ht was the mother of beauty, the unveiler of color, the
elusive and radiant mystery of the world, and his speech about it was
reverent and grateful. At the gates of the morning he stood with
uplifted hands, and the sun sinking in the desert at eventide made him
wistful in prayer, half fear and half hope, lest the beauty return no
more. His religion, when he emerged from the night of animalism, was a
worship of the Light--his temple hung with stars, his altar a glowing
flame, his ritual a woven hymn of night and day. No poet of our day,
not even Shelley, has written lovelier lyrics in praise of the Light
than those hymns of Ikhnaton in the morning of the world.[9] Memories
of this religion of the dawn linger with us today in the faith that
follows the Day-Star from on high, and the Sun of Righteousness--One
who is the Light of the World in life, and the Lamp of Poor Souls in
the night of death.

Here, then, are the real foundations of Masonry, both material and
moral: in the deep need and aspiration of man, and his creative
impulse; in his instinctive Faith, his quest of the Ideal, and his
love of the Light. Underneath all his building lay the feeling,
prophetic of his last and highest thought, that the earthly house of
his life should be in right relation with its heavenly prototype, the
world-temple--imitating on earth the house not made with hands,
eternal in the heavens. If he erected a square temple, it was an image
of the earth; if he built a pyramid, it was a picture of a beauty
shown him in the sky; as, later, his cathedral was modelled after the
mountain, and its dim and lofty arch a memory of the forest vista--its
altar a fireside of the soul, its spire a prayer in stone. And as he
wrought his faith and dream into reality, it was but natural that the
tools of the builder should become emblems of the thoughts of the
thinker. Not only his tools, but, as we shall see, the very stones
with which he worked became sacred symbols--the temple itself a vision
of that House of Doctrine, that Home of the Soul, which, though
unseen, he is building in the midst of the years.

FOOTNOTES:

[1] _Primitive Art in Egypt._

[2] Chapter iii, aphorism 2.

[3] _Architecture_, by Lethaby, chap. i.

[4] _Architecture_, by Lethaby, chap. ii.

[5] _Dawn of Civilization_.

[6] _Dawn of Astronomy_, Norman Lockyer.

[7] Churchward, in his _Signs and Symbols of Primordial Man_ (chap.
xv), holds that the pyramid was typical of he