Tales from a Scenic Artist and Scholar. Part 810 – Medinah Temple, 1912

Postcard depicting the Medinah Temple, A.A.O.N.M.S. in Chicago, Illinois.

In 1912, Thomas G. Moses recorded that Sosman & Landis delivered Scottish Rite scenery collections to Santa Fe, New Mexico, Portland, Maine, and Bloomington, Illinois. In addition to Scottish Rite theaters, Sosman & Landis secured the Shrine scenery contract for the Medinah Temple in Chicago. Of the work, Moses wrote, “Sketches for the Medinah Temple were accepted and work awarded us.  The drops are 26 x 65 – some size.” The Medinah Temple faced Cass Street and extended from Ohio Street to Ontario Street.

I have often been asked to explain the Ancient Arabic Order of the Nobles of the Mystic Shrine.  I typically respond that after a Mason is introduced to Freemasonry in a Blue Lodge (first three degrees), he continues his education as a Master Mason in either the Scottish Rite or York Rite, thus making him eligible to join the Shrine.  The “Shrine” was a place to “relax” after all of the “hard labor” of learning the “Craft.” Today, Masons can skip the step of extending their Masonic education in the Scottish Rite/York Rite, and immediately jettison into the Shrine.

On October 30, 1912, newspapers advertised, “Masonic Temple in Chicago Dedicated” (“Decatur Herald, 31 October 1912, page 4).  The article reported, “The new Medinah temple was dedicated here tonight by the Order of the Nobles of the Mystic Shrine. More than 9000 Masons headed by Imperial Potentate William J. Cunningham of Baltimore, took part in the ceremonies which were elaborate. The building, which cost $650,000 is the finest of its class in the world. It has a seating capacity of 6000. The stage can accommodate another thousand persons.” The seating capacity was actually 4500, not 6000.The building was designed by architect Harris W. Huell of Huell and Schmidt, in the Moorish Revival style, with scenery and stage machinery by Sosman & Landis of Chicago. The Medinah Temple auditorium was also well known for its superior acoustics and 92-rank pipe organ.

Design for the Medinah Temple stage, now part of the Holak collection at the Performing Arts Archives, University of Minnesota libraries.

Over time, the building fell into a state of repair and the sale of the property was presented to the membership. In preparation for a future move, the Masons liquidated many if the building’s contents, including the 80’-0” Gustav Brand painting of a pilgrimage to Mecca, oriental tapestries, vintage furniture, regalia, stage costumes, circus ephemera, and the list goes on. I have repeatedly discussed the liquidation of Masonic contents in historic buildings. In many cases, there is a lack of understanding in regard to the cultural significance of many fraternal artifacts, especially their historic importance. Masonic artifacts are being sold and thrown out quicker than they could ever be documented. In about a decade, after a new generation of Masons has joined the Fraternity, they will question the actions of the current generation. These future members will realize what was squandered for the benefit of a relatively few.  

The Medinah Temple in Chicago, Illinois.
Plans of the Medinah Temple theater.
The Medinah Temple stage
The Medinah Temple theatre

By the turn of the twenty-first century, there was an attempt to save the city of Chicago attempted to save this historical landmark while repurposing the structure. $14,000,000 in state and federal money assisted Federated and Bloomingdales. Medinah Temple reopened as Bloomingdale’s Home Store in 2003. The space was renovated with retail in mind. The interior coffered plaster dome, proscenium opening and stained glass windows were preserved. The original first floor, once six feet above street level, was dropped to grade. Local newspaper articles boasted of the building’s renovation and the project even won awards. Meanwhile, the Shriners had relocated to another venue in the western Chicago suburb of Addison.

I visited the renovated structure in 2014 while attending a League of Historic American Theatres regional conference. I was fortunate to have a few free hours during the event as it provided me an opportunity to go on a walking tour with a Masonic friend in town. As we searched for original ornamentation and discussed the Medinah Temple’s history, I could not help but grieve for the overall loss.  The building’s exterior may have been saved, but the soul of the space was gone.

Last fall, the Medinah building was placed on the market again, appearing in newspapers articles during August 2018. The 130,000 sq. ft. building was a mere victim of Bloomingdale’s nationwide downsizing. Using public money to restore a historic building for retail may not be the solution and I have to wonder if the $14,000,000 in state and federal money merely prolonged the inevitable. Here is a link to an online article about the Medinah building with some lovely architectural details: https://www.wbez.org/shows/morning-shift/whats-that-building-medinah-temple/3e8d9257-2f34-4126-953b-f4aee23d31a4

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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