William Hogarth, an artist deeply entrenched in the Masonic tradition, utilized his art to create a secret tapestry of Freemasonry’s rituals, symbols, and internal dynamics. Hogarth’s engravings are not mere art; they are cryptic archives, requiring an astute key to unveil the clandestine messages hidden within. His work subtly satirizes Masonic rituals, political undertones, and the fraternity’s internal conflicts, offering a unique window into the esoteric world of Freemasonry.
Hogarth’s Masonic affiliation is well-documented, having been initiated into the fraternity between 1725 and 1728 at the Hand and Apple Tree Lodge in Holborn. His Masonic journey continued at the Bear and Harrow Lodge and the prestigious Grand Steward’s Lodge, where his contributions were celebrated. His design of ‘Hogarth’s Jewel’ for the Grand Steward’s Lodge stewards is a testament to his deep engagement with Masonic culture.
Freemasonry, with its rich allegorical framework, provided Hogarth with a fertile ground for his moralistic artistry. His series, such as “The Four Times of Day” and “The Four Stages of Cruelty,” subtly weave Masonic allegories, reflecting the spiritual evolution of its members. Yet, it’s his satirical pieces, like “The Sleepy Congregation” and “The Mystery of Masonry Brought to Light by the Gormogons,” that most vividly critique the fraternity, revealing layers of meaning about Freemasonry’s challenges during the 18th century.
The era saw Freemasonry as a beacon of Enlightenment ideals – liberty, equality, and fraternity – yet it wrestled with exclusivity and secrecy, as it does still todat. Hogarth’s art captures this paradox, blending critique with humor. His depiction of Masonic life, from the conviviality of lodge meetings to the solemnity of its rituals, underscores a complex organization facing both external skepticism and internal strife.
Hogarth’s willingness to critique Freemasonry might stem from the fraternity’s perceived decline during his time. His work hints at the controversies and debates surrounding Freemasonry, from accusations of corruption to its role in political intrigues. Through layers of irony and metaphor, Hogarth’s engravings call for reform, reflecting his complex relationship with an institution marred by its contradictions.
His use of Masonic symbolism, from the architectural to the ritualistic, is not just an artistic choice but a narrative strategy, encoding his critiques and observations within the very symbols the fraternity holds dear. This dual use of Masonic imagery serves both to celebrate and critique, making his work a pivotal commentary on the state of Freemasonry in the 18th century.
William Hogarth’s inaugural Masonic piece, “The Mystery of Masonry Brought to Light by the Gormogons,” delves into the satirical portrayal of a splinter group known as the Gormogons. This faction, depicted in a farcical procession with a monkey donning apron and gloves, emblematically ‘apes’ the Freemasons, offering a playful but pointed critique of the organization’s internal conflicts and societal perceptions. The schism within Freemasonry, spurred by the ascension of the Whig Duke of Montagu to leadership, is emblematic of concerns over the fraternity’s alignment with governmental powers, further complicated by Robert Walpole’s utilization of Masonic lodges for espionage.
The backdrop to Hogarth’s engraving is the turbulent era of Freemasonry’s evolution from a craft guild to a speculative society, marked by the establishment of the United Grand Lodge of England in 1717. Controversies surrounding Dr. James Anderson’s “Book of Constitutions” and the audacious rewriting of Masonic history to include Biblical patriarchs and grand master masons like Moses highlight the creative reinterpretation of the society’s origins and purposes. Hogarth’s work is rich with allegory, critiquing these speculative endeavors and the resultant Masonic Enlightenment that positioned the fraternity within broader debates on liberty, equality, and fraternity, yet paradoxically maintained exclusivity.
The engraving’s nuanced commentary extends to Masonic attire, contrasting the traditional long apron of operative masons with the shorter, fashionably tied aprons of their speculative counterparts. Hogarth positions Anderson and other architects of speculative Freemasonry as subjects of ridicule, reflecting the division between traditionalist and reformist elements within the fraternity. The inclusion of James Anderson and John Theophilus Desaguliers in the imagery serves as a direct critique of their contributions to the Masonic narrative, blending historical reverence with satirical commentary.
“The Mystery of Masonry” is not merely a visual jest but a complex critique of the fraternity’s secretive nature, the contentious balance between tradition and innovation, and the political undercurrents that influenced its development. Hogarth, through allegory and satire, navigates the intricate dynamics of Masonic tradition, speculation, and the societal implications of these secretive practices. His artistry reveals not just the comedic but the critical, engaging with the Masonic tradition’s layered histories and the broader cultural and political milieu of 18th-century England.
The significance of tradition, as symbolized by the portrayal of the old woman and the election of Philip, Duke of Wharton, underscores the tension between continuity and change within Freemasonry and the wider societal implications of these debates. Hogarth’s engagement with these themes showcases the artist’s adeptness at navigating the complex interplay of symbolism, satire, and social commentary, presenting a multifaceted critique of Freemasonry, its practices, and its place within the socio-political landscape of his time.
In a clever twist of satire encapsulated within the 1724 hoax press notice, the Order of the Gormogons—a mock society—was humorously declared as England’s latest import from the Emperor of China. This jest likely nods to the Jacobite uprising’s aftermath and James Stuart’s notable visit to Scotland in 1715, challenging the newly established Hanoverian rule under George I. The announcement playfully called for a gathering at the Castle Tavern on Fleet Street, humorously outlining that Masonic traditions would be conspicuously absent, and membership would be contingent upon renouncing the new speculative Freemasonry in favor of traditional practices, implicitly critiquing the Hanoverian succession.
Jenny Uglow suggests that William Hogarth’s satire also extended a hand of solidarity to his future father-in-law, Sir James Thornhill, a distinguished Freemason. Yet, the satire’s sharper edge seemed to skewer the prevailing Whig influence, particularly spotlighting the sycophantic tendencies of figures like Anderson, depicted in a compromising and ridiculed state in Hogarth’s artwork. Through such vivid caricatures, Hogarth not only commemorated Masonic tradition but also critiqued the speculative turn Freemasonry had taken under influences like Anderson’s Constitutions, emblematic of the era’s speculative Masonic Enlightenment which both embraced and excluded under its banner of ‘Liberty, Equality, and Fraternity’.
Paulson’s analysis hints at deeper layers within Hogarth’s satire, interpreting certain characters as allegorical representations of Masonic and political tensions of the time. The old woman in the imagery, for instance, might symbolize the venerable yet violated traditions of operative Masonry in the face of speculative Freemasonry’s ascendancy. This satirical tableau, filled with symbols ranging from Christian iconography to Masonic regalia, serves as a critique of the era’s religious and political controversies, including the De-Christianization of Freemasonry and the Jacobite challenge to the Hanoverian establishment.
Hogarth’s work cleverly plays with Masonic symbols, like the ladder—an emblem of spiritual ascension within Freemasonry—transforming it into a satirical commentary on the speculative branch’s deviations from Masonry’s operative roots. This symbolism, along with references to the Isis-Osiris legend and Christian motifs, weaves a complex narrative of allegiance, subversion, and critique, reflecting Hogarth’s nuanced stance towards Freemasonry and its evolving role in Georgian society.
By framing Anderson and Desaguliers alongside sacred Christian figures within a Masonic context, Hogarth’s satire transcends mere mockery, probing the foundational myths of speculative Freemasonry and its alignment with contemporary political and religious shifts. His art captures the tensions of an era where tradition and innovation, secrecy and revelation, collided within the Masonic fraternity and the broader societal canvas, offering a richly layered critique of both Masonic practices and the turbulent political-religious landscape of 18th-century Britain.
In “The Mystery of Masonry,” Freemasons are comedically unveiled, while “Night” explores the fraternity’s more somber aspects. The inspiration for this latter piece seemingly stems from a letter by Verus Commodus, highlighting the debauchery of Masons stumbling home in the early hours, drawing a parallel with Noah’s inebriation and subsequent exposure—a narrative that underscores their fall from grace.
“Night,” as a title, metaphorically reflects Freemasonry’s decline, with Hogarth skillfully navigating the interplay between shadow and illumination, akin to the experience of Masonic initiation. This ritualistic journey from darkness to light, symbolizing the enlightenment of new apprentices, resonates with Hogarth’s penchant for vivid, literal metaphors. The notion of the Master Mason as ‘darkness visible’ embodies this stark moral contrast.
Sir Thomas De Veil, depicted in the engraving, personifies this irony. Despite his official role as a magistrate and his responsibilities under the Gin Act of 1736, De Veil’s notoriety for corruption and drunkenness paints a picture of moral ambiguity. The image of him, barely able to walk post-lodge meeting, satirizes the indulgence that had become synonymous with lodge gatherings.
This portrayal not only critiques the excesses found within the lodges but also subtly calls for introspection and reform. Hogarth utilizes humor as a tool for social commentary, urging a reevaluation of the principles and practices within Freemasonry. The treatise “The Praise of Drunkenness” humorously addresses Freemasons among others, offering a whimsical explanation for the prefix ‘free’ in ‘Freemason,’ suggesting a liberty towards indulgence that perhaps strays far from the fraternity’s foundational virtues.
De Veil utilized a covert network to monitor the illegal sale of spirits, akin to the Masonic term ‘cowan’—an outsider spying on a lodge. If caught, a cowan faced a unique form of reprimand, standing under a house’s eaves in the rain until their shoes overflowed, giving rise to ‘eavesdropper’. In “Night,” Hogarth humorously twists this punishment, depicting De Veil drenched not by rain but by the unsavory spillage from a chamber pot. This scene echoes Fielding’s play “The Coffee-House Politician,” where Justice Squeezum, a caricature of De Veil, is humorously cursed with a rain of ‘small beer’ or urine, embodying the colloquial insult.
De Veil himself lamented in his memoirs that the Gin Act, far from curbing excess, spurred dishonesty. Hogarth subtly hints at the Masonic penalty for deceit—traditionally a throat cut sign—through a barber-surgeon in the engraving wielding a razor, a jest at the oath’s grave consequences for perjury. The Latin phrase “Eccr Sigrium” on the barber’s sign, translating to “Behold the Sign,” cleverly nods to the clandestine gestures Freemasons use for recognition.
Sir Andrew Montgomery, supporting De Veil in the artwork, doubles as the lodge’s tyler, responsible for safeguarding the lodge entrance from cowans and symbolically carrying a ceremonial sword. The opposite side of the engraving shows two figures, one with a mop, hinting at the temporary nature of Masonic symbols chalked on lodge floors, contrasting with the enduring secrets unveiled in Hogarth’s work.
The inclusion of oak leaves in the hats of figures alludes to the Restoration of Charles II, subtly connecting to Masonic lore through the acacia plant, symbolizing eternal remembrance and used in Masonic funerals. This motif, intertwined with the narrative of Hiram Abif and Charles I—both revered as ‘widow’s sons’ in Masonic tradition—deepens the engraving’s layers, marrying historical and Masonic symbolism in a rich tapestry of satire and homage. Through “Night,” Hogarth not only critiques but also pays tribute to the complexities and nuances of Freemasonry, embedding within his work a labyrinth of signs, symbols, and allegories that capture the fraternity’s essence amidst political and social tumult.
n Hogarth’s engraving, the lighting of twelve candles in the window of the barber-surgeon’s shop not only commemorates the Restoration but also holds personal significance for Hogarth, mirroring the number of members in his Stewards’ Lodge and symbolizing the illuminating presence of a Freemason. His connection to Freemasonry deepened with his association with the Apple-Tree tavern lodge, one of the four founding lodges of the United Grand Lodge of England. This formation marked the onset of speculative Masonry, a transition immortalized in “Night” through a subtle nod to another founding lodge, the Rummer and Grapes, symbolized by the tavern’s proximity and the bunch of grapes, hinting at both convivial and possibly more salacious gatherings.
“The Sleepy Congregation” explores themes of awareness and oversight through the motif of opening and closing eyes, revealing multiple layers of meaning within Hogarth’s symbolism. The portrayal of a man’s lecherous gaze upon a sleeping woman serves as a critique of the Freemasons’ All-Seeing Eye, suggesting a deviation from spiritual vigilance towards voyeuristic indulgence. This icon, typically represented by an open eye within a triangle, is satirized as distorted and inverted, symbolizing chaos and the departure from Masonic ideals.
Reverend Desaguliers, depicted as the sermonizing cleric, embodies the speculative Freemason’s embrace of Deism, akin to Freemasonry’s reverence for the Great Architect of the Universe. This belief system, advocating for a universal religion of moralistic Deism, reflects a shift towards religious tolerance, a stark contrast to the church’s historically stern oversight. “The Sleepy Congregation” subtly critiques this spiritual vacancy, further emphasized by obscured references to God and asymmetrical architecture, indicative of moral and societal imbalance.
Hogarth’s narrative extends beyond mere satire, delving into the complexities of Freemasonry’s evolution and the broader societal implications of its speculative branch. The engraving, rich in allegory and critique, juxtaposes the lofty ideals of Masonry with the tangible realities of its practice and the societal landscape it inhabits. Hogarth uses dilapidated buildings and skewed interiors as metaphors for moral decay, echoing Jonathan Swift’s critique of detached intellectualism over practical knowledge, highlighting the disconnect between speculative ideals and the foundational virtues of labor and geometry that once grounded the Masonic tradition.
William Hogarth (1697 – 1764)
RA Collection: Art https://www.royalacademy.org.uk/art-artists/work-of-art/the-reward-of-cruelty
In “The Reward of Cruelty,” part of William Hogarth’s moral series “The Four Stages of Cruelty,” the narrative arc of Tom Nero’s descent into criminality culminates in his execution and posthumous dissection—a stark depiction of the era’s retributionist justice. This scene serves not only as a commentary on capital punishment’s role in preserving order in 18th-century England but also veils a deeper critique of Freemasonry, particularly its initiation rites.
Dr. Freke, depicted performing the dissection, was a known Freemason and an innovator in surgical techniques at St Bartholomew’s Hospital. Hogarth transforms him into an allegorical figure in this engraving, using the dissecting knife as a metaphorical pen to inscribe the law’s mandate onto Nero’s body, inviting viewers to ‘read’ the corpse beyond its literal dissection.
Peeling back the layers of Hogarth’s complex imagery reveals a multifaceted critique. Underneath the superficial satire of the Royal College of Physicians lurks a pointed jab at Freemasonry’s secretive rituals, especially the third-degree initiation ceremony rooted in the legend of Hiram Abif. The public disclosure of these once closely guarded rites in Samuel Prichard’s “Masonry Dissected,” which divulged Masonic secrets to the broader public, serves as a backdrop to Hogarth’s depiction, highlighting the tension between secrecy and revelation within the fraternity.
Prichard, a Freemason who betrayed the order’s secrecy, becomes a focal point in the ensuing Masonic controversy, with rumors circulating about a gruesome retribution for his perjury. Hogarth’s engraving is interpreted as a reflection on this scandal, Prichard’s expose, and the broader implications of oath-taking within Freemasonry—questioning the efficacy and morality of such vows when they cannot be enforced beyond mere words.
This theme of oaths and their consequences extends beyond Freemasonry to the religious sphere, as seen in the response of the ‘Original Secession’ group of Presbyterians in Scotland. Their 1757 Act concerning the Mason-Oath critiqued the oath for incorporating ‘sinful, profane, or superstitious devices,’ further embedding Hogarth’s work within contemporary debates on morality, legality, and religious observance. Through “The Reward of Cruelty,” Hogarth masterfully navigates these complex social and moral landscapes, using his art to probe and critique the interplay of justice, secrecy, and the human condition.
Hogarth’s work delves into the realm of Masonic symbolism, offering a unique lens through which to interpret the complex interplay of imagery within his engravings. Through this Masonic perspective, Hogarth reclaims the potency of metaphor, allowing the imagery to transcend its immediate context and invite viewers to engage with the underlying themes. In “The Reward of Cruelty,” the depiction of Tom Nero’s body transcends its literal representation, embodying the concept of the ashlar—a Masonic symbol for the soul’s moral and spiritual development—thereby elevating the narrative to a meditation on the transformative power of metaphor itself.
By moving from the abstract to the concrete, Hogarth challenges traditional interpretations of metaphor, compelling his audience to reconsider their understanding of imagery and symbolism. This approach not only enriches the narrative but also positions the audience as active participants in deciphering the underlying meanings, encouraging a deeper engagement with the artwork.
Hogarth’s masterful integration of Freemasonry’s symbolic language into his satirical work demonstrates his adeptness as a literary artist, weaving together satire and symbolism to critique and comment on the society of his time. His parodic use of Masonic elements would have resonated with both insiders familiar with the fraternity’s rituals and a broader audience exposed to the era’s proliferating exposés of Freemasonry. Within this context, the Freemason’s square emerges as more than a mere tool or architectural element; it symbolizes the framework within which Hogarth measures and explores the multifaceted nature of Freemasonry, art, and society.
In summary, Hogarth’s Masonic engravings are a multifaceted exploration of Freemasonry, rich with symbolism and critical insight. Through his unique lens, Hogarth offers a critique wrapped in allegory, satire, and humor, highlighting the need for introspection and reform within the fraternity. His legacy, therefore, is not just in the realm of art but in the nuanced portrayal of an institution at a crossroads, making his work an invaluable resource for understanding both the history and the mystery of Freemasonry.