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Stephen Jackson Mphil Thesis SCOTTISH MASONIC FURNITURE Stephen Jackson A Thesis Submitted for the Degree of MPhil at the University of St Andrews 1996 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/15330 This item is protected by original copyright SCOTTISH MASONIC FURNITURE STEPHEN JACKSON MPhil Submitted 27 September 1995 ProQuest Number: 10167351 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10167351 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 DECLARATIONS (i) I, Stephen Jackson, hereby certify that this thesis, which is approximately 40,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. date ZT7 signature of candidate (ii) I was admitted as a research student under Ordinance No. 12 in October 1993 and as a candidate for the degree of MPhil in the School of Art History (Museum/Gallery Studies) in October 1993; the higher study for which this is a record was carried out in the University of St Andrews between October 1993 and September 1995. date L7 ( 1 signature of candidate (iii) I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of MPhil in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. date 2/1 signature of supervisor (iv) In submitting this thesis to the University of St Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the work may be made and supplied to any bona fide library or research worker. date signature of candidate / ABSTRACT This thesis will identify and describe a distinct furniture sub-group previously largely unknown. Chests, chairs, pedestals and other items from all over Scotland, surveyed by the author, will be related to the aims, purposes and social character of Scottish freemasonry. The focus will be on the period 1730-1840 although developments since 1840 will also be discussed. The individual circumstances surrounding production together with the relationship between producers and consumers of this furniture will be investigated, documentary evidence being utilised where possible. The emblematic content of the furniture will be analysed with reference to the mythology and iconography of freemasonry. Comparisons will be made with two groups of related material: English masonic furniture and the Scottish trade incorporation Deacon’s chair. It will be argued that the contrasts between Scottish and English masonic furniture embody distinctions between English and Scottish freemasonry as much as distinctions between two nations. Freemasonry was in part a product of the culture of the trade incorporation yet comparisons of Master’s chairs with Deacon’s chairs will demonstrate the divergence that took place between the two institutions during the eighteenth century. The majority of the items surveyed are chairs and consequently the masonic Master’s chair will be considered as a ceremonial, and on occasion, commemorative chair. In conclusion, this thesis will contend that, while masonic furniture in Scotland, and by extension throughout the United Kingdom, forms a coherent furniture sub-group, the form and style of such furniture varied greatly and that at no time did there exist an independent masonic style. ACKNOWLEDGEMENTS This dissertation would not have been completed, or even begun, without the help and co-operation of a great many people who freely gave of their time and knowledge. This list is not, and cannot be, exhaustive. The Masters and Brethren of the following lodges: Mother Kilwinning; Canongate Kilwinning; Scoon and Perth; Glasgow St John; Old Inverness Kilwinning St John’s; The Lodge of Journeymen Masons, Edinburgh; The Lodge of Dunblane; Dalkeith Kilwinning; St John, Maybole; The United Lodge of Dunkeld; St John, Falkirk; Ancient Brazen, Linlithgow; Dumbarton Kilwinning; St John Kilwinning, Kilmarnock; St John, Dunfermline; St Michael, Crieff; St Thomas of Aberbrothock; Lodge Operative, Dundee; Inveraray St John; Loudoun Kilwinning, Newmilns; The Keith Lodge of Peterhead; The Lodge of Kirkcaldie; St Andrew at Perth; The Ancient Lodge of Forfar Kilwinning; St James’s Operative Lodge, Edinburgh; St Vigean, Arbroath; St John Operative, Coupar Angus; Robertson’s, Cromarty; St James (Kilwinning) Tarbolton; St John, Blairgowrie; Biggar Free Operative Lodge; Leven St John, Renton; Woodhall St John’s, Bellshill; St Machar, Woodside, Aberdeen; St Mary’s Caledonian Operative, Inverness; The Prince’s Lodge, Glasgow; St Gilbert, Dornoch; Averon, Alness; The Trades House of Glasgow Lodge. Special thanks is due to: Mr Grahame Smith (The Supreme Grand Royal Arch Chapter of Scotland), Mr William Buchan (Keith Lodge, Peterhead), Mr David Cunningham (Lodge St Andrews), Lt. Cdr. David Currie (Lodge Canongate Kilwinning), Mr Andrew Haggart (The Lodge of Kirkcaldie, Kirkcaldy), Mr Walter Hope (Trinity Lodge, Coventry), Mr William Howie (St John’s Lodge, Blairgowrie), Mr George Johnston (St John’s Lodge, Inveraray), Mr Allan McEwan (Lodge Leven St John, Renton), Mr William Ross (Lodge Averon, Alness), and Mr E.W.Welson (Biggar Free Operative Lodge). Mr David Alston (Cromarty Court House Museum), Ms Hildegarde Berwick (Perth Museum and Art Gallery), Ms Christine Rew (City of Aberdeen Arts and Recreation Division), Mrs Jane Anderson (Archivist, Blair Castle), Mr S.A.Rae W.S. (Clerk to the Incorporated Trades of Edinburgh), Mr Robert Williamson (Assay Master, Goldsmiths’ Hall, Edinburgh), Mr Gordon Wyllie W.S. (Clerk to the Incorporated Trades of Glasgow), Mrs E. Nicoll (Ashfield) and Mr Denis Findlay (The Trades House, Glasgow). The staff of the National Library of Scotland, the National Art Library and St Andrews University Library and, in particular, Mr Robert Smart, Mrs Christine Gascoigne and Mrs Cilla Jackson. Mr Robert Cooper, Librarian at the Grand Lodge of Scotland. Mr John Ashby, Librarian at the United Grand Lodge of England. Professor David Stevenson, Lord Elgin, Dr Peter Maxwell Stewart (for help with Latin), Dr Robert Salters (for help with Hebrew), Ms Ware Petznick, Lt. Cdr. Philip and Mrs Jane Durham, Mrs Dawn Waddell, Mrs Debbie Smith and Ms Jean Philips. I am of course greatly indebted to Mr David Jones, my supervisor, for his patience and guidance. Above all I must thank my parents for their support and encouragement. I am grateful to the Regional Furniture Society for awarding me a Bursary and to the Tom Ingram Memorial Fund for a further grant to enable the fieldwork to be completed. The photographs used in this thesis are the author’s own except where a source is given. Such references are to the Bibliography. I am grateful to Bruce Pert, however, for working several of the prints. I am also grateful to David Jones for allowing me to reproduce the photographs of Catalogues 14 and 15. All inaccuracies and errors are, of course, my own. Stephen Jackson asserts his moral right to be named as the author of this work. © Stephen Jackson 1995. Original photographs © Stephen Jackson 1995. CONTENTS PREFACE 2 CHAPTER 1 THE HISTORICAL CONTEXT: SCOTTISH FREEMASONRY 4 CHAPTER 2 LODGE ROOM FURNITURE AND THE ICONOGRAPHY OF FREEMASONRY 15 CHAPTER 3 POTENTIAL INFLUENCES: ENGLISH MASONIC FURNITURE AND THE SCOTTISH TRADE INCORPORATION DEACON’S CHAIR 24 CHAPTER 4 SCOTTISH MASONIC FURNITURE 1680-1840 37 Boxes and Kists 46 Seat Furniture 49 Canopies 62 Pedestals 64 Flooring and Lighting 65 CHAPTER 5 SCOTTISH MASONIC FURNITURE AFTER 1840 68 CHAPTER 6 CONCLUSION 81 BIBLIOGRAPHY 87 CATALOGUE unpaginated PREFACE Four classes of masonic object might be said to exist which partake of a common masonic material (including printed) culture. Firstly there were the objects which formed part of the material culture of the lodge, as experienced by freemasons, which did not differ from similar types of object found elsewhere. Examples of such prosaic objects would include the glasses from which members drank. Secondly there were the consumer durables directed at freemasons which were to be used in non-masonic contexts. This class of object includes a wide range of things, from coffee cans to coffin handles, bearing the most familiar masonic emblems. Thirdly one can identify works of art which were inspired by freemasonry and produced either for the use of the brethren (certain poems by Burns or the many drinking songs and hymns composed by lesser artists) or for general performance, viewing or use (Mozart’s Zauberflote or the architecture of Ledoux). None of these three classes of ‘object’ is the primary subject of this work. Rather, I wish to examine a fourth class of object made for and usually by freemasons for masonic purposes only and dedicated to those purposes by virtue of form or decoration. This definition covers many things including print, dress and ritual objects but only the furniture which meets it will be considered here. I shall not entirely ignore the plainer furniture used alongside or the architectural shell in which it was placed but the emphasis will be upon wooden furniture and, in particular chairs, which survive in by far the greatest number.
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