Robert Scot
and his
Philadelphia Artisan’s
of 1789
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After collecting GWI and NNT buttons for decades I can say that George Washington’s inaugural and NNT buttons taken together will provide a picture and tell a story of the founding of our country from Europe’s distance of Old World Rule of Kings and Religious leaders. The buttons are a reflection of the era’s social variables of commoners and Gentry society, which were needed to come into play in unison for British colonists in America to establish sovereignty both domestically and on the world stage. Unknowing, if the Newly Created Republic would be able to survive domestic and foreign threats to its creation of a New World Order free of kings and religious leaders the Artisans crafted the insignia with certain Old World Culture Symbols along with their engraver’s marks which were purposefully masked. This insurance policy of sorts to the Old World Rule of Hereditary Rights of Sovereignty was the brainchild of the International Master Artisan Robert Scot and his Philadelphia Artisans. Since the founding of America, there have been heraldry associations to divinity. This was most likely to reflect on humanity’s past, and how it will go into the future to enact a self-governing New Republic.
There is no doubt that the Scottish gentry and other High Society Gentry (elites) worked with Robert Scot and other European immigrant Philadelphia Artisans through Congressional committees to supplant Judaeo-Christian religious symbols, along with other multi-culture denominators as a foundation in the creation of America’s federal insignia. We believe Robert Scot used a “Transformational Artisan Technique” in all of America’s founding insignia which also provided a purposeful allusion to the public as their very own. This was a purposeful mask of allusion by the Scottish Gentry who controlled the country’s power and resources at the time in Arboriculture, Agriculture, and Shipping through the Chesapeake Bay in Virginia and Carolinas. Make No Mistake About Their Hold, this was not the New Gentry that Benjamin Franklin supported in the uprisings through tavern house unions. This was the Big Money.
I wish our group’s journey could have started and ended with the founding of America, but that should be considered the beginning. It is the flashpoint of European University Professors and their Alumni Gentry Class elites who wanted change in society’s social contracts. They termed their movement and themselves as Enlightened Revolutionaries who offered New Ideals and Scientific Based Reasoning for the betterment of the human species and Cultural Civilization. The New Era offered the common man the ability to break the bonds of social class stratification and the landed gentry to be seen, and (Standard of Living) live as equals of Prosperity amongst established Nobles and Royal families of the world.
I believe George Washington used the Scottish Gentry of high society allies from the American Revolution who formed a Council of Enlightened Visionaries of the Scottish Gentry to help shape the dynamics of a much-needed new style of societal governance. This new societal construct would be called, “The Grand Architects Design.” This blueprint for the New Republic was most likely modeled from the combination of the bible’s Great Architect of the Universe, The Noble Order of the Garter, and the Order of the Thistle’s precepts. This Council of Enlightened Revolutionaries was able to strategically weave Scottish Royal Culture and these Order precepts into the foundation for our country through Robert Scot’s Artisans and Congressional 1785-1789 Committee members.
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With the invaluable help of Gary Gianotti, we were able to identify Robert Scot as sort of an “International Guild President who was from Edinburg Scotland and influenced artisans as a hidden superior over other Freemasonry Lodges who followed Strict Observance. These artisans in America’s guilds were under Robert Scot’s influence who was able to control the design elements in America’s establishing federal insignia. Their influence was able to penetrate into state governments through seals and flags. The evidence of their influence is supported by their direct use of Scottish Royal Culture and Judaeo-Christian history. With their advanced artistry skills of transformational art and their mastery of the allusion, technique enabled them to mask in a multi-layer allusion the necessary authoritative heraldry for the common Patriot and the Scottish and newly landed Gentry. Robert Scot was most likely an “Unknown Superior” of the Strict Rite of Observance within the Masonic lodge culture which would have demanded obedience amongst “All” nationality artisans who would act in compliance willingly because of class stratification.
By identifying Scottish Royal Culture symbols, Judaeo Christian heraldry symbols, and engraver maker marks, we were able to identify several well-known artisans of the era who would have worked under the authority of Robert Scot and been authorized to create the art. People such as Joseph Wright, Francis Shallus, John Vallance, Samuel Allardice, James Thackera, James Trenchard, Pierre Eugene Du Simitirie, Basher, and some other artisans who worked in perfect orchestration in-order to provide the New Republic with a foundation cornerstones of the New Republic.
Rattlesnake Flag of Colonel John Proctor’s Washington Wax seal
1st Battalion West Moreland County, Pennsylvania
Post Revolutionary War Flag 1791-1793.
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We were able to cross reference many 18th century official federal, state and private commissioned objects which have well known artisan signatures to discover who was in the network under Robert Scot producing Scottish Royal Culture and Judaeo-Christian work. This also led us directly to the engravers of the Scottish themed George Washington inaugural and New Nation Tribute buttons. As exampled in the highlighted objects above, the state militia Rattlesnake flag of Pennsylvania and George Washington wax seal were produced by Robert Scot and his Philadelphia artisans. By evaluating the Transformational designs and their use of the Allusion technique it would only be reasonably assumed that Robert Scot had to supervise and control the nature and elements of the commissioned art. Meaning, that if one looks at all the different kinds of 18th century art being produced for state officials and federal government projects the common linking denominator is Scottish Royal Culture and Judaeo Christian symbols for heraldry and authority foundations.
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New Nation tribute Buttons Sub-Variant Highlighting Engraver Religious & Cultural Homages
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As an Unknown Superior of strict observance along with his high society status of a prominent Scottish master artisan from Canongate Lodge in Scotland, Robert Scot would have had the associated Royal authority to provide certain Scottish Royal symbols. Meaning, in relations to George Washington inaugural and New Nation tribute buttons he would have automatically controlled all aspects of the Scottish Royal Culture designs regardless of the combined works of the multiple artists who engraved the buttons. He would have overseen the original artwork and ensured that his Scottish allusion transformational art infusions were within the original design sketches before his artisan’s cut the final die hubs. For the Scottish elites who were building a New Republic it was important that Robert Scot’s art contained the Scottish Royal Culture authority with Judaeo-Christian religious symbols. Since these symbols were masked in an American heraldry allusion, the dies had to be fabricated here in America to ensure the exact hidden Scottish values intent for the true meanings. This is the main reasons the GWI & NNT dies were designed and engraved here in America instead of ideas of draft ideas sent to England button makers to have engraved. Robert Scot could not be ensured the intended message of the Scottish American high society would have transformed properly to the die engravings.
Since there was a sizable number of new artist projects in all mediums for an establishing country, Robert Scot probably had no choice but to rely on other skill level artisans, but leaving the most important federal official projects to his well celebrated Philadelphia based artisans under his orchestration. We can reasonably assume that all these artisans through Scottish Lodge education and knowledge of historical Judaeo-Christian symbols were very accustomed with the nuances of the different worldly cultures uses in a historical nature.