Tales from a Scenic Artist and Scholar. Part 620 – 1909 Masonic Work – Topeka

Part 620: 1909 Masonic Work – Topeka

In 1909, Moses wrote, “The Dallas Masonic work came in early, so did San Francisco and Cleveland, Ohio.” He also commented, “I think we should turn out some work and we do. It is often a puzzle to me where it all goes, but the Masonic work requires a lot of time, and there is an average of eighty drops in each order so it makes plenty of work and is very interesting. The artists never grumble when they get it to do.” That year, Moses also supervised scenery collections for Scottish Rite theaters in Kansas City, Kansas; Winona, Minnesota; and Atlanta, Georgia. From 1906-1907, he had already supervised scenery for Scottish Rite theaters in Detroit, Michigan; Topeka, Kansas; Fort Wayne, Indiana; Salt Lake City, Utah; Wheeling, West Virginia; Dubuque, Iowa; Danville, VA; Wichita, Kansas; and Clarksburg, West Virginia. By 1909, Moses’s resume recorded that he had supervised the creation of eighteen Scottish Rite scenery installations.

Masonic work now made up between 25% and 30% of all projects in the Sosman & Landis studio. The Scottish Rite was growing extremely fast. Newspaper articles even detailed the necessary qualifications for Scottish Rite membership: “An applicant for the degrees of the Ancient and Accepted Scottish Rite must be an affiliated Master Mason of good standing and a resident of the state of Kansas” (Topeka State Journal, 19 March 1909, page 1).

During 1906, Thomas G. Moses wrote, “The New Year found me at work on some new work for Topeka, Masonic Hall. Very nice work.” The “Topeka Daily Capital” reported, “The Scottish Rite bodies of Topeka purchased the building now occupied by the local Masonic bodies three years ago, and they have spent over $20,000 in the last four months in furnishing a lodge room that will compare favorably with any in the United States. A new stage thirty-five feet in depth has been built, and it is said to have more scenery than any other in the country. There are 110 drops, over one hundred of which are the property of, and will be used by, the Scottish Rite in conferring their degrees, which are peculiarly adapted to stage work. The electrical effects that can be produced are almost without number, and are controlled by a marble switch-board eight feet long.” (21 Feb. 1906, page 5). Sosman & Landis delivered the scenery to the Masonic building located on Jackson Street in Topeka, Kansas. $15,000 worth of scenery had been sold to the Valley of Topeka.

 

Although Freemasonry might be considered a “secret” society, the identity of incoming members was often published in the local newspaper. In many ways, membership growth and the construction of Scottish Rite theaters across the country became quite a competition. Scottish Rite membership was on the rise and it meant something to be associated with the Fraternity. Spring and Fall Scottish Rite Reunions were big news in many areas. I have heard so many people say, “My grandfather was a Scottish Rite Mason, but he never spoke of it and we had no idea what he did.” I believe that communities from the first decade of the twentieth century had a pretty good idea of what happened during Scottish Rite Reunions. Schedules were published, candidates were listed by name, and impressive images of Scottish Rite building interiors dominated newspapers around Reunions time. Sure, not ever detail was provided, but one was able to gather quite a bit of information pertaining to the various events and banquets held throughout the Reunion.

The “Topeka State Journal” described the four-day Fall Reunion from November 8-11, 1909, in great detail. It was the thirty-third semi-annual gathering and included a Scottish Rite Class of 100 candidates (30 Oct. 1909, page 6). Images included with the article, pictured two stage settings for the Peristyle Scene (3rd Apartment of the 18th Degree) and the Egyptian Scene (31st degree Hall of Justice).

“Topeka State Journal,” 30 Oct. 1909, page 6
“Topeka State Journal,” 30 Oct. 1909, page 6
“Topeka State Journal,” 30 Oct. 1909, page 6
“Topeka State Journal,” 30 Oct. 1909, page 6
Slide taken by Professor Emeritus Larry Hill of the Peristyle cut drop in Topeka, Kansas. A different backdrop was paired with it for this picture.

The fact that they pictured two stage settings used during degree work is mind boggling to me. This was a “look at the cool stuff we do” moment for area Masons.” I am including a few paragraphs about the Topeka Reunion as it really provides some historical context for the Fraternity using media to entice new members across the country. One just had to read the paper to understand the extent of activities happening at the Scottish Rite in many cities at this time. Here is a small section of the article from the Topeka State Journal:

“The Rite of Freemasonry called by the French writers the ‘Ancient and Accepted Scottish Rite,’ which title is now generally adopted as the correct one, although one of the youngest of the Masonic Rites, having been established not earlier that the year 1801 is today one of the most popular and extensively diffused. Supreme councils and governing bodies are to be found in almost every country of the world and in many of them it is the only Masonic obedience.

Outline of Work.

In speaking of the new features among the detail program of the reunion this fall, William M. Shaver, director of the work said: ‘With a view to placing candidates who reside outside of Topeka on the same basis with those who reside in Topeka, as nearly as may be, as to the cost of obtaining the Scottish Rite Degrees, the Topeka bodies have adopted a new rule which will go in to effect with this coming fall reunion. The rule is this: Non-residents of Shawnee county, who take the entire series of degrees form the 4 degree to the 32 degree inclusive at the same reunion, will have refunded to them their actual railroad expense from their home to Topeka and return…The bodies will continue to bear the hotel expense of candidates as has been the custom on the past.”

Topeka was trying many new things to increase membership. Earlier that year, “The Topeka Daily Capital” reported, “The Topeka bodies of the Scottish Rite began their evening class work in the Lodge of Perfection degrees at the Masonic temple on Friday evening. This evening work is designed for the accommodation of Topeka Masons who thus avoid the loss of time in business hours necessarily attendant upon regular reunion work and the plan is increasing in favor. About one hundred and twenty-five members and visitors sat down to a 6 o’clock supper in the new banquet hall and this number was largely increased as others dropped in later in the evening to see the work. A number if sojourning legislators and politicians were among the visitors” (25 Jan. 1909, Page 8).

The Topeka Scottish Rite figured something out in 1909, they had to invest in their members and understand their outside obligations that may prohibit men from joining. They took this into account, and made it possible for many more men to join.

To be continued…

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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