The Tracing Boards of John Harris: A Masonic Legacy

The Tracing Boards of John Harris: A Masonic Legacy

When I joined Freemasonry, I realized the ceremonies were full of symbols meant to allude to greater meanings. One of the items that caught my attention during my initiation was the tracing board or picture in the Lodge room which displays the symbols for the degree. Later I learned that artist John Harris (1791- 1873) was responsible for creating the design that I saw displayed. My curiosity was forever peaked to better understand John Harris and his symbolic art.  Although John Harris was well-respected during his life, I soon discovered that in recent times he has been labeled “a forgotten artist.” As an advocate for the arts, I immediately felt a resonance with this hard-working Freemason who seemingly never got his due.

What can we learn from his life story?  Is he really a forgotten artist?

Harris joined Freemasonry in 1818 during a time of exciting cultural developments. As part of the new organization of the United Grand Lodge of England (U.G.L.E.) in 1813, British Freemasons were moving away from tavern culture. The masons, now owners of beautiful massive buildings, were able to contemplate adorning them with permanent furnishings such as antique art or elaborate pipe organs.

Part of the standardization occurring in the furnishings of new buildings was that each of the Lodges were to own a set of tracing boards. Upon entering the Lodge, Harris very quickly became fascinated with the concept of the tracing boards and started drawing designs almost immediately. His talents, as a painter, facsimilist, and architectural draughtsman, fitted him perfectly for the task.

1809 Microcosm_of_London_Plate_038_-_Freemasons'_Hall

1809 London Freemason’s Hall

In 1823, Harris dedicated a set to Augustus Frederick, Duke of Sussex, the first Grand Master of the United Grand Lodge of England.  The Grand Master immediately recognized Harris as a very talented young man. It is assumed that he commissioned Harris to make a standard official model for each degree.

These developments helped to standardize the designs. Until that point, there had been no consistency in the way the boards were painted.  It was not unusual for individual Lodges to have a variety of symbols and designs and employ their own artists.

 Why are symbols on the tracing boards important to the Freemason?

Albert Mackey, in his book on the Symbolism of Freemasonry, suggests that the symbols that are illustrated for each degree are a key to its mystery.

He writes:

To study the symbolism of Masonry is the only way to investigate its philosophy.

In the masonic teaching, symbols are a way to investigate the deeper meanings because they speak to the whole human being, not only the limited waking intelligence. It is said that a symbol will communicate its “message” even if the conscious mind remains unaware of the fact. The power of the symbol does not depend on it being understood.

Harris spent his whole life painting and studying the symbols of the Craft. As he furthered his masonic career, his designs evolved accordingly.  His life was his art.

Studying the boards of Harris really made me think about the question:

Can you separate the artist from the art? 

1825_tb_harris_fc_500_860 (1)

1825 Second Degree

Some say art and an artist’s biography are not so easily separated.  What I found striking about the Harris boards is how much his art did reflect his life. The first designs he created in 1820, just two years after he joined, were very simple.  I imagine he was still unraveling all the deep teachings of Freemasonry.

The 1825 designs convey more depth of experience. His life at that time truly reflected a fruitful craftsman. He was forging his fraternal ties with the Grand Master, a relationship which seemed to blossom and mature over time. The Grand Master loved the “Harris Boards,” and every Lodge wanted a set of the “approved” designs. Harris could hardly keep up with the orders from the Lodges and also kept very busy as a facsimilist at the British Museum.  His client list consisted of some of the major collectors in rare books in England, many often royalty.

A 1846 advertisement praises the skill of Harris:

The Craft Tracing Boards have been of essential service in promoting instruction among the Society at large; they are eagerly sought after every place where Freemasonry is cherished.

Relentless demands and grueling labor ensued for the next couple of decades.

John_Harris_3rd_1850

1850  “Open Grave” Third Degree

In those days, there were no photocopy machines so each one of the boards for each of the lodges had to be hand painted.  It was not unusual for a lodge to wait longer than a year once they ordered a set from Harris.

The last board he designed was in 1850 for the third degree, referred to as the “open grave” design.  This was a period in his life he found himself reduced to the lowest state of poverty and distress due to partial blindness. In 1856, he went completely blind and was paralyzed from a stroke the same year. The darkness of the 1850 painting gives a feeling of emotional starkness not experienced in any of his earlier designs.  Although seemingly dismal, the sheer intensity of the painting does suggest something exceptional.

One of his friends comments:

At the age of sixty-six, he is deprived of the only means he possessed of supporting himself and an invalid wife.

In 1860, Harris moved with his wife to a masonic home in East Croyton for aged Freemasons and their widows. In earlier times it was named “The Asylum for Worthy, Aged, and Decayed Freemasons” but known today as “The Royal Masonic Benevolent Institution (R.M.B.I.).” Harris found an outlet for his art in the East Croyton home and used his remaining years there to write poetry to raise money for the R.M.B.I. He answered his summons to the Grand Lodge Eternal on December 28, 1873.

From my research, I believe that Harris in the truest sense embodied the teachings of Freemasonry. His strength sustained him to endure in spite of overwhelming circumstances of unforeseen misfortune. He persevered until the end, laboring ceaselessly in the tasks that the Master had confided to his care. In my opinion, he is far from being a “forgotten artist.” His light continues to shine in one of the most treasured of all lodge furnishings.

In the words of Beethoven:

Art demands of us that we shall not stand still.


Note: Images for Harris Tracing Boards were retrieved on the website of Harmonie Lodge No. 66.

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