Hamilton Mausoleum 1

                           THE HAMILTON MAUSOLEUM


                              THE DUKE'S FOLLY

                     by BROTHER ROBERT T. SIME, P.P.G.M.,

                           Lanarkshire Middle Ward

By whichever of the two definitions one may describe this building,
there is no denying that the Mausoleum at Hamilton is a magnificent
building, well worthy of a visit, and has even been described as one of
the most outstanding funeral edifices anywhere in Europe.

It was the brainchild of Alexander, the 10th Duke of Hamilton who, at
the age of 70, decided to build a suitable resting place for himself and
his ancestors within the grounds of his then residence at Hamilton
Palace, together with a place for private worship for himself, his
tanily and the many distinguished personages who were regular visitors
to Hamilton Palace at that period.

Although not specifically recorded as such, it is just possible that
another influencing factor in the mind of Alexander at this time was the
forthcoming marriage of his son William, who married the Princess Marie
of Baden in 1843: Princess Marie was the cousin of the Emperor Napoleon
III, and consequently had been brought up in the Roman Catholic faith.
To have a private chapel built within his own grounds would therefore
enable the Princess and her Protestant husband each to worship according
to their own established family beliefs, and in the convenience of their
own home.

Alexander was a man of considerable wealth at that time and, during his
many travels abroad in the service of His Majesty, he eventually rose to
the cream of all ambassador appointments at that period by being posted
as representative of His Majesty at the Court of the Czar of Russia in
St Petersburg. During this period, he also acquired a considerable
knowledge of architectural beauty and skills which enabled him to gather
a collection of art treasures equal to anything then in Europe, many of
which he brought back to be installed in his palace at Hamilton.

Hamilton Palace, which was originally built in 1591, was, in the
mid-nineteenth century, reputed to be one of the finest non-royal
residences in Europe, and was visited by many of the ruling heads of
Europe as guests of the Duke Alexander. The palace remained in existence
until 1920 when it became uninhabitable owing to the extent of the
deterioration and damage caused by the underground extraction of coal,
which resulted in both the palace and the surrounding ground sinking by
some 20 feet. It was, however, used as a temporary hospital for naval
personnel during the First World War, by which time the Hamilton family
had moved to the town of Dungavel in Lanarkshire. The magnificent black
marble staircase, which had been the main feature of the palace,
remained unsold, and after demolition of the palace was boxed in situ
where it remained until 1933, and was eventually disposed of for the
ridiculous sum of 34.

Alexander himself was something of an eccentric and could often be seen
strolling around the neighbourhood dressed in his Douglas tartan, and
was generally referred to by the local inhabitants as "El Magnifico"
This, together with his great extravagance in the design and building of
his Mausoleum, very seriously depleted the finances of his family and
may have given rise to the second of the two titles at the head of this
article. He was, however, certainly an outstanding character in his own
right and has certainly left his mark on posterity.

About 1840, when the old Duke was then 73 years of age, he enlisted the
skills of the finest architects available in the cities of both Glasgow
and Edinburgh, detailing not only his basic requirements, but also the
many special features which he wished to incorporate in the construction
of his Mausoleum. The main purpose of the building was, of course, to be
a place of family worship and an appropriate final resting place for the
bodies of his ancestors which were at that time located in the Old
Parish Church of Hamilton. After much discussion and many alternative
submissions, the design submitted by Mr David Hamilton of Glasgow was
finally accepted in 1843 and instructions given for the cutting of the
necessary stones. This preparatory work lasted for a further three
years, and it was not until 1846 that the first stones were laid and
construction commenced.

Alexander spent much of his youth in Italy where his father was H.M.
Ambassador, located at Naples, and it was during this early period, and
his considerable travels, that he acquired his great interest in
architecture and things of beauty. He was particularly impressed with
the beauty of the magnificent golden doors of the Baptistry at Florence
as designed by Ghiberti, and sometimes referred to as The Gates of
Heaven itself. Although each half of the above doors depicts five
biblical scenes from the Old Testament, the Duke realised that with the
much reduced size of his building, it would be necessary to scale down
the Mausoleum doors to three such scenes in each panel and reduce these
to scale. Permission was obtained to obtain plaster casts of the
Florence panels and, in the interests of economy, enquiries were made in
an attempt to have these cast locally. In this he was successful in
obtaining the services of Mr David Bryce of Edinburgh, who arranged for
the doors to be cast in the foundry of Mr David Steell of Edinburgh, in
whose employ was one Mr James Milne, who was then reputed to be the
finest moulder available in the country.

The two halves of the door were each cast in one piece using the
long-lost wax process, and although many of the biblical scenes were
cast in relief, so perfect was the original casting, that no additional
work was found to be necessary when they were removed from the casting
pit. A full description of these doors appears later in this article.

The cost of these doors has been quoted as approximately 1,500, which
was a considerable amount of money even in these days, and the doors
were actually fitted to the Mausoleum on 19th July 1856, where they
remained till 1921 when they were removed for safety purposes, and now
rest on the floor in the main hall of the Mausoleum.

During one of his visits to Egypt about 1822, some 30 years before his
death, Alexander saw and became entranced with a beautiful green
prophyry coffin which had recently been recovered from Memphis in Egypt
and which originally was intended for the British Museum in London.
However, either owing to the shortage of funds to purchase this coffin,
or some difference in the asking price, the British Museum eventually
lost interest in the purchase and Alexander decided to purchase this
item for his own use at a cost of some 600, as detailed in the family

The original coffin had been designed for, and contained the body of a
young Egyptian Princess by the name of Maaru. She was the unmarried
daughter of one of the kings of Egypt, and the lid of the coffin was not
only carved with the head of this young girl, but was also covered in
beautiful hieroglyphic carvings from which its history could be
deciphered, giving the date as 610 B.C.

After the purchase, Alexander decreed that on his demise, his body was
to be interred in this beautiful coffin, and realising that it would be
impossible to accommodate his large body in a coffin designed for a
small girl, he had grooves cut along the inside edges of the coffin and
left specific instructions that, if necessary, his body was to be
"folded" into the coffin.

In 1852, the 10th Duke of Hamilton died at his London residence in
Portland Square where, by previous arrangement, the body was embalmed by
Mr Pettigrew of London before being transferred by special express train
to the palace at Hamilton, where it remained until being finally taken
over to its prepared resting place on the black marble plinth previously
erected within the Mausoleum for that purpose. A newspaper report of
that period states:

"On Saturday, September 4th 1852, the internment took place in the
Mausoleum. The Mausoleum is believed to be the most costly and
magnificent temple for the reception of the dead anywhere in the world
with the exception of the Pyramids."

During the funeral, and after the family and the public had retired, Mr
Pettigrew, assisted by the architect of the museum, Mr David Bryce,
opened the basalt coffin and placed the body in the coffin, removing the
lower portions of the legs below the knee and placing these in the
prepared grooves alongside the main part of the body, all of which was
in accordance with the wishes of the late Duke himself.

The original lead-lined coffin used for the transfer of the body from
London to Hamilton was then removed to the crypt below the floor of the
Mausoleum to join those of his ancestors, where it remained until 1921
when, together with the Egyptian coffin, the complete Hamilton family
was re-interred in a specially constructed underground vault in the
grounds of the Bent Cemetery in Hamilton. Sixteen bodies are
incorporated in this vault, the bodies of the 11th and 12th Dukes of
Hamilton being transported to the Isle of Arran at that time where the
Hamilton family also have strong family connections.

All stone used in the construction of both the Crypt and the Mausoleum
itself was obtained from quarries situated on the Duke's own estate to
the south of the town of Hamilton. These comprised five in number and
the workinanship used was of the very highest quality. Each stone was
individually marked by the craftsman who wrought it, the overseer or
foreman, and also had a juxta-position mark indicating its exact
location on the site. So perfect was the workmanship that each stone
was designed to fit into its neighbour by dovetailing, with the result
that only one ton of binding material was used throughout the
construction, and the jointing was so perfect as to be almost invisible
in many places.

The finished stones, some of which were as much as fifteen feet thick
and weighing many tons, were then hauled to the site on skids pulled by
horses from the Duke's own farms. These numbered thirty in all, and were
the fore-runners of what we now refer to as the famous Clydesdale
horses, another legacy left to us by the 10th Duke of Hamilton.

The design of the building incorporates three sections above ground and
a large crypt or family vault beneath the floor designed to hold the
bodies of 28 members of the Hamilton family. The vault is circular in
shape, supported by a large mushroom-shaped pillar in the centre, with
the recesses for the coffins arranged in three batches of eight, with
four larger corner recesses, each capable of holding a complete family
if necessary. Lighting in the crypt was by means of candles supported by
28 wrought-iron candlesticks, many of which remain in place today.

Provision was also made for heating both the crypt and, by means of
concealed ducts built into the walls, the upper portion of the Mausoleum
for the comfort of the worshippers. This consisted of a large fireplace
situated on the northern side of the crypt and set well back from the
main floor area, and a long underground flue led from here to a large
chimney situated some 50 feet from the main building and suitably
screened from view.

Entrance to the crypt was by means of three doors, details of which form
a separate paragraph of these notes, and this portion of the building,
together with the lower portion of the main structure, was built to the
design of Mr David Hamilton of Glasgow, while the two upper portions of
the main building were designed by Mr David Bryce of Edinburgh as the
principal architect.

Approaching the building from the west in which is situated the only
door or entrance to the Mausoleum, it would appear to be a perfect
circle resting on a perfect cube. The portion above the crypt consists
of three sections, the lower two of which are square in design with each
side measuring some 57 feet in length. Each side of the building is
covered by five monolithic slabs of stone from one of the Duke's
quarries, the centre slab being rectangular in design and supported on
either side by two panels of similar height with an ornamental Roman
arch design at the top. The upper portion of the main building is
circular in shape rather like a barrel, and this section supports the
one large centre dome-shaped window which supplies light throughout the
entire building in such a manner as to dispel equal light to all
portions of the interior and without shadows anywhere.

Each side of the original doors weighed approximately three-quarters of
a ton and was so finely balanced that it was possible to push the door
closed by the action of a single finger.

Three Old Testament stories are depicted on each of the doors, those on
the right-hand side being:

On top: Genesis, Chapter 27, verses 1-36 showing Isaac blessing his son
Jacob with Jacob kneeling at the feet of his father to receive the
blessing, and the lower portion showing the brother Esau returning from
the hunt where he had been despatched to find his father's favourite

Middle: Exodus, Chapter 24, verses 12-18 Moses receiving the Ten
Commandments and depicting Moses on Mount Sinai. Aaron, his brother,
kneeling halfway down the mountain and the people of Israel at the foot
of the mountain awaiting the return of Moses with the Commandments.

Bottom: 1st Samuel, Chapter 17, verses 35-51 David slaying Goliath
showing: David with his sword removing the head of the giant. The brook
from which David had selected the pebbles. The sling lying at the feet
of David after use. King Saul standing on the hillside directing his
army. The fleeing Philistine army and The triumphal entrance to
Jerusalem carrying the head of the giant.

The other half of the bronze door also depicts three of the Old
Testament stories as follows:

On top: Genesis, Chapters 42, 44 and 45 Joseph and his brothers in the
Corn Exchange in Egypt showing: Joseph selling grain to his brothers
after the seven years' famine. The finding of Joseph's cup in the sack
of his brother Benjamin. Joseph revealing himself to his brothers. The
travellers returning to Canaan bearing the gifts from Joseph to his
beloved father.

Middle: Joshua, Chapter 3, verses 1-17 The Israelites crossing the River
Jordan. The Arc of the Covenant being carried across the river. The 12
stones being collected and carried to represent the 12 tribes of Israel.
The trumpeters blowing their trumpets and the cracking of the walls of
Jericho. The procession outside the city wall.

Bottom: 1st Kings, Chapter 10, verses 1-7 The dedication of the Temple
at Jerusalem. The meeting of King Solomon with the Queen of Sheba. The
reception at the temple. The servants of the Queen and her retinue
bearing their gifts, etc.

Possibly the most outstanding feature of this magnificent building, and
certainly the first to catch the eye on entering, is the beautifully
inlaid marble floor. The design used for the floor was by a firm called
Wallace and Whyte of Edinburgh, working to the instructions of the
architect David Bryce, also of Edinburgh, and no doubt incorporating
many of the ideas and desires of the Duke himself to illustrate his own
solid belief in the Deity and his deep religious convictions, while at
the same time incorporating many of the beautiful illustrations and
lessons which he had acquired during his many excursions abroad.

The basic design consists of radiating patterns ofjasper, white and
yellow marbles, together with green prophyry, pink Peterhead granite and
divisions of black Galway marble.

The outer edge of the design consists of double lines of heraldic
diamond- shaped figures forming a continuous pattern and interleaving at
the four polygonal recesses. Between these lineal motifs an Open Book or
Winding Stair pattern is used to illustrate either the ever-open volume
of the Book of all Books, namely the Bible, or the ever-winding
staircase on which we all hope to travel upwards towards that temple of
eternal peace and rest.

Between the outer and inner rings are depicted eight coffins outlined in
black, a reminder of our inevitable end and also of those who had
already reached that stage and were resting in the vault below.

The centrepiece of the floor is a Bursting Star reflecting the Glory of
God on High radiating peace and goodwill to all mankind in equal
degrees. The very centre of the floor is a plain circle, the diameter of
which exactly corresponds with the diameter of the single light in the
roof of the building, and reminds us of the all-seeing eye which governs
all our minds and conscience, and from which we cannot hide.

The whole of the floor with its many colours, consisting of marble
collected from as many as 42 quarries, many of which are no longer in
existence, and of Italian origin, reflects a glorious light and a
radiance which brings both comfort and peace.

Over 10,000 individual pieces of marble were used in the design of this
floor, and all of these were laid by hand with the expert skills of the
workmen from Edinburgh.

Directly opposite the entrance door and at floor level, rests the black
marble plinth erected to support the green prophyry coffin containing
the body of the late Duke. Although this had been completed prior to the
death of the Duke in 1852 at the ripe old age of 85, the beautiful
marble floor had not then been completed and he did not therefore have
the pleasure of inspecting the finished handiwork.

On the wall above the marble base is a carved stone containing the
Hamilton Crest and the monogram "H & B", being the two main titles of
the Duke as "Hamilton and Brandon".

The inscription on the front of the black marble plinth reads:




                 NAT. D.lll OCT A MDCCLXVII

                 OBIT. XVIII AUG A MDCCCLII

(Born 3rd Oct. 1767 Died 18th Aug. 1852)

Leading off this floor are four large corner recesses and, although not
specifically designed to be so, have become one of the extra-special
features of the building, and are now generally referred to as the
Whispering Galleries. It is assumed that the original purpose of these
four corner recesses was to accommodate some statue or other symbol of
the four main apostles of the New Testament, but as the Mausoleum had
not been completed at the time of the Duke's death, and as no specific
instructions appear to have been left with regard to the final
furnishings of the building, this can only be an assumption.

However, owing to the inexplicable and unaccountable echo and the freak
of nature which rendered the finished building unsuitable for its
intended purpose, these four corners contain an echo which is reputed to
be one of the finest anywhere in the world today. By the merest whisper
into the corner of the wall, the sound can be clearly transmitted and
picked up by someone at the other end of the room - possibly some 14 to
15 feet distant yet cannot be heard by a person standing within inches
of the person actually speaking.

The floor of these four recesses is also of inlaid marble, comprising a
series of circles, a symbol of eternity or a world without end.

It is interesting to note that these alcoves are formed by the stones
forming the main portion of the Mausoleum at ground level, some of which
are as much as 15 feet thick in places, and came from the main stone
quarry at Barmichael.

Looking upward from the floor towards the second or middle portion of
the interior, eight smaller niches can be seen and, on a similar
presumption to the use of the four main recesses at ground level, it can
merely be assumed that their purpose was to commemorate the remaining
eight apostles of the New Testament.

Under each of these niches is a beautifully carved head of a cherubim,
and to each has been allocated a Latin inscription which, being
translated, reads as follows:

Glory to God in the Highest

There is nothing without God

God directs all things

Praise be to God

God is my protection

God is my defence

God is my strength

All my hope is in God

These beautifully carved heads are the work of Mr Alexander Handyside
Ritchie of Edinburgh, who was also responsible for most of the other
stone carvings in the building, and are symbolic of radiating peace and
tranquillity on the worshippers below.

The upper portion of the structure is again circular in shape and
comprises a beautifully decorated stone feature leading up to the
completely circular roof light and the only means of outside light
serving the entire building. This original glass dome remained in place
until July 1971 when it was replaced by one of perspex which was lowered
into position by helicopter. This repair and replacement was
necessitated owing to damage caused by birds pecking at the putty
securing the original glass dome in order to get at the linseed oil
content of the putty, thus breaking through the original seal and
permitting the entrance of the elements which could damage the building.
The stones for this part of the building were all hewn from the Overwood
quarries of the Duke's estate.

Leaving the main building and proceeding to the back or eastern approach
to the crypt or vaults, we find two magnificent stone lions guarding the
entrance to the crypt proper. These two lions are also the handiwork of
Alexander Handyside Ritchie of Edinburgh, and in addition to the
outstanding beauty and perfection of the work itself, each lion,
together with the base on which it is resting, has been carved from one
piece of stone in situ. These large blocks of stone came from the
Barmichael quarries of Hamilton and were transferred from the quarry to
the site by means of skids drawn by the Duke's specially trained
Clydesdale horses. The lions are both male, again possibly a symbol of
the Hamilton Dukes being the premier Dukes of Scotland and the symbolism
of the Scottish Lion on our national flag. The lion on the south side of
the crypt is wide awake, with open eyes and apparently in the prime of
life, thus being a symbolic representation of life at its meridian and
in the fullness of creation.

As the sun reaches its highest point in the south and disperses that
heat and light essential to all our worldly needs, so this lion reminds
us of our blessings while on this earth and the protection afforded by
our Creator.

The lion on the west side, on the other hand, has its eyes closed and
would appear to be asleep in death. This symbolises the sinking of the
sun and the approach of darkness in death, yet again peace appears to
radiate from this piece of stone. The actual work of carving these lions
extended over a number of years, and they were not finally completed
until the year in which the Duke died in 1852.

Approach to the crypt entrance comprises a large flat strip of ground
excavated from the hill on which the Mausoleum was built, and in order
to facilitate entrance to the vault at the lower level below the marble
floor. This oblong strip extends some 80/90 feet in length, is open on
the eastern approach side with the other three sides being supported by
an unusually carved stone slab wall comprising a continuous decoration
representing the egg of life, again symbolising the continuance of life
after death and the individuality of man. Above each of the three
entrances to the crypt proper is an arch, the centre-piece of which is,
in each case, a beautifully carved keystone each having its own special

Approaching the entrance to the crypt from the east, the keystone over
the entrance to the left or southern side of the crypt indicates an old
man approaching the end of a rather troubled life. The face is that of a
man who has suffered much in life; his sunken cheeks, his sunken eyes
and the furrows of his brow all being indications of the strains of
life. Around his head is a garland of flowers, of fruits in season, all
illustrating the good things which he has enjoyed in this life. However,
the quarter dial of a clock can also be seen in the bottom corner of
this headstone with the hour hand rapidly approaching the hour of 12,
and thus indicating that he is rapidly approaching the end of his days
here on earth.

As one examines the keystone over the centre arch or the main entrance
to the crypt, one can see that the eyes are closed in death and that,
for this person, the cares of his earthly life have passed him by. There
is an indication of peace here now, the sunken cheeks and furrowed brow
have returned to their normal smoothness and there is obviously an
impression of, "peace". This head is also surrounded by a wreath, but in
this case the wreath is made up of the flowers and fruits normally
associated with death. These are poppies, laburnum and the withered
leaves of nature. Life has passed and the finger of silence covers the
closed lips.

The archway over the crypt entrance to the right, or the western door,
is possibly the finest of all the three heads, and is meant to
illustrate the peace and contentment of immortality, and that peace and
contentment to which we all look forward in a great eternity.

In this keystone, the eyes are again opened and, by some peculiar freak
of the sculptor, appear to follow one no matter from which angle the
head is observed. Again by some peculiar and unexplained phenomenon,
this head appears to have suffered less than the other two from the
effect of the elements, again giving that further reassurance of peace
beyond this earthly existence.

The head in this instance bears a wreath encompassing the ancient
Egyptian symbols of eternal life. The flowers of the wreath are the
lilies in bloom, while the centre of the forehead is a beautiful
butterfly with open wings, and around the brow is a carving of the
serpent with its tail in its mouth, illustrating eternity, or world
without end.

The peace which appears to emanate from this carved head cannot fail to
leave a lasting impression on the observer, while at the same time it
offers assurance and comfort for the time remaining here on earth.

Work continued on the construction even after the death of the 10th Duke
and was not finally completed until the year 1856.

However, William, the 11th Duke of Hamilton and the son of Alexander,
appears to have had little interest in this building, possibly
influenced by the considerable drain on the family fortunes undertaken
by his late father, and it was largely due to the good influences of Mr
David Hamilton of Glasgow, the original architect of the building and
personal friend of the late Duke, that the Mausoleum was finally

Because of the unexplained echo phenomenon in the finished building, the
Mausoleum was never actually used as a place of worship as originally
planned. It was never formally consecrated and has never been claimed to
belong to any one particular church or denomination and now remains as a
mere ornament and permanent monument to the eccentricity of this
outstanding personality of the Hamilton dynasty.

Although detailed construction costs have never finally been
established, it is estimated that the cost of the finished building
would be in excess of 100,000, causing it to be described as "The most
magnificent Mausoleum in modern day Europe". With the original bronze
doors still in position, the dispersal time for the echo within the
building resulting from the closing of the doors being as much as 31
seconds, makes normal conversation an impossibility.

In 1915, the Trustees of the Hamilton Palace agreed to permit the
colliery company to work the underground coal seams immediately beneath
the Hamilton Palace and the Mausoleum, which resulted in the surrounding
areas sinking to an extent of some 20 feet from its original level and
taking the buildings with it. However, while the main palace building
eventually became so damaged as to be uneconomical to repair, the
excellent workmanship and the heavy dove-tailed stones of the Mausoleum
resulted in the complete building sinking more or less vertically and
the binding of the stones was such that only one vertical crack has
appeared in the complete structure.

This sinking, however, resulted in the crypt section of the Mausoleum
being subject to flooding, caused by the annual overflow of the River
Avon on its junction with the River Clyde between Hamilton and
Motherwell, and for many years the crypt section of the Mausoleum was
closed to the public, only being reopened on 10th May 1971 on the
construction of the new Strathclyde Park feature and the modern motorway
to the south from Glasgow.

In 1921, the care of the Mausoleum was transferred to the Burgh of
Hamilton, and at this time the bodies of the Hamilton ancestors which
had until then rested in the crypt of the Mausoleum, were transferred to
the Bent Cemetery in Hamilton and re-interred in a specially prepared
underground vault constructed for that purpose. Although 18 members of
the Hamilton dynasty had been buried in the Mausoleum prior to this
date, only 16 bodies were re-interred in Hamilton, the bodies of the
11th and 12th Dukes of Hamilton being transferred to the Isle of Arran
for re-internment there.

At this time also, the original bronze doors were removed for safe
keeping and are now placed on the floor inside the main building. The
reason for their removal was that with the sinking of the whole building
and the uncertainty that uneven sinking might result in the jamming of
the original doors and the possibility of their being further damaged by
having to be cut open should this occur, it was decided to remove the
original doors while this was still possible. After removal, the
original doors were replaced by doors made of oak, which had the effect
of absorbing some of the original echo time and reducing this from the
original 31 seconds to its present level of some 15 seconds.

Responsibility for the Mausoleum was finally transferred to the
Strathclyde Regional Council in 1975 and may be visited by the public at
any time by prior arrangement.

Although not designed or intended to be a building of purely Masonic
significance, the many instances in which symbolic Masonic teachings
have been incorporated throughout the construction cannot fail to
impress the Masonic visitor, or be merely a coincidence.

Alexander, the 10th Duke of Hamilton, was Grand Master Mason of the
Grand Lodge of Scotland during the years 1820/22; most of the credit for
this Masonic symbolism must go to Brother David Bryce of Edinburgh who
was responsible for the design of the building as it now stands.

Brother David Bryce was initiated into Lodge No. 160, The Roman Eagle
Lodge of Edinburgh, on 4th February 1835. He was an affiliate member of
Lodge of Edinburgh (Mary's Chapel), No. 1, and also of Lodge No. 97, St
James Operative Lodge of Edinburgh, rising to R.W.M. of the latter Lodge
between the years 1855/57.

For a period of 26 years, Brother Bryce also held the office of Grand
Architect to the Grand Lodge of Scotland from 1838-63, and was
responsible for the design of the first Grand Lodge building on our
present site at No. 96 George Street, Edinburgh.

He was undoubtedly the premier architect of Edinburgh during the
mid-nineteenth century, and is also credited with the design of the New
Royal Infirmary, The Free Church Assembly Hall, the Fettes College in
Edinburgh and many other prominent buildings erected during these years.

With such a background, it is not surprising that we see so many of our
Masonic symbols incorporated in the design of the Mausoleum,
particularly when we remember that our Grand Lodge motto is "In the Lord
is all our Trust", and that the prime purpose of this special building
was to be for the worship of the Great Architect of the Universe.

The above file was transcribed from the Grand Lodge of Scotland Year
Book for  1990, to which publication full acknowledgement is given.

The original file name is HAMLTON2.TXT and the archive is HAMLTON2.ZIP