Month: March 2019

I met Jo Whaley in 2014 when she contacted me about the Scottish Rite scenery collection in Santa Fe; the building was being placed on the market for sale. Jo, who understood the significance of the 1912 building and the historic theatre, had decided to document the space before it passed to another owner. The building was sold, but the Santa Fe Scottish Rite managed to get it back. That is a story in itself.

Our initial encountered and discussions morphed in a book by 2015. From 2015 to 2018 Jo and I spent countless hours on the phone, working on the design, text, images, and basic correspondence. We were fortunate to have two other contributors, State Historian Rick Hendricks and the International Folk Art Museum Director Khristaan Villela. Most importantly the Santa Fe Scottish Rite gave us full control over the books contents. We are very grateful to Wes Thorton, Deputy of the Supreme Council, and Dan Ilrich, President of the Scottish Rite Building Foundation, for trusting us to tell their story.

Although it was an incredible amount of work, Jo and I became close friends, as we creatively fueled one another throughout the entire process.

The book, however, is just the beginning. It has led to other opportunities that will allow Jo and I to work together again. I am delighted about this aspect as I look forward. Part of it is that we see and approach things in a similar way. Jo worked as a scenic artist before turning to photography, so we have the same appreciation for historic scenery, as well as picturesque landscapes, and our shared history.

Last night we had the pleasure of accepting the 2109 Ralph Emerson Twitchell Award from the New Mexico Historical Society. This award is given annually by the Historical Society of New Mexico for an outstanding publication or significant contribution to the creative arts, as related to New Mexico history. An email confirming our award described our book as “absolutely amazing,” and explained, “your book does a wonderful job of presenting the accumulated knowledge of New Mexico’s pioneering Masons, as well as the story behind the building’s unique architecture and its rich theatrical legacy.” The award was presented at the Awards Banquet in Albuquerque as part of the 2019 New Mexico History Conference.  Jo and I were invited to attend this event that included a book signing.

The entire project has been about the journey. Working with Jo and the other participants has been such a wonderful experience, but it hasn’t end with the publication of the our book. I can’t wait to see where the road leads us now.

To be continued…

 

I left Louisville at 6:30 AM on Sunday, March 24. After dropping Richard Bryant off at the airport, I headed to Chicago where I was going to meet Gene Meier, a panorama historian. There have been several individuals who I have encountered while searching for online information. Gene has done extensive research on American Panorama companies. On a whim, I decided to see if he wanted to meet on my return trip. We have been talking quite a bit recently after I uncovered a panorama company established by Sosman & Landis. This was in addition to their main scenic studio.

After winding my way to Sycamore, Illinois, I located Gene’s house. It was only twenty minutes away from where I was staying that evening. In many ways, meeting Gene in person was like reuniting with a long lost friend. We have been in contact about various panoramas and scenic artists for the better part of a year. Gene’s great aunt was an artist with quite an interesting background who was connected with the panorama artists. It was wonderful to see her work up close. She left diaries, sketches, paintings and other memorabilia. The care with which Gene has pieced together little bits and pieces about her past is impressive.

Gene’s Tante Tilda, Mathilde Georgine Schley, is most famously pictured in costume with a group in front of a panorama.

The Milwaukee Journal also published an article about her in 1925 (29 Oct. 1925, page 10). She was a Wisconsin painter, and the granddaughter of one of the Kindermann pioneers. The Kindermann emigrants came from Pomerania, Stettin, the districts on the Baltic, Brandenburg and the lands along the Oder. Under the leadership of Rev. G. A. Kindermann, the “Altlutheraners” sought religious freedom. They were the forerunners to the later German emigration that would follow, reaching Wisconsin during 1843. The Milwaukee Journal article notes that “They formed a common treasury into which rich members of the group poured their wealth and out of which passage and even land for the less prosperous ones was paid. The Kindermann emigrants came to Milwaukee. Some of their number became the first settlers in the Chestnut St. district…Those from Stettin and the Oder, between 70 and 100 families settled at Lebanon and Ixonia.” Mathilde’s grandfather settled in Lebanon, Wisconsin.

By the age of 19, Mathilde taught art in Dodge county. She studied art with Loranz and von Ernst in Milwaukee before moving to Kansas where she once again worked as an art instructor.

This was such a wonderful conclusion to my USITT trip, and certainly gave me incentive to return soon.

To be continued…

This is my last post on the conference, as I leave for Santa Fe in a few hours and shift my focus to other things. There is a lot that I could discuss about USITT 2019, new friends and delightful reunions. However, I am going to end this section with reflections on painted, digital, and projected scenes.

When you visit USITT, it is almost as if you are attending two conferences. There are the expected educational sessions and displays, but there is also the EXPO. You can solely visit the EXPO floor without ever attending the rest of the conference, for a fee. Cutting the ribbon to open the EXPO is a big event and students rush into the space, going from one exhibit booth to another, collecting swag.

The EXPO includes booths advertising products, services, publications, universities and internship opportunities. In addition to student and employment opportunities, the largest presence remains vendors. USITT has made it easy for the vendors to identify those with purchasing power by attaching a black “Buyer” ribbon on their conference name tags. There are designs and new product exhibits interspersed among, and around, the vendors.

In past years, backdrops and projections lined the exterior walls, and a few booths. For this conference there were only a few. As usual, each accompanied a little placard with information about the manufacturer or venue where it once hung. This year, in one corner near a coffee stand, a poorly hung and lit backdrop was placed next to a rear projection screen. Despite the wrinkles and lighting hot spots on the painted scene, there is immediacy to the drop that was absent in the projection; apples and oranges really.

Part of the notable difference is that there is a greater contrast of values in the painted scene. The darks are darker than in the projections. The greater contrast in the painted scene gave life to the composition otherwise absent in the projection.

Now, it cannot go without comment that the painted drop was poorly hung and poorly lit; the wrinkles were pretty atrocious. If this were at any other event than a technical theatre conference, I might not be so critical of the final presentation. I can only wonder why; hazard a guess that it may have been time, poor communication or inexperience. Maybe I am simply overtly critical and wanted the painted versions to far outshine a nearby projection. However, I wonder if we have lost something, such as our understanding of how painted scenery needs to be lit? What I have witnessed over the years is that without a general top light, wrinkles and flaws in the fabric can be accentuated, such as was the case this year on the Expo floor. Some scenes only had strip lights on the floor, blasting color upwards and highlighting ever flaw.

This observation is also after we played with lights on historic scenery at the Louisville Scottish Rite the same week. Richard Bryant was running lights and we saturated with scenes with red and blue. The borders contained white, red and blue lamps. Even with complete saturation of one color, the composition was clearly visible. This is not the case with some contemporary settings, where portions of the painted scene would disappear.

The brilliancy of the projection, although effective for many purposes, does not have the division of value as the painted piece. There is a reality and immediacy of painted scenes that cannot be replicated – yet. This same can be said for digital drops. There is a quality that does not capture the life of a painted scene – yet.

When digital drops were first introduced, scenic artists should have embraced the technology and made it their own. Easier said than done, as I certainly didn’t; initially criticizing and dismissing digital drops. It wasn’t going to go away because a handful of people felt threatened and were fighting change. As our scenic art predecessors, we should have applied new technology and innovation to our trade all along the way.

The heritage of scenic artists is closely linked with applying new technology to an old trade. It is that of a scenic visionary. The scenic artist could be the intermediary, translating the vision for the stage. Scenic artists understand what works from a distance; the necessity to separate values and the appropriate application of color to make it visible from a difference. They understand the way that “painted” light needs to shape objects while reflecting the stage lights at the same time. The magician to make it digital scenery really work will be the person who designs the digital file, hopefully a scenic artist. Whether it is for a projection or print, an artist needs to finalize the scenic vision. I am certainly not the first person to propose this.

As I looked at a digital drop on the Expo floor this year, really studying the characteristics of the print quality, I realized something. The cut and paste approach of the digital design did not work here at all. Some sections were fuzzy and others crisp; some kind of stock art? Some sections were flipped, as almost a reverse and repeat. The problem was that the shadows were not consistent throughout the entire composition. Repeated objects had shadows on opposite sides. I would like to think that a scenic artist would have immediately noticed this in the design and corrected it. Do people notice? I wonder; that digital file was designed, approved, printed, used in performance, and hung at a theatre conference.

What is lost in translation, however, is the unity of the composition when the lighting is not consistent in the paint (or dye) application. It is the use of light and shadow in the design and painting that creates the illusion. Now there is nothing worse, than me casting stones at a person, product or company from a safe distance, commenting online well after the fact. This could be a productive conversation as we look toward the future. I hope that this will spark a debate.

To be continued…

On occasion, there were USITT sessions where members visited a Scottish Rite during the conference. The last was in Milwaukee, Wisconsin. Lance Brockman and I spoke at the local Scottish Rite – the Humphrey Center. Planning the event was a less than a pleasant experience, and I have been hesitant to propose an off-site session again. That being said, whenever I am attending USITT, I look for a nearby Scottish Rite. It provides me with an opportunity to document just one more collection.

This year, I had multiple requests from colleagues who were attending USITT to visit while I was documenting the Scottish Rite scenery. I always have to check once on site that the Scottish Rite is okay with the extra people showing up during the documentation, but I never mind the company.

My only day to photograph the scenery was Wednesday, as there was a Scottish Rite Reunion starting on Thursday. The other logistical parameter for Wednesday was trying to finish up in time to attend the Scene Design Commission meeting. I had from 9AM to 3PM to document as much as possible and make my way back to the convention center. I knew that it would not be enough time to get everything and double-check the inventory. In short, to have people come around and chat really prohibits my ability to rapidly document scenes. However, I also don’t want people to miss the opportunity to see the collection, especially when they have asked in advance.

There were a few fortuitous moments on Wednesday that just made the day. The first was meeting Richard Bryant for coffee before heading over to the Scottish Rite. Richard decided to join me for a little bit, as the building was quite close to the convention center. The Masonic stagehands greeted us with donuts and a short visit. So much for my gluten-free diet, as I have no will power against a chocolate donut. Over the course of the morning, Richard did some interviews with his Archiving Technical Theatre Podcast, then ran the light board for one scene so I could capture the painting under different lighting situations. His interviews with the local Masons were such a good idea! This is something that I should have been doing for the past three decades. Richard’s podcast comes out today.

Gradually, a series of students and colleagues joined me for a short while and then headed back to the conference. It is always wonderful to listen to their observations about the painting, as I always learn something new. Midway through my project, the Scottish Rite held a small pizza party for our lunch break. It was a wonderful opportunity to chat with the Masons who showed up to help work the lines. Again, so much for being gluten free.

I returned to the convention center for the Scene Design Commission meeting, as I am the VC for Heritage. After the standard introduction, we all broke into our respective sessions to plan for next year. There were only two of us in the Heritage group, Rick and I. The point of the commission meeting is to come up with topics for USITT 2020; these ideas are now filed online with the deadline being June 1. The sessions for next year have been reduced from 1 hour 15 minutes to 45 minutes, with the option for double sessions slots. I am conflicted and a little concerned about the lack of interest in heritage, the reduction of session time, and our industry’s future plans. In hindsight, as I sat with Rick and came up with several session ideas for next year, I realized that this all could have been done over a drink in a bar.

To be continued…

 

I left Genoa, Illinois, at 5:45 AM on Tuesday, March 19. My goal was to arrive at the Louisville Scottish Rite between noon and 1PM. The drive was pretty uneventful, but there were many places that I wished I had stopped along the way; there is just never enough time. The first was the exit that would have brought me to Thomas G. Moses’ hometown of Sterling, Illinois. The second was the Crump Theatre in Columbus, Indiana. I could not take the time to stop, as I knew that my time was really limited at the Louisville Scottish Rite. My plan was to evaluate the entire collection on Wednesday. Today was simply scoping out the collection, rigging and facility with Rick. Also, this was the only day Rick could visit since the “New World Rigging Symposium” would prevent him from visiting Wednesday.

I contacted my Scottish Rite host Randolph. The intent was to visit for two hours while they were still open. Randolph had scheduled one of the Masonic stagehands to be there – Jim. Jim had worked the stage for many years and was an absolute wealth of information at 75 years old. Fortunately for me, Jim gave me their stage book that provided a little guidance in terms of inventory and line order. This is an unusual gesture, as I often have to prove how much I know before that stage book is passed along.

My visit on Tuesday was primarily about the rigging and Rick’s findings. Rick had a wonderful opportunity to fully explain the significance of this double purchase system to the stewards of this stage. He described that the 1930 system, original to the building, predated the Clancy patent several years later. As interested as I was in the unique aspects of the system I was more anxious to see a few scenes while he was in the flies. They brought in the first line and I began to catalogue information about this 4^th degree interior setting.

My notes were placed within the historical context of the Louisville Scottish Rite that I have explored during the previous week. It was apparent that the majority of the scenery dated from 1910. Toomey & Volland business records noted two scenery deliveries – 1910 and 1951. The drops depicted standard designs and painting techniques characteristic of the studio.

Unfortunately, much of the scenery was restored at one point, with methods that may not be advantageous for the collection’s future. I understand the choices of those who repaired the scene, but wonder how these will age. Most scenes were backed with a type of gauze that appeared plastic, although it may have been the adhesive. The edges of cut scenes were backed with flexible foam core; this I had encountered in Cheyenne. For a new scene, ephemeral in nature, it is a brilliant idea. For historic scenery, I have to wonder how the foam will interact with the fragile fabric in the long run. The painted surface had also been sealed, resulting in a slight sheen. I have no idea what was used for this, as it had a plastic feel; almost reminding me of a product that I used on interactive exhibits for museum projects – Aquaplastic.

Finally, the netting was replaced with a plastic ½” square version; hot melt glued to the back. As Alessia Carpoca and I looked at this alteration near the end of the day, she asked the same question that has gone through my mind multiple times when seeing hot melt glued netting: “How could anyone be so stupid?” It is the idea that the drops of hot glue will never come of the back without damaging the fabric. The hot glue embeds itself in the weave and is permanently fixed. Even steam and heat only partially removed this product, as I have tried in the past. The process completely destroys the painted surface during its removal.

Meanwhile, Rick was occupied doing another good deed (as usual); helping balance some line sets to make them easier to move. He also took the time to thoroughly explain how the system worked and all of the various components. As previously mentioned, the Scottish Rite Reunion was scheduled to start in four days and some of the lines were difficult to pull.

For the most part, we try to leave any stage better than we found it, even if this means simply explaining a system and scenery for future clarity. In Scottish Rite theaters, the Masonic stagehands are often unfamiliar with the history of both. It is not unusual to find something amiss in these systems that require a simple tweak. After all, the systems have often not been maintained since their installation.

After Rick was done with his talk and the weight adjustment, we headed up to the grid. This was one of the easiest ascents ever to access the space above the stage.

We went up steps and followed boards above the auditorium space. I kept an eye out for trash, as treasures were often left in these attic spaces. Sure enough, there was a Mazda Edison box! We balanced our way to a small door, with Jim taking quick grip on me to make sure I would not fall. My sense of mortality has exponentially increased over the years, so I don’t wander to close to the edges anymore. However, I wasn’t going to miss an opportunity accompanying Rick and hearing his observations. It is always fun to be on site with Rick, as he so thoroughly explains what I am looking at and the nuances of each system. It is like the rigging class that does not end.

We left the Scottish Rite late afternoon, and I checked into the Hardy House (my Airbnb for the conference). Just about the time I was settling in and deciding to open a can of soup, I received a text from Randolph. He notified me that the Louisville Scottish Rite librarian and archivist would be contacting me soon, offering me the opportunity to visit the Scottish Rite library that evening. Regardless of my fatigue, this was not an opportunity that I would miss. So within the hour, I was waiting outside for my ride to head back to the Louisville Scottish Rite. It was certainly worth it as I spent the next few hours perusing books and chatting with Richard.

Like many, the library was a fraction of what it had once held. Books were missing and the contents somewhat sparse. However, there were certainly some gems left; absolutely priceless publications that would contribute to my ongoing research about visual sources used by scenic studios to produce Scottish Rite scenery. My biggest surprise was a Cerneau book with many recognizable compositions that were later incorporated into the Scottish Rite scenic designs.

To be continued…

I have noticed that you meet people in your life who continue to reappear and shape your future, often over the occur of a decade or more. They signal significant moments that alter your path and fuel your passion, while providing information that would otherwise remain lost. One of my main reasons to drive to Louisville was to see Brian Traynor, a fellow scenic artist, in Chicago. Without Brian, I would not be on the trajectory I am now.

Brian and I first made contact while I was researching information about Chicago scenic artists during the mid-1990s. This was for Lance Brockman’s “Theatre of the Fraternity” exhibit at the Weisman Art Museum in 1996. I cold-called Brian on the phone about 1995 and we chatted about scenic studios and individual artists in the Chicago area. From the first moment we spoke, there was an instant connection, one that has exponentially grown over the years. Our conversations have always been like rapid ping pong matches with facts, figures and personalities bouncing back and forth. He always knows exactly what I am talking about or referring to, whether it is projects, people, or painting techniques.

We next connected when I was designing and writing the text for the University of Minnesota Scenic Collections Database. Again, I contacted Brian to verify information and sources. We were both a little older and had individual gathered even more knowledge and information about the Chicago artists.

The third time was when I was working on a restoration project and Brian contacted me with news that a scenery collection was destined for the dumpster. This was the Peoria Scottish Rite and we both tried in vane to find a University or facility willing to take it at the time, or even temporarily store it. This was when we decided that I should simply rent a truck and pick it up, using it as an instructional tool.

Then Brian began the transfer some of the artifacts that he had housed for years. Fortunately, Brian salvaged a plethora of information and artifacts that would have otherwise been lost forever. Studio records, stage designs, historic pounces, drawings, photographs, paintings, dry pigment, aniline dye, hide glue, and much more appeared on my door step over the years; all from Brian. We both recognized that our homes were becoming temporary storage facilities, until we could identify permanent homes for the objects. Somehow along the way, we both became foster homes for scenic art artifacts awaiting a permanent collection.

Fast forward to last Monday. My stop this time was to return a few scenic studio sales catalogues and pick up a few more.

Elgin, Illinois, became our designated meeting space as it was close to where I was spending the night with friends. This time, I also wanted to officially interview Brian about his personal history and career as a professional scenic artist and historian. He has become part of the legacy to preserve our history; a jumbled tale swirling around James Maronek, John Rothgeb, Lance Brockman and many others.

Once again, we chatted over lunch and left with our respective bundles of historic artifacts. Our shared enthusiasm provides me with the necessary fuel to keep plugging along with my own research and journey. That being said, we have big plans ahead of us.

To be continued…

After stopping by the Al Ringling Theater and Baraboo Lodge No. 34, I drove over to the Circus World Museum on Monday, March 18. My intention was to briefly meet with the curator and share my information pertaining to the grand circus spectacles produced by Sosman & Landis from 1905 to 1915.

The gal behind the desk at the museum told me to see the curator Pete. He was currently working in their library and archives across the river on an upcoming exhibit. This building was a very small and unassuming place, yet the walls were lined with posters and circus memorabilia. We chatted for quite a while, with Pete deciding that a copy of my book would be beneficial his patrons as it placed the Ringling spectacles with in a larger context and identified a major theatrical supplier to Al Ringling. He then suggested that I venture back over to the museum to look at a few pieces from the grand spectacle “Cinderella” in the museum. He called over to make sure that I could examine the setting without any difficulty and I realized that more time should have been set aside for my Baraboo side trip.

I whizzed through the museum and easily spotted the scenery. It was awe-inspiring to look at the painting. It depicted all of the standard trademarks for a Sosman & Landis manufacture. I especially appreciated the foil paper-backed strips to accentuate the gold capitals. What was most interesting was the heavy-duty canvas, flat seams, and basic construction that mirrored the floor cloths produced by the company. Drop construction is another area where I am slowly tucking away information.

From 1905 until 1915, Thomas G. Moses completed several designs for grand circus spectacles. The first mention of his designing one of Al Ringling’s spectacles was in 1905. Fast forward to 1912 when Moses mentioned another visit to Baraboo, Wisconsin, during the Ringling Brothers’ off-season. Moses wrote, “I went to Baraboo in the meantime to see Ringling Brothers and close for another big spectacle. Mr. Al Ringling took me through the winter quarters of the animals which was also very interesting. Feeding time for the lions, tigers and all the cat family was a noisy time. Watching the training for the elephants was also very interesting. The immense chain and derricks they have to use to teach the elephants to stand on their heads was strong enough to lift a battleship. A great deal of care is given to all the animals, much more than is given to the men that attend the animals. The Ringlings have their own car shop and paint shops, and everything is taken care of here except scenery and wardrobe. They are very busy getting ready for the next season, making contracts for all supplies at every town they visit, and they certainly have some system.”

In spring of 1912, Moses caught up with the circus in his hometown of Sterling, Illinois, as he needed to collect the final payment for the season’s production. He attended the show and wrote, “Went to Sterling to catch Ringling to collect $1,200.00. As went to the tent to find Al Ringling, I discovered everyone watching a fire – a stable at least four blocks away. A spark was blown towards the tent, the top of which is prepared with parafine to make it water-proof. It soon ignited from the sparks and in less than thirty minutes the big tent was destroyed. The rest of the tents were saved. It was mighty fortunate there were no people in the tent. Some of the animals in another tent started some noise when the smelled the smoke, but they were soon quieted. I sneaked away without making myself known. There was no money for me, that I guessed.”

Moses eventually collected the payment during 1912, and by the end of the year wrote, “Another trip to Baraboo to see the Ringling’s about next year’s show, which I secured.” They were contracted to provide the scenery for another production in 1913. Al Ringling liked the work produced at Sosman & Landis studio and its last president Thomas G. Moses. Winter was the time to plan.

Both equipment and animals were cared for from November until April of each year – their off-season. Baraboo became home to the exotic and their caretakers. In 1913, 117 Ringling Brothers’ Circus employees worked in Baraboo during the winter months. The staff included the following positions: Caring for work horses (23), caring for show horses (7), caring for menagerie animals (8), elephant caretakers (10), blacksmiths (5), railcar repair (16), paint shop (16), harness shop )3), wagon and repair shop (9), wardrobe (5), hotel (12), watchmen (2), and office (1). As the circus employed approximately 1200 people during the season, where did the remainder of employees winter? Some acts sought contracts in warmer climates, returning to Wisconsin in April for the new tour. Some workmen found work in nearby lumber camps and spent the winter in less than ideal conditions. A few took the winter months as an opportunity for rest and relaxation

It was at the winter quarters that the Ringling brothers planned for their upcoming season. Shows were chosen, costumes assembled and scenery designed for elaborate spectacles. Winter was a time for preparation, training and hard labor. There was time available to plan and rehearse the animals for another season. A team of writers wrote news stories for upcoming shoes that would tour the country. Circus wagons were repaired and repainted. Animals were exercised both indoors and outdoors. Everyone had a specific project to accomplish all year long.

Baraboo remained the winter quarters for the Ringling Brothers’ circus from 1886 to 1918. At that time the circus moved to a new location in Connecticut; it had been the Ringling Brothers and Barnum & Bailey Combined Shows since 1907 and began to recoup at the old Barnum & Bailey winter quarters.

It was not until 1954 that John M. Kelly, a personal attorney for the Ringlings, incorporated the Circus World Museum as a historical and educational facility. He had worked for the Ringlings for more than three decades. The Circus Museum opened to the public July 1, 1959. The website reports that “The museum’s collection of circus artifacts is perhaps the largest in the world. It includes over 210 original wagons and vehicles once used by American, English and Irish circuses. It houses an exceptional collection of circus ads and posters. Over 9,500 multi-colored circus posters range in size from half-sheets to an 80-sheet Buffalo Bill Wild West poster which measures 9’ high and 70’ long. Thousands of journals, manuscripts and business records are available as well as original fine art oil paintings, hand bills, heralds, programs, artifacts of circus performers and a collection of rare photographs and negatives.” I have yet to spend a significant amount of time in their archives. Here is the link to their website: http://www.circusworldbaraboo.org/

To be continued…

 

Each of the seven Ringling brothers was a Scottish Rite Mason. They were members of the Scottish Rite Consistory in Milwaukee, a theater that boasted a Sosman & Landis scenery collection supervised by Thomas G. Moses during its production in 1913.

August Rüngeling and his seven sons all joined the Fraternity between January 1890 and August 1891. Each was raised in Baraboo Lodge No. 34 in Baraboo, Wisconsin, during that time. This is not unusual, when considering the percentage of men involved with some type of fraternity during the late 19^th century, and how the Freemasonry could become a “family affair” for fathers and sons.

Alf T. Ringling could be called the “ringleader” of the group, as he was the first to become a Freemason. Here is when each became a Master Mason: Alf T. (January 22, 1890), John (March 1, 1890), Al (March 29, 1890), Charles (April 9, 1890), Otto (April 9, 1890), Gus (Feb. 4, 1891), Henry (March 18, 1891), August Rüngeling (August 9, 1891). However, it was their combined roles as Masonic officers during 1891 that caught my eye. Their Masonic roles were noted in the minutes of a meeting on April 8, 1891: Alf T. Ringling was Worshipful Master; August “Gus” Ringling was Senior Warden; Al Ringling was Junior Warden; Charles Ringling was Senior Deacon; Otto Ringling was Junior Deacon; Henry Ringling was Senior Steward.

In 1900, “The Buffalo Courier” included the story of the Ringling family in a section called “Travelers Toward the East” (9 Dec. 1900, page 25). The article reported, “A Masonic journal says that the Ringling brothers are known all over the country as the proprietors of the Ringling Circus. Seven of these brothers are members of Baraboo Lodge No. 34 of Wisconsin jurisdiction, and after the seven were all members of the lodge the petition of the father was received. The Ringling brothers qualified themselves to confer the degrees were assigned to the several positions in the lodge, received the father into the lodge and conferred the degrees upon him.” The Baraboo Lodge rooms were above McGann’s Furniture in the building at the Northwest corner of Oak and Second Avenue, but a new building was in the making. The same month that their father was raised, the “Wisconsin State Journal” reported that the corner stone for the Baraboo Masonic Temple was “to be laid with great ceremony” that Thursday (25 August 1891, page 1). A formal procession was formed and consisted of the Baraboo lodges, Eastern Star Chapter, Royal Arch Masons, Knights Templar, members of the Grand Lodge, the members of the city council, and lead by the Baraboo military band.

The Baraboo lodge No. 34 received its charter from the Grand Lodge of Wisconsin on June 8, 1852 and early meetings took place in the Lodge Room of Purdy’s building over at the Post Office (Sauk County Standard, Baraboo, Wisconsin, 29 March 1854, page 4). Stated meetings were the first Wednesday, on or before the full moon in each month.

Baraboo Lodge No. 34 was almost four decades old by the time the Ringling brothers became members. Besides belonging to Baraboo Lodge No. 34, the brothers also belonged to Baraboo Valley Chapter No. 49, R.A.M (Royal Arch Masons); St. John Commandery No. 21 K.T. (Knight Templars) of Baraboo, and the A.A.S.R. (Ancient and Accepted Scottish Rite) in Milwaukee.

This little bit of history, prompted me to find the current location of Masonic Lodge in Baraboo on March 18, 2019. If they were open, I would stop on by and donate a book to their library. They might enjoy some additional information concerning their past and the scenic artists that Al Ringling so admired – Thomas G. Moses. After all, it was Ringling who continued to hire Sosman & Landis to deliver the painted settings for his grand circus spectacles, as well as painting the new front curtain for his theater in Baraboo.

I was in luck when I pulled into the parking space, just down the street from the new Masonic lodge building. I noticed a workman carrying in supplies, and based on past experiences, I walked up and said, “Hi, my name is Wendy,” then followed him into the building. After explaining my current trip and interest in Baraboo Lodge No. 34 and the Ringling connection, they took me on a tour of the building. What I really wanted to see was the Masonic aprons for each of the Ringling Brothers.

My tour guides could not have been more accommodating during my visit. You see, given the opportunity, people are often more than willing to share information about themselves and interests. These were three young men, fixing up their lodge on a weekday; a building that they loved.

To be continued…

 

There is always the dilemma of whether I should drive or fly to USITT. If I fly, I miss many historic theaters that I could stop at along the way. However, that takes time, time that I often don’t have to spare. Two things prompted my driving to Louisville this year – Baraboo and Brian. In Baraboo, it was the Al Ringling Theatre (1915) and the Circus World museum. In 1905, Thomas G. Moses wrote, “Went to Baraboo to see Ringling Bros. Hunt went with me. I don’t know why, as I had to do all the talking and make the sketching for ‘The Field of the Cloth of Gold.’ We got the contract for $3,500.00.” David Hunt was in charge of New York Studios, the eastern affiliate of Sosman & Landis.

Almost a year ago, I covered in detail Thomas G. Moses’ work for Al Ringling. Moses designed and supervised the painting of six grand circus spectacles. These were events for the big top and attached to the opening parade of the circus. These huge pageants that were solely accompanied by movement and music. The Ringling Brothers found favor with Moses during the first two decades of the 20^th century, so it was Sosman & Landis who would delivered the scenery to Al’s theatre in 1915.

My late luncheon appointment with Brian was in Elgin, Illinois, at 1:45PM and I had left Minneapolis at 5:45AM; so I had a little time to spare. Fortunately the driving went well and I found myself pulling into Baraboo with a little more than 90 minutes to document what I could. I was a woman on a mission. Unfortunately the Theatre is closed on Mondays, so I was only able to see the outside. Kicking myself, as I could have called ahead, I venture to the second of three stops in Baraboo. Here is a recap on Al Ringling’s Theatre. Here is a little information about the theatre.

In 1915, Moses wrote, “The new theatre we did at Baraboo for Al Ringling was a good contract at $2,600.00. I went up to open and found a beautiful theatre, very unique in design, fifty years ahead of the town. Poor Al Ringling died soon after this.”

The Janesville Gazette reported, “Sosman & Landis company of Chicago did the scenic painting in this new theatre” (20 Nov. 1915, page 20). On April 7 of that same year, Joseph S. Sosman passed away at the age of 70, leaving a widow and two sons (Arthur and Fred). Thomas Moses became the president of Sosman & Landis, with Arthur Sosman as vice-president. The Ringling Theatre was one of Moses’ flagship projects as the new studio president.

The Ringling Theatre opened its doors in November 1915 and has been operating continuously ever since. Al Ringling hired the architectural firm of Rapp and Rapp to design a theater based on the Orpheum Theatre built in Champaign, Illinois in 1914. The Janesville Daily Gazette reported, “Theatrical men, scenic painters, canvas makers and many prominent citizens from Chicago and other towns, all of whom were bound for Baraboo to do honor to a man who had the courage to build in that city one of the finest, if not the finest, playhouse in America, Mr. Al Ringling. (20 Nov. 1915, page 20). There were 844 seats, with seventeen boxes, each containing six seats. The stage was 33’-6” deep, 60’ wide and 46’ high. The massive fire curtain of asbestos measured 24’ high by 40’ wide, weighing 750 pounds.

As my hope to see the front curtain was a bust, I decided to visit the local Masonic Lodge, Baraboo No. 34. I knew it wouldn’t be the original building, but want to see the Ringling Brothers’ Masonic aprons. Score! Three men were working on the building, as it had suffered some water damage. All of the Ringling brothers and their father were Masons in Baraboo and the history is quite interesting. That is the tale for tomorrow.

To be continued…

Part 707: The Second Louisville Scottish Rite

The first Scottish Rite Cathedral in Louisville was a the remodeled building during 1895- St. Paul’s Episcopal Church at Sixth and Walnut Streets. From this moment forward, the Masonic membership in Louisville continued to grow at a rapid rate. By 1919, the Scottish Rite candidate class size numbered 200, and the high membership numbers began exceeding the building’s capacity.

During the 67^th annual spring reunion in 1919, the president of the “Victory Class “of Scottish Rite candidates introduced a resolution. Dr. T. H. Tuley urged “the Grand Consistory immediately to make plans for the erection of a Scottish Rite Cathedral in Louisville which will prove a credit to the Rite and to the city.” The Courier-Journal reported, the reading of the resolution was greeted with applause, and from the manner in which the proposition was received it seems possible some steps in this direction will be taken” (26 April 1919, page 4).

Previously, Courier-Journal published, “Largest Class in History of Consistory Attending Scottish Rite Meeting. 200 At First Dinner” (23 April 1919, page 9). The session opened at 10AM on April 22, with conferring the Lodge of Perfection degrees (4-14). The article noted, “For several months the Scottish Rite has been practically overwhelmed with applications for membership, every Masonic lodge in the State reporting unusually large numbers of initiates. The result has been that for the first time in many years it has been necessary to hold two spring Scottish Rite classes, the first one having completed work only about ten days ago.” Capt. John H. Cowles, sovereign grand inspector general of the Supreme Council of the Rite, was interviewed by the Courier-Times. They reported, “He says unusually large classes are being accepted into the rite in all consistories of the southern jurisdiction. He was highly pleased with the showing made by the Louisville lodge, especially in view of the fact that he received his degrees here and is a native of Kentucky, having lived for many years in Louisville.” In 1919, the Louisville Scottish Rite also premiered a four-page publication for attendees title “The Reunion News,” which was published every day during the reunion. This does not surprise me at all, as the Scottish Rite once met in the same building as the local newspaper, the Courier-Journal. What a great idea.

Scottish Rite membership was explosive during the 1920s and the influential power of the Freemasons was substantial. This is a moment in time when the Rite was very vocal about their activities and positions on both the political and social stage. From the late-nineteenth century to early twentieth century, is was not unusual to find detailed information pertaining to daily activities at Scottish Rite reunions, a list of members, and the history of the organization. The views of the Rite pertaining to public education and other social issues were published for all to read. When a potential candidate thought about joining, there was no question in his mind about what the organization was really about and if it was a good fit. This may be why the Scottish Rite continued to gain ground and dominate the fraternal landscape of America.

On May 11, 1923, the Courier-Journal published that “Scottish Rite Masons will begin a three-day campaign May 23, to raise the $300,000 necessary to complete their building fund for the proposed $750,000 cathedral at the southwest corner of Fourth and Breckinridge Streets. Ground for this structure will be broken in September, it was said. The cathedral will have four stories and basement, with an auditorium seating 1,350 persons. Solicitation will be from the 2,286 members in the State of which 1,200 are in Louisville, The campaign will be in charge if Benjamin S. Washer, Richard Priest Dietzman, Edward F. Metzner, Harvey White and Dr. E. L. Henderson” (page 18).

On June 27, 1923, the old Scottish Rite was sold, becoming the R. E. Jones Temple, Methodist Episcopal Church. On September 9, 1923, the Courier-Journal announced, “The contract for the construction at Fourth and Breckinridge Streets will be awarded shortly after bids are opened about October 15” (page 34).

There is one thing to consider about the second Scottish Rite stage. As a church took possession of the old Scottish Rite building, it is unlikely that any Masonic scenery or artifacts would have been left behind. This means that the old scenery would either have been enlarged for their new home, (as such was the case with the 1910 Guthrie scenery) or it would have been replaced with new scenery and sold to another Scottish Rite theater.

I have only encountered two references about a scenery orders delivered to the Louisville Scottish Rite during the twentieth century. The earliest was in 1910, when the Louisville Scottish Rite purchased scenery from Toomey & Volland. However, Toomey and Volland advertisements from 1912 do not list Louisville alongside fifteen other Scottish Rite Cathedral installations by that time, suggesting that they were only adding to a previous collection. Toomey & Volland may have only expanded the original 1895 scenery collection during 1910. It is unclear if E, A. Armstrong Manufacturing Co delivered the original scenery to Louisville either; meaning in was subcontracted to Sosman & Landis. The Louisville Scottish Rite is not included in a 1902 E. A. Armstrong advertisement that notes all the Consistories that they equipped since 1897. Granted, Louisville was two years earlier in 1895, but it leaves a question in my mind concerning who delivered the scenery. One other person comes to mind – E. T. Harvey. Harvey was the scenic artist who produced Scottish Rite scenery collections for Cincinnati in 1886 and Cleveland in 1901. It will be fun to see what I find on site.

Regardless, by the 1950s, Volland studio records a second scenery order from the Louisville Scottish Rite, but they do not specify exactly what was delivered. This means it the order could have ranged from one scene to an entire collection.

To be continued.