Andrew Geis Source Book – Egypt, part 3

Here is another printed image from the source book of Andrew Geis.  It immediately brought to mind the desert scene for the A.A.O.N.M.S. Shrine (Ancient Arabic Order of the Noble Mystic Shrine) at the Grand Forks Masonic Center.

The following paragraph is to place this scenery in context, especially for those who are unfamiliar with the Masonic orders.  If you are a mason, go directly to the pictures. The Shrine was created as a social organization intended as a place to rest after a Mason’s arduous study in either the Scottish Rite or York Rite. When a Mason entered freemasonry, he completed the first three degrees (1-Entered Apprentice, 2-Fellow Craft, and 3-Master Mason) in a Blue Lodge.  Typically, Blue Lodges are in small buildings labelled “Masonic Temple” if they are not part of a larger facility. By the way, the color “blue” is not associated with the building or wall color.  If anything, it suggested the celestial constellations on the lodge ceiling.

After becoming a Master Mason, he could join a variety of Masonic Orders and organizations including, but not limited to, the Ancient and Accepted Scottish Rite and/or York Rite.  These were intended as avenues for additional study and philosophical exploration.  After working and studying these “high degree” systems, he had the option to relax in the A.A.O.N.M.S.  At the time, there was a short cut for those who wanted to immediately enter a social group – the Grotto.  Referred to as the “poor man’s Shrine,” any Master Mason could join the M.O.V.P.E.R. Grotto (Mystic Order of the Veiled Prophets of the Enchanted Realm).  That scenery is a topic for another time as it is fascinating in it’s own right!

A few years ago, the need to be a Scottish Rite or York Rite member prior to joining the Shrine was abandoned.  This decision was made for a whole variety of reasons, none of which I will even get into today.  My personal belief is that it was a mistake of grand proportions.  But I digress…

Going back to the Shrine scenery, here is a source from Geis’ book and similar painted details from Grand Forks, ND. Enjoy.

Here is the full composition for the backdrop.

Here is the cut drop in front of the backdrop and with the backing piece for the tent.

 

Stage right label for the scene.

And finally, here is an old amateur patch for a rip!  Note the Middle Easter figure!

Author: waszut_barrett@me.com

Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.

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