The Iron Worker and King Solomon

iron_worker_and_king_solomon
In Kind David’s Lodge above the Senior Wardens chair in the West hangs a very old print. The Iron Worker and King Solomon. It was a sort of challenge by Past District Educational Representative Joel Wentworth to find out about it’s history. I looked into it with some older members of King Davids as well as some members of nearby lodges. The best I can come up with is that the print was a gift by the Royal Arch to King David’s. I’m still working on the date as well as the actual brothers involved so I’ll have to update this at a later time.

The work itself however is another matter entirely…
Titled The Iron Worker and King Solomon, it depicts the celebration of the completion of King Solomon’s Temple, a Biblical structure that figures prominently in Masonic ritual and symbolism.

As illustrated by the print,”The first temple – known as King Solomon’s Temple -…was the grandest and costliest edifice ever erected….King David, having reached a period in his administration when the Jewish nation was at peace with all the world, commenced preparations for the erection of a Temple to Almighty God, and where the Ark of the Covenant could be placed and kept in security; but as he had been engaged in wars and caused the shedding of blood, he was ordered, by the Prophet Nathan, to collect materials, and that his son Solomon should build the House of the Lord . “For this purpose, David had numbered the workmen he found in his kingdom; had appointed the Overseers of the work, the hewers of stone and the bearers of burdens; had prepared a great quantity of brass, iron and cedar, and had amassed an immense treasure, having collected more than four thousand millions of dollars, and one hundred and eighty-four thousand, six hundred men. When Solomon ascended the throne, he commenced to carry in to effect the designs of his father, King David. For this purpose he sought the assistance of Hiram, King of Tyre. The Tyrians and the Sidonians had long been distinguished for their great architectural skill; and in fact many of them, as the members of a mystic operative society – the Fraternity of Dyonisian Artificers – had long monopolized the profession of building in Asia Minor. Hiram, King of Tyre, sent Solomon 33,600 workmen from Tyre, besides a sufficient quantity of timber and stone to construct the edifice which he was about to erect. He also sent him a far more important gift than either men or materials in the person of an able architect – ‘a curious and cunning workman.'” (Macoy, 1880s)

In the engraving, “the man who has usurped the chosen seat of honor is displayed in all the strength of manhood: Muscles of iron and a power of will unconquerable, a feeling of safety despite the turbulent outcries of the populace, not even deigning to rise when about addressing the craft, he sits, the embodiment of perfect security and trust. The Jewish soldiers…seem as if they too would contend with Tubal Cain’s successor, and assert the supremacy of the martial over the mechanic . “…Then said the man to Solomon, ‘Behold, O king! I am he whom, when men deride, they call Blacksmith, but when they would honor me, they call me Son of the Forge. These craftsmen say truly that I am not of them. I am their superior. Without my labor first, their labor could not be. The great Tubal Cain, whom all men honor, taught those who in turn taught me my handicraft, and the mighty Vulcan, who wrought in fire and smoke and sweat, as I do, was it not deemed fitting that he should have even the Queen of Beauty to wife?’ “Son of the Forge” said Solomon, “I too honor thee, thou worthy successor the great master, Tubal Cain. Take though this seat at my right hand prepared for the most worthy. It is thy due.” (Macoy, 1880s)”  In addition to connecting with Masonic symbolism, the print reflects its Gilded Age date of publication, when steel was a pre-eminent American industry. Bradley and Bro. of Philadelphia published this steel engraving in 1889.  The artist, John Sartain (1808-1897), emigrated to Philadelphia from London in 1830.  Sartain enjoyed a prolific career as an engraver.  He also published magazines.  In 1876, he headed the art department for the Centennial Exposition, which was held in Philadelphia. The Iron Worker and King Solomon, 1889, John Sartain (1808-1897), artist, Bradley and Bro., publisher, Philadelphia, Pennsylvania, National Heritage Museum, gift of Clement M. Silvestro, 95.028.1.