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THE WEST WALL

Interpreted By

MEC CLIFFORD KAY PZ 163, PAST SCRIBE E.,P.W.C.N.,P.T.I.M.

Brethren & Companions

It is the special privilege of the 1st Principal of St Blane Royal
Arch Chapter, and the Right Worshipful Master of Lodge
Rothesay St John 292 that they face on our west wall this
enormous mural which is a constant source of admiration and
astonishment to our many visitors and guests.

But how many visitors, or even our own members for that
matter, really try to interpret what it means, and what it
represents?
After many years attending the Lodge it was only whilst
working on its restoration last year, that I found it beginning to
ask me questions, and I, beginning to ask questions of it.

What did it all mean?

What was the artist trying to signify?

What was it trying to show?

Why is there an almost complete lack of Masonic influence?

Was it even painted by a member of the craft in the first place?

PERMIT ME TO SUGGEST IT WAS NOT!

So as they say in that well-known television programme
"THROUGH THE KEYHOLE" let us then examine the evidence,
"THE CLUES ARE ALL THERE".
Initially let us imagine a member of the craft, one possessing
some design and artistic ability being offered the commission
to illustrate the west wall.
Do you think in all honesty he would set about painting the
SPHINX, the PYRAMIDS, the COLISEUM, the COLUMNS AT
BAALBEK and the TEMPLE AT ASWAN, THE ARCH AT
CONSTANTIAN.

I PUT IT TO YOU COMPANIONS THE ANSWER MUST SURELY
BE NO.

Personally I don't care whether it was painted by a mason or
not, our aim is not to criticise the work, but to try to
understand it, and to gain access to the artists mind, and to
discover just what it was he was endeavouring to
communicate.
Any subsequent findings we arrive at must be made by
carefully looking at all the facts so that any self respecting
viewer who prides himself on knowing something of the "THE
CRAFT" and feels he can view the mural on a different level to
the average member of the public, may well be perfectly
justified in interpreting the mural to suit his own particular
point of view.
Naturally a Craft member is going to cling to his historical
teachings and his views will be reflected by his own personal
Masonic knowledge, so that one members interpretation may
not be as another sees it!In other words the mural can be what
you want it to be!!

But back to our artist, if this is not the work of a mason- and I
leave it up to you to make your own minds up for in all fairness
his choice of subject matter does show the design,
engineering and construction skills of masons of a bygone era,
and their amazing abilities to work in stone with
such precision as to be able to produce such wonderful
examples of the stone- masons craft, just what would a craft
member choose as subject matter?
Companions I put it to you that he would be thinking in terms
of EMBLEMS of WORKING TOOLS of "SCENES FROM VARIOUS
DEGREES" of KING SOLOMONS'S TEMPLE!!.

LET US THEN PROGRESS THIS POINT OF VIEW.

If the Lodge had approached me, a craft member with some
dubious artistic skills, as they did for the new 2000 Mural,
what would I have shown. It's a big wall and an even bigger
subject !!

How about this for starters!

Imagine if you will a wall full of colour showing a desert
sunrise with the sun just peeping from the PORTICOES of the
East reflected upon the shimmering sands and dunes, and
there in pure white stone with a suggestion of pink from the
morning sun, the magnificent temple of King Solomon, in all its
resplendent glory.

Imagine if you will a great all seeing-eye, radiating from it lines
of knowledge which disappear into the mists of time, with the
eye painted in such a fashion that wherever you moved or sat
in the temple it would be watching you!

Imagine if you will a montage of various scenes depicting the
temple in its many stages of construction.

Imagine in the left hand corner a quarry scene with men busy
cutting and shaping the stones of the temple.

Imagine rafts carrying timbers having been prepared in the
forests of the Lebanon being off loaded in choppy seas at
Joppa.

Imagine the temple in the course of construction where the
sound of metal was never heard, the stones having been
prepared and numbered in the quarries of Zeradatha.

Also imagine the final scene the temple destroyed after being
raped and pillaged by the invading tribes of
NEBUCHADNEZZAR.

The story of the Temple from its beginning to its destruction
shown on one great mural!

Surely companions these are the thoughts which would spring
to the mind of a craft member.

NOT PYRAMIDS AND COLISEUMS.
Therefore companions, I put it to you again that the work you
see before you is not that of a member of the craft and being
faced with this huge blank wall decided to illustrate it with
examples of ancient architecture and with which he was
familiar and felt comfortable, and which at one time may have
been regarded as the constructional wonders of the World.

This course of action would have been perfectly logical, for
how can anyone illustrate something of which he knows
nothing about!

So I hear you say, That's all very well but "what of the pillars
and the chequered carpet"?

But were these part of the original design?

Were they perhaps added later?

Were they painted by a different artist, as an after thought?

It is possible of course that our non Masonic artist was
specifically requested to show the two pillars, perhaps being
supplied with some sort of illustration- many old Masonic
books were at that time illustrated with line drawings many of
them showing the tracing boards of the various degrees.

So, if we assume our non-Masonic artist was supplied with
some sort of illustration the chances are he would have copied
exactly what was given to him, and certainly wouldn't have
been in a position to alter or amend it.

If however he had known something of the craft, would he
have shown SPERICAL GLOBES delineating CELESTIAL AND
TERRESTRIAL images or would he have reverted to the
original adornments of bowls, for, as we all know the ancient
ones believed the world to be flat.

Certainly there is some doubt as to whether the pillars were
adorned with globes or bowls the old HEBREW word for both
being the same "GOOLOT" but what is quite certain is; neither
was originally associated with maps CELESTIAL or
TERRESTRIAL!!

However had our artist had some knowledge of the craft I
would like to think he would have said "Look this is wrong and
once I paint it, it's going to be there for all time. I think we
should revert to what we know to be correct", and it was for
this reason that I painted out the terrestrial map of the world
and replaced it with the design you now see-Alpha and Omega
symbols. I couldn't find it in my heart to show Africa-India and
the America's.

You see companions to my mind to make statements in our
rituals, which do not mean what they say, obscures reality and
is basically dishonest.
This belittles the intelligence of the candidate and is morally
and masonically wrong.

Unfortunately there is no difficulty in compiling a list of such
errors, which earn displeasure and prove extremely irritating,
at least they do to me.

The maps are just one example, another relating to the pillars
is, we are told they were cast in BRASS, but brass as we know
it was unknown to the ancient ones.

To produce Brass requires COPPER and copious amounts of
Zinc, which they just didn't have.
What they did have was TIN, this combined with Copper makes
BRONZE NOT BRASS.

"HOWEVER WE DIGRESS"

So companions if I have now convinced you that our artist was
not a member of the craft and was not capable of illustrating
the wall in a manner which when interpreted by us would have
had more relevance to our teachings, permit me now to guide
your thoughts to the opening in the ground and which
occupies the prime position on the wall, and indeed
forms the very focal point of the entire composition.

WHAT WAS THE THINKING BEHIND THAT?

WHAT WAS IT ENDEVOURING TO SHOW?

Why did our non-Masonic artist decide to devote so much
space and time on something, which he obviously felt vitally
important to his work?
Brethren & Companions this is a hole, which could mean so
many different things to different people, for the plot thickens!

Perhaps our artist was in the craft.

Perhaps he was a Mason.

Perhaps a very astute Mason!

Perhaps a mason, unlike me, one who was capable of thinking,
not just of emblems and tools, and KST, but of things, of a
much deeper significance.

You will note companions if you look at our "hole in the
ground" the artist has specifically chosen a view point which
does not reveal any indication of depth, or as if to keep us
guessing, any clues as to what it may or may not contain.

He could for instance have chosen to suggest a body or
skeleton discretely concealed by a shawl, tapestry or blanket.

BUT HE DIDN'T !!.

He could have chosen to suggest a coffin.

BUT HE DIDN'T

He could have chosen to suggest a SARCOPHAGOUS.

BUT HE DIDN'T!!.

He could have chosen to show the crown of a perfect arch.

BUT HE DIDN'T!!.

But what he did do, and very carefully too, he chose not to
show any of these options.

Rather he chose to lead us by visual and mental stimulation to
consider each and every possibility and leaves it up to the
viewer to interpret its hidden meaning for himself.

Let us then try to consider just some of the possibilities.

FOR INSTANCE

Is it meant to call to mind the 2nd degree "YOU WILL NOW BE
PERMITTED TO EXTEND YOUR RESEARCHS INTO THE MORE
HIDDEN MYSTERIES OF THE CRAFT"?

Or does it perhaps refer to the 3rd degree, WORTHY
CANDIDATE LET
ME NOW BEG OF YOU TO OBSERVE! ETC, ETC.

Or does it show the rough grave of our GMHA after the body
was
discovered and removed there seems to be plenty of acacia to
mark the
spot.

Or is it perhaps a grave 6' X 6' X 3' where eventually he was
re-interred.

These are questions, brethren which we have to answer for
ourselves. You recall I did mention earlier each individual only
interprets the answers to his own satisfaction.

Thus we find our artist has very cleverly represented each of
the previously mentioned options but without actively singling
out any particular one and therefore avoiding the emphasis
being placed on any one degree.

However as if to confuse us further our artist places two cross
beams above the opening and which give the distinct
impression of being capable of supporting, something
substantial and solid.

HAS ANYONE ANY SUGGESTIONS?

I have one, how about a broad flat stone with the words "AM -
B' - TSAFN" engraved thereon implying as it were the way to
hidden treasure?

In this particular branch of masonry we are all aware of what
was subsequently found and of its immense importance.

So companions we find our artist has confused us even more,
and that once again, he has carefully chosen not to suggest
too much, but certainly enough to imply Royal Arch
Involvement.

If the viewer is not a Royal Arch Mason then he can relate the
opening to the 2nd and in particular the 3rd degree, if he is a
Royal Arch Mason it takes on even greater significance.

So Companions I suggested to you earlier that there was little
Masonic influence or reference on the backdrop, other than
the pillars and chequered carpet.

There isn't now, I painted it out. But there was one small
feature placed by design or accident, I don't know, among the
ruins, and that was a broken pillar!!

Now whether it was just a broken pillar, the artist knowing full
well there would be plenty about among all the ruins and
debris, or whether it was placed there because of its Masonic
significance I can only speculate.

Our readings and studies show us that a BROKEN COLUMN
was the design of the monument erected to the memory of
HIRAM ABIFF. Symbolically representing, the frailty of man and
all things human.

So companions I put it to you again was our artist a very clever
fellow? A very intelligent and astute mason or was it just a
coincidence that a BROKEN COLUMN was shown, all be it
discretely.

I did at the time of restoration show the column, but with a
little more prominence and awareness in much the same
manner as the PILLARS AT BAALBEL can now be clearly seen,
and which hadn't been noticed by numerous members
previously.

Unfortunately after the pillar was painted I had to endure daily
inane remarks like---

"What does the dustbin represent?"

"Who dumped that radiator there, they didn't have cars in
those days"

And so on and so forth!!!

Obviously it didn't mean anything to so many people and to
avoid further unwelcome comments I created a quick
sandstorm, and the offending pillar was buried amongst the
rubble.

But I wonder whether it was a significant emblem meant to be
viewed in conjunction with our hole in the ground, or whether
after all it was just a BROKEN PILLAR among the ruins.
However There are even more possibilities for us to ponder,
especially if we think of one of the Degrees which follow the
Royal Arch Degree, I refer of course to the CRYPTIC DEGREES.

We know from our teachings that the name is derived from the
Greek word for Vault or Crypt and refers to the ascertained fact
that secret crypts and vaults were constructed below King
Solomon's Temple.

So Companions we looking at one of the many entrances to the
secret crypt below the Temple and interlinked with a system of
We know that the vaults existed as an ascertained fact, for in
the New Testament there is reference to the fall of Jerusalem
and the temple in what appears to be a memory of the
destruction of the city and which goes on to describe the
creation of the new Jerusalem. Also we learn that before the
fall of the Temple, the most precious treasures and scrolls
were secreted away in the Crypts and vaults built for just such
a purpose. At this point it is necessary to recall a document
known as the assumption of Moses mentioned in some detail
in the book entitled the Second Messiah.

It records that the Jews fighting to preserve the Temple were
required to bury their most precious scrolls and treasurers as
close to the Holy of Holies as they could, where they would be
in "Gods Safe Keeping".

We can be sure that thee instructions were carried out and
that these items were secretly deposited beneath the Temple;
as portions of the
Dead Sea Scrolls later recovered confirm this.
The scrolls were primarily intended to show the Jewish
survivors of the war where the treasures lay buried and to act
as a guide to their recovery.

In a further effort to make things even more difficult especially
for any Gentile stumbling upon them, they cut up the scrolls!

It was this action which made the reconstruction of the Dead
Sea Scrolls so difficult for modern scholars to interpret their
meaning.One of these scrolls eventually revealed that at least
24 scrolls were hidden beneath the Temple together with no
less that 61 coded locations
indicating where various items might be found.

ONE ENTRY READS:

IN A "PIT" AJOINING THE NORTH IN AN OPENING
NORTHWARDS AND BURIED WITHIN ITS MOUTH A
DOCUMENT WITH EXPLANATIONS OF EACH AND EVERY ITEM.
IN OTHER WORDS A COMPLETE INVENTRY OF EVERYTHING
BURIED.

SO IS THIS THAT "PIT" WITH AN OPENING NORTHWARDS?

As recent as 1894 the secret crypts were probed yet again, this
time by a British Army Lieutenant one Charles Wilson and a
team of H.M. Royal Engineers.

It would appear the army sunk a shaft some 80 feet deep in an
effort to reach the secret vaults, man hauling personal in a
small cage down to the workings with a system of ropes,
pulleys and beams.
So could this be that very shaft, built by the engineers in 1894
in their quest to locate King Solomon's Treasure?

They discovered nothing of the Treasures but did find several
artefacts left by previous raiders namely a broken Templar
Sword, a small Templar Cross and the remains of a lance, all
left some 800 years earlier, by the Knights Templar.

These items are now in the safe keeping of ROBERT BRYDON,
Archivist of the Scottish Knights Templar.

So we learn Companions the British Army were some 800 years
too late in their quest for the Temple Treasure, and that all the
vaults and passages were completely devoid of any precious or
sacred items.

In the main this was due to the actions of two French
Noblemen Hughues de Payens and Hugh de Champagne who
had been seeking permission from BALDWIN 1st to carry out
some exploratory digging and tunnelling, for some
considerable time.

This permission was repeatedly denied and it was only after
BALDWIN'S death they were allowed to proceed.

Within weeks nine Knights were camped on the site and when
they were not actually engaged in saving Christian Pilgrims
from bandits turned their attention to locating and rescuing
the treasures previously deposited there.

It is reported it took many months of mining and digging before
they actually connected with an original passage.
Once inside the labyrinth of Vaults and tunnels progress was
accelerated and several important discoveries were made
including various scrolls, gold and silver vessels and many
pots full of coins.
We learn the Knights excavated the workings until the
Christmas of 1127 when they felt confident that every scrap of
treasure had been located.
Thereafter things changed rapidly for the Templars and within
a few years of the 9 original Knights who had set up camp at
the ruins, the Templar mothe mpvement was miraculously
transformed into a fabulously wealthy order that went on to
become bankers to the kings of Europe.The Quatuor
Coronatorum have suggested that the mural may have
originated in France, this being the case there may well be
some Templar significance and connection, suggested by the
depiction of a Crypt opening and which subsequently led to
the enormous Templar wealth.

So we find our artist has very cleverly lead us by visual and
mental association through several degrees which we have
passed and advanced, and deliberately made us consider all
the associated obligations to which we have been committed,
and how poorly most of us portray Masonic ideals.

Finally companions may I direct your attention to the strange
structure on the hill which seems to overlook all else.
Several times during the murals restoration, I was asked what
it was, and what was its significance.
I think perhaps whilst preparing his working plans and
sketches our artist pondered on how it all started and who it
was who originally placed one stone on top of another or in
this case two others Stonehenge fashion and from which
every other building developed.

Having successfully completed the structure perhaps the
ancient ones regarded it as an Alter where sacrifices to the
Gods could be made. Later perhaps having added further
stones it was regarded, as a Temple albeit a very simple one
and which afforded shelter from the elements.

Therefore companions I suggest it could be regarded as the
VERY FIRST EXAMPLE OF CONSTRUCTIONAL MASONRY, and
from which King Solomon's Temple and all the structures you
see before you evolved.

At the beginning of this paper I said I had wondered long and
hard as to what the west wall mural was meant to represent,
and whether or not it had been painted by a member of the
craft, or perhaps by somebody advised and guided by a
member.

So having committed my thoughts to paper I began to realise
that that's all they were my thoughts, purely conjecture and
speculation, and that surely someone somewhere could shed
more light on the mystery and provide the TRUE history and
meaning of the wall, and all it shows. But no one was able to
give me the true significance of the illustrations or their
meaning.

I think it was at this point I began to think of the other murals
and their significance.

WERE THEY PRODUCED AT THE SAME TIME AS THE WEST
WALL?

WERE THEY PAINTED BY THE SAME ARTIST?

OR WERE THEY PERHAPS A LATER REFINMENT?

Was it possible that the person who painted the Sphinx and
Pyramids went
on to paint the remaining murals with all their Masonic
implications?

I discovered the work had originally been carried out during
the period
RWM LOCHHART was in the chair and it was relatively easy to
ascertain that this was circa 1939/40.

A Companion who had just completed a 17 page history of the
lodge was able to furbish me with a book that contained some
of the answers I was searching for.

EXTRACTS FROM HISTORY OF ROTHESAY ST JOHN

CIRCA 1971

In 1940 the REGAL CINEMA had just been built and Brother
DAVIDSON of FORRES had been engaged in doing the
decorative work and had offered his services to "MAKE THE
PANELS", which now adorn the walls of the TEMPLE.
Question, does the expression "MAKE THE PANELS" refer to
the artwork, or to the decorative gold and silver plasterwork
surrounding? Thus forming the panels.
We learn that the first panel from East to West shows a boy
poor and penniless holding a bowl before an old man and
receiving his blessing.
The second shows Jacob sleeping and the ladder of which he
dreamed of climbing to reach heaven from earth.
The next shows an ARCH complete with KEYSTONE, what we
see now is obviously not original and must have been altered
at some later date for reasons we will probably never know!
The final panel depicts one of the lodges' original banners,
which hung on the west wall prior to the refurbishment, one
on either side of the large clock, which now lies out with the
temple.
The south wall panels show the second lodge banner
complete with ROTHESAY coat of arms etc.
A panel, showing the porch or entrance, to King Solomon's
Temple.
A vacant panel, showing the names of the brethren, who lost
their lives during the war.
And one showing the 4 Virtues TEMPERANCE, FORTITUDE,
PRUDENCE and WISDOM, and so again we learn that what we
now see is not original.
The writer of the article simply describes the WEST WALL as
showing "THE DEVELOPMENT OF ARCHITECTURE FROM ITS
BEGINNINGS"!!
After naming the several structures says "THERE IS MUCH TO
BE SEEN BUT DIFFICULT TO DESCRIBE ACCURATELY".

THIS IS THE ONLY DIRECT REFERENCE TO THE WEST WALL I
CAN FIND ANYWHERE!

In order to verify the information contained within the book I
then searched through the old Lodge minute books until I
found the material I wanted.

The first minutes of any significance relative to what we are
discussing are
to be found dated 3-4-40 and read as follows: -

MINUTES DATED 3-4-1940

Two "schemes" for painting and decorating the temple have
been submitted. Scheme 'A' by D. C. Murray at a cost of
£110.17.6 (old money) and scheme 'B' by D. H. McFie at a cost of
£129.

It was unanimously agreed to recommend to the brethren that
scheme 'B' be accepted SUBJECT TO THE MASONIC EMBLEMS
AND THEIR POSITIONING being approved by a sub-committee
yet to be appointed.

It was also agreed that both schemes be exhibited to the
brethren at the
next regular meeting.

MINUTES DATED 15-4 1940

The RWM informed the brethren that the office bearers had
considered both the proposed schemes and that after much
discussion it had been agreed that scheme 'B' be accepted,
and a sub-committee appointed to look after the details of the
work to be carried out.
The specifications for both schemes were read out and
brethren invited to inspect the paintings of each which had
been exhibited for this purpose.
The RWM then invited the brethren to appoint a sub-committee
to oversee the work to be carried out, however this was left in
the hands of the office bearers.

MINUTES DATED 27-6-1940

The final designs for the decoration of the panels were
approved by the committee and it was agreed to forward same
to Grand Lodge for their approval.

MINUTES DATED 22-7-1940

A meeting of the hall committee was held when the P.G.M. J.
MacLAUCHLAN reported Grand Lodge had approved the
designs for the panels with the PRIVSO that the panel showing
the "TRACING BOARD" be covered by means of a screen or
blind.Rather than spoil the overall desired effect alternative
designs were submitted by Messrs D. H. McFie and
W. Davidson for due consideration.
Companions you will note there is still no mention of the
"WEST WALL" only of panels! On the 16th September 1940 the
first meeting of the lodge was held in the newly decorated
temple.

MINUTES DATED 16-9-1940

The RWM expressed thanks to the various tradesmen for their
efforts, joiners, plasterers, and upholsterers and in particular
to brothers Robert and John McFie and W Davidson for
painting and decorating. The magnificent and emblematical
effects achieved would be a living testimony to their skills and
pride in their work.
Thanks were also expressed to the PGM JOHN MacLACHLAN
for the valuable assistance he had given in the selection of
suitable subject matter for the "PANELS".

Again no mention of the West Wall!!

THERE IS NO FURTHER REFERENCE TO THE MURALS TO BE
FOUND IN THE MINUTES!

We still really don't know who painted it. Was it W Davidson
who was here to decorate the REGAL CINEMA, or did he just
do the fancy plasterwork and "MAKE THE PANELS".

If not, it must have been Messrs D and H McFie who were
successful in having their quote and designs being approved
in the first place!

It seems such a pity that we cannot really credit anyone with
the mural and in the words of the P G Master "THAT IT MIGHT
BECOME A LIVING TESTIMONY TO THEIR ART AND SKILLS".

What was revealed during my searches was the fact that on the
27th July 1940 discussions were still taking place as a result
of Grand Lodge wishing the proposed tracing board covered,
and the fact that on the 16th September the work had been
completed!

Give or take a day or two, we are talking SEVEN WEEKS, TO
EMBARK ON, AND, COMPLETE THE WORK WHICH SEEMS
QUITE INCREDIBLE.

AND DO YOU REMEMBER THE QUOTED PRICE £129?!!

The actual exercise of researching and interpreting the WEST
WALL has proved disappointing in that no direct answers to
the many questions asked have been forthcoming.

Perhaps its better that way remember what we tell candidates
in the first degree? Freemasonry is an ancient system of
Morality veiled in allegory and illustrated with signs, symbols
and tokens.

As to interpreting what it means, I feel the subtlety of the
realisation of what the mural shows is left with the viewer who
in the final analysis has to interpret its meaning for himself
and indeed as he wishes.

Does it then refer to the 2nd and 3rd Degrees?

Is it implying Royal Arch Masonry?

Is it perhaps meant to depict the Cryptic Degrees'?

Is it the shaft built by the British Army in 1894 in there efforts
to reach King Solomon's treasure.

Or if the Murals origins lie in France is it implying Templar
influence?

It can mean so many things to so many people and perhaps its
better that way.

Enjoy its extravagance, its composition, and its selection of
cunning ploys involving the whole.

Let it stretch your imagination. Allow it to communicate to you,
your natural preference as to what you want it to be.
BUT MOST OF ALL ENJOY IT.