The Katipunan was founded upon masonic usage adapted to the character
of the association. Its formation was one of triangles, each new
Katipunero being bound to attract to the association, two others to
occupy the opposite angles. This formation was eventually changed on
account of the extent to which the society extended, its management
becoming very difficult. The particular triangles were broken up
and the association formed in three degrees. The first degree was
composed of the recently initiated members. These each possessed a
mask and some form of arm, either fire-arm or bolo, the cost of which
was borne by the member possessing it. The members who enjoyed the
second degree also possessed masks and wore as a regalia a ribbon
to which was attached a medal bearing a letter (equivalent to K)
of the old-time form of script of the pre-Spanish filipino; also a
sword and banner crossed.
The third degree members possessed red masks, the color being
distinctive of the degree, in the same way as the color of the
second degree was green, and that of first, black. These colors
were symbolic: green signified hope, and red, war. Black was but a
general color common to bandits all the world over. The masks of the
third degree bore a triangle with three K's in the upper part, in the
ancient Filipino script, and at the base the letters Z. Ll. B. (see
at commencement of book). The inferior inscription signified "sons
of the people."
Each degree had its pass words and the members only knew those of
their own degree.
This was the latter form of the Katipunan in which it differed somewhat
from the Liga.
Pilar's plan was revolutionary; Bonifacio's truly anarchistic.
Among the "chosen people" who testified before the Schurman Commission
were two of the three native members of the present U. S. Commission,
Tavera and Legarda. Both of these, among many other statements
which will not hold water, had something to say on the subject of
the Katipunan.
Legarda stated that: (see Report of the Philippine Commission, 1900;
vol. II page 377.)
Public-domain text, read in full here on John Shaqi.
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