THE SQUARE and THE COMPASS | Peter Sellers, Albert Pike, and Your Very Last Lesson in Freemasonry

by | May 4, 2020

ON THE 21ST OF JULY, 54-YEAR old Peter Sellers checked into the Dorchester hotel in London. At Golders Green Crematorium, he then visited the site of his parent’s ashes for the first time ever. Actually, the purpose of his stay was two-fold, because Sellers had dinner plans with partners Spike Milligan and Harry Secombe—all three of whom had starred in the 1951-1960 BBC radio comedy The Goon Show—that following evening. On the day of their reunion Sellers ordered lunch in his hotel suite. Shortly thereafter, he collapsed of a heart attack. The year was 1980, and at the time of his passing Sellers was already renowned for his membership in the sinister secret religion of Freemasonry. But he was also a Mason of the worst kind, because Sellers liked to divulge. His final movie, Being There, is so drenched to the bone with comedic jabs at the Lodge, even ridiculing their soon-coming messiah, it’s no wonder that his death pries at suspicion.





The British actors’ stage, radio, and film career demanded the spotlight for nearly forty years; movies which included What’s New Pussycat? the James Bond spy comedy Casino Royale, and the four performances which ultimately constitute five films in the Pink Panther series. Of peculiar interest are his contributions to two Stanley Kubrick films, Lolita and the atomic apocalypse indoctrination masterpiece, Dr. Strangelove. Despite Sellers’ obvious talent, his is a career which could not have been impregnated, nor nurtured at the bosom of the talent agency, had it not been for his initiation into Freemasonry. And yet, at the hour of his death, Sellers would not be nearly so fondly remembered as uninformed fans of his films might suppose. While filming A Shot in the Dark, Sellers relationship with director Blake Edwards became somewhat strained. The two often ceased speaking between takes, and communication resorted to the passing of notes. With Casino Royale, a poor working relationship quickly developed between Sellers and co-star Orson Welles. Sellers soon demanded that the two not share the same set. The conflict went unresolved. Sellers left the film before his part was complete. That same year, and only three weeks into production on the set of The Bobo, which filmed in Italy, Sellers told director Robert Parrish to fire his wife—his second of four—demanding of Swedish actress Britt Ekland: “I’m not coming back after lunch if that bitch is on the set.”

Afterwards, Ekland served him with divorce papers.

The Freemasons thought even less of their celebrated colleague. The following comes from his biography on an official Freemason website:

“Peter Sellers epitomized the unhappy clown. He was a brilliant comedian and a sad man. His brief involvement in Freemasonry and his attitude towards it reflected his discontented life.”

It goes on to conclude:

“He brought little into our Craft and derived even less benefit from it because Peter Sellers never embraced the true and basic spirit of Freemasonry.”


But there’s more. Another Freemason website expressed their feelings by quoting directly from Ed Sikov’s biography, Mr. Strangelove: A Biography of Peter Sellers:

“Peter joined the peculiar group in the late 1940s, became an unrepentant social climber, and broke the sacred covenant of secrecy—the code words and wacky handshakes and all the rest. He bandied the phrases and signals about at the BBC. By doing so, Peter greatly embarrassed the good but gullible Masons who had sponsored him in the first place.


Rewind, 1979 in Film: Being There | Filmotomy

Scene from “Being There,” 1978


Even the Freemasons admittedly claim that Sellers was somewhat of a loose cannon. And it hurt, because like so many talent-less celebrities today who literally sell their souls to the devil through Freemasonry and other Satanic Hollywood sex cults for fame and fortune—really, it’s practically an endless list—Sellers accepted their lavish gifts and then stabbed them in the back. Anyone who’s ever studied the secret society that runs our world knows, from Hollywood to Washington DC and the Vatican, the Illuminati simply cannot let dissonance go unpunished. Examples must be made for future generations of initiates. And besides, Lucifer needs human sacrifice.

That—or his heart killed him.



33-degree Freemason, Albert Pike


“Your Last Lesson in Freemasonry….” (Read between the Lines)


THE ONLY Confederate military officer honored with an outdoor statue in Washington D.C. belongs to Brigadier General Albert Pike (1809-1891). Pike also happens to be a 33-degree Mason. Freemasonry describes itself as a “beautiful system of morality, veiled in allegory and illustrated by symbols,” all of which correspond with numbers of three. For example, the Three Great Lights of Masonry can be found illustrated on its familiar symbol, which involves the Square, the Compass, and the letter “G.” On the surface we may conclude the “G” stands for God—or more specifically, “the volume of Sacred Law,” though we might also turn to Geometry. In Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry, Albert Pike wrote:

“You see the Lodge, its details and ornaments, by its Lights. You have already heard what these Lights, the greater and lesser, are said to be… The Holy Bible, Square, and Compasses, not only styled the Great Lights in Masonry, but they are also technically called the Furniture of the Lodge. It is held that there is no Lodge without them.”




Accordingly, though the Hebrew Pentateuch will be found on the altar of a Hebrew Lodge, the Koran in a Mohammedan one, it is these Great Lights, Pike insisted, “by which a Mason must walk and work.” It is the Square and the Compass, two important ingredients within the three, which are pivotal for understanding and deciphering the hidden knowledge of Masonry. Only the Adepts will understand the true meaning of the Symbols, Pike warned. “Return now, with us, to the Degrees of the Blue Masonry, and for your last lesson, receive the explanation of one of their Symbols.” Here Pike further writes:

 “You see upon the altar of those Degrees the SQUARE and the COMPASS, and you remember how they lay upon the altar in each degree.

The SQUARE is an instrument adapted for plane surfaces only, and therefore appropriate to Geometry, or measurement of the Earth, which appears to be, and was by the Ancients supposed to be a plane. The COMPASS is an instrument that has relation to spheres and spherical surfaces, and is adapted to spherical trigonometry, or that branch of mathematics which deals with the Heavens and the orbits of the planetary bodies.

The SQUARE, therefore, is a natural and appropriate Symbol of this Earth and the things that belong to it, are of it, or concern it. The Compass is an equally natural and appropriate Symbol of the Heavens, and of all celestial things and celestial natures.”

For Albert Pike, the answer as to the shape of the earth lies with the ancients. Apparently, Peter Sellers wasn’t the only one to talk.



The Party, 1968


VIEWING ONE OF PETER SELLER’S better movies reaps its rewards. The Party is essentially a loose-structured film, designed strictly around Peter Sellers’ comedy routines, and accomplished yet another successful pair-up with director Blake Edwards of the Pink Panther and Breakfast at Tiffany’s fame. Long after its release in 1968, it’s considered a classic cult-comedy film. Edwards’ biographers Peter Lehman and William Luhr said of it:

The Party may very well be one of the most radically experimental films in Hollywood history; in fact it may be the single most radical film since D. W. Griffith’s style came to dominate the American cinema.”

Film historian Saul Austerlitz also wrote:

“Despite the offensiveness of Sellers’s brownface routine, The Party is one of his very best films… Taking a page from Tati, this is neorealist comedy, purposefully lacking a director’s guiding eye: look here, look there. The screen is crammed full of activity, and the audience’s eyes are left to wander where they may.”

There’s a fun little Easter egg in the film. Actually, it even made the movie poster. Pay attention to the elephant crashing the poolside party, because the oddest message is scribbled on its forehead. It reads, and I quote: THE WORLD IS FLAT. If it’s something the audience happens to overlook, Peter Sellers apparently finds it important, because he takes the time to read his message out loud, simply so that every filled-seat in the theater can hear with their own ears.





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