First concert for newly restored grand organ
Following an extensive Harrison and Harrison refurbishment and renovation of the very fine Willis Organ in the Grand Temple at Freemasons' Hall an inaugural concert by Thomas Trotter, Organist of St Margaret's Westminster Abbey and Birmingham City Organist, has been planned to celebrate. Listeners are therefore cordially invited to this free event on Wednesday 30th September, 2015 at 7pm.
With works ranging from Bach and Mozart to Coates and Goss-Custard, the programme is very wide-ranging and designed to show off the brand new "Grand" Division of this versatile three-manual.
This event has now sold out.
Freemasons’ Hall is closed over the Easter period and there are no tours on Friday 3rd April, Saturday 4th April or Monday 6th April 2015
The Library and Museum will be open as usual from 10am to 5pm Monday to Friday except for the Easter closure.
Notes from history
The Grand Temple organ has finally returned to Freemasons’ Hall for reassembly. Ian Bell, consultant to the restoration project, traces its origins to discover a proud dynasty of organ builders
When the components of the Grand Temple organ were packed off to Durham for a year of restorative therapy, it was the first time they had left Great Queen Street since their installation. More than eighty years of wear had taken its toll on the complex mechanism of an instrument that proved to be a feat of technical engineering when it was installed in 1933.
The Grand Temple organ was by far the largest of the three fitted by organ builders Henry Willis & Sons at Freemasons’ Hall. The others, in what became Lodge Rooms 1 and 10, have long since fallen into disuse. However, their sister in the Grand Temple has continued to serve with character and distinction, only beginning to show her age comparatively recently – and only when viewed at close quarters.
The Willis dynasty had been major participants in the world of organ building since the company’s founder, Henry Willis, produced a startlingly bold and groundbreaking instrument for the Great Exhibition of 1851 in Hyde Park. Considerable success followed and the baton of team leader was in due course handed to successive generations of the family, each named Henry, who modestly numbered themselves in the manner of royalty. The man in charge of the installations at Freemasons’ Hall was Henry Willis III.
Though relatively young, Willis III had just overseen the installation of a grand new organ in Westminster Cathedral before coming to Freemasons’ Hall. Prior to that, he had installed the largest church organ in the country at Liverpool Anglican Cathedral. The organist at Liverpool was Henry Goss Custard, whose brother Reginald was Grand Organist. As such, Reginald presided over the Grand Temple organ at the opening ceremonies in July 1933, and had approved the designs that Willis, himself a Freemason, had put forward.
It is clear from his writings that Willis was very proud of the opportunity offered to him, but the project was not without its difficulties. Money did not seem to have been in short supply, but space certainly was. The awkward and irregularly shaped spaces left for the organ meant that it had to be packed in very tightly. Standing uncomfortably inside it today, one might imagine that the brief to Willis would have been something like: ‘Here are two remaining spaces we are able to offer you – pack as much organ into them as you can.’
The organ’s 2,200 pipes are ingeniously crowded into two very narrow spaces, each triangular in floor area and tapering from the widest end next to the balconies, down to virtually nothing at the eastern end where the openings into the Grand Temple are located. So although the pipes are shouting very loudly, they are unavoidably shouting in the wrong direction, away from the listeners, and their output is being squeezed down until the point where, like toothpaste bursting from a tube, it can eventually escape sideways into the room.
To the organist against the east wall, and indeed to those seated on the dais below it, the organ clearly has considerable power; to those in the body of the Grand Temple, however, it has instead a somewhat muted roar.
To add to the difficulties, the acoustics were extensively treated with absorbent material to minimise reverberation and clarify speech. This was anathema to what an organ builder dreams of: the sound of pipes speaking without restriction or obstruction, creating a flattering and reverberant cathedral acoustic, inappropriate though such an acoustic might have been here. Willis’s pleasure at the chance of making his mark in the heart of the masonic peace memorial was therefore unavoidably dampened by the hazards thrown into his path. Writing in his house magazine in September 1933 he says:
‘I was clearly given to understand from the very start that the acoustical properties of the Temple would be such that the requirements of speech would be considered first, last, and all of the time; and that it would not be possible to modify this requirement to suit the needs of the organ in any way. It was under these onerous conditions of restricted space and an almost non-existent reverberation period that I had to make my plans.’
One can sense a heavy heart going about the making of those plans. But whatever his misgivings, Willis succeeded in putting up a good fight. By the end of the same article he cannot resist quoting a letter of congratulation from Goss Custard: ‘Everyone is more than delighted with the Temple organ and I must say that personally I consider it one of the most beautiful that you have ever made. Considering the difficulties that you have had to overcome with the site, the effect is nothing short of marvellous.’
And, not unusually, it has to be admitted, Willis felt moved to pat himself on the back too: ‘If I may say so, a noble organ in a noble edifice. Only the best has been good enough for the masonic peace memorial in every part of its structure and furnishing. The Temple organ is worthy, in every way, of its superb setting.’
Cleverly planned, beautifully built, and packed with cutting-edge technical innovations designed to cope with all that a modern, centrally heated environment could throw at it, the organ was to be one of the last entirely new instruments that Willis III was to build on such a scale.
The organ remains not only a worthy tribute to a proud Freemason, but one where the daring technicalities proved well-chosen. The new addition of a separate section that is able to speak without restriction along the Grand Temple, providing the clarity that has been elusive for eighty years, has allowed the organ to be restored without alteration. As Willis would surely have wished.
‘Only the best has been good enough for the masonic peace memorial… The Temple organ is worthy, in every way, of its superb setting.’ Henry Willis III
The restoration of the Grand Temple pipe organ at Freemasons’ Hall is helping to preserve a vital piece of this Art Deco building’s history. Charles Grace tells Sarah Holmes how the project came about
With a firm grip on the scaffolding in front of him, Charles Grace takes a moment to appreciate the elevated view over the Grand Temple. Behind him, a golden wall of freshly gilded organ pipes stand caged in a rigid rig of steel rods and orderly wooden planks.
It’s been a particularly busy year for the senior Freemason, who has been overseeing the restoration of the Grand Temple’s pipe organ. Although the work has been progressing steadily since January 2014, few masons will have noticed anything different going on at Great Queen Street. For Charles, this is a good thing. Despite the size of the project, he has gone to great lengths to make sure that the renovation work doesn’t disrupt the normal running of Freemasons’ Hall.
As a long-serving member of the Committee of General Purposes, Charles played a central role in the decision to renovate, rather than replace, the Grand Temple’s eighty-one-year-old organ. ‘It’s part of the heritage of Freemasons’ Hall, so we have a duty to protect it,’ he says. ‘This building pays tribute to more than 3,000 Freemasons who lost their lives in World War I, so it’s apt that the organ is being restored during the centenary year of that terrible conflict.’
The idea for restoring the organ first came about in 2009 when an inspection by the organ consultant, Ian Bell, revealed the need for extensive repairs. With most organs requiring a professional overhaul every twenty-five years, the Grand Temple’s organ had survived three times longer than that thanks to the constant temperature and humidity levels as well as its dedicated maintenance. Nevertheless, eighty years of accumulated wear threatened to irreparably damage the tonal accuracy of its pipes.
But now, thanks to funding from the Supreme Grand Chapter’s reserves, the organ will be restored to its former glory with roughly half of the money being spent on cleaning, repairing and re-voicing the existing mechanisms, which include an astounding 2,220 pipes and forty-three stops. The remainder of the funding will be spent on mounting a new case of some four hundred pipes on the east wall of the Grand Temple.
The result of all the renovation work will be a clearer, louder sound, and a focal point from which the organist can lead the Grand Temple’s 1,700-strong congregation in song. It’s a rousing quality that the present organ peculiarly lacks.
‘This is quite an unusual design,’ explains Charles. ‘Most organs have a focal point, but the present instrument comprises two cases of pipes that shout at each other across the dais. When the Grand Temple is full and everyone’s singing lustily, it’s difficult for those in the west to hear the organ, so the new case will make a huge difference, as well as giving the Grand Temple an extra visual wow factor.’
The craftsmen undertaking the restoration are from Durham-based organ builders Harrison & Harrison – a company responsible for rebuilding and maintaining some of the UK’s most famous organs, including those at the Royal Festival Hall and Westminster Abbey. Their experience of working with traditional organs is reassuring to Charles, who is eager that the new section remains consistent with the look and sound of the original. The new pipes will be made from a tin-and-lead alloy in keeping with the design of Brother Henry Willis, who built the organ in 1933.
‘I’d love to get a series of subscription concerts going as we’re transforming a good organ into a magnificent one.’ Charles Grace
It’s an extensive undertaking for Harrison & Harrison, who also face the added challenge of working around the Grand Temple’s busy schedule of events.
‘It’s been quite a juggling act to make sure we don’t interfere with the day-to-day running of the Grand Temple,’ explains Charles. ‘We’ve relied on the occasional spare periods of time to carry out some of the work. But from mid-December, when the Temple is quietest, we’ll be able to get the bulk of the work done.’
Fortunately, much of the early work has been completed in Durham, where the existing organ and console were moved for cleaning and repairing in January. ‘It’s a vitally important part of the renovation process,’ explains Andy Scott, head voicer at Harrison & Harrison. ‘As soon as the dirt starts to build up, it can dull the pitch and sound quality of the pipes, and adds to the deterioration of the worn mechanism, causing notes to stick on or not play at all.’
The length of the pipes, as well as the material they’re constructed from, both play a fundamental role in determining their pitch – so it’s important that the correct techniques are used to clean them.
The longer, wooden pipes, which create the deeper notes, can reach up to sixteen feet in length, and have to be vacuumed and varnished. Meanwhile, the shorter metallic pipes, which create the higher notes, and can be as short as a few inches, have to be soaked and scrubbed in soapy water.
The pipes will then be returned to the Grand Temple and divided between chambers hidden in the opposite walls of the eastern dais. The case containing all the new pipes will be mounted on the east wall above the console, facing directly down the Grand Temple.
Like the other two cases, the new case will be decorated with the same elaborately carved Art Deco motifs and poly-resin embellishments. A grille of eighteen pipes, all gilded in gold leaf, will be visible at the front. ‘It takes three different crafts alone to build its case,’ explains Charles. ‘That’s how complex a pipe organ is. It’s more than just an instrument – it’s an actual fixture of the building.’
As well as the pipes, Harrison & Harrison must also refurbish the whole mechanical structure, including the enormous wind chests that sit underneath the pipes. By driving pressurised air through the pipes, the wind chests help to produce the organ’s distinctive, multi-tonal sound. Electric blowers located underneath the Grand Temple supply the wind chests with air.
‘It takes three different crafts to build the case. That’s how complex a pipe organ is. It’s more than an instrument – it’s an actual fixture of the building.’ Charles Grace
‘Each pipe produces a single note,’ explains Charles. ‘All pipes are arranged in ranks of common sound and pitch, and when the organist wants to play a particular rank, he selects the corresponding stop. This releases air from the wind chest to a particular rank of pipes. The keys on the main console then control which pipes the air passes through.’
It’s a thoroughly complicated system, and one that has taken Charles hours of surfing the web and scouring YouTube videos to understand. As part of the renovation, a new electronic feature will be fitted that allows the organ to store digital recordings of the music played on the keyboard. This means that a wide range of pre-recorded music will be able to be played on the organ at the touch of a button.
It’s something that will add impact to the public tours of the Grand Temple, and is a key example of the way in which the latest renovations not only safeguard the heritage of the Freemasons’ Hall, but also enhance it.
With all things going to plan, the restoration work is due to be completed by March 2015 and Charles hopes that the new organ will become a symbol of celebration not just for United Grand Lodge’s approaching tercentenary, but for everyone who visits the Hall.
‘I’d love to get a series of subscription concerts going, as we’re transforming a good organ into a magnificent one – so I’d hope a few great organists would play here,’ says Charles.
In keeping with this vision, Charles hopes to establish a partnership with the Royal College of Organists to give aspiring musicians an opportunity to rehearse and perform on the Grand Temple’s amazing instrument.
‘It’s a fantastic opportunity to open ourselves up to the public, and to get this incredible organ being played more than ever,’ says Charles. ‘We need to make the most of it.’
The original surround sound
A pipe organ produces music through a vast array of real pipes placed in different locations around the room, effectively making it one of the first surround sound systems. In contrast, electronic organs only simulate the sound of the pipes from a central loudspeaker. The result is noticeably flatter and lacks the true fullness of many individual pitches blending together.
Letters for the Editor - No. Summer 2016
The spring issue of Freemasonry Today contained letters from two brethren asking about the specification of the splendid refurbished Willis III organ in the Grand Temple at Freemasons’ Hall, London. A downloadable colour leaflet containing this is available under ‘H&H specifications’ from the website of Harrison & Harrison (www.harrisonorgans.com), the firm that carried out the work, and more information can be found online in the National Pipe Organ Register.
Carl Jackson, Grand Organist from April 2016, St Cecilia Lodge, No. 6190, London
In the spring issue there were two letters relating to the specification of the organ at Great Queen Street.
May I suggest they go to the National Pipe Organ Register at www.npor.org.uk, which has the details your correspondents want – although it has not been updated to the new rebuild. The site has details of thousands of organs in the UK, which can be searched for by name or postcode or reference number (Great Queen Street is N16533).
Peter Edwards, Sutton Coldfield Lodge, No. 8960, Sutton Coldfield, Warwickshire
Letters for the Editor - No. Spring 2016
I would like to congratulate all those involved in the refurbishment of the pipe organ in the Grand Temple at Freemasons’ Hall and the excellent write-up in Freemasonry Today. I am 86 years of age and partially disabled. I joined the John Compton Organ Company, London as an apprentice in 1944, and trained as a voicer and tuner under John Degens, a former Walkers employee. After two years’ national service I then spent the next few years as a voicer and tuner for Nicholson of Worcester. I would very much appreciate knowing the specifications of the magnificent organ.
Doug Litchfield, Zetland Lodge, No. 1005, Gloucester, Gloucestershire
Recent articles in Freemasonry Today about the organ refurbishment are much appreciated. Lodge organists and organists in general would, I feel sure, appreciate even more to see the full specifications, old and new: that is, names of stops to each department, list of accessories, etc, so as to get a sense of the full tonal architecture and its possibilities, past and present.
Malcolm Dilley, Warton Lodge, No. 8411, Carnforth, West Lancashire
Letters to the Editor - No. 30 Summer 2015
I read the articles by both Charles Grace and Ian Bell regarding the Grand Temple Willis pipe organ restoration with great interest. I am a masonic organist in the South Wales Province, where most masonic centres are furnished with electronic or digital organs.
Your articles reveal that there are two other Willis pipers in the Great Queen Street building but that they are not in working order. I visited Great Queen Street last November to play the organ for the installation ceremony of the American Lodge. The ceremony was allocated to Lodge Room No. 8 where I was horrified to find that the organ was little more than a squawk box. I looked into several of the other lodge rooms to discover similar disappointing instruments.
Whilst the Grand Temple organ restoration and necessary enhancement is to be applauded, I wish to have the Great Queen Street management reminded that if ceremony’s musical accompaniment and enhancement is really desirable, then it is absolutely necessary to encourage masonic brethren to aspire to be a lodge organist by furnishing the best tool for the purpose, and that a pillar of attainment as a lodge organist might be to eventually play the Grand Temple organ.
Michael Hayes, Venables Llewelyn Lodge, No. 3756, Porthcawl, South Wales
Charles Grace, Project Manager for the Grand Temple organ restoration, responds:
We have recently evaluated two one-manual organs and decided on the Viscount Cadet, 10 of which are being delivered in mid May and 10 in September, funded by UGLE from the normal charges made to lodges and chapters for room hire and storage.
The organs, which are versatile enough to be played by all masonic organists, will be installed in most of the lodge/chapter rooms. The choice of organ in No. 10, where a larger instrument is required, is under consideration.
Letters to the Editor – No. 29 Spring 2015
Direction in the Temple
You published two letters in the last issue on the subject of the square and compasses being upside down on the organ cases in the Grand Temple. I too made enquiries of those who might know the answer, but regrettably it remains a masonic mystery. On the bright side, I can reveal that, in the same position on the new case being erected on the east wall above the organ console, there will be a Royal Arch triple tau – and I will ensure that it is the right way up!
Charles Grace, Project Coordinator, Grand Temple organ restoration
‘The earth constantly revolving on its axis in its orbit round the sun, and Freemasonry being universally spread over its surface, it necessarily follows that the sun must always be at its meridian with respect to Freemasonry.’
Similarly, the square and compasses will always be the right way up with respect to Freemasonry. Given that the building was built as a memorial to those Freemasons who died in the First World War, and that some may have been from other parts of the Commonwealth, it is perhaps possible that the square and compasses was positioned accordingly.
Mark Northway, Suffield Lodge, No. 1808, Aylsham, Norfolk
Letters to the Editor - No. 28 Winter 2014
Compass and square
I am a young Master Mason. However, in your otherwise interesting and informative account of the restoration of the pipe organ in the Grand Temple of Freemasons’ Hall, the square and compasses adorning the organ case (while beautifully gilded) are clearly upside down. Does this pertain to some ancient and mysterious side order, of which I am neither a member nor even aware, or perhaps has it just been affixed the wrong way up?
Tim Myatt, Apollo University Lodge, No. 537, Oxfordshire
In discussion with a number of brethren in my lodge, we are curious to know why the square and compasses visible behind the left shoulder of Charles Grace are upside down. The popular view among us all is that they are positioned to face in the direction of the Great Architect, in whose glory the beautiful music that emanates from this magnificent instrument is played. None of us considers it to be an error of any kind – knowing as we do that no such fundamental mistakes are likely to have been made by those who either commissioned or made the instrument. We look forward with great interest to any information you are able to provide.
Guy R Purser, Pagham Lodge, No. 8280, Sussex
Note from the Editor
Having received several queries about the compass and square visible in the picture of the Grand Temple organ in the autumn issue of Freemasonry Today (page 29), we enquired of our best in-house historians. Unfortunately, nobody seems to know of any reason why, on the Grand Lodge organ, the square and compasses should be orientated in the opposite way to how they are normally depicted.
There was in the past a tradition among some craftsmen to incorporate a deliberate mistake as an act of humility so as not to vainly compete with the perfection of God’s creations, but we have no idea whether this was the intention in this case. We do know from an original photograph, however, that it has been that way since the organ was installed. We will be pleased to hear from readers of any theories on this mystery.
1 May 2014
An address by the ME Pro First Grand Master Peter Lowndes
Companions, this is a very special day for those that I have had the pleasure in investing and I congratulate you all.
Grand Rank does come with responsibilities. For example, you have a duty to be mindful of both recruitment and retention in the Order. On recruitment, I would first ask – who among you does in fact recruit and, to those of you who do recruit new members - are you sensitive to the right time to approach each potential exaltee? This sensitivity is also a challenge to Royal Arch representatives in Craft Lodges and emphasises the reason why this is such an important appointment. Those of you who do not recruit, why not? Recruiting to the Royal Arch is, after all, simply a matter of persuading someone to extend their knowledge about a subject of which they are already partly aware and enjoy, not introducing them to something completely alien.
On retention, you can help by actively showing your enthusiasm for and enjoyment of the Order. Also, by guiding the new Companion through the various stages of his progression, making sure that, wherever possible, the work is shared, so that the ritual is enjoyed by him and does not become a burden to him.
As many of you will know, in October last year we celebrated the Bicentenary of the Holy Royal Arch. The First Grand Principal announced then that the Royal Arch Masons 2013 Bicentenary Appeal for the Royal College of Surgeons had exceeded £2m and that the Appeal would remain open until the end of 2013. Companions, as you have already heard from the President of the Committee of General Purposes, the figure is now £2.5m. This is a wonderful achievement and a great credit to the Royal Arch. Well done to those of you who have given so generously.
The First Grand Principal also took the opportunity to announce his intention to make additional appointments this year to past Grand Rank to Companions who have carried out significant work for the Appeal or had made a significant contribution in some other way to last year’s Bicentenary celebration. Grand Superintendents were responsible for making the recommendations based on this criteria and I again congratulate those of you who received these special appointments which celebrate the success of the Bicentenary.
I turn now to the Grand Temple organ restoration project, already briefly mentioned by the President, which is a Royal Arch initiative using existing funds. Designed and built by Henry Willis and Sons the Organ has been in place since this building was opened by the then Grand Master, the Duke of Connaught in 1933. It is possibly the largest complete unaltered Willis instrument in full working order after eighty years. It was, however, in need of substantial restoration. English Heritage and Camden Council have agreed to the restoration plans with full completion in early 2015 – in good time for the Craft’s tercentenary in 2017. Not only will this fine Organ be restored but the Royal College of Organists will be approached to investigate the possibility of encouraging young organists to use the Grand Temple Organ, as well as conducting organ recitals that are open to the public.
Finally Companions, great ceremonial events such as this take an enormous amount of planning for and direction on the day. I thank the Grand Scribe Ezra and his staff for all their planning and the Grand Director of Ceremonies and his Deputies for the smooth running of this memorable event.
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.
With visitors invited to explore Freemasons’ Hall, director of the Library and Museum Diane Clements explains to Caitlin Davies how this is leading to greater transparency
Covent Garden is one of London’s tourist hot spots and this sunny Saturday in September is no exception. The area is crowded with people sightseeing, shopping and visiting bars. But at the end of Long Acre, where it meets the corner of Great Queen Street, is another city attraction altogether. It’s a large, almost monumental, stone building with little to identify its purpose to those who don’t know.
Come a little closer, however, and a plaque states it was opened in 1933 by Field Marshall HRH The Duke of Connaught, Knight of the Garter and Most Worshipful Grand Master. This is Freemasons’ Hall and today it sports a welcoming sign as part of the annual celebration of the capital’s architecture – ‘Open House London’. Now in its twentieth year, the scheme has seven hundred and fifty buildings opening their doors for free, from iconic landmarks to private homes. A steady stream of people head through the Tower entrance to Freemasons’ Hall, where a steward hands out a leaflet. ‘Welcome to Freemasons’ Hall,’ he says. ‘It’s a self-guided tour.’ ‘People often walk or cycle past and have never been in,’ says Diane Clements, who is overseeing today’s proceedings and is director of the Library and Museum of Freemasonry. ‘People don’t know what they’re going to see – there is a sense of amazement when they get inside, the building is far more elaborate than you might think. The fact that they can come in shows how open we are and helps address misconceptions about Freemasonry.’ Diane has run the Library and Museum for thirteen years, and relishes the opportunity to work with a world-class collection of objects that have interesting stories to tell. ‘The public has a continuing desire to learn about Freemasonry. I’d like to think the Library and Museum has played a part in improving their understanding.’
Wandering at will
Each year thirty thousand people visit the Library and Museum, and most come for organised tours of the Grand Temple. Freemasons’ Hall has taken part in Open House London since 2000 and the logistics of running the event are considerable. ‘For Open House we couldn’t get enough people through the doors using our usual guided method,’ explains Diane, ‘so it’s the only time you are basically given a leaflet and left to look around.’ Her role is to make sure that the two thousand, five hundred visitors on Open Day have ‘an enjoyable and informative visit’, and over the years she’s learnt to always ‘wear comfortable shoes’.
On the right of the cloakroom a sign shows visitors where to start, then there’s a murmur of voices and creaking of knees as people go up the stairs. The building has a library feel to it, but this changes in the first vestibule, which is flooded with glorious yellow light reflected from the stained glass windows. A man crouches to take a picture of a small golden figure, part of the shrine designed by Walter Gilbert. Meanwhile, a woman from West Sussex says she wasn’t sure what to expect: ‘My dad is in a lodge and I always thought he just meant he went to a room somewhere. But it’s fantastic. It’s really beautiful.’ Another visitor, Dermot, just happened to walk past this afternoon. And what did he imagine was inside? ‘That’s the thing,’ he replies, ‘I didn’t know what to expect.’ For a lot of people it is curiosity that has brought them here today.
‘All our buildings are chosen for the quality of their architecture, that’s our criteria,’ explains Victoria Thornton, director of Open-City, which runs Open House London. ‘Some, like Freemasons’ Hall, may have a quiet façade, behind which lies real exuberance.’
In the second vestibule, steward Peter Martin is presiding over a table of free literature and says the event is even busier than last year. Eric from Kent has been to several Open House events today. ‘I started at Lloyds and worked my way along Fleet Street. I’ve seen Unilever and Doctor Johnson’s house… the stained glass is awesome here.’
The question of gender is a popular one. In the third vestibule a woman asks a steward if only men can join Freemasonry. He explains women can join one of two Grand Lodges in England, but they are not allowed in the men’s Grand Temple, and vice versa.
In the Grand Temple there are fold-down seats like a theatre and it’s here that many visitors take the opportunity for a rest. Voices are respectfully hushed. ‘It is contemplative,’ says Diane. ‘There’s never a huge noise in here. It’s not like the Sistine Chapel – we don’t have to say “Quiet please.”’ One steward answers a barrage of questions about rituals and pledges. ‘Is it true the Queen is a Freemason?’ asks one visitor. The answer is no.
An outside walkway leads to the Library and Museum where an exhibition traces the relationship between Freemasonry and sport. The tour ends at the exit on Great Queen Street, where members arrive for their lodge meetings and are watched with interest by departing visitors, one of whom takes a final snap.