About Us

The American Lodge of Research (The ALR) is a research lodge under the Grand Lodge of New York comprised of members from around the world. Its members are dedicated to researching, documenting and sharing insights concerning Freemasonry using an evidenced-based approach with a goal of inspiring those who are interested in learning more about the oldest fraternity in the world.

The ALR meets for in-person meetings on a quarterly basis at which time business matters are conducted and presentations for the membership are held. Occasionally, The ALR will hold a Special Communication at a location other than the Grand Lodge Building in New York City. For a list of upcoming meetings, please review the Events section of this website.

The ALR produces two types of publications. The first are Articles, which are short-form articles that are published online for a wide-audience to view. The second are Transactions, which is printed one-time per year for Active and Corresponding members of The ALR, and which contains several peer-reviewed long-form journal articles highlighting the best research produced during the year.

Members of The ALR are made up of three classes; Fellows, Active Members and Corresponding Members. All are eligible to submit research for publication in either Articles or Transactions, as well as attend meetings of The ALR, however, each membership class has different rights and privileges.

Seal of the Lodge

The below was taken from Volume 1 of the Transactions of The American Lodge of Research.

Like the seal of many other lodges the seal of The American Lodge of Research bears little resemblance to the first sketch prepared by the Committee authorized to design and select a seal for the Lodge.

The seals of many old lodges both in the United States and Great Britain were examined and the first design submitted to some of the members for their opinion was a modification of the seal of the Masons Company of London adopted circa 1633. In the suggested design the unusual placing of the square with the angle upward was followed, with the compasses open at an angle of ninety degrees and placed upon the square. Instead of three castles which appear on the seal of the Masons Company there were a castle, a scroll, and an open book showing the world Veritas. These were to suggest the operative origin of Freemasonry, and that The American Lodge of Research would pursue its studies in the operative craft as well as in manuscripts and books, with Truth as its objective.

Objection was made that the scroll looked like a toboggan, and the use of the word Veritas started an intercollegiate war. Although Magna est veritas et praevalebit, in this instance it was not mighty above university mottos. So the Committee submitted another design to some of the members, substituting the Torch as a symbol of Truth; but again objection rained upon it, as the torch had come to be looked upon by many as a symbol of destruction.

Then the artist said that there was too much on the seal anyhow. So the book went back, changing the word Veritas to a semblance of “Constitutions,” the scroll and manuscript were taken out, and thirteen small stars took the place of the castle and scroll. Not satisfied yet! “Who do you need the stars when the word ‘American’ appears in the title? Besides, I need the space to raise the square higher and make the book larger.”

Then the stars faded out, and the final drawing was made.

Brother Ben Ali Haggin, portrait painter, is the artist. A member of Holland Lodge No. 8, he is a descendant of John Haggin, Kentucky pioneer, and Ibrahim Ben Ali, last Captain of the Janizaries of Constantinople. On his mother’s side he is a descendant from John Rogers who came to American on the first trip of the Mayflower.

For many years Brother Haggin specialized in theatrical productions, creating the pictures known as the Haggin Tableaux, which were arrangements in lighting and composition, utilizing living figures to give the impression of elaborate, brilliant and colorful mural decorations. He has written, staged and directed many dramatic pantomimes which have been shown from coast to coast, notably The Green Gong, DuBarry, Simonetta, and In a Covent Garden, produced in London, England.

In recent years, he has given his talents exclusively to portraiture and figure composition.

The seal was engraved in wood by R.W. John W. Evans of Commonwealth Lodge No. 409 of Brooklyn, New York. Brother Evans is the sole survivor of the great American triumvirate of wood engravers which included Henry Evans and Timothy Cole. A medallist at many expositions, his prints have been exhibited in Paris, London, Vienna, Berlin and many cities of the United States. His prints may be seen in the New York Public Library, the Carnegie Institute at Pittsburgh, PA, and in many other libraries and private collections.

Of him Timothy Cole wrote:

“His talent covers every conceivable subject - portraiture, landscape, figure pieces, flower pieces, Old Masters and moderns. Among the latter I have seen samples of his rendering that, in the technique of handling, seconded in a truly magnificent manner the thought and manipulation of the artist’s painting”- CHARLES A. BROCKAWAY