distinctive’ rather than ‘Centenary’.
Following this diplomatic breakthrough, a Warrant dated 28 April 1884, signed by the Prince of Wales, then Grand Master, authorised present and future Master Masons of Jerusalem Lodge to wear a Distinctive Jewel to mark ‘our first visit to a Lodge under the English Constitution…’ and ‘as a further and especial mark of our favour we permit and authorise the said Jewel to be surmounted by a representation of our Royal Coronet in Gold’.
Dr Jonathan Dowson, Jerusalem Lodge, No. 197, London
The Grand Master, HRH the Duke of Kent, officially opened the Library and Museum of Freemasonry’s newest gallery
Part of UGLE’s Tercentenary celebrations, the ambitious project took several months to complete.
Among the beautiful treasures on show at the gallery are items belonging to such well-known masons as HRH Prince Augustus Frederick, Duke of Sussex; Sir Winston Churchill; King Edward VIII; circus proprietor Billy Smart; and land speed record-holder Sir Malcolm Campbell.
Located at Freemasons’ Hall, the gallery includes the elaborate, monumental Grand Master’s gilded ceremonial throne, commissioned in 1790 for the Prince of Wales (later King George IV), the second royal prince to be a Grand Master.
The gallery opens up into a lodge room, where the Grand Master unveiled a new plaque renaming it the Kent Room.
‘The exhibition aims to explain Freemasonry’s values of sociability, inclusivity, charity and integrity, as well as its history and development to the general public,’ said Diane Clements, then director of the Library and Museum. ‘We hope it will also be an enjoyable way for members to explain to friends and potential new members what Freemasonry is all about.’
It’s been two years in the making, with the United Grand Lodge of England’s Grand Master, HRH The Duke of Kent, brought to life in a striking new bronze bust
Sculpted by Frances Segelman, it is life and a quarter size, with his eyes subtly picked out in blue. It was cast by Bronze Age in Limehouse.
Frances was first approached to sculpt HRH The Duke of Kent back in 2016 by then Grand Secretary Nigel Brown, to mark UGLE’s Tercentenary and his 50th anniversary as Grand Master. As a result, His Royal Highness sat for Frances on a number of occasions at both Kensington Palace and her studio in Wapping, London.
Frances Segelman has sculpted a wide variety of public figures including HM The Queen, HRH The Duke of Edinburgh and HRH The Prince of Wales. Recent projects have included Boris Johnson, Joanna Lumley, Lord Julian Fellowes, Sir Derek Jacobi, Sir Steven Redgrave and Sergei Polunin.
The Grand Master’s sculpture can be seen on display in the Kent Room in Freemasons’ Hall.
Freemasons from across the country paid their respects on Remembrance Day to remember our country’s gallant servicemen and women who have made the ultimate sacrifice
At 11am on Sunday 12th November 2017, a two-minute silence was held to remember those who lost their lives in war. Provinces, Lodges and individual members from around the country paid their respects, as they laid wreaths to honour our fallen heroes including many Freemasons.
At the Cenotaph memorial, the Prince of Wales led the commemorations and laid the first wreath at the base of the Whitehall monument on behalf of the Queen, who observed the service from a balcony alongside Prince Phillip, The Duke of Edinburgh. The Duke of Cambridge, Prince Harry, The Duke of York, the Earl of Wessex, the Princess Royal and the United Grand Lodge of England’s Grand Master, The Duke of Kent all laid wreaths.
Please scroll through the gallery at the top to view some of the parades and services where Freemasons paid their respects
Hundreds of people attended the funeral of W Bro Ken Wilkinson, a Battle of Britain pilot and member of both Worcestershire and Warwickshire Provinces
The service was held in St Alphege Church in his home town of Solihull on 8th September 2017, with dozens lining the streets outside to pay their respects. W Bro Wilkinson’s coffin was carried into the church draped in the British flag, whilst a Battle of Britain Memorial Flight Spitfire cascaded through the sky above.
W Bro Wilkinson was one of the last remaining Battle of Britain pilots and was described as “a true gentleman” by the Battle of Britain Memorial Trust.
W Bro Wilkinson died on 31st July 2017 at the age of 99.
Painting in the reverse
The acquisition of a painting of the Prince of Wales by the Library and Museum reveals the Chinese art of glass painting
The Library and Museum’s collection is extensive, but just occasionally there is an opportunity to add more objects or books to its world-class displays. One such occasion occurred in November 2016 when Library and Museum staff noticed that a painting of the Prince of Wales (who would become King George IV) was being sold at auction. And unusually, this was a painting on glass.
The Chinese practice of reverse-glass painting dates back to the early 1700s. In Europe the fashion for such pieces became popular in the 1750s but, given their fragile nature, few examples survive.
In this case, the glass artist copied a portrait of the Prince of Wales in masonic regalia with the breast star of the Order of the Garter, seated on the Grand Master’s throne. The Prince was Grand Master of the Moderns Grand Lodge from 1790 to 1813. The glass painting is now on display at the Library and Museum.
The original painting, circa 1802, is by Edmund Scott (1758-1815) and is held in the collections of the Brighton and Hove Museums and Art Galleries – but Scott also drew and engraved a print of the portrait, a copy of which was already held by the Library and Museum.
Details of the 150 oil paintings in the collection at Freemasons' Hall in Great Queen Street are now available online as part of a joint project between the Public Catalogue Foundation and the BBC to put on line all the oil paintings in the UK. More than 200,000 paintings at 3,000 venues across the UK are to be included.
Freemasons' Hall is just one of many institutions (including many Oxford and Cambridge colleges) that are not in public ownership which have joined the project for the benefit of wider public awareness and research. For more information see: www.bbc.co.uk/yourpaintings You can search for the Library and Musuem of Freemasonry as a venue to see all the paintings at Great Queen Street.
The Library and Museum of Freemasonry has been working with the Public Catalogue Foundation for the last two years to have all the pictures photographed and to provide details of the artists.