Salt Lake
Masonic Temple

By Carl W. Scott
Architect of the Temple

The appearance of a building is governed by the style adopted and the visible material used. Its structural and mechanical design follows a rather fixed pattern. But, beyond this, the arrangement should be such as to provide convenience for the functions performed within the structure. For instance, the plan for a church would be quite different from the plan for a residence or a school.

The functions carried on in a Masonic Temple are the performance of the various Masonic rituals; and this not being for public information, the building arrangements, parts, and decorations must not be such as to disclose Masonic secrets to those not entitled to know them. Obviously, a building Masonically convenient or with symbols overused could easily convey information to a curious public. On the other hand, if Masonic arrangement and symbolical decoration must be forsaken because of this, then a Masonic Temple becomes just another building and the interest of Masons may be lost.

These considerations se the limitations of what may or may not be incorporated in a design from a disclosure standpoint, and further what should or should not be shown from the standpoint of good taste.

Because our Masonic Temple has much of Masonic significance concealed in its construction and ornamentation, request has been made that some record of these features be preserved in the Archives, that those coming after may be informed, should they be interested. In compliance with that request this record is presented.

Legend tells us that rulers in the past often blinded or put to death their builders upon completion of their work, that they might not disclose the secret wine vault or do a better job for another client. Naturally the author does not look with favor upon such a practice.

Almost a score of years has passed since the building was designed and time already has erased some of the story and closed the life span of some of those who could have told the story so well. The Temple was dedicated to the use of the Order November 20, 1927. So this recorded by the Temple Architect is intended to set forth some of the interesting facts he now recalls.

The Masonic Temple Association divided its responsibilities among several committees, and the successful financing and completion of the structure is the best evidence of their achievement. The planning of the building was in the hands of the Plans Committee and the Building Committee and this record deals with the manner in which their work was carried out on the trestle board, and in the completed structure. No organization ever had more diligent or effective committees and without exception each member made definite contribution to the success of the venture. The names of those and the other committees are appropriately inscribed in enduring bronze on the inscription plate at the entrance to the Temple.

Before starting the design, the Building Committee and Architect journeyed to other cities to visit Masonic structures in order that we might benefit by the experience of others. All sorts of such structures were inspected, some completed, some in the working-drawing stages, and some abandoned because of poor financing. Generally, the architectural designs were monumental, dignified, and pleasing. Some had excellent individual features; some had scarcely anything Masonic about them. Other than the use of three, five, and seven steps in some entrances, and sometimes the rather liberal use of Masonic degree symbols, in the cornice there was nothing of particular Masonic interest on their exteriors. Where the symbols were used, the effect was disappointing because there was no consistency of design or color and the effect was more that of a billboard than a monument.

The expression of the members of the Building Committee was quite unanimous that by the visits to other jurisdictions they had found what not to do rather than what to do. However, the experience was of excellent value and it can be easily shown that at least $150,000 was saved in cost by this investigation. The trip further left the committee with the conviction that whatever of Masonry should be incorporated in the structure of the Salt Lake Masonic Temple would be devised by Utah Masons rather than copied from Temples elsewhere.

The Masonic ritual deals largely with the work of the builders of King Solomon?s Temple. There is scarcely a sentence that does not contain significant building terms, methods, tools, and practices. The Architect attempted to use as much of significant matter was possible and, by arrangement or symbol, to incorporate it in our design. This involved the limitations imposed by modern materials, and what should or should not be used from a disclosure standpoint. One of the most difficult problems was to illustrate the work in drawings, that were made by non-Masonic draughts men, and later were used for purpose of construction by non-Masonic workmen. The plans, however, were required to be definite enough to illustrate the work when finished, and yet convey no Masonic secrets. Some things were abandoned entirely because there was no way to conceal their meaning; and others were left indefinite to be verbally directed when the work was in progress.

Some Temple builders lay considerable stress upon orientating the Temple so that the Masonic East of the Lodge room is also true east. This seems of less importance that some Masons think because it so often introduces complications and costs that are not justified. In our case, the principal or front elevation is on South Temple Street and thus is the North Elevation or dark side of the Temple. The ancient pattern Temple had no gates in the North Wall and our location forced us to place gates there. Because of this the most was made of the situation. Prior to being initiated, passed, and raised, the candidate wandered in darkness as to Masonic secrets, which is symbolized by North, and it is fitting that convenient doors would be provided inviting him to pass into the Temple to be enlightened in the Masonic ritual.

The descriptions of King Solomon’s Temple go into considerable detail concerning the measurements of the various parts and their relations to one another. And, because so much stress is placed upon this layout, it seemed fitting that our Temple follow the same plan, making this a symbolic basis, if suitable Masonic measure could be devised. The ancient measure, the cubit, was the length of a forearm or about 18 inches, obviously our measure must be in feet.

Being mindful of the importance of the numbers three, five, and seven in Masonry, it was determined to use these numbers as a basis; but since the number seven is considered the perfect number, it was used wherever possible and it is to be noted that seven is the number of members in much of the design.

Seven lengths of the Masonic twenty-four inch rule become fourteen feet and this being a convenient measure, it was made a basis for laying out our Temple. Thus, the usual spacing of structural and ornamental columns is made fourteen feet, West to East and South to North. When larger or smaller column spacings were necessary, then the dimension is exact feet and always divisible by seven; and the spacings actually used were seven feet, fourteen feet, twenty-one feet, twenty-eight feet, forty-two feet, and seventy feet. These were carefully followed and are always exact feet with no odd inches. Of course, if adherence to these significant Masonic measures did not also provide a practical and usable module, then it would have been ridiculous to have held to it.

The Temple proper is three stories high, starting at the first floor, and rests on a base or ground story. These three stories are significant of the three degrees of Masonry, and contain all of the tiled or ritualistic rooms. The ground floor has non-ritualistic rooms for administration offices, banquet room, etc.

Entrance to the Temple proper is gained by ascending three, five, seven steps and nine steps. For strict adherence, three, five and seven might be more appropriate, but practical considerations demanded a greater number of steps and additional steps were added in the number nine, which also has considerable Masonic significance, being the cub of the first number three and sometimes, but not always, being assigned as the number of rungs of the mythical Jacob?s ladder reaching to heaven.

The base upon which the Temple rests is seven finished courses of ashlar of Utah granite. These are rectangular stones and contrast with the cornerstone, which is, as it should be, a cubical stone. This stone, located in the northeast corner of the Temple, has one exposed face of rough ashlar, and the other of finished ashlar, upon which is the proper Masonic inscription. Within the cornerstone, a sealed copper receptacle contains mementos of current Masonic interest.

At this point, the ceremony of the cornerstone laying should be mentioned for it was an event of considerable civic interest and importance, and, as was anticipated, attracted a large attendance, not only of the Masonic brethren, but also of public-spirited citizens of the community. In view of this public interest and of the fact that the ceremony was to be conducted in the afternoon at two o?clock, it was decided that each official who participated in the ceremony should array himself in a silk topper, cutaway coat, and striped trousers. You can well imagine the skirmishing about by Grand Lodge officials when that was necessary to provide themselves with afternoon formals for the occasion. Friends came to the assistance of some of our Grand Lodge officers and made it possible that the event be carried out in proper style.

Many Masons have speculated as to why the Egyptian style of architecture for the exterior of the Temple was adopted. Its purpose was deemed most important and was not used merely to be different.

Most of the more modern Masonic Temples follow one of the Classic Orders. This gives a monumental dignified appearance, but does not give much opportunity to display Masonic symbols in a concealed and un-offensive manner. However, with the Egyptian style, where inscriptions and figures appear on almost every surface, it was possible to include one of Masonic significance without disclosing their presence and still be in perfect keeping with the general style adopted. Further, the Egyptian Art was highly developed in Solomon?s time and seemed ?a natural? for our purpose.

Several Egyptian structures and those best preserved today were built in honor of the Egyptian God Horus, described as the ?God of Light or Life,? and from them could directly be taken symbols of light so appropriate for our structure. The God Horus is variously depicted, perhaps more often as a falcon-headed human. But in some cases the symbol used was a double headed, feathered serpent and solar headed, feathered serpent and solar disk, and this suited our purpose better and was used.

This device in large scale was used in ornamenting the cornice, signifying that this is a Temple dedicated to Masonic light. Superimposed on the solar disk and in the square, compasses, and letter ?G”, which are the only strictly Masonic emblems displayed on the exterior of the structure.

The entrances to the Temple, three in number, are symbolical of the lights of Masonry and over each is again used this ancient symbol of light, plainly marking the purpose of these entrances. Also on the entrance grilles of these three doorways, this device again appears reminding Masons that these are doorways through which one must pass form the North or darkness into the Temple, seeking Masonic light.

As so far explained, this double-headed, feathered serpent and solar disk has been used as the symbol of light, but it was also the symbol of life; and for this purpose it is used on the gates of the funeral exit at the West, and also leave the Lodge from the West. It was deemed fitting that a funeral procession escorting a departed Mason?s body, leaving his Lodge for the last time, should leave the Temple from the West Gate. Normally, the gates are closed and the symbol of Life is intact, but to open the gates for a Mason?s funeral cortege, the symbol is separated and signifies a break in the life span of a Master Mason.

On the lintel above this gateway is carved the Egyptian scarab, an ancient device signifying the resurrection and immortality. Flanking the ramp of this exit are seven urns, containing seven acacia plants, most significant of the Masonic Funeral Rites.

Flanking the main entrance is a pair of sphinx guarding the entrance to the Temple. These devices are comprised of a lion?s body and a man?s head, signifying great strength and master intelligence and are symbolic of mystery. It is interesting to recall that the Greek sphinx had a woman?s head while that of the Egyptian has a man?s head, so the gender of the sphinx used is important in the design. And, it also was more appropriate to use the man?s head because it symbolizes a Man?s Temple. Between the paws, are granite spheres, polished and inscribed to represent the Celestial Sphere and the Terrestrial Sphere. The head of each sphinx is in position to contemplate the sphere lying between his paws, symbolizing the inspection of the earth and the heavens. The lion?s paws obviously convey a meaning to Masons.

The lighting of the face of each sphinx from the sphere between his paws made necessary a considerable study. Footlights often produce grotesque effects because the shadows are cast upwards instead of down as we are accustomed to see them. The sphinxes were first modeled in clay and in this form were to receive the approval of the committees, after which they were reproduced in granite. Before clay models were approved, lights and reflectors were placed in the assigned position of the sphere and the face studied for shadows. This study resulted in a considerable alteration in the position of the head in order to secure the best result, not only with sunlight in the day, but with artificial lighting at night. Blue, green, and red lights were tried for artificial lighting and it was found that the first two colors were almost obliterated by the white floodlights, so red became the permanent light for the figures.

The sphinxes were carved locally of Utah granite; the spheres, also made locally, are of Eastern granite. An interesting incident in connection with this carving occurred. It should be noted that Utah granite is a very durable stone of pleasing appearance. It does, however, have some objectionable dark blotches, which if exposed on finished stone are quite objectionable in appearance. If they appear on the finished work, it is necessary to reject the stone or to cut it smaller and use it for some other purpose. Mindful of this, the large blocks for these figures were selected as carefully as possible, because of the great amount of work that would be wasted if these objectionable spots occurred. Usual when these blotches were uncovered they were carved out before the finished surfaces were reached and no bad consequence was discernable. But when one sphinx was almost completed after months of carving, a large and very objectionable spot was encountered on the throat and still remained when the surface was finished. Naturally, everyone interested was deeply concerned, and it was decided to try to patch the stone in this place. Quite a sizeable piece of granite was cut out and anew piece of the stone cemented in to replace it. This was then carved to shape. While the joints are discernible, it will stand inspection and will be of interest for one to examine.

The above description of the use of entirely consistent Egyptian ornamentation is intended to show that it is possible thereby to symbolize much of Masonry for the benefit of Masons and to expose these symbols to public gaze and yet completely conceal the meaning from those not informed of their significance.

The walls of the Temple are of brick, laid block fashion in imitation of stone masonry, because it seemed more significant than the usual brick bond. It is interesting to note that the clay for these bricks was from a then new deposit and only samples had been made prior to our use. The brick, now frequently used elsewhere, is still referred to as Masonic Temple brick.

The interior of the Temple is the Mason?s workshop and its appointments should follow a pattern designed for the functioning of the Masonic ritual. It is true that the public is admitted to the Lodge rooms at times and they may observe and be curious of the devices seen. But, it is thought that there is nothing of Masonic secret in these rooms that can be understood by persons not members of the Craft.

All Lodge rooms, by the very nature of their purpose have many arrangements alike and they cannot be otherwise and still function; for instance, the location of the officers? stations, of doors, preparation rooms, the symbol ?G”, and the like. And, for this reason, anything original; in our Lodge-room design can only be a detail or refinement. We are properly forbidden to introduce changes or innovations to the ritual.

Quite often a Lodge room is so devoid of essential features that the candidate need be told where he is supposed to be, where to look, or what to do. Our Lodge rooms cannot depart from essential features, but it was determined to make these features as interesting as possible.

The three, five, and seven steps installed in the Lodge room, and the outer and inner door and middle chamber are used in other Temples, but are perhaps not too common. To have the middle chamber open on the Lodge room so that the members can hear the work is original in our Lodge rooms. The use of concealed spotlights to be directed upon the Master or candidate, to accentuate some features, is original and thought to be effective upon the initiate.

There is no special significance in the style of the several Blue Lodge rooms. The principal reason for variety was to give an opportunity for a Lodge to have each of its degrees in a different room and in an atmosphere that would most impress the candidate. This benefit perhaps is not being fully used.

The furniture and carpets were all specially made for this Temple. Many styles are used for the first time here. The design of the officers? chairs, for instance, in the Egyptian room carries out the exact Egyptian detail of the pilasters and columns of the room. The carpet in the Colonial room is a faithful copy of an old Colonial hooked rug, and the altar in this room deserves special mention. The altar of a Masonic Temple is referred to as a trestle board. This is in fact a drawing board set upon a trestle such as the architect uses for making his working drawings. In this Colonial Room the altar follows the true trestle-board design. And, it is thought that his is the first and perhaps only modern Lodge room in which the altar follows its true description.

All the furnishings, including furniture and carpets, were carefully selected in Chicago, by the Furnishing Committee and the Architect, and all were of special design and shade to carry out the style and decorations of the various rooms. However, when the furniture arrived a few days before the day already set for dedication of the Temple, it was found, to the astonishment of us all, that in some way the colors used the leather upholstery had been scrambled and that, for a red room, blue leather had been used, and for the blue room red leather had been used. It was a stunning blow. For the most part, the material was not suitable for transfer from one set of furniture to another. However, urgent wires brought new leather by express, and local upholsterers, working day and night, were able to complete the change. A substantial part of the work was complete on the day the Temple was dedicated, and aside from the few who were nervous wrecks over the situation, no one knew how close the call had been.

The matter of a place for the repose of the Lodge Charter when it is present at the Master?s station is important. Formerly, it was carelessly deposited almost anywhere about the Master?s pedestal, and it was frequently moved or kicked around. To give it a dignified and secure position, brackets were required to be built into the Master?s pedestal and a permanent position thus assigned to the Charter.

The effect intended at the Master?s station of the Colonial Lodge room is that of a porch or entrance to a Colonial mansion, and as the Master wears the Master?s hat, it was thought that the appearance might be that of the Master sitting outside the house, rather than within it, and thus the wearing of the hat be strictly in keeping with polite usage as well as with essential Masonic practice.

The Gothic Room is designed primarily for the York Rite bodies, and is intended to serve their purpose. Practically all of the fittings appropriate for their functions were installed as directed.

The Auditorium, intended for larger gatherings, is generally used for Shrine, York, and Scottish Rite works. There is not too much of Masonic significance apparent, because this room is the one into which the public is frequently admitted. However, the magnesium glow lights in the dome are intended to symbolize the canopy of heaven. The curtains, which can be drawn across the four arches, converting the cross-shaped room into a more compact space, are of dyed Repp, and depict the workman in the forest, quarry, and at the site constructing King Solomon?s Temple.

The scenery on the stage of this room, which is used mainly by the Scottish Rite and York Rite degrees, is quite priceless and should have some mention. Originally it hung in the old Temple at First South and Second East Streets. It was painted by a famous scenic artist and the committee was reluctant to part with it. Yet the sizes of the drops were entirely too small for the new stage. It happened that the artist who painted it was alive, although about seventy years old. He was induced to come to Salt Lake to enlarge the sets and to refinish them. About ten to fifteen feet were added to the width and five to ten to the height by cutting and splicing in new pieces at the top, at the bottom, sides, or center according to the design. Then the new parts were entirely painted, and the old parts touched up or painted over, as was necessary. It is considered a remarkable job and is one of the last works of the artist, Thomas G. Moses, who died in 1934, depicted so well the background of the higher Rite degrees, yet he had received the Blue Lodge degrees of Masonry only.

The costumes used in the various co-ordinate degrees are a priceless collection of authentic historic wardrobe and accessories, not excelled in Masonic collections to be found anywhere, and are replicas of the costumes worn in the periods which the degrees portray, from ancient Egyptian on down through the centuries to our own Revolutionary period. This collection was gathered from time to time as necessity arose from the outstanding costumers of the country and represents a collection not only of great historic value but of considerable monetary value as well. Accessories such as armor, mediaeval weapons, swords, headgear, etc., are not to be excelled in museum collections of prominence anywhere in the country and the brethren in charge are to be complemented on the care they give these priceless treasures.

The column caps in the banquet room have been the subject of considerable Masonic interest. Many Masons recognize some of the symbols depicted and most Masons feel that all of Masonry that is illustrated in the Temple is featured in these caps and have not discovered it elsewhere. The modeling on these caps is purposefully garbled to conceal from the public, but not from a Master Mason some of the work of the Craft. It was not found possible to instruct the modeler as to what was wanted without telling him more than he had the right to know. The author of this record, as a last resort, did this modeling himself, and the crudeness of the work perhaps serves to better conceal its meaning. Careful observation will disclose that almost every important part of the three degrees of Masonry is suggested at some place in the design.

Of course, everything intended and attempted did not turn out as well as it might. Some things didn?t turn out at all. Most of the mistakes have perhaps been corrected or forgotten. But it is still believed that the work of those who designed and build the Temple measures up well with Masonic Temples elsewhere.

?END