From the foregoing pages it must be evident that Masonry, as we find it in the Middle Ages, was not a novelty. Already, if we accept its own records, it was hoary with age, having come down from a far past, bringing with it a remarkable deposit of legendary lore. Also, it had in its keeping the same simple, eloquent emblems which, as we have seen, are older than the oldest living religion, which it received as an inheritance and has transmitted as a treasure. Whatever we may think of the legends of Masonry, as recited in its oldest documents, its symbols, older than the order itself, link it with the earliest thought and faith of the race. No doubt those emblems lost some of their luster in the troublous time of transition we are about to traverse, but their beauty never wholly faded, and they had only to be touched to shine. If not the actual successors of the Roman College of Architects, the great order of Comacine Masters was founded upon its ruins, and continued its tradition both of symbolism and of art. Returning to Rome after the death of Diocletian, we find them busy there under Constantine and Theodosius; and from remains recently brought to knowledge it is plain that their style of building at that time was very like that of the churches built at Hexham and York in England, and those of the Ravenna, also nearly contemporary. They may not have been actually called Free-masons as early as Leader Scott insists they were,[65] but _they were free in fact_, traveling far and near where there was work to do, following the missionaries of the Church as far as England. When there was need for the name _Free-masons_, it was easily suggested by the fact that the cathedral-builders were quite distinct from the Guild-masons, the one being a universal order whereas the other was local and restricted. Older than Guild-masonry, the order of the cathedral-builders was more powerful, more artistic, and, it may be added, more religious; and it is from this order that the Masonry of today is descended.