Part 718: The Scottish Rite in Memphis, Tennessee, 1909
In 1909, Thomas G. Moses recorded that Sosman & Landis produced a scenery collection for the Scottish Rite in Memphis, Tennessee. The scenery is stunning, and some of the best that the studio produced during this period.
The first reunion in the Memphis Scottish Rite building was held from November 15-19, 1909. The “Dedicatory Class” purchased a grandfather clock as a commemorative gift for the building; it is still in use today. I learned about the clock while watching a 41-minute video posted to YouTube by the Memphis Scottish Rite. There have been 7,249 views and it certainly depicts local character.
The YouTube video is a pleasant peak inside the building and includes interviews with General Secretary, Glen Pitts; Director of the Work, Jerry Hanson; Organist, Mark Henderson; and Personal Representative, Joe Harrison. The credits note the producer that the producer is Gerald Leek and the host is James McCraw. Here is the link: https://www.youtube.com/watch?v=KNm6G2OsDNA
Unfortunately, the host of the video incorrectly credited the scenery production to local students. Specifically, he explained, “a lot of art students came in and painted every single one of the 128 backdrops.” This is not unusual, as when I visited the Salina Scottish Rite, those in charge suggested a similar scenario, except the students came from a fine art college in the east. In many cases, the manufacture of Scottish Rite scenery is attributed to a group of wunderkind, and not experienced scenic artists associated with a scenic studio, such as Sosman & Landis.
Later, while standing in the Memphis Scottish Rite library, our host explains that he is the Masonic historian for the Valley. This bit of information caused my ears to perk up and reconsider his comments about the history of the scenery. Now, it is obvious that this is a well-meaning individual; one who is really trying to do his best to preserve and share Masonic history. However, this entire scenario is more common than one might think, and once again I contemplate my response.
Do I say anything at all? It is seldom beneficial for me to contact a Valley and explain that their perceived history about the stage and scenery is not reflective of the actual facts. Fortunately, over the years I have fine-tuned my approach, starting most conversations with, “That’s very interesting, however, I have some additional information that might help you tell your story…”
In 1980, Dr. John Rothgeb from the University of Texas (Austin) mailed a letter to the Memphis Scottish Rite, General Secretary G. E. Rothrock, inquiring about the scenery. Rothrock responded, “In searching back thru the minutes of these Bodies, I find that the scenery was purchased from M. C. Lilley, who in 1909 was located in Columbus, Ohio.” That means, M.C. Lilley subcontracted the work to Sosman & Landis. Rothrock further noted that the present building was contracted in 1906 and the scenery was purchased in 1909, adding, “There was a controversy and a lot of correspondence was exchanged between the supplier and the Memphis Bodies.” Previously in the letter, Rothrock explained that only the minutes of the Board Meeting pertaining to the purchase of the scenery were left and that all other correspondence had been “destroyed.” There was no note as to when, or how, the records were destroyed. Fire? So, between 1980 and today knowledge pertaining to the purchase of scenery from M. C. Lilley & Co. was replaced with the scenery being painted by local students.
At what point was the actual history lost? How does the delivery of scenery from a major scenic supplier become attributed to local students? If this major piece of information is wrong, what other aspects of Memphis’ Scottish Rite history have been forgotten?
My research suggests that Scottish Rite history in many Valleys began to disappear after WWII. It started with the elimination of paid Scottish Rite historians and archivists, as the jobs were no longer perceived as necessary or valuable. In addition to the elimination to many of the stewards of Scottish Rite history, the purchase of new acquisitions ceases. Simultaneously, the careful inventory of Masonic libraries and museums are suspended in many areas. Why?
Then consider that as Scottish Rite bodies begin to leave their historic building, the institutional knowledge is lost and discredited, sometimes actively erased. I wonder if the intentional burying of history and cultural significance of artifacts had anything to do with justifying the move? This is still happening across the country today as historic buildings are sold and the membership liquidates the contents of their buildings.
I repeatedly read about Valleys citing declining membership and funds as the sole reasons for the move. What is almost never addressed, however, are the intentions for the future, especially that of their material culture and artifacts. If there is no perceived value, legacy or history attached to the artifacts, it makes their abandonment easier.
It will be easy to walk away from a bunch of backings created by student and harder to walk away from large-scale artworks created by nationally recognized fine artists.
To be continued…
The battle for integrity in storytelling is endless. Theodore Russell Davis (1841-1894), campaign artist for HARPER’S WEEKLY during the Civil War, was the main artist hired by William Wehner (1847-1928) to paint THE BATTLE OF ATLANTA and MISSIONARY RIDGE & LOOKOUT MOUNTAIN panoramas. TRD’s Civil War sketchbooks were used as the basis for this work. But when the local journalists attempted to write reviews, their prose was SO BAD that TRD would write all the reviews wherever these panoramas would be shown.And he also wrote articles in THE COSMOPOLITAN, ST. NICHOLAS, and THE ART AMATEUR that explained the art and craft of rotunda panorama.BUT WHAT IS REALLY INTERESTING is the slander that one panorama company would slop on other panorama companies. This can be seen in “The Twin Cities Panorama Wars,” when BATTLE OF GETTYSBURG was shown in St. Paul by Reed & Gross, and BATTLE OF ATLANTA was shown in Minneapolis by William Wehner. Really nasty stuff.
I came across your article while looking for information on the inscription inside of this building. The inscription appears to be in Hebrew, but it is very stylized, and I can’t figure out what it says, and was wondering if you might have any information on that.
Under the inscription it reads: “1909 May 27” and on the other corner of the building it gives the architects as
Jones and Furbringer
Hanker and Cairns
Associated Architects
Thank you, Gavin!