The Vault and the Delta in Glory

The Vault and the Delta in Glory

The Triangle and the Pyramid as the central motif, with the Divine and Fire in a secondary part. From Masonic Chart.

Symbolica, 2026 Plate 46 of the chart, in the Select Master degree, and its subject belongs to the Royal Arch. Cross prints no lecture on this plate. What the degree reads aloud is the voice out of the bush and the name it gives, which is the name the triangle carries, so the scripture is quoted here as what the ceremony reads rather than as a reading of the emblem. The archive's earlier note said the triangle bears the sacred name; on this copy the Hebrew inside it cannot be resolved letter by letter, and the record now says only that Hebrew characters are set in it.

Tap a motif on the picture, or a line below. Its note opens under the line, with the reading its author gave it.

  1. Primary motif
  2. Secondary motifs · 1

A triangle pointing downward with Hebrew characters in it, blazing in a glory of rays inside a cloud; below it a vault of nine arches sunk in the ground, and at the bottom a small chest with a triangle on its lid, a thread of light running down from one to the other. By eye

The picture read whole, in the archive's words, from the sources quoted on the marks. Read on, and the picture follows: the motif under discussion keeps its colour.

Two triangles and a hole in the ground. At the top, a triangle pointing downward, stippled, with Hebrew characters inside it, blazing in a disc of rays set in a bank of cloud. Below, a vault sunk into the earth and drawn in section, nine arches deep, counted on the plate. At the bottom of the vault, a small chest with a triangle cut into its lid. A thread of light runs from the cloud down the axis of the vault to the chest.

Cross prints no lecture on this plate. What the degree prints and reads aloud is the voice out of the burning bush, and the name it gives: ‘God said to Moses: I AM WHO AM. He said: Thus shalt thou say to the children of Israel: HE WHO IS, hath sent me to you.’ The archive quotes the Douay-Rheims, and on this plate the choice earns itself. The King James renders that line I AM THAT I AM; the Douay-Rheims, translating the same Latin the ritual's compilers knew, gives I AM WHO AM and HE WHO IS. A plate that sets a name inside a triangle is a plate where the wording of the name is the subject.

The picture's argument is in the repetition. The sign is in the sky and the sign is in the ground, and the drawing insists they are one thing by running a line between them. What is above is unreachable and what is below is buried, and the ceremony is about descending nine arches to find that the thing buried carries the same mark as the thing in the cloud.

The archive cannot read the Hebrew on this copy. Four or five characters are set inside the triangle and at this scale they are shapes rather than letters, so the record says Hebrew and stops there. What the earlier note called the sacred name is what the ceremony supplies, not what the plate proves.

Decoded: every motif is marked, and each mark carries the reading its author gave it, quoted from the text, or says that it is observed on the picture and not read. The reading above is the archive's own, made from those sources and no others.

Where the detail is the subject

the Divine · Fire

Each of these is in the picture without being what it is about. Below, one work that is about each.

Record

Source
Rights
No known copyright. The book was printed in 1826 and the holding institution records no known copyright restriction on its copy.
Restoration
The Library of Congress copy was photographed flat: this plate reached the archive with neither a true black nor a true white, and the engraved hatching read as grey fog. One black and one white point were set for all three channels together, read off the plate's own darkest and lightest tones, which deepens the ink and leaves the paper the colour it is. The per-channel version of the same correction, used on the painted plates of 1928, was rejected here because on ink and paper it also neutralises the paper. Saturation untouched. The web copy is made from the archive's cut of the page, so the correction is never applied twice. Nothing coloured, painted, sharpened or upscaled. A 700 by 1400 pixel web copy made from the source file; nothing painted, nothing upscaled.
Series
Artist
Jeremy L. Cross, masonic lecturer of New Hampshire and Connecticut, 1783 to 1860, who compiled the chart and its monitor; the plates were engraved by Amos Doolittle of New Haven
Titled here
The Vault and the Delta in Glory. Internet Archive catalogues it as: The Vault and the Delta in Glory, from The True Masonic Chart, New Haven 1826
Checked
the Internet Archive item metadata, 4 September 2026: Cross as author, New Haven, 1826, contributed by the Library of Congress, which states it is unaware of any copyright restrictions. Doolittle's signature is engraved on some plates and the attribution of the rest to him follows the book's own title. What is quoted was read off the plate; the monitor's lectures are quoted where the printed monitor carries them, read against the page images of pages 16, 17 and 38 to 41; where the monitor is silent the record says so. Not seen in the hand.
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Cite
Symbolica, “The Vault and the Delta in Glory”, Jeremy L. Cross, compiler; engraved by Amos Doolittle, 1826 printing, first published 1819. thesymbolica.com/work/the-vault-and-the-delta-in-glory/