Secrets of the Knights Templar

by S. J. Hodge

  Another common assumption that denies any Templar link is that Gothic architecture was invented by Abbot Suger (c.1081–1151) of Saint-Denis. An influential French cleric, chronicler and statesman who believed that art enhanced religious experience, Abbot Suger started an enlargement programme of the Abbey-Church of Saint-Denis in Paris in about 1140. A highly literate man, he was close to kings Louis VI and Louis VII of France, served as regent for Louis VII during the Second Crusade and lived at the court of Pope Calixtus II (r. 1119–24) for a year. After being made abbot of Saint-Denis in 1122, Suger soon instigated its rebuilding. Since the seventh century, Saint-Denis had been the royal abbey of France where kings were both educated and buried. When Abbot Suger’s new basilica was consecrated in 1144, the innovations in the architecture astonished and inspired many others.

  A 12th-century stained-glass window in the Basilica of Saint-Denis, which had been a place of pilgrimage since the 10th century. Abbot Suger, a powerful political figure, had the basilica rebuilt according to new architectural techniques at that time, and this is said to be the first Gothic building and the prototype for all other Gothic cathedrals and abbeys across much of Europe. The brilliantly coloured stained glass windows depict Christian stories. Here, it shows St Maurice urging the officers of the legion to suffer martyrdom with him and below, refusing to sacrifice to Pagan gods.

  Following Suger’s belief that beauty and art honoured God, the design of Saint-Denis resembled the opulence of Byzantine churches. He wrote two accounts about it: Liber de rebus in administratione sua gestis (‘The book on what was done under his administration’) and Libellus alter de consecratione ecclesiae sancti Dionysii (‘The other little book on the consecration of the Church of Saint-Denis’). In the books, Suger gave details about the construction of the church and its symbolism. He explained that, by 1133, he had collected artists and craftsmen ‘from all lands’, including a group of Arabic glass-makers. Coloured glass was originally produced by the ancient Egyptians and the Romans. The tradition continued in the East where it was produced mainly for use in mosques; for example, by the 12th-century, the Fatimid dynasty in particular had been using stained glass in their mosques for over a hundred years. Fatimid scholars and mystics used coloured glass in geometric patterns to assist their meditation. Some stained glass had been used in the windows of European churches and monasteries from the seventh century, but these had been small. It was not until the engineering of Gothic architecture made it possible to incorporate large windows in churches, that stained glass became a meticulous and expressive art form. It is credible therefore that the first stained-glass window makers of the Gothic period in Europe learned their skills from Islamic glass-makers. Further contemporary independent reports about Saint-Denis explain that Suger was involved with many ideas behind the architectural designs, but there is no evidence that he was active on the technical side, so it remains uncertain just how much he actually influenced the development of the style. That he was an active participant in the building of Saint-Denis is clear; he wrote about losing sleep over many aspects of the work and how he even sourced some raw materials himself. As abbot, he probably had the final say about whether or not designs were acceptable, and he must have been receptive to and encouraging of new ideas and innovative styles, materials and methods, but it is unlikely that the actual plans and methods were of his making or even of his instigation. He was not trained in either architecture or engineering and, although he clearly appreciated the final outcome, the church was built to exacting standards that required the expertise of skilled, trained architectural engineers and masons.

  After 1144, Saint-Denis became the model for other churches and cathedrals across France, England, the Low Countries, Germany, Spain, northern Italy and Sicily, but no Templar churches followed the Gothic style, and although both Bernard of Clairvaux and the Templars have been linked with the rise of Gothic architecture, there is no definitive proof of this. While Templar builders were extremely sophisticated and remained aware and knowledgeable of current architectural fashions and developments, they continued to follow Bernard of Clairvaux’s preference for simplicity without unnecessary adornment. There was no standard form of Templar church. From the time they were given permission to build their own churches in 1139, they built many types, including rectangular, cruciform, octagonal, polygonal and round. Many recalled the shape of either the Dome of the Rock or the Church of the Holy Sepulchre. As Bernard of Clairvaux advocated, Templars sought functionality and quality rather than beauty, and their churches remained modest in comparison with the massive Gothic cathedrals and abbeys being constructed across parts of Europe during the same period. Although strong and harmonious in style, there is nothing particularly unusual for the period about any Templar building. As their wealth and influence grew, however, so Bernard of Clairvaux’s instructions for ‘simple architecture’ began to be forgotten, and later Templar buildings, particularly the churches, became a little more ornate. But, although all their buildings were constructed with great precision using the latest technology and methods, none featured any of the design elements that were later called Gothic. So if they had any involvement in the building of the great cathedrals, it remains indistinct and difficult to establish.

  Although they acquired many previously constructed buildings, the Templars always enhanced or rebuilt for their own purposes. Their preceptories, for example, were like miniature towns, complete with chapels, armouries, refectories, training grounds, barns, dormitories and offices. Some were fortified, some were fitted and equipped ready to host guests and pilgrims, and all were built for practicality within their particular country. The Templars employed expert builders from outside the Order, including local stone masons and architects, as well as masons from within the Order, who were known as ‘Mason brothers’. Apart from priests, the Mason brothers were the only other members of the Templar Order allowed to wear leather gloves. Section 325 in the Rule stated that: ‘No brother should wear leather gloves, except the Chaplain brother … the Mason brothers may wear them sometimes, and it is permitted them because of the great suffering they endure and so that they do not easily injure their hands; but they should not wear them when they are not working.’ Mason brothers were not Templar monks, but it appears from this statement that the Templars did not simply hire outside workers for their construction work, as has been suggested by many, but used trained artisans and craftsmen as part of their organization.

  Sacred geometry

  Little has been documented about Templar Mason brothers, but this was not unusual. Medieval masons in general were secretive, which has stimulated the beliefs that many of them practised ‘sacred geometry’. The notion of sacred geometry in architecture arises from the perfect proportions and ratios and geometric shapes found in some ancient religious buildings. These have been recognized in buildings constructed by various different cultures. As certain proportions and ratios have been used in Byzantine, Gothic and some Templar churches, these have been claimed by many to have been constructed on the principles of sacred geometry, although this has not been substantiated. The Templars learned much about building from the Byzantine and Islamic architecture they were familiar with in the East, and both Byzantine and Islamic buildings standing at that time were constructed with complex and balanced proportions. The principles of sacred geometry are believed by some to have been handed down from ancient builders, including the architects of Solomon’s Temple. Some claim that after the fall of Jerusalem in 70 CE, the knowledge of sacred geometry was lost until the Templars rediscovered it when they excavated beneath Temple Mount in around 1127. It was soon after this time that Gothic architecture developed, which has inspired some to make links with these concepts. Others suggest that many of the advanced developments and proportions of Western architecture evolved from European builders learning from their previous counterparts in the East.

  Various undeciphered symbols have been found carved on the walls of some Templar buildings an
d these have given rise to the theory that they are also linked with the ancient understanding of geometry and proportion. The pentagram is a particular symbol that has given rise to speculation that the Templars had secret links with Islamic masons, who also used pentagrams in their architecture, but pentagrams have been used by many diverse cultures for different reasons. Some geometric symbols have been found on the walls of a tower in Chinon Castle where 60 Templars were imprisoned in 1308. The symbols include stars, grids and hand shapes with hearts on them. Similar carvings have been found at Domme in France where further Templars were imprisoned at the same time. Although still not understood fully, it has been conjectured that these are connected with sacred geometry, or they could simply be a code used by the Templars. Some have speculated that the symbols are linked with Templar knowledge and admiration of Islamic and Byzantine architecture, but again, nothing has been proved. As the Templars learned much from their Islamic neighbours about medicine, mathematics, architecture and literature, this is plausible, but – apart from the pentagram – the Templar symbols and symbols found in other culture’s buildings do not correspond.

  Fundamentally, the term ‘sacred geometry’ encompasses certain religious, philosophical and spiritual beliefs that have been used by various cultures in their religious architecture. It is described as geometric shapes and ratios used in the planning and construction of churches, temples, mosques, monuments, altars, tabernacles and consecrated outside spaces, which have derived from the philosophies and mathematical theories of the ancient Greeks, mainly Pythagoras (c.575–c.495 BCE), Plato (424/3–348/7 BCE) and Euclid (325–265 BCE). Pythagoras, a philosopher, mathematician, mystic and scientist, explained the inherent sacredness of numbers and how geometry is intrinsic to the design of the Universe. Plato, a philosopher, mathematician, writer and founder of the Academy in Athens, began the first institution of higher learning in the Western world. Along with his mentor Socrates and his student Aristotle, Plato helped to lay the foundations of Western philosophy and science. Euclid, a mathematician, became known as the ‘father of geometry’, as he was responsible for assembling almost all the world’s knowledge of geometry in one book. His work, together with the work of Pythagoras, forms the basis of sacred geometry. They worked out that the entire universe is shaped according to set geometric values that can be seen throughout the natural world. Simple examples of sacred geometric shapes include circles, triangles, squares, pentagons and pentagrams, while three-dimensional examples include the sphere and the five Platonic solids: the tetrahedron, hexahedron (cube), octahedron, dodecahedron and icosahedron. Euclid discovered the ratios of ‘Pi’, a formula for dividing circles, while Pythagoras and Plato determined the Golden Ratio or Mean, the balance between excess and deficiency using symmetry, proportion and harmony. The architecture -and art – of many ancient cultures involves the repetition of numerical relationships and the use of shapes, placement and proportion that clearly derive from the theories of these ancient Greeks. Sacred geometry was accepted by many ancient scholars and the term prisca sapientia (sacred wisdom), became quite commonly used during the 15th to 17th centuries to describe this accepted but elusive theory.

  Preceptories

  In addition to castles and churches, the Templars’ vast building programme included preceptories, mills, bridges, city walls, agricultural structures and other buildings related to their commercial enterprises. The preceptories were the hub of the organization, usually where all administration was undertaken. Rather like an amalgamation of monastery, farm, village and offices, most preceptories contained a smithy, breweries, bakehouses, stables, a kiln, an orchard, a vegetable garden, fields and livestock, as well as a strong chest that held their legal records including charters of donation. Within each preceptory were cells for the Templar monks and servants as well as for monks from other orders who could stay there in isolation for short periods of prayer and contemplation.

  As sacred geometry is complex and multifaceted, it cannot be seen in one single form or design, but emerged in different cultures, interpreted through different design styles. For instance, the spirals on the Ionic capitals of ancient Greek temples follow the perfectly balanced order of sacred geometry, while the spires of much Gothic architecture also follow the theories. The notion of creating surroundings that enhance prayer and spirituality was not well known during the medieval period, but became important to the Neo-Platonic Society of the Renaissance period and flowered in the art and architecture of that time. The fact that the harmonious proportions and geometric shapes and ratios can be seen in many Templar and other Christian buildings of medieval Europe inspired a great deal of conjecture about where they learned this. It is clear that they had a more complex relationship with various groups in the East than was originally thought and that they employed indigenous builders and craftsmen, but whether they learned about sacred geometry from Islamic or Byzantine builders has not been established. The most popular suggestion returns to the notion that they learned about it when excavating under Temple Mount. It has also been observed that cathedrals, churches and abbeys produced by the Cistercian Order were built on measurements based on 12 squares of equal length by 8 squares of equal length, which corresponds to the Golden Ratio. Bernard of Clairvaux was involved with much of the Cistercians’ building programme during the 12th century and, of course, he was particularly involved with the Templars. In 1134, it is said that he was also involved in the building of the north tower of Chartres Cathedral. It was a soaring, impressive structure that is believed by many to be based on the pivotal dimensions of sacred geometry. Bernard once described God as ‘length, width, height and depth’, and it has been conjectured that his belief in the godliness of number and proportion in design came directly from the influence of the Knights Templar. Without concrete evidence, however, speculation and investigations continue.

  The pentagram

  Since ancient times, the pentagram has been used as a symbol by various cultures and endowed with various meanings. Its earliest known use was on Mesopotamian potsherds from around 3500 BCE. Later, it was used by the Hebrews to symbolize the Pentateuch, or the first five books of the Bible: Genesis, Exodus, Leviticus, Numbers and Deuteronomy. The Hebrew pentagram is believed to have changed at some point to the hexagram, becoming the Seal of Solomon or the Star of David. The shape was important to the ancient Greek followers of Pythagoras, who used it as a symbol of recognition among themselves. The ancient Greeks called it the pent-alpha, as it appears to have been formed from five letter ‘A’s. Early Christians attributed the pentagram to the Five Wounds of Christ, and Emperor Constantine used it in his seal and amulet. Any evil associations with the symbol came after the time of the Inquisition; before that, the pentagram had often been used as a protection against demons. Perhaps most significantly, it is believed that the shape was used as the seal of the City of Jerusalem, which makes it possible that the Templars adopted the pentagram as one of their key symbols to make a visible link with their early connections with Jerusalem and the Temple of Solomon.

  A 13th-century pentagram here carved in stone was used as a funerary relief.

  One of the soaring towers of Chartres Cathedral in France. Chartres is considered by many to be one of the finest examples of the French High Gothic style. Constructed in the main between 1193 and 1250, it became a milestone in the development of Western architecture with its pointed arches, rib and panel vaults and flying buttresses. Additionally, Chartres has many stained-glass windows and sculptures. It is often said, but has never been verified, that the Knights Templar were involved in the building of Chartres.

  The Albigensian Crusade

  In the midst of all these developments, the Cathars continued to thrive and because the Templars are believed to have employed some of them in their building programme, when the Church turned directly against the sect, rumours about the Templars’ real leanings began circulating in several quarters.

  Although never openly tolerated by the Cathol
ic Church, at first the Cathars were largely ignored by the authorities, although they were always viewed with suspicion since their ideas were controversial. The main differences in their beliefs and those of Christian teaching were that God was not all-powerful as there were two: one good and one evil, in constant watch over humanity. They believed that the evil god was responsible for the world itself, while the good god was in heaven, waiting for souls to return. In effect, these beliefs gave the devil a more prominent role. Catharism is believed to have originated in Bosnia in the mid-tenth century, but many adherents had travelled and settled in the Languedoc region of France by the early 12th century. They became known as Albigensians, probably because the 1176 Church Council was held near Albi. It was there that the Catholic Church declared the Cathar doctrine to be heretical.