An Old Roman Symbol Table (Symbol Tafel).

AN OLD ROMAN SYMBOL TABLE ( SYMBOL TAFEL ) .

During the explorations of Pompeii in the year 1874 , there was found a most beautiful p iece of Mosaic work , and from its peculiarity becomes one of universal interest , as the same has caused much excitement , from its wonderful and unique formation and workmanship . The particulars

are as follows : It is a Mosaic table of quadrate shape , and little more than a foot square , fixed in a strqng wooden frame . The original is in the national museum at Naples , and appears to have been fixed in another table . The ground is of a grey green stone , and in

the middle of which is a human skull , made of white , grey , and black colours , and in appearance quite natural , from the beauty of its execution , which may be called anatomical precision and truthfulness . The eyes , nostrils , teeth , ears , and coronal are all well-executed . Above the

skull is seen a triangle of coloured wood , the points being of brass , and from one of these by a white thread is suspended a plumb line . Below the skull is a wheel with six spokes , and on the upper rim of the latter there are two butterflies' wings of a red colour edged withyellow , the

eyes are of blue . The representation of the entire piece is symmetrical , so that the skull , wings , and wheel , through the protraction of the plumb line becomes halved . Looking sideways , the objects correspond with each other . On the left is an upright sceptre , the bottom of which is of

iron , resting on the ground , whilst the other end of the triangle , which is to the right , and by the side of which is a long thick gnarled thorn stick . From this there hangs , attached to a golden cord , a garment of scarlet , also a purple robe , to which some signification may be surmised . Against this

last there is a coarse shaggy piece of cloth , in yellow , grey , and brown colours , which is suspended to a ribbon , and against it a leathern knapsack , whilst the upper part of the sceptre is surrounded by a white braid of diamond pattern . Seemingly , this work of art , by its

composition , is mystical and symbolical , at all events it appears to have some reference to the Royal Craft , and as a proof of this last supposition it certainly has reference to some secret Craft in the old Roman era . The advocates of the antiquity of the origin K . K ., and of the brotherhood , and

your fellowship with ancient secrecy and mysteries becomes at last united by this wondrous piece of Mosaic art , as already shown and acknowledged by affirmed known facts . The construction of the houses in which this " symboltafel " was found offers nothing particularly

of interest , except that of the mncr rooms , which were large and lofty . The house had within its walls pits and wells , as if it had been a tannery , and for this reason , the walls were without adornment , for this cause there was nothing worthy of notice , but beside this large workshop

was a small room . It appeared to be but one step out of the street , and the entrance was through a wide door , which led into a small ante room , without a porch , and it had all the appearance of being situated in a business locality . On the right was the door-keeper ' s , or porter ' s

room , to the left was a small space , which led by a staircase into an upper room , or to a first floor , the walls of which were covered with stucco of a grey yellowish tint beyond this there was a very large room , and then two other rooms , which had the appearance of dwelling places .

Out of these you were led by two low broad steps through a covered passage , into a large , open saloon , in connection probably with the dwelling house . This led into a kind of summer house , with a portico , which seemed to serve for a promenade , by which you could enter into the

work ( or it might have served for a work ) room , it was oblong in form , being 25 steps long by 20 steps broad , from north to south-west , and the walls were simple and unadorned . The entrance was on the south-west side , through two wide doors , leading into several workshops ,

in which were tubs and' barrels , seemingly prepared and being prepared for the reception of the skins . Out of this place you were led into a small single room . Through a fourth door , on the opposite ( long side ); by this you were again led into another large walled place , which had the appearance of a drying ground . In the

An Old Roman Symbol Table (Symbol Tafel).

middle of this place of square shape were columns which supported the roof and the surrounding covered walk . The pillars were of brick , and nine in number , seven of which are isolated . Three were standing on the broad side , and four on the long side ; whilst the other

two were in additional or lateral room . The brick columns , although of old Roman construction apparently , and built afterwards , were evidently covered orig inally with Marmora marble plaster , of which two are still in existence , about one yard high , and four of which only the plinths

. By the north-east side wall you still may se e some working fixtures , such as clay pans , sunk in blocks of Masonry , for bringing in and running off of water , all evidently used for the tanning of hides .

Against the low wall opposite is a Triclinium , or a small room , so called because made for three persons , but not separate from the workshops , but simply set apart for refreshments , which from its situation , being placed in the middle of the south-western peristylum ( which is a place

surrounded with pillars and a portico ) you could overlook the whole of the working premises , as well as the workmen . There is nothing further to remark upon the triclinium , as far as regards its construction , it contained the three refreshment sophas , called

lecti , which were placed in horse-shoe form , and in this room was found the work of art , which looked towards the ( court ) yard , and was in the middle of the refreshment table . There was no other decoration found beside it which could lead one to suppose it had a reference to the K . K .,

which I render as meaning Royal Craft ( Kceing s Kraft ) , except a cut marble block , of rectangular shape , which is not completely finished on one side , and which was found opposite to the chief entrance , on the ground in the perystyle of the corner angle by the two rows of plaster pillars ;

but it most likely happened to lay there by chance , because it was in no way fixed , and there is no trace that this place was made for it . It differs in no way from several stones which arc found in other localities , as at the post office , etc . ; besides the way it is cut is such that it

could neither be called " square cut nor rough uncut . " Through the whole of the description it shows that it does not stand in any relation to any system of secret rite . The building is not ornamental or beautiful in any part ; on the contrary , it is void of elegance . Again , the

locality is not isolated in any way , for it has four entrances , which were all in communication with the working apartments , and to all appearance was planned for business purposes ; all its surroundings are uncovered , and it simply has the character of a large mercantile establishment .

The whole is nothing more than a workshop or manufactory , and like unto many others but in no manner does it lead one to suppose it was a place for the meeting of mystic rites ; nor yet does the part in which the Mosaic was found show that it served as decoration for anything of

an extraordinary kind . As stated before , the triclinium is not even a private appartment , but only an open space set apart for meals , the same that is often found in other peristyls aud gardens . Tile dining couches and tables are altogether of the ordinary

fashion , and you can imagine that the principal of the establishment used to dine there in fine weather and was thus enabled to have a full view of the whole of his men and the works at the same time . For secret meetings no place was more unfavourable . Notwithstanding , would it

not lead us to suppose that the possessor of the Mosaic work of art found in this dining-place might he not have had some acquaintance with some secret assembly , without their being related to symbolic Masonry . To begin with the subject under consideration ,

we find that skulls and skeletons occurs sometimes , though not frequently , in ancient works of art , without leading us to suppose that they are in any way connected with secret assemblies ; for instance , we find fac similes of skeletons on

urns vases , cut stones , glass , & c . Thus it is not to be supposed that this ' Mosaic ' can have any connection with Masonic symbolism . Firstly , it is improbable that such an open show should have been made of secret symbols

An Old Roman Symbol Table (Symbol Tafel).

" die Geheivn S 3 * mboIs . " Secondly , it would be singular that other symbols of equal importance should be missing . Thirdly , sufficient explanation may be found in similar objects , universally made use ot among the ancients , without their having any Masonic symbolism .

In the museum at Naples , just over the mosaic in question , we find another in which a skeleton with two jugs in its hand i . s depicted in black on a white ground . In the " Museo Kircheriano , " at Rome , is another one of nearly life size in a reclining position , and under it are the words INQOI-CAYTON . On one . of the

Pompeian tombs we find that of a child with the mother standing in front of it -, besides this I might refer to Lessing , who quotes a number of examples in his work , and how ancients represented death . —'' Lessing 1769 . "—Such representations aro in no way secretly ritualistic ,

but the one now in question is still of some importance . In conclusion , and in collecting together , that which we know , these signs become unintelligible when brought into relationship with Freemasonry . 'In the place where the Mosaic was

found it evidently served for purposes quite opposite to any conceived views in connection with secrecy , from its being fixed on a dining table . Besides the objects described on it are such which have no reference whatever to Freemasonry , * and as such they have the

missing link . Again all these emblematical signs find an easy explanation , through the general views held by the ancients , wbich are in no way associated with Freemasonry . The analogy is wanting , and even the most ardent defender of Masonic rites cannot adopt the

meaning of the sculptured mosaic . He would find it to be an impossibility to trace any proofs in support of his aigument , therefore it mast be positively asserted that the Pompeian mosaic has nothing whatever to do with the Royal Craft , or of our modern rites in connection with

mediaeval times . The wheel with butterfly wings is of a similar meaning . The wheel is a symbol which we often find in the old mythology , where it stands as an attribute of Kronus and Fortuna , as the wheel of fortune for which it is best

known for Tyche or Fortuna . It represents the run of time and symbolises the changes of coming events , and also to their disappearing ; further it indicates the fate and fortune of mankind , and this is the reason why f It is then

found in connection with the mysteries of the ancients , as well as in their works of art ( but let us hope never more to be in union with Freemasonry ) . In an old piece of poetry by Plutarch , he says : —

" Dame fortune ' s wheel goes round and round Like blades of grass her charms are found . And flatteiing tales doth tell to you ; She lifts you up and cuts you through . She ' s merciless , her always doubt She ' s nothing less , than a turnabout . "

This is the reason why the goddess " Fortune reigns and rules over the fate and fortune and changes of mankind , as well as Nemesis , who watches over the justice of fate , represented by a wheel , therefore the wheel , alone , alludes to the working or agency of these divinities .

As regards the wings of the butterfly , we know they are symbols of the soul , and appear as such in innumerable ancient works of art . Psyche has butterflies' wings , and a butterfly beside her , and very often she is represented as a butterfly . Sometimes we find the genius of

death accompanied by a butterfly , as seen on some tombs . In another place on a pane of g lass we see a philosopher meditating about immortality , and before him is laying a skull with a butterfly resting on it . We now come to notice that part of the object which is but rarely depicted on

ancient works of art—that is the square—This also must have a symbolic meaning , which , however , is found without much difficulty , although I may confess that I know of no other work or object in which this instrument " als symbol appears . On the other hand its representation in this case is not the only one , as we find it on