The Constitutions of the Free-Masons

«A DAM, our firft Parent, created after the Image of God, the great Architect of the Universe , must have had the Liberal Sciences, particularly Geometry, written on Year of his Heart» — la apertura de la historia; «Year of» es la nota marginal de cronología metida dentro de la frase por el escaneo.

«for even fince the Fall, we find the Principles of it in the Hearts of his Offspring» — la geometría sobrevive a la caída.

«this noble Science thus reduc’d , is the Foundation of all thofe Arts, (particularly of Mafonry and Architec-ture)» — la geometría como fundamento del arte.

«No doubt Adam tauglit his Sons Geometry, and the ufe of it, in the feveral Arts and Crafts convenient» — la transmisión empieza en la primera generación.

«for CAIN, we find, built a City, which he call’d CONSECRATED , or DEDICATED, after the Name of his eldeſt Son ENOCH» — Caín como primer constructor de ciudad.

«Nor can we fuppofe that SETH was leſs inſtructed,. who being the Prince of the other Half of Mankind, and alſo the prime Cultivator of Aftronomy» — la otra mitad de la humanidad, por Set.

«working in Metal by TUBAL CAIN, Mufic by JUBA L, Paftorage and Tent-Making by JABAL, which laft is good Architecture.» — el reparto de las artes entre los hijos de Lamec.

«known by the Names of CHALDEES and MAGI, who preferv’d the good Science, Geometry, as the KINGS and great Men encourag’d the Royal Art.» — caldeos y magos como conservadores de la geometría.

«But it is not expedient to ſpeak more plain of the Premifes, except in a formed Lodge..» — la obra declara aquí su propio límite: hay algo que solo se dice en logia.

«which, tho’ it might help to give Rife to the Maſons. Faculty and ancient univerfal Practice of converfing without fpeaking, and of knowing each other at a Diſtance» — deriva de la confusión de lenguas la facultad de reconocerse sin hablar.

«the Royal Art was brought down to Egypt by MITZRAIM, the fecond Son of Ham , about fix Years after the Confuſion at Babel» — la vía egipcia, con su cronología.

«the famous PYRAMIDS , demonftrate the early Tafte and Genius of that ancient Kingdom» — las pirámides como prueba del arte egipcio.

«he fent his Namefake HIRAM, or Huram, the moft accomplish’d Mafon upon Earth.» — Hiram de Tiro envía a Hiram el arquitecto.

«But the Difficulty is over at once, by allowing the Word Abif to be the Surname of Hiram the Mafon» — la obra resuelve por su cuenta el nombre, contra las versiones griega y latina.

«HIRAM, King of Tyre , fent to King Solomon his Namefake HIRAM ABIF , the Prince of Architects, defcrib’d ( 1 Kings vii . 14.) to be a Widow’s Son of the . Tribe of Naphthali» — la identificación bíblica que la obra fija.

«This divinely inspired Workman maintain’d this Character in erecting the Temple» — Hiram Abif como obrero divinamente inspirado.

«it being an Houſe of Prayer for all Nations, and capable of receiving in the Temple proper, and in all its Courts and Apartments together , no less than 300,000 People» — la descripción del Templo, con su aritmética.

«it was juſtly eſteem’d by far the fineſt Piece of Masonry upon Earth before or fince, and the chief Wonder of the World» — el Templo como cima del oficio.

«But leaving what muft not, and indeed cannot, be Ante Ch, communicated by Writing, we may warrantably affirm» — segunda declaración de límite: hay lo que no debe y lo que no puede escribirse; el «Ante Ch,» del medio es la nota marginal de cronología, metida dentro de la frase por el escaneo.

«however ambitious the Heathen were in cultivating of the Royal Art, it was never perfected, until God. condeſcended to inftruct his peculiar People» — jerarquiza a los gentiles por debajo de Israel en el arte.

«Title. Mafons ball not confederate themſelves in Chapters and Congre-Dgations» — título del acto 3 Enrique VI, que la obra reproduce entero. «Congre-Dgations» es grafía del facsímil.

«if any fuch be made, they that caufe fuch Chapters and Congregations to be affembled and holden, if they thereof be convict, shall be judged for Felons» — la ley de 1425 contra las asambleas de masones, citada por la propia obra.

«yet King ATHELSTAN, (the Grandfon of King ALFREDE the Great, a mighty Architect) the first anointed King of England» — el rey del que la obra hace bajar la constitución inglesa.

«Prince EDWIN, being taught Maſonry, and taking upon him the Charges of a MASTER-MASON, for the Love he had to the faid Craft ... purchased a free Charter of King Athelstan his Father» — la carta de franquicia, y la potestad de corregirse a sí mismos.

«at York, who came and compofed a General Lodge, of which he was GRAND MASTER» — la asamblea de York bajo Edwin como origen de la constitución inglesa.

«having brought with them all the Writings and Records extant, Some in Greek, fome in Latin, fome in French, and other Languages» — de dónde dice que salió la constitución de York.

«(for most great Men were then Mafons)» — el paréntesis con que explica el consentimiento de los señores del reino.

«the learned and magnanimous Queen ELIZABETH, who encourag’d other Arts, difcourag’d this ; becauſe, being a Woman, ſhe could not be made a Maſon» — la razón que la obra da del desfavor isabelino.

«attempted to break up the annual Communication of Mafons, as dangerous to her Government» — el episodio de la comisión enviada a York el día de San Juan, que la obra da «as old Mafons have tranfmitted it by Tradition».

«King JAMES VI. of SCOTLAND fucceeding to the Crown of ENGLAND, being a Mafon King, reviv’d the English Lodges» — Jacobo como rey masón.

«in the Fifteenth and Sixteenth Centuries the AUGUSTAN STILE was rais’d from its Rubbiſh in Italy, by BRAM ANTE , BARBARO, SANSOVINO , SANGALLO, MICHAEL ANGELO , RAPHAEL URBIN» — la nómina del renacer arquitectónico, con «STILE» tal cual.

«but above all, by the Great PALLADIO, who has not yet been duly imitated in Italy, though justly rival’d in England by our great Mafter-Mafon INIGO JONES» — Jones como maestro masón por excelencia.

«we have much reafon to believe that King CHARLES II. was an Accepted Free-Mafon» — adjudicación en grado de creencia, no de hecho.

«the Lodges of Free-Mafons in London much dwindled into Ignorance, by not being duly frequented and cultivated» — la decadencia bajo Jacobo II, que prepara el relato de la revitalización.

«the bright Example of that glorious Prince, (who by moft is reckon’d a Free-Mafon)» — Guillermo III, adjudicado con la misma cautela.

«it could be made appear, that from this ancient Fraternity, the Societies or Orders of the Warlike KNIGHTS , and of the Religious too, in proceſs of time, did borrow many folemn Ufages» — pone a las órdenes de caballería y a las religiosas como deudoras del oficio.

«who in all Ages, and in every Nation, have main-tain’d and propagated their Concernments in a way peculiar to themſelves, which the moſt Cunning and the moft Learned cannot penetrate into» — el secreto declarado como método, no como contenido; la frase arranca al pie de la p. 53 y cierra en la 54.

«While They know and love one another, even without the Help of Speech, or when of different Languages.» — el reconocimiento sin palabra.

«having of late much indulg’d their happy Genius for Maſonry of every fort, and reviv’d the drooping Lodges of London» — así narra la revitalización de las logias de Londres, sin dar fecha.

«feveral worthy particular Lodges, that have a quarterly Communication, and an annual grand Aſſembly» — la estructura de gobierno que declara vigente.

«Printed byWILLIAM HUNTER, for JOHN SENEX at the Globe, and JOHN HOOK E at the Flower-de-luce over-againſt St. Dunstan’s Church, in Fleet-ftreet.» — el pie de imprenta, con impresor y libreros distintos.

«In the Year of Maſonry 5723 Anno Domini 1723» — la portada data por partida doble; el año de masonería adelanta 4 000 al de la era cristiana.

«Engravd byJohn Pine in AldersgatestreetLondon» — el frontispicio grabado va firmado por John Pine.

«B Y Order of his Grace the DUKE of WHARTON, the preſent Right Worfhipful GRAND-MASTER of the Free-Mafons ; and, as his Deputy, I humbly dedicate» — la dedicatoria al duque de Montagu, hecha por orden de Wharton.

«J.T. DESAGULIERS Deputy Grand-Mafter.» — quien firma la dedicatoria; el autor del libro no firma ahí.

«Dereas by the Confufions occafion’d in the Saton, Daniſh, and Roman Wars, the Records of Mafons have been much vitiated,the Free Mafons of England twice thought it neceffary to correct their CONSTITUTIONS, CHARGES, and REGULATIONS» — apertura de la Aprobación, que declara el estado de los registros.

«the old Conftitutions in England have been much interpolated, mangled , and miferably corrupted, not only with falfe Spelling, but even with many falfe Facts and grofs Errors in Hiftory and Chronology» — el diagnóstico sobre las constituciones anteriores, hecho por la propia Gran Logia.

«our late Worthy Grand-after , his Grace the DUKE of MONTAGU, having order’d the Author to perufe, correct, and digeft, into a new and better Method, the Hiftory, Charges, and Regulations, of the ancient FRATERNITY» — el encargo, y en qué consistió.

«He has accordingly examin’d feveral Copies from Italy and Scotland, and fundry Parts of England, and from thence, (tho’ in many things erroneous) and from ſeveral other ancient Records of Mafons, he has drawn forththe above-written new CONSTITUTIONS» — de qué copias dice haber salido el texto, y con qué reserva.

«And we ordain That theſe be receiv’d in every particular Lodge under our Cognizance, as the ONLY CONSTITUTIONS of Free and Accepted Mafons amongst us» — la cláusula de exclusividad, que es lo que convierte al libro en ley.

«PHILIP Duke of WHARTON Grand-Matter, J. T. DESAGULIERS L. L. D. and F. R. S. DEPUTY Grand-Mafter.» — las dos firmas que encabezan la Aprobación.

«XVII . JAMES ANDERSON A. M. Mater. Charles Grymes Efq ; } Wardens. The author of this Bo» — la única vez que el libro nombra a su autor: dentro de la lista de logias firmantes, con la nota «The author of this Book».

«HI. JOHN TURNER Maſter. Anthony Sayer Wardens.» — y «IV. Mr. GEORGE PAYNE Mafterstephen Hall M. D.» — los firmantes incluyen a los compiladores y oficiales que la propia obra ha nombrado antes; las grafías «HI.» por III y el soldado «Mafterstephen» son del facsímil.

«LONDON, this 17th Day of January, 1724. T the Quarterly Communication, This Book, which was undertaken at the Command of His GRACE the DUKE of MONTAGU , our late Grand Matter, having been regularly approved in Manuſcript by the GRAND LODGE, was this Day produced here in Print, and approved by the SOCIETY» — la aprobación final del impreso, fechada; el «At» quedó partido en «A ... T» por el escaneo.

«The Mufick of the Fellow-Crafts Song, containing feveral Sheets, being too much to be herewith printed, the Lodge, to which the Authors of the Song and Mufick belong, will afford it in Manuſcript to any other Lodge, when defired.» — nota de producción: la música quedó fuera del impreso.

«Some BOOKS Printed for J. SENEX, and J. HOOKE.» — el catálogo del librero cierra el volumen, y es de arquitectura y perspectiva, no de masonería.

«A Treatife of the five Orders in Architecture : To which is annexed, a Difcourfe concerning Pilafters, and of feveral Abufes introduced into Architecture, written in French by Claude Perrault» — primer título del catálogo, vertido al inglés por John James de Greenwich.

«Dr. BURNET’s Theory of the EARTH: Containing an Account of the Original of the EARTH» — cuarto título del catálogo, ya no de arquitectura.