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Winter 2009
Issue 51

Letter from the Editor
Grand Secretary's Column
Grand Lodge News
News and Views
On The Level
International News
Royal Arch
Masonic Education
Embracing Change
Templars at Newark
Dramatic Masonry
Freemasonry and Fascism in Italy
Support is the Keyword
A Brother in Arms
Drawing on the Floor
The Origins of Freemasonry
Happy 275th
A Grand Lodge in York
Review: The Genesis of Freemasonry
Review: Freemasonry in Ulster
Review: Tracing Boards of the Three Degrees
Review: The Royal Arch Journey
Letters to the Editor
Library & Museum of Freemasonry
Grand Lodge: Board of General Purposes
Grand Temple Charity Concert
Grand Charity
Masonic Samaritan Fund
RMBI
RMTGB
Reflection
Copyright 1997-2010
Grand Lodge Publications Ltd
Designed and Maintained by: Cyberpoint Limited

FREEMASONRY TODAY
Book Review


    TRACING BOARDS OF THE THREE DEGREES IN CRAFT FREEMASONRY EXPLAINED

Julian Rees, Lewis Masonic, Hersham, 2009. Paperback, 96 pages, £12.99. ISBN 978-0-853183-34-1

In this wonderfully illustrated book Julian Rees explores the tracing boards of the three Craft degrees. He explains all the symbolism within each Board and the meaning that this symbolism conveys to Freemasons.
     In doing so, Rees continually touches base with elements of the English Emulation Ritual and the three important Emulation lectures. Taking this route gives us the familiarity of a well-trodden path before we strike out into areas less familiar for there are, as Rees cogently explains, deep layers of meaning indeed within these artistically depicted symbols; through them, a profound vision seeks expression. Such rich imagery, explains Rees, ‘may be employed for focusing attention...as a spiritual teaching tool, for establishing a sacred space and as an aid to meditation.’
     But tracing boards did not just arise arbitrarily as some sort of early Victorian aide-mémoire: they have a history. Their origins lie in the operative architect’s plans. But we travel further than we might expect: the plans symbolised in these speculative masons’ floor-cloths, which then developed into tracing boards, are those of the Great Architect! Now, that is worth pondering a moment.
     Rees shows us more designs of tracing boards than we will have even imagined existed. He shows us designs from Germany, Austria, France, Belgium, Hungary, Scandinavia and the United States. Some are very strange: for example, the tracing boards created by Lady Frieda Harris, an associate of the magician Aleister Crowley and designer of his ‘Thoth’ Tarot Cards.
     They are wild, lingering on the edge of chaos, hypnotic and talismanic; they could not be more different to the boards used in most English lodges. Rees explains too that with the destruction of masonic artefacts under Fascism and Communism there is a renaissance of design in central and eastern European Freemasonry.
     Studying our tracing boards quickly makes us aware that the symbolism can be read on many levels but at its deepest it expresses the masonic journey and that dynamic link between earth and the heavens – symbolised by the image of Jacob’s Ladder which is depicted upon the tracing board of the First Degree, the first an initiate sees.
     It is clear that Lodge mentors need to spend time working through the three tracing boards with new initiates. Julian Rees’ book is a good place to start.

Michael Baigent


  Issue 51, Winter 2009
© Grand Lodge Publications Ltd 1997-2010