Month: March 2018

I was able to finish the fabric repair on the crucifixion drop at the Pasadena Scottish Rite yesterday. The patches needed to fully dry overnight, so that the battens could be attached this morning before my departure. Everything appears to be still on schedule.

The reason that I love scenery restoration work is the uncertainty and surprise. You can never be positive of the outcome. Dye batches, textile mills, and the stage environment all wreak havoc with the scene over decades; there are no guarantees or standard guidelines to follow. Trying to rejoin a drop that has been ripped in half has a dozen possibilities for an unsuccessful end.

There could be puckering along the patch as the historic fabric and the fabric of the new patch shrink at differing rates. The glue can bleed through to the painted surface, causing unsightly dye lines. The fabric can have stretched to such an extent that the painted composition is a ½-inch off. Wrinkles may be introduced to the scene while gently pulling the two sides together as the fabric will stretch when damp before tightening up again. The list is unending and one cannot anticipate many of the problems that will be encountered.

Yesterday, everything went like clockwork as I slowly pieced the scene together with a series of patches. The patch must absorb the majority of the liquid in the glue before placing it onto a historic backdrop; this prevents potential dye lines. However, there is a small window of time when the patch is “perfect” for attaching to the scene before it becomes too dry to still adhere to the fabric. I was lucky today and had good help.

For all of the patches, the fabric was so thin that the glue immediately bled through to the painted surface, yet I was fortunate as there were minimal dye lines. I had to determine the perfect amount of glue and set time before applying the patch, preventing unsightly dye lines yet allowing the patch to hold. If there is not enough glue or the “set up” time is too long, the patch won’t stick or stay secure. You don’t know if the patch is successful and undetectable from the audience until the repair is fully dried. Every step is a gamble.

I waited an hour for the center seam to dry and then I began attaching the reinforcement strips along the top and the bottom edges. For the center seam, I joined the two pieces “face up.” I used this same technique for the 4” reinforcement strips at the top and bottom. Luckily for me, one of the volunteers showed up to help me with the reinforcement strips as they were over 20 feet long.

Then, I dealt with the splitting seams in the translucent areas. Although I used theatrical gauze for the central rip, the remainder of the seams were reinforced with a small amount of glue applied to the underside of the seam. This secured it without using a 1” strip that may be visible in the end. There were many other small patches to place, but it all went well and the repaired scene was completed.

It was a successful repair as the president of the building association couldn’t detect the original central rip.

In the afternoon, we met with the local TD who would secure a rigging crew to hang the scene. By the way, when is one of the worst times to locate a certified rigger in Pasadena? That would be immediately after the Oscars – this week. We are still hoping to get the drop up in the air before my departure. That is is something that I had not thought possible upon assessing the damage upon my arrival two days ago. So, off I go in great hopes that everything will continue to work out. Attaching battens is as risky as attaching a patch, and I am sure that there will be surprises along the way.

To be continued…

As the Song Goes, “Always Look on the Bright Side of Life” (cue the whistling).  It was an appropriate tune while repairing the crucifixion scene at the Pasadena Scottish Rite Cathedral yesterday.

Last November, the Crucifixion backdrop at Scottish Rite in Pasadena, California ripped in two. The damage was instigated by a horizontal tear near the top batten on the stage right side. I had notified the Valley about this impending problem during my visit in August 2016 when I was evaluating their scenery collection. At the time, the rip had temporarily “paused” at a vertical seam. It took fifteen months before the rip would finally break through that seam and continue across the drop. Near the center of the drop, there was another weak spot in the fabric, causing the rip to change direction and become a vertical tear.

In addition to this massive damage there were many other problems, punctures and previous repairs throughout the drop. One of the patches was attached to the drop with hot melt glue, making me cringe as this particular adhesive destroys historic fabric.

It is impossible to remove without destroying the fabric, but cannot remain as it does not provide adequate support. In short hot melt glue cause more damage to historic fabric than almost anything else – except water. All of the previous patches on the Crucifixion drop were also starting to fail and needed to be replaced.

If this damage weren’t bad enough, there were two other factors were at play: extremely thin fabric and a later application of flame retardant.

The fabric was akin to fine theatrical gauze. I had never encountered such a fine backdrop material before and was shocked at the choice. The translucent areas had been left as raw muslin and darkened over time, especially with the application of flame retardant. The particular formula of flame retardant in 1949 stained much of the fabric, giving everything a slight look of pale rust stains. Flame retardant, applied “after the fact,” also left standard damage that included flaking paint and crunchy fabric. The combination of these two factors made some areas of the drop feel like old tissue paper, ready to crumble at a moments notice. The combination of all the above-mentioned elements contributed to an even larger problem; all of the vertical seams were starting to fail.

I had anticipated the two large rips and needing to replace some previous patches. I had not anticipated the failing of all seams, nor had the pictures depicted this particular issue as I corresponded with the Scottish Rite representatives over the past few months. I had allotted a two-day repair with hanging the drop on the morning of my departure. There would be no extra time for me as I had another project waiting at home.

Immediately upon my arrival at the Burbank airport, we dropped off my supplies at the Temple before heading to my hotel. My flight had been delayed and it was after 1AM in the morning when the plane landed. Upon visiting the Scottish Rite, I assessed the damage and felt that familiar sinking feeling of impending doom. As the damage was far more extensive that anticipated, I began my preparations for the next day by 2AM.

Unless I managed to put in about five days time in 2 ½ days, the drop would never be ready to hang before my departure. I knew that I would never be able to see it hang, but I could make sure the drop was repaired. Yesterday was a long day, 9:00AM until 11:30PM. On the bright side, I will likely make my target. What I did manage to accomplish was the following: carefully removing the remaining wooden battens; preparing the space for restoration; cleaning the damaged areas; and reinforcing the splitting with vertical patches.

One more day of my life spent crawling around on my hands and knees over historic scenery. Regardless of the physical strain, lower back paint, and sore shoulders, I was blissfully happy (as almost always). There is something wonderful about trying to revive a scene that most would deem unsalvageable and likely find its way into a dumpster. For me, it would be unconscionable to walk away, explaining that the vertical seams were failing and no amount of help could salvage the torn remnants. I decided to look at it as a challenge a make the best of my time here.

In the morning, I presented the various options for repair to the President of the Temple Building Association in light of the new discoveries. We decided to apply a vertical patch to each seam as there was not time or material to back the entire drop. There are several reasons for selecting this method, timeframe being the most important. So, I cleaned the seam and began slowly patching each of the eleven vertical seams. I needed to finish all of them the first day, so that I could focus on the actual rip next and the reinforcement of the top and bottom the second day.

Hi ho, hi ho, it’s off to work I go.

To be continued…

Part 355: California Here I Come!

Thomas G. Moses started preliminary negotiations for the resale of the Little Rock scenery to the Pasadena, California, in 1921. Moses would later join the Fraternity and become a member of the Pasadena Scottish Rite. I want to take a moment to explore why he possibly spent so much time trying to relocate the old Little Rock scenery to Pasadena. Furthermore, why would he join the Scottish Rite in Pasadena and not Chicago, especially when he was dividing his time between Chicago and Oakland? I believe that he preferred the degree work of the Southern Jurisdiction; the designs were more familiar to him. In 1926, Moses wrote, “I feel that we are a trifle shy on the proper designs for the northern jurisdiction, which are somewhat different from our southern, of which we have done by far the most.”

Moses also had an artistic connection and an emotional attachment to the 1896 Little Rock scenery collection. As a member of Pasadena, he would continue to see not only some of his best work, but also that of his good friend and mentor, David Austin Strong, another Sosman & Landis artists who Moses credited as the “Daddy of Masonic Design.” I think it was much more than making a dollar on a used scenery collection, or even trying to offload some old product. I believe that Moses carefully considered which Scottish Rite that he would join, and what painted scenery he would want to see during degree work. He also donated fine art to the Pasadena Scottish Rite when he became a member.

So, the original Little Rock scenery still hangs above the Pasadena stage and is used. Although it has been repeatedly tampered with over the years, and added to by other studios, the remnants of late-nineteenth century art are visible, as well as the individual paintings of Moses and Strong.

Today’s scenery at Pasadena, Yankton, Salina, and Austin all share one thing in common; they are some of the earliest installations in the Southern Jurisdiction and all have backdrops painted by Strong. His work is some of the most beautiful scenic art that I have ever encountered and he was credited as being the last American scenic artist to represent the Dusseldorf school. Walter Burridge affectionately referred to Strong as “Old Trusty.” Fellow scenic artists heralded Strong’s skill, his “facile brush,” and his “quality of opaqueness” (Chicago Tribune, Dec. 18, 1892).

I am currently in Pasadena Scottish Rite to repair the crucifixion backdrop at the Scottish Rite; it ripped in half and plummeted to the stage. A few years back, I completed a similar repair in Grand Forks when their Hell scene split in two. The Pasadena version, however, is almost beyond repair as there is other extensive damage throughout the composition. My flight arrived quite early this morning, after a series of delays, so the day is starting out a little slow.

Luckily for me, there will be some “dry time” while I am on site completing the repair. I intend to look for more clues indicative of the studio practices at Sosman & Landis from the late-nineteenth- through early-twentieth century. If anything, I have promised Rick Boychuk some detailed rigging pictures as I believe that the system may be from the 1902 Albert Pike Consistory in Little Rock.

To be continued…

 

Part 354: The First Little Rock Scottish Rite Scenery Collection: 1896, 1899 and 1902

The first three times that Scottish Rite scenery was manufactured by Sosman & Landis for Little Rock, Arkansas, were 1896, 1899 and 1902. They were likely three expansions to the same collection that found a permanent home in the 1902 Albert Pike Consistory building. An entirely new scenery collection replaced this combination in 1924; it was also produced by Sosman & Landis and created for the Albert Pike Memorial Temple.

The first Scottish Rite scenery collection was delivered in 1896 to the Albert Pike Cathedral; this scenery was for the Little Rock Scottish Rite on Center Street. A Jewish synagogue was remodeled and equipped for $12,000. The 1896 collection was expanded in 1899 when additional scenery was purchased for the same space. The Scottish Rite remained in the converted synagogue until September 1902 when the Scottish Rite Consistory was completed. As with many Valleys, the dramatic increase in membership demanded a larger home, so a second building was constructed, moving the Scottish Rite from Center Street to the northwest corner of 8^th and Scott. This new building was remodeled and enlarged by 1913; the expansion incorporated the 1902 building into the complex, but added a projecting front bay and triangular pediment supported by four fluted Ionic columns.

There was a fire on August, 27, 1919, that burned down a Masonic building in Little Rock, but it was not the Albert Pike Consistory; it was the Masonic Temple building. Fire destroyed the seven-story Masonic Temple complex where the Grand Lodge of Arkansas and the York Bodies were located at 5^th and Main. However, the destruction of the Grand Lodge and York Rite spaces partially instigated the planning and construction of a new Masonic complex in Little Rock – the 1924 Albert Pike Memorial Temple. This new building would house all of the Masonic Bodies in Little Rock, including the Scottish Rite. Ground was broken for this new structure on December 3, 1921; the cornerstone laid on May 11, 1922, and the building dedicated by May 12, 1924. The cost of the 1924 three-story building was $1.5 million dollars.

Thomas G. Moses’ resumé lists the scenery for Little Rock’s 1896 and 1902 installations, but not the 1899 scenic additions. That year Moses was primarily out of the studio, traveling and contemplating another departure from Sosman & Landis. By 1900, Moses left Sosman & Landis to form a new partnership with Will Hamilton in New York City until 1904 (Moses & Hamilton). His taking credit for the 1902 scenery collection suggests that it was the same 1896/1899 scenery, or another expansion of the original scenery collection. Even the 1904 “New Age Magazine” article describing in detail the Albert Pike Consistory did not suggest the purchase of a brand new scenery collection for the building.

Here is an excerpt from the article, written by SGIG Charles E. Rosenbaum. This article really established Little Rock degree productions as the gold standard for degree work in the Southern Jurisdiction:

“It is claimed, and we do not doubt that it is true, that the stage equipment in Little Rock is the most perfect in America – not only for Masonic purposes, for which it is used exclusively, but from any point of view. It is said by theatrical experts that nowhere else in America, with the possible exception of one theater in New York, and one in Chicago, it is possible to produce either the scenic or electric effects that can be produced on this stage. There are over one hundred drops all so perfectly counterweighted that the heaviest as well as the lightest in weight moves easier than a well-balanced window sash in a private residence. In addition to the drops, there are nearly one hundred set pieces of various sizes, to make the scenic equipment complete, and with the elaborate incidental property the scenic equipment is one of great magnitude.

The electric equipment is perhaps more elaborate, and of greater magnitude, if such a thing can be possible, and some ideas of its capacity may be gathered when it is known that with the numerous border rows, ground rows, strips, bunch lights, arc projectors, lens boxes and spot lights, there is a capacity of more than six thousand sixteen-candle-power lights on the stage alone. All these are handled with great effect and with the precision of beauty through the medium of a specially designed switch board, the creation of Brother Bestor G. Brown, who has given much thought and labor to stage and electric equipment, and is a recognized authority on the subject. It must be understood that a Scottish Rite stage is not to be conceived as a theatrical stage, for when so considered much of its effective use is destroyed, but when used as a combination with the floor of the auditorium, giving to the initiate a beautiful picture for the eye, while at the same time he is lending an attentive ear to the lessons that are being taught, the use of such a stage will be understood and correspondingly valued.”

Notice at this point that Rosenbaum is really walking a very fine line, knowing that Pike had condemned melodramatic productions for degree work. He is defending the implementation and use of degree productions.

The article continues: “The Bodies of Little Rock were pioneers in the use of a stage in the Southern Jurisdiction. It was to be expected that when they constructed their present magnificent and perfectly equipped building, the experience gained not only through their own efforts but through those of others who, in the meantime, had adopted the use of the Scottish Rite purposes, would give them just what, in fact, they have, the most perfect one in the land. Our experience was of great value in designing and equipping this building, which would we think, be credit to even the largest city in the United States. For this reason, it is particularly noticeable and a source of admiration of the part of all who visit it. Many Brethren of distinction have come from great distances on committees, or as the representatives of Bodies located elsewhere, for the purpose of observing its excellent arrangement and equipment and utilizing them in other buildings.”

The 1902 scenery for the Albert Pike Consistory is still used, just by another Scottish Rite Valley – Pasadena, California. In an interesting turn of events, I depart for Pasadena this afternoon to repair one of their scenes. I will take a break from my blog for the next few days to cover my project for the Pasadena Scottish Rite.

To be continued…

Part 353: 1898 Scottish Rite Scenery for Wichita, Kansas

Bestor G. Brown set his sites on a new project after completing the Albert Pike Cathedral in Little Rock, Arkansas – Wichita, Kansas. Keep in mind that Brown was a leader with a magnetic personality, well known for his eloquence. He was frequently praised for his deep understanding of Masonic ritual and its theatrical interpretation on a Scottish Rite stage. Brown had many loyal fans throughout the course of his career, not just in Kansas, but throughout the country. All of these factors made Brown a natural to sell fraternal supplies and promote degree productions. But there was also something else that made him unstoppable – he was also working from the inside out.

In addition to representing M. C. Lilley & Co., Brown was the stage director for the Wichita Consistory. This allowed him to speak with clients from a position of experience and deep understanding of the demands for various degrees. He wasn’t just a member, he was an extremely active member. As active members, it only took a few key individuals to systematically market the new degree paraphernalia. A fairly small group of individuals established the “gold standard” and it became the most sought after degree experience to share with the Fraternity. Because they were all members, these men were able to successfully communicate with degree participants and degree directors.

Even though Brown’s primary residence was in Chicago from 1892 to 1898, he remained extremely active in Kansas Masonry, as well as other fraternal orders such as the Odd Fellows and the Knights of Pythias. I cannot imagine where he found the time to do it all. He was a salesman who intimately knew the fraternal market and what his clients really needed in each area for a successful production or ceremony. He was able to speak their language as both a member and a degree participant.

In Wichita, Brown recommended the purchase and renovation of an existing building. A stage for degree productions was included in the renovation plans during 1898, led by Brown. The Valley of Wichita purchased the Young Men’s Christian Association for $20,339.90 and during January 1898, and extensively remodeled the space to include a 300-seat auditorium. The planning and construction was similar to that in Little Rock, during 1896.

The second member from Wichita to aid in the theatrical interpretations of Scottish Rite degree work was Henry Wallenstein. Born in Cincinnati, Ohio, Wallenstein moved to Wichita at the age of twenty-seven and entered the mercantile business, becoming a co-owner of the business by 1886. As with Brown, Wallenstein was also a well-known “staging expert” for the Scottish Rite degree productions in the area. Later, the Wichita Scottish Rite bodies noted Wallenstein’s contribution to the successful dramatization of degree work as his outstanding achievement in Masonry. Both Wallenstein and Brown greatly facilitated the Southern Jurisdiction’s inclusion of theatrically interpreted degree work on Scottish Rite stages throughout Kansas and the region. With the backing of M. C. Lilley & Co. and the assistance of Sosman & Landis they were on a roll, and unstoppable. There was too much money being made from the initiation of new members to cause the Supreme Council to shut down these new activities.

So by 1899, Brown had returned to living in Topeka, Kansas, and was deeply involved in the planning of the new 1900 Guthrie Scottish Rite stage. Immediately after the Wichita Scottish Rite was completed, the SGIG of Oklahoma (Harper S. Cunningham) brought in Brown, Wallenstein and Charles E. Rosenbaum to help with his new project. Cunningham would later be heralded as the Scottish Rite’s “Temple Builder.” He was involved with not only the Scottish Rite stage in Guthrie, but also the first one in McAlester, Oklahoma, before moving to Santa Fe, New Mexico.

This is where is gets interesting. The three brought extensive knowledge and experience to the project. Cunningham watched them incite enthusiasm and anticipation for the new Masonic space. In later years, Cunningham would use this same technique in Santa Fe, New Mexico. There, he would attain the support of the membership and prepare them for the new stage as their building was being planned (the 1912 Moorish-revival style complex). In 1908, Cunningham would negotiate the purchase of the original McAlester scenery for Santa Fe.

At this same time, some of the original 1898 scenery from Wichita was purchased by Yankton, Scottish Rite. This was after the Wichita Scottish Rite building added a larger auditorium and dining hall.

Records would also indicate that Yankton purchased some of the original Guthrie scenery when M. C. Lilley divided the Guthrie collection between Yankton and Austin. The original scenery collections were like trading in used cars and receiving credit for a new car purchase.

Both the original Wichita (1898) and Guthrie (1900) scenery collection were created by Sosman & Landis when they were subcontracted by M. C. Lilley.

To be continued…

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 (4^th through 32^nd), 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…

Part 351: Bestor G. Brown, “Masonic Stage Carpenter”

Bestor G. Brown (1861-1917) was another key individual in the development of Masonic stages during the late-nineteenth and early-twentieth centuries. He was an instrumental figure in the promotion of Scottish Rite degree productions across the country.

Brown was born at Blufftown, Indiana during 1861. The Browns soon moved to Kansas with his parents. His father, George S. Brown was a law partner of Judge John Guthrie. Bestor attended public schools and became a reporter for the Topeka Daily Commonwealth at the age of 16. Later he was in charge of the city department before leaving to study law, attending the University of Michigan. In 1884, he married Emma Kellam, who died only a few years later. In 1891, he advertised as an investment banker in the Topeka Daily Capital with offices in rooms 6 and 7 of the Topeka Bank Building. Brown’s ads listed him as “a dealer in high grade municipal, county, school and corporation bonds. Trust certificates bearing from 5 to 8 percent interest issued to investors. Prime Commercial Paper a Specialty. Correspondence Solicited.”

However, Brown soon turned to Masonic regalia and paraphernalia sales, suggesting that this was quite a lucrative field for an ambitious Mason. It is important to note that up until this point he had no experience with technical theatre or commercial stages. In 1892, he listed residence as Chicago, moving just in time to be part of the preparation for the Columbian Exposition. Brown was based in Chicago from 1892 to 1898; working as a fraternal traveling salesman. He returned to Topeka, Kansas in 1899 and later moved to Kansas City by 1904, becoming the western sales manager of M. C. Lilley Company.

Brown was reported to be “one of the most profound students of freemasonry and ritualists in the whole country” (The Kansas City Kansan, 11 July 1918, page 1). He was noted as “connected with practically every movement which Masons launched in Kansas for many years.” This was imperative if he was to sell fraternal regalia and paraphernalia.

Brown’s Masonic resumé included involvement in the Scottish Rite, York Rite, Midian Shrine, and the Order of the Eastern Star. He was also a member of the Odd Fellows, Knights of Pythias and organized several chapters of the Psi Upsillon Fraternity. Masonic work included being Grand Master for the Grand Lodge of Kansas; Past High Priest of the Grand Chapter, Royal Arch Masons of Kansas; Past Master (and one of the first members initiated) of Siloam lodge, No. 225, A.F. and A.M.; Past Grand Master of the Grand Council; Past Grand Commander of Knights Templar in Kansas; General Grand Scribe of the General Grand Chapter of Royal Arch Masons; a Past Grand Sovereign of the Grand Imperial Council of the Red Cross of Constantine; and at the time of his death was an officer in the national Grand Council. Brown also had the distinction of having sat at the Royal Lodge in London when King Edward presided (Fort Scott Daily Tribune, 12 July 1917, page 2).

Brown was also a traveling salesman and western representative of M. C. Lilley and an “authority on the costumes for Masonic Bodies, having made a deep study of the subject in France and England.” In 1903, the Portsmouth Herald reported that Brown, who was the new Grand Master of Kansas, had been “unusually active” in lodge, chapter and council work since his admission to the Fraternity in 1884.

He was praised for his devotion of Masonry and the article reported, “Mr. Brown is called the only Masonic stage carpenter in the country” (Portsmouth, New Hampshire, 12 June 1903, page 3). Less than a decade later, the counterweight system installed in Scottish Rite theaters by M. C. Lilley subcontractors (Sosman & Landis) was referred to as “”Brown’s special system.” My research suggests that the stage machinery was actually developed by the stage mechanics at Sosman & Landis, not by Brown. This would be understandable as Brown came from a banking background and had no experience with theatre technology or supplies prior to 1892.

Brown was the salesman and possibly marketing technology developed by Charles S. King, a long-term Sosman & Landis studio employee who had completed 200 theatre installations by 1899. King started his career as a stage carpenter and stage machinist in 1859 and began working for Sosman & Landis in 1884. In 1903 newspaper articles note that Brown “created and developed the application of modern scenic properties to the dramatic presentation of all Masonic degrees and in this work is almost invariably consulted everywhere throughout the United States.” Again, I think that he was associated with the system because he was selling the product and not the designer.

Brown died in 1917 at the Battle Creek sanitorium after a relapse following an operation for kidney complications. Brown was 56 years old. He was survived by his daughter, Mrs. Dana L. Davis of Topeka. For the past few years of his life, Brown had been living in Kansas City while continuing to work in the western offices of M. C. Lilley Co.

The first year after Brown passed away, members of the Wichita Consistory organized an annual pilgrimage to Topeka, Kansas, to honor of his memory (The Kansas City Kansan, 11 July 1918, page 1). The paper reported that Brown was “one of the most scholarly and best loved Kansas Masons. All of the Scottish Rite bodies in the state were invited to join in the placing of a floral tribute on the grave of ‘their best loved brother.’”

To be continued…