Who were those "men of intelligence" to whom Pike ascribed the making of the Third Degree of Masonry? Tradition has fixed upon Desaguliers as the ritualist of the Grand Lodge, and Lyon speaks of him as "the pioneer and co-fabricator of symbolical Masonry."[131] This, however, is an exaggeration, albeit Desaguliers was worthy of high eulogy, as were Anderson and Payne, who are said to have been his collaborators.[132] But the fact is that the Third Degree was not made; it grew--like the great cathedrals, no one of which can be ascribed to a single artist, but to an order of men working in unity of enterprise and aspiration. The process by which the old ritual, described in the _Sloane MS_, was divided and developed into three degrees between 1717 and 1730 was so gradual, so imperceptible, that no exact date can be set; still less can it be attributed to any one or two men. From the minutes of the Musical Society we learn that the Lodge at the Queen's Head in Hollis Street was using three distinct degrees in 1724. As early as 1727 we come upon the custom of setting apart a separate night for the Master's Degree, the drama having evidently become more elaborate. Further than this the Degree may not be discussed, except to say that the Masons, tiring of the endless quarrels of sects, turned for relief to the Ancient Mysteries as handed down in their traditions--the old, high, heroic faith in God, and in the soul of man as the one unconquerable thing upon this earth. If, as Aristotle said, it be the mission of tragedy to cleanse and exalt us, leaving us subdued with a sense of pity and hope and fortified against ill fortune, it is permitted us to add that in simplicity, depth, and power, in its grasp of the realities of the life of man, its portrayal of the stupidity of evil and the splendor of virtue, its revelation of that in our humanity which leads it to defy death, giving up everything, even to life itself, rather than defame, defile, or betray its moral integrity, and in its prophecy of the victory of light over shadow, there is not another drama known among men like the Third Degree of Masonry. Edwin Booth, a loyal Mason, and no mean judge of the essence of tragedy, left these words: /#[4,66] In all my research and study, in all my close analysis of the masterpieces of Shakespeare, in my earnest determination to make those plays appear real on the mimic stage, I have never, and nowhere, met tragedy so real, so sublime, so magnificent as the legend of Hiram. It is substance without shadow--the manifest destiny of life which requires no picture and scarcely a word to make a lasting impression upon all who can understand. To be a Worshipful Master, and to throw my whole soul into that work, with the candidate for my audience and the Lodge for my stage, would be a greater personal distinction than to receive the plaudits of people in the theaters of the world. #/ FOOTNOTES: