Part 352: How to Succeed in Business
I want to start with an Albert Pike quote that was published in “Gen. Albert Pike’s Poems” (1900): “When I am dead, I wish my monument to be builded only in the hearts and memories of my brethren of the Ancient and Accepted Scottish Rite.”
Not really following that direction, the Valley of Little Rock constructed the 1896 Albert Pike Cathedral, one of the finest Scottish Rite Cathedrals in the country at that time – with a stage. This is like a funeral that is really intended to comfort the living. The Albert Pike Cathedral was constructed for the living, not to honor Pike’s wishes; I doubt that the inclusion of a stage for degree productions was what Pike envisioned as any lasting monument. Let’s look at the individuals who were instrumental in designing the building.
Remember that Bestor G. Brown was an investment banker who became a fraternal salesman. Brown supervised the inclusion of a stage for the Albert Pike Cathedral during 1896. He was heartily praised by Charles E. Rosenbaum (SGIG Arkansas). Later, Rosenbaum would head the committee who was “charged with the work of erecting the House of the Temple” (The Washington Post, 19 October 1915, page 5). In the big picture, Rosenbaum quickly became a big deal in the Scottish Rite. He would also be an Inspector General for Washington, D.C. during the opening ceremonies for the House of the Temple. This was in addition to being the SGIG for Arkansas.
So who was Rosenbaum? Rosenbaum was reported to be “an enterprising machinery supply man” from Arkansas (Arkansas Democrat, 24 May 1900, page 2). He was listed as a well-known mill-supply dealer in some papers and a designer in others; he had engineering skills, mechanical understanding, and charisma. The Arkansas Democrat reported that Mr. Chas. E. Rosenbaum was “generally recognized as one of the most skillful and artistic designers in the country” (Arkansas Democrat, 22 April 1899, page 6). Hmm.
So there is Rosenbaum who has an understanding of machines, maybe is an inventor, and some skills in the area of artistic design. This means that he can understand visual information, a good quality during planning and construction of a building. Brown could likely envision what a Scottish Rite theater looked like, as well as its potential appeal. Then there is Brown who not only understands banking and finance, but is also a successful salesman, Masonic ritualist, and fraternal supplier. Toss in Joseph S. Sosman with a well-respected reputation for running a quality scene painting business. Sosman’s asset is Chas. S King, genius stage mechanic who is in his employ. Presto! You have a recipe for success and a team to skillfully market degree productions and Masonic stages. The added bonus is that they are marketed by a nationally known brand – M.C. Lilley & Co., one of the largest and most-recognized fraternal suppliers at that time.
Freemasonry was big business when you consider the need to purchase rituals, officer jewels, costumes, paraphernalia, rugs, furniture, etc. The Scottish Rite required even more fraternal “stuff.” Instead of supplies and décor for three degrees, they had twenty-nine degrees (4th through 32nd), this had the potential for really big business. Any Scottish Rite would be a prime catch for a fraternal salesman, especially if they intended to dramatize the majority of their degrees. A decade later, most Scottish Rite orders would be 80-100 backdrops. Then think about the lights, rigging, costumes, props, etc. If the use of degree productions caught on with the other Masonic orders and new rites, business could absolutely explode – and it did.
Thomas G. Moses attributed the immediate success of degree productions in the west to the efforts of Rosenbaum, Brown and Sosman. After receiving a photograph of Rosenbaum in 1930, Moses wrote, “I don’t know how to thank you for the wonderful portrait you have been kind enough to send me. I will now have the 3 men that had all to do with the starting of the scenic decoration of the Scottish Rite Degree work, Rosenbaum, Brown & Sosman.” Sosman and Moses would have worked with Brown when they were all living in Chicago from 1892 to 1898.
So why was the Southern Jurisdiction such a big fat catch? Why hadn’t this happened in the Northern Masonic Jurisdiction (NMJ), in the major metropolitan areas in the northeast? I believe that it was simply because the movement wasn’t organized by the suppliers. It was driven by competition from within the Fraternity and not an outside market. Nothing was really planned, just installed as rival Supreme Councils competed for membership. He with the most members would win. Individual artists, often with Masonic ties, secured NMJ projects. With Pike gone, the Southern Jurisdiction was ripe for the picking. I like to think that it wasn’t a decision solely driven by money when allegiances formed, but the possibilities must have been tempting.
This was the start of a Scottish Rite Theatre building boom. There is a quick succession of ever-increasing Sosman & Landis scenery installations throughout the Southern Jurisdiction directly supervised by Brown: Little Rock (1896); Oakland, California (1896); Wichita (1898); additional scenery for Little Rock (1899), Guthrie (1900); Salina, Kansas (1901); Little Rock, again (1902); Portland, Oregon (1902), and the list goes on.
To be continued…
