The first striking thing concerning the apron is that in all three degrees it is conferred by the Senior Warden and not by the Master.

That is because symbolically the Master represents the spirit of man and the Senior Warden the soul. It is the soul which registers the spiritual advance of man, and is the link between body and spirit; therefore, the outward sign of the spiritual progress made by the Initiate is conferred by that Officer who represents the soul.

The badge itself is full of symbolic meaning, and although in its present form it is of comparatively recent origin, it is evident that those who designed it had a deep knowledge of symbolism.

In the early part of the 18th century, the aprons were similar to those still occasionally to be seen in use among operative Masons: They came up over the chest and reached down to the knees. They were made of ox-hide and were hardly shaped at all-the head of the ox serving for that part which covered the chest, and the rest of the hide being merely trimmed at the legs and tail.

Various Designs
In the early part of the 18th Century some Brethren began to decorate their aprons with various suitable designs, such as an arch, two pillars and so on. At first, there was no attempt at a uniform pattern, each member being a law unto himself, but as time went on, certain designs became popular and were copied by numbers of Masons.

Towards the end of the 18th Century, scenes from the Masonic legends, and even details of the ceremony, were painted on the aprons.

Soon after the Union of the Ancients and Moderns, in 1813, the present form of the apron was fixed.

In an endeavour to interpret the meaning of the symbolism displayed, it may be mentioned that the light blue of the Craft is the same as that used by Parliament when it fought King Charles. It is also probable that the designers were influenced by the existence of certain Orders of Knighthood, which had their appropriate colours, for the aprons of Grand Lodge Officers are of Garter Blue-the colour used by King Charles during the Civil War.

But the light blue of the Craft has a far deeper significance than that, being closely related to the colour associated with the Virgin Mary, which itself has been brought forward from the Mother Goddesses of the ancient world.

The red aprons of the Grand Stewards, for which there are historical reasons, symbolically denote sacrifice. Originally, red denoted blood or fire, and blood stood for sacrifice.
 

With regard to the dark blue aprons of Grand Lodge: This colour was associated with the Royalist cause of old, and today conveys the idea of rulership and of the masculine element, whereas the light blue of the Craft represents the female, or passive aspect, and is most appropriate for the ordinary MM, whose duty it is to obey and not to command.

Indeed, the MM's apron bears other emblems of this female aspect -namely the three rosettes, which symbolize the rose. They are arranged so as to form a triangle, interpenetrating the triangle formed by the flap of the apron.

Both of these triangles deserve careful study: The lower, with its point upwards, is the triangle of fire and the symbol of the Divine Spark. The other formed by the flap of the apron, with its paint directed downwards, is the triangle of water, and is thus represel1tative of the soul.

Second Meanings
Both of these triangles are within a square-the emblem of matter and therefore of the body. Thus, we see that the MM's apron represents the threefold nature of man.

Viewed from another angle, the MM's apron has a second set of meanings: The triangle represents spirit, and the square, matter. The flap of the apron forms a triangle entering the square, and so depicts the entry of spirit into matter, and therefore Man.
The EA's apron should be worn with the flap turned up, the point directed towards the head, indicating that the Divine Wisdom has not yet completely penetrated the gross matter of our bodies. Unfortunately, this custom has died out in many Lodges.

The Fellowcraft's apron is worn with the flap turned down for several reasons:

To indicate that wisdom has begun to enter, and therefore control matter.

To represent the triangle of water, and thus show that body and soul are acting in unison.

And because this triangle is the emblem of Vishnu, the Preserver and so emphasizes the fact that the aspect of God disclosed in the Second Degree is the representative aspect-the G.G.O.T.U.

On the other hand, the three rosettes on the Master Mason's apron form a second triangle and teach us of: The union of body soul and spirit.

Turning back to the Fellowcraft's apron, we may ask-What of the two rosettes?

They stress the dual nature of man and have a clear reference to the two pillars.

They show that the Fellowcraft is not a complete and united being; body and soul are in union, but not yet in complete accord with the spirit. Thus, there is a striking correspondence between the knocks of the Fellowcraft and the two rosettes, for they teach precisely the same lesson.
 

The triangle is incomplete, showing that the Fellowcraft is not yet a complete Mason, and thus corresponds to the position of the compasses when taking the O. of the Second Degree.

In the distant past, the aprons had not our present symbolic tassels, and, incidentally, were fastened round the body by means of strings, as the EA's and Fellowcrafts' aprons of today.

In passing, it is of interest to note that the aprons worn by Grand Officers of the year, in contradistinction to those worn by Past Grand Officers, have no tassels at all.

But reverting to the strings, in the course of time they were ornamented with tassels, but when the present form of the apron was fixed, those tassels were separated from the fastening bands and placed on the front of the apron, eventually becoming merely strips of ribbon to each of which were attached seven chains.

Symbolic Meaning
The number seven was chosen deliberately and has a symbolic meaning: It consists of three representing spirit, and four representing matter; therefore God and man, and likewise all creation, which is compounded of spirit and matter.

It is also probable that these strips of ribbon have some history of their own, for at one time the two pillars were depicted on many aprons, and even had their names painted on them. Therefore, it is probable that these strips of ribbon are the last trace of that old decoration.

The modern method of fastening the apron, by means of a hook and eye, is interesting. The snake is one of the oldest and most venerated of symbols. It is perhaps the most deadly and the most feared of all the enemies of primitive man, and so stands for the powers of evil: Yet it is also regarded as the wisest of all creatures and thus represents the Divine Wisdom.

Both aspects are depicted in the V. of S.L. The evil aspect is shown in the story of the fall, while the Divine Wisdom is clearly referred to in the phrase "Be ye wise as Serpents," but symbolically the serpent fastening our aprons indicates that we are encircled by the Holy Wisdom.

The serpent biting its tail and thus forming a circle, has always been regarded as the emblem of eternity and therefore of the eternal wisdom of God.

Apart from its operative use, the apron has always been used in connection with religious ceremonial.

Earliest Clothing
On the monuments of Egypt, a garment which can best be described as a triangular apron, point upwards, is depicted in circumstances which clearly indicate that the wearer is taking part in some ceremony of initiation.

In ancient Mexico, the Gods are depicted wearing aprons, some of which bear a striking resemblance to the modern Craft apron.
 

Indeed, the apron is the most ancient and most primitive garment in the world, and is the first evolved by the lowest type of savage.

The statement in the Old Testament, that Adam and Eve made themselves aprons of leaves, is testimony to the earliest form of clothing.

Thus, we see why the apron, as the human race developed, assumed a sacred and religious character. Religion constantly uses the garments of the past for the ceremonial robes of its priests and the regalia of the Initiate. To this day, in certain parts of Africa, the boy, on being initiated in their primitive rites, is solemnly invested with an apron of leaves.

Our aprons have behind them great antiquity, and would still be most appropriate regalia, even if they were not further adorned by all manner of symbolic embellishments.

W. Bro. H. V. Cox, P.M.,Grove Park Kent Lodge, No. 2824 London, England.