They Say it’s Only a Paper Moon Hanging Over a Muslin Sea
Why was the Fort Scott scenery collection viewed as mere backings for performances and not as an art form with cultural value? Are Scottish Rite scenery collections just “old backdrops” or “large-scale works of art produced by nationally recognized artists?” This question was my incentive to tell my story about the Fort Scott scenery collection. Scottish Rite drops are historically significant artifacts that demand proper conservation, handling, and display.
It is apparent that the Minnesota Masonic Charities CEO and the Minnesota Masonic Heritage Center general director have repeatedly devalued the Fort Scott collection, suggesting that they are merely backings to be enjoyed in the here and now; that they have not been preserved as a legacy for future generations to enjoy – just this generation.
On May 5, the online article author noted that the restoration team did not treat the scenery as museum “artifacts.” Their restoration process primarily focused on a final outcome that allowed each drop to be immediately “hung and enjoyed.” In other words, this justifies the removal of wooden battens, the alteration of the drops, and the use of inappropriate materials such as hot melt glue during restoration. The use of wooden battens not only serves a practical function to remove the surface wrinkles, but also is a recognized part of Scottish Rite heritage. The collection now imitates modern scenery collections and has lost much of its heritage other than the painted surfaces.
What I find deeply troubling is that the author implies that the restoration team avoided a preservation approach reserved for museum artifacts when handling the scenes, as that would be a detriment to the overall use of the collection. Why? The acquisition for the Ives Theater was intended to be an extension of the Ladd museum. Why should the drops receive any less care than a Shriner’s Fez in the museum? I suggest that this is a defense for not hiring professionals who would know how to properly preserve the collection and consequently damaged the drops.
It is possible that the leadership of Minnesota Masonic Charities and the Minnesota Masonic Heritage Center fails to realize the significance of their acquisition or that they are now stewards of a large-scale art collection created by the nationally recognized artist Thomas Gibbs Moses. Unless the Freemasons and the general public understand the national and international significance of the Fort Scott collection, it will forever remain known as the old backdrops that were purchased from Fort Scott, quickly hung to enjoy, used without supervision by rental groups, and slowly destroyed.
Proper conservation and handling still allows you to use and enjoy historical scenery. The May 5 article is a defense against the accusations in my blog concerning their use of hot melt glue on historically significant artifacts by a team of amateurs. That restoration team, whom the author hails as experts who “ensured the absolute integrity of the project,” neither restored each scene to its original beauty nor extended its lifespan.
This collection was purchased as a museum acquisition for a heritage center, unlike other Scottish Rite collections across the country that were solely purchased for private use by the membership. Any other continuing attempt to devalue the painted scenes is a discredit to the Fraternity.
To be continued…
