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 Part 497: Transactions of the Supreme Council, Southern Jurisdiction, 1905

I am taking a brief pause from looking at Thomas G. Moses’ painting projects during 1905 to provide a little Masonic context for that year. Moses’ supervision of Scottish Rite scenery production would dramatically increase during the next five years. There are a couple of factors to consider as the Scottish Rite’s membership and the construction of Masonic theaters dramatically increased during this time. It is imperative to understand the structure of the Scottish Rite, however, before explaining significant Scottish Rite legislation that was passed during 1905.

Here is a very brief summary of how the Scottish Rite is organized. The Supreme Council, Ancient and Accepted Scottish Rite, Southern Jurisdiction, USA, oversees the Scottish Rite in 35 states. There is also a Northern Masonic Jurisdiction, but I am not discussing that right now. The headquarters for the Supreme Council of the Southern Jurisdiction, or Mother Council of the World, is located in Washington, D.C. Presided over by a Grand Commander, other members of the Supreme Council are called Sovereign Grand Inspector Generals (SGIG). There can only be 33 Sovereign Grand Inspector Generals at one time; they are each in charge of an Orient. Other heads of the various Orients who are not members of the Supreme Council, are titled “Deputies” of the Supreme Council. Either an SGIG or Deputy is the Scottish Rite leader for any given state, or Orient, with any given number of Scottish Rite Valleys. For example, the Valley of Minneapolis is located in the Orient of Minnesota. Minnesota used to have an SGIG, but he retired and is now a Past Sovereign Grand Inspector General of Minnesota. We now have a new Deputy. Not all Deputies achieve SGIG status, as some are replaced when a new Grand Commander is installed.

As far as Scottish Rite degrees go, here’s the breakdown: There are four Scottish Rite Bodies divided by degrees – the Lodge of Perfection (4-14), the Chapter of Rose Croix (15-18), the Council of Kadosh (19-30) and the Consistory (31-32). A 32^nd degree Scottish Rite Mason has completed all of the degrees in the Scottish Rite up to the 32^nd. There is also an honorary 33^rd degree, the Inspector General Honorary, but that does not pertain to this particular tale and not everyone achieves that status.

That is the basic structure of the Scottish Rite in the Southern Jurisdiction, as my tale today pertains to the thirty-three Sovereign Grand Inspector Generals from 1905 to 1909.

In 1909, SGIG Harper S. Cunningham repealed a 1905 resolution. This action is recorded in “Transactions of the Supreme Council, Southern Jurisdiction.”  It was Cunningham’s name that made me stop and re-read the entry in the entry while I was looking for information to include in the timeline of “The Santa Fe Scottish Rite: Freemasonry, Architecture and Theater” (Museum of New Mexico Press, 2018). Cunningham was the SGIG of New Mexico in 1909. Previously, he was the SGIG for Oklahoma and Indian Territory.

Cunningham was instrumental in the growth of Scottish Rite membership in the western region of the Southern Jurisdiction during the end of the nineteenth century and first decade of the twentieth century. He was known as the “Temple Builder.” Cunningham helped expand the Scottish Rite in Oklahoma and Indian Territory, encouraging the construction of large Masonic facilities with theaters, such as in Guthrie and McAlester. They were designed to include theaters for the staging of degree productions, as those appearing in the Northern Masonic Jurisdiction and some of the Southern Jurisdiction. The use of theatrically interpreted degree gained popularity under the leadership of Charles Rosenbaum (SGIG Arkansas) in Little Rock.

Cunningham worked closely with Rosenbaum and Bestor G. Brown, the western sales manager of M. C. Lilley, a fraternal regalia and paraphernalia company. Brown was a Past Grand Master of Kansas (1903) belonged to many other Masonic orders, and was known as the only “Masonic Stage Carpenter” in the country. He also was the stage director for the Scottish Rite in Wichita, Kansas. Brown moved to Kansas City in 1904 where the regional offices for M.C. Lilley were located that year. For Scottish Rite scenery and stage machinery production, Brown – on behalf of M.C. Lilley – subcontracted all work to Sosman & Landis of Chicago. Joseph S. Sosman was also a Scottish Rite Mason.

In New Mexico during 1908, Cunningham helped lead the planning of the new Scottish Rite in Santa Fe. He was still working as the SGIG of Oklahoma and Indian Territory at the time, but soon requested to leave his SGIG position in Oklahoma to become SGIG of New Mexico. Cunningham also suggested the sale of the used scenery collection from McAlester, Oklahoma, to the Scottish Rite bodies in Santa Fe, New Mexico; this was to get the Santa Fe Masons used to degree productions for their new 1912 stage. He knew how to promote degree productions and get men excited about their new Masonic theater.

Many, including myself, have partially attributed the rapid growth of the Scottish Rite to the use of scenery and theatrically interpreted degrees. During the nineteenth century, the initiation of new candidates shifted from an individual to group activity, thus creating Masonic candidate classes. Each candidate class was named after an individual, place or event; one example is the Santa Fe Scottish Rite Cody Class, named for the 175 candidates from Camp Cody before they entered the WWI in 1918. Instead of one candidate receiving the degrees in a lodge room, degree productions allowed one exemplar to represent an entire class of candidates. These classes became massive, even numbering in the hundreds of candidates. In 1923, the St. Louis Scottish Rite theater had a seating capacity of 3,000; this was to accommodate the enormous class sizes, as well as its membership.

In addition to the appeal of staged degree work, there was also an incentive for the SGIGs of each state to increase the number of 32^nd degree Masons after 1905. In 1905, there was a resolution adopted at the Biennial Session of the Supreme Council to provide each SGIG with a $2.00 payment for every 32^nd degree Scottish Rite Mason who joined their Orient that year. Today’s equivalent of $2.00 in 1905 is just over $57 per person, a great incentive to increase membership in a state. To add a little more economic context for this amount of money in 1905, the average worker in the United earned $400, while most physicians were making between $4,000 and $5,000.

The growth of the Scottish Rite from 1905 to 1909 is astronomical when compared with the previous four years. From 1900 to 1904, fourteen Scottish Rite theaters were outfitted with scenery from either Sosman & Landis (Chicago) or Toomey & Volland (St. Louis). From 1905 to 1909, Sosman & Landis provided scenery for sixteen Scottish Rite Temples, whereas Toomey & Volland provided scenery for ten Scottish Rite Temples; twenty-six Scottish Rite Valleys purchased scenery between 1905 and 1909. These were only two studios of many theatrical providers for Scottish Rite scenery at the time.

Think of the financial benefit of collecting $2.00 per incoming 32^nd degree Mason, as there were two Reunions every year, each with candidate class. Using Kansas as an example with SGIG Thos. W. Harrison. There were seven Valleys in the Orient of Kansas, one of which was in Wichita. In 1908 the Scottish Rite Temple in Wichita was formally dedicated on June 8. Grand Commander James D. Richardson and several members from the Supreme Council were in attendance for the event. In the days following the dedication of the building, 529 Master Masons received the 4^th though 32^nd degrees. In one week, the SGIG would have made $1058.00. The equivalent purchasing power in 2018 is $29,008.08 (CPI Inflation Calculator). However, this gravy train only lasted until 1909 when those incoming funds would no longer going to go to individual SGIGs.

Why did Cunningham call for the repeal of the 1905 resolution in 1909?

Well, here is what happened that same year. During the Supreme Council’s session in October 1909, a resolution was passed to enlarge or extend the existing House of the Temple in Washington, D.C., or to erect a new one. The new temple was designed by John Russell Pope and modeled after the tomb of Mausolus at Halicarnassus. In 1910, Grand Commander Richardson accepted the basic design for their new building. On May 31, 1911, the Grand Commander broke ground on the spot where the House of the Temple now stands at 1733 Sixteenth Street NW, in the Dupont Circle neighborhood. The cornerstone for the building was laid on October 18, 1911, and the building was dedicated four years later on October 18, 1915. The chairman for the dedication ceremony was Lieut. Grand Commander Charles E. Rosenbaum.

To be continued…

Part 496: George Samuel and “The Convict’s Daughter”

In 1905, Thomas G. Moses wrote, “My old friend George Samuels of ‘Convict’s Daughter’ fame, came out and gave us a good order. In 1905, the production was in its fourth season of a “powerful melodramatic success” and revamped the show with new scenery (Independence Daily Reporter, 18 Dec. 1905, page 8). The Independence Daily Reporter commented, “a wealth of beautiful scenery” and “startling mechanical effects” had been provided for the show. “The Daily Oklahoman” mentioned the new scenery, costumes and performers for the 1905 tour: “‘The Convict’s Daughter’ the attraction that will appear at the opera house, matinee and night, January 1 will be given this season with an entirely new scenic equipment, new costumes, etc., and a stronger cast that has ever been seen in the play before. The play still retains that strength and intensity that has in the past won its way to the hearts of the public” (31 Dec. 1905, page 14).

The article continued, “The play is in five acts and has a wealth of beautiful scenery, the dialogue is bright, witty and full of comedy, and every actor has been especially engaged for his or her respective part…The first scene in Act 1 is indeed charming-an ideal southern home where sunshine and happiness dwell hand in hand” (31 Dec. 1905, page 14).

The central figure of the play is William Woodruff, an escaped convict who is innocent, unjustly sentenced for another man’s crime, that of murder. He finally escapes from prison and becomes known as the tramp “Weary Willie.” “The Independence Daily Reporter” reported, “The great sensational scene is the jail yard, where convicts are at work rebuilding a wall beside a railroad. In this scene a locomotive and twenty freight cars cross the stage. As the train passes the wall, one of the convicts, standing on the top stones, leaps for liberty to the roof of the car” (Independence, Kansas, 19 Dec. 1905” Page 2). Of the train scene, newspapers boasted that this scene was the “most astounding and realistic scene ever presented on stage” (Willmar Tribune, Wilmar, Minnesota, 4 Oct. 1905, page 1).

The melodrama takes place in the bluegrass region of Kentucky. A local banker, Col. Mathew Gould, has in his house a young woman whom he adopted when she was a baby. A young clerk in Gould’s bank becomes enamored of Miss Gould. All arrangements for the coming marriage of the pair are made, but Mathew Gould is unwilling to give his consent to the match.

James Blackadder, the supposed cousin of the girl, is also in love with her. He tries several schemes to break up the engagement between her and her lover. While Col. Gould is telling the girl’s lover the secret of her birth and that she is not his daughter, Blackadder overhears the story.

Woodruff approaches the Gould house to get food. He is employed by Blackadder to present himself as the girl’s father. Later, when all is ready for the wedding ceremony, Woodruff appears at the Gould home as the girl’s father. He shows bogus proofs of his identity and brings his “daughter” to an old shanty in the woods, arranged by Blackadder. While living in the woods with the two men, the girl finds a letter one in an old Bible, left to her by her mother about her father and his career. While reading the letter to her supposed father, “Weary Willie,” Woodruff realizes that the girl is actually his daughter.

When Blackadder arrives at the shanty, the two men quarrel and Blackadder has Woodruff arrested as the escaped convict from Sing Sing. Woodruff is taken to prison to serve out the remainder of the sentence. In prison, he is a good prisoner and soon wins the confidence of the warden. However, one of the prison guards is working for Blackadder and hired to kill Woodruff for the least offense. A new stonewall is being erected around the prison yard and Woodruff has been chosen to do some work on it. Immediately outside the wall is a railroad. It is the suspicion of the guard that Woodruff will attempt an escape on a passing train. His suspicion is verified by Woodruff taking advantage of the guard’s back being turned, leaving the line of prisoners and scaling the wall and leaping on the passing freight train. Pistol shots follow, but Woodruff escapes unharmed. Woodruff’s innocence is proven by the confession of the dying murderer, who leaves all his property to him. He returns to the Gould home in time to witness the marriage of his daughter to her choice. Gould’s daughter marries the man whom she has loved and waited for many years, the melodrama ending happily.

To be continued…

Part 495: William A. Brady’s “All ‘Round Chicago,” 1905

In 1905 Thomas G. Moses wrote, “Early in May I did a Wm. A. Brady’s ‘All Around Chicago,’ a big show at McVickers. Another $3,600.00 contract.” Moses was referring to “All ‘Round Chicago,” a musical review with a plot that involved an English Army officer escorting a king of the Cannibal Islands around Chicago. The king has lost his jewels, and the detective William Slinkertin traces them through various locations to the last act.

“The News Palladium” commented, “An enormous musical production and extravaganza is ‘All ‘Round Chicago,’ which William A. Brady presented at the McVicker’s theater for the first time on any stage last Sunday night. It is a show utterly unlike anything ever before seen in Chicago. It is a show of Chicago, about Chicago, for Chicago, and it undoubtedly pleased Chicago. It is the biggest and most enthusiastic first night audience at McVicker’s Theater this season. Hundreds of people were turned away, unable to secure admittance” (3 May 1905, page 3). The article continued, “The show is in twelve scenes and each one of them represents a well known part of Chicago. The fun starts at the well known restaurant, the College Inn, which is faithfully reproduced and introduces well known Chicago types. Other notable scenes are Michigan avenue boulevard, the lake by moonlight, the interior of the Auditorium on the night of the fancy dress ball, the board of trade, the new post office, and many other well known sights. The play is staged magnificently, 100 people being employed in the ensemble numbers.”

The “McHenry Plaindealer” reported, “The scenery is especially attractive, and as the play progresses the audience is taken to the College Inn, to the Auditorium, that lake front near the Annex, on State street, opposite the new post-office and onto the stage of McVicker’s where a burlesque of ‘Way Down East’ is the convulsing feature” (McHenry, Illinois, 18 May 1905, page 4). It was in the auditorium scene where twelve authentic Moulin Rouge dancers imported from Paris appear to perform their famous can-can, or “dance in the air.” The “McHenry Plaindealer” described, “The girls, who are garbed in exquisite Parisian gowns, lie on the floor, stick their feet up in the air and go through all the motions of a dance. The effect is charming and the girls are rewarded nightly by six or seven encores” (24 May 1905, page 8).

The musical “All ‘Round Chicago” was advertised as “a scenic musical skit” and “a topsy turvy in two acts” (The Times, Shreveport, Louisiana, 7 May 1905, page 14). It opened on May 1, 1905 and written by A. Baldwin Sloane and Frederick Rankin. The “Minneapolis Journal” included an article titled, “ALL ROUND CHICAGO” HAS MANY SONG HITS on May 20, 1905 (page 10). The article gave a detailed account of the songs: “In the long list of ‘hits’ in ‘All ‘Round Chicago’ are three or four songs which have made particularly fine impressions. One of these is ‘Oh, Mr. Moon,’ sung by Nella Bergen and the chorus of men. Another is ‘The Cute Little Cannibal,’ in which the entire company is heard, Frank Hatch singing the solo. Others are Dan McAvoy’s ‘I’m Looking for That Man’ and ‘Dear Old Chicago For Me,” in which each member has a verse and the chorus comes out strong on the ensembles. The greatest hit of all, however, is the ‘Song of the Nations,’ in which the entire company takes part. There are the cute little Johnny Bulls – eight of them- and they sing ‘God Save the King’ in fine fashion; then follow the eight Gastons that speak for France; Ireland is represented by Laddies in green with shillalahs and shamrocks and Irish top hats; then there are Japs, eight boys in pink and green and eight soldiers in the uniform of the field; then eight dear little German kinder in wooden shoon and with big pipes. Last of all Columbia attended by the Rough Riders and assisted by Miss Dixie comes to finish the play and right rousingly do they do it. The strains of ‘The Stars and Stripes’ swell out with the chorus of 150 trained voices, the augmented orchestra and the magnificent pipe organ which is one of the glories of McVicker’s. This song makes an inspiring finish to the play.”

This novelty was further described by the “McHenry Plaindealer:” “There are a row of little ‘Johnny bulls’ lustily singing ‘God Save the King;’ a group of French boys lifting up their voices in the ‘Marseillaise,’ a roughish lot of Irish lads shouting out ‘The Harp that Once Through Tara’s Halls,’ a row of funny little Germans singing ‘Die Wacht am Rhein,’ Jap boys and Jap soldiers droning out ‘chop-stick’ music” (24 May 1905, page 8).

Of the lead, the “Butte Daily Post” published, “Jim Corbett is surely making good on stage. He is playing in a new production in Chicago, called “All Round Chicago,” and he is the hit of the big cast. He sings a clever song during the action of the piece and it is discovered that he has a voice, not a wonder, but enough to carry him along” (Butte, Montana, 12 May 1905, page 12). Less than a month later, this celebrity’s big personality caused the early close of the production.

The “Butte Daily Post” reported, “Jim Corbett has disrupted the company playing ‘All Round Chicago’ in that city by having trouble with the principal members of the troupe who have given their notice, and the show which has been a big success, closes Saturday night. He threatened to punch the head off Dick Bernard and, it is said that as Corbett is not in a hospital it is pretty certain he did not try it. Corbett is getting a big roast for the way in which he has acted and the end is not yet. Now that the ex-champion has become an actor it seems he will not allow anyone to tell him anything about the business, but he wants to tell the rest how they should play their parts. The closing of the show will be a loss to manager Bill Brady who spent big money on the production” (Butte, Montana, 9 June 1905, page 13).

Fortunately Corbett and Lick Bernard, who had the “little row” patched up their differences with the two explaining that the papers were incorrect about the story (Butte, Montana, 19 June 1905, page 7). The show, however, remained closed just the same.

Moses had designed and painted other Brady productions, such as “Under the Southern Skies” and “Pretty Peggy.” William Aloysius Brady (1863-1950) was an actor, dramatist, producer and manager. Among those personalities who he managed included Wilton Lackaye, Helen Hayes, Henry W. Dixey, Mary Nash, his daughter Alice Brady and James J. “Gentleman Jim” Corbett the heavyweight prizefighter. Throughout the course of his career, Brady produced over 260 shows and built two New York theaters (The Playhouse and the 48^th Street Theater).

To be continued…

Part 494: Thomas G. Moses and “An American Woman,” 1905

In 1905, Thomas G. Moses wrote, “My first production for the year was ‘An American Woman.’ For the First Act I had an illuminated drop supposed to be up north in the pine forests. The sky was one of the grandest sunsets I ever saw, purely accidental as far as I was concerned. It was the lights, but of course I took the credit, as long as they insisted that they lights were my suggestion.” “An American Woman” was a poetic drama in four acts written by Charles Eugene Banks for Miss Amber Lawlord. Lawlord starred in the leading role as Helen Chadbourne.

The “Sioux City Journal” commented on Moses’ scenic contributions: “The unusual stage settings were important adjuncts in many of the stage pictures, for it must be confessed it was the beauty of these pictures and also the music of some of the lines , rather than the dramatic merit of the play, which made the evening a pleasure to the altogether too small audience present” (17 Jan. 1905, page 6).

The Daily Times (Davenport, Iowa, 12 Jan. 1905, page 6) described the play in its entirety:

“The opening scene, laid at the residence of Senator Whittleson in the pine woods of the upper peninsula of Michigan, introduces the gigantic business deal in which the senator hopes to make millions from the forest lands. The Indian, ‘Eagle Wing,” delivers a powerful plea for the life of the trees, in which he is seconded by Helen Chadbourne, the niece of the senator, who wins over her lover, John Thorne, to the cause. The secret attachment between the Baron von Auerbach and her aunt, discovered by Helen, causes he to sacrifice herself in the climax to save the honor of her family name. The second act, laid in the Chadburne home in Chicago develops the plot of the baron to ruin the newly formed syndicate, and his attempts to gain possession of valuable papers, from Mrs. Whittleson are frustrated by the heroine. Helen Chabourne’s actions, misunderstood by her lover, have caused a separation between them and in her sacrifice to save her aunt is the theme of the romance. In the studio of Baron von Auerbach, shown in Act III, the strongest and best action in the play is developed. Mrs. Whittleson’s attempt to elope with the baron, taking her husband’s entire fortune in stocks with her, is checkmated by Helen who makes her see the error of her ways. The baron is caught in a cleverly laid net and the fourth act is only a rounding out of the happiness that the close of the third assures.”

 

In many areas, the play was panned; the actors criticized the playwright, as well as each another for the terrible reviews. The tipping point for the production, however, was at the Willis Wood theatre in Kansas City when people in the audience audibly made fun of the play and of the star during the performance. Lawford struck back, blaming the author and her manager, The “Leavenworth Times” quoted Lawford in their article, “Miss Amber Lawford Finds She Can’t Act” (Leavenworth, Kansas, 2 Feb 1905, page 8). She was quoted as saying, “I know my play, ‘An American Woman’ is rotten. It was written by an amateur, Mr. Banks, a delightful old character, who howls if a line is changed without his consent. I designed the scenery and settings. My faith in Banks has ruined me. My company does not know how nearly I am to collapse and the public thinks I am an amateur and do not understand. The time will come when they will know me differently.” In Miss Lawlord’s interview with the paper, she said, “I don’t try to hide my identity. I am the widow of William Fairchild Morgan, who was accidentally killed while hunting in the Adirondack mountains four years ago, and have two children. My husband’s father was one of the richest men Kentucky has ever known and he bequeathed to my husband an immense fortune. I was married when I was 16 year old and I had an income of $100,000 a year until the death of my husband. I have traveled all over the world. I have had an ambition to go on the stage ever since I was a girl in the Roman Catholic convent at Notre Dame. That is where I was educated. I studied for the stage in Paris and devoted seven years to the hardest sort of work under the direction of masters of stagecraft. I joined Wilton Lackaye’s company to get experience. I took a minor part during the New York production, and was playing second leads before the end of the engagement. I played twelve weeks in Chicago with Mr. Lackaye…I still have money and property. Why I have a home at 7 East Thirty-third street in New York that has $100,000 worth of furniture. Do you know where 7 East Thirty-third street is? It is right on Fifth avenue and within a stone’s throw of the Waldorf-Astoria. Do you wonder that a woman of my experience, of my social standing, wealth, education and refinement whould resent these insults?…They say I am beautiful. But is it a crime to be beautiful? Cannot a woman be beautiful and still be something else? Is a woman cursed and hissed and ridiculed because she is beautiful?…The dresses I wear are the same that I wore a year ago at the horse show in New York, and they were favorably commented on in the society columns of the papers. But I will win yet, I am closing here and will have a play in a few weeks called “My Wife’s Husband.” It is a comedy. I will win of it tales the last drop of my life blood. I will be a star.”

In 1908, Lawford married Samuel Willets, “son of a millionaire, master of hounds for the Meadow Brook Club, owner of the great jumper Heatherbloom, and member of six leading New York clubs” (The Pittsburgh Press, 21 June 1908, page 5). He was considered “one of the most desirable catches in the matrimonial market” at the time, coming from “one of the old aristocratic Long Island families.” The same article described that the new Mrs. Samuel Willets was “born in Frankfort, Ky., in 1880, the daughter of J. Henry Lorillard, a planter, alleged to be distantly related to the Lorillards of New York. A strain of Spanish blood flows in her veins. Her mother died when she was two years old and her father sent her to Notre Dame convent, where she was educated, remaining until she was 13, at which time her father died. A year and a half later she became the child-bride of William Fairchild Morgan, a wealthy resident of New Orleans. Their married life was happy. Morgan died in 1900, leaving his fortune in trust for their two children. She shortly afterward went on the stage.”

Her life may have been the best plot for a play.

To be continued…

Part 493: Thomas G. Moses’ Old Mill Scenery for Luna Park in 1905

I return to other painting projects by Thomas G. Moses during the year 1905, after getting sidetracked by the Ringling Brothers’ grand spectacles. Thomas G. Moses was still creating amusement park scenery, but as a Sosman & Landis employee. Past New York Coney Island projects were created with Will Hamilton as part of Moses & Hamilton; the two had worked on the Trip to the Moon, Twenty-Thousand Leagues Under the Sea, War of the Worlds, Fire and Flames, and other much smaller shows. In 1904, Moses moved from New York to Chicago.

In 1905 Moses wrote, “I had to go to Cleveland to put in a lot of old mill scenery at Luna Park. Ed Thompson went with me and J. H. Young went to do the properties and papier mache work.” In 1904. John H. Young had just opened his own studio in New York. He was a long-time friend of Moses; they had worked on various projects together since the 1870s. Young would later be known for his many Broadway designs.

The Old Mill in attraction in Cleveland and elsewhere was a “Tunnel of Love” ride. It had been a success at the Pan-American exposition and immediately replicated at Coney Island. Floating down a babbling brook, visitors traveled past simulated lakes, cavernous tunnels, and a picturesque landscape. The Buffalo Evening News described old mill rides as an amusement consisting of “many tunnels through which float boats on a stream of water” (Buffalo, New York, 10 August, 1905, page 22). On August 10, 1905, there was a breakdown of the plant of the United Electric Light and Power Company, plunging the Coney Island’s Luna Park into darkness. It provides some insight into the mechanics of the ride, as the loss of electricity caused the flow of the water to cease and the boats to settle to the bottom.

Luna Park in Cleveland, Ohio, opened in 1905 and lasted until 1929, when it was destroyed by fire. Constructed by Frederick Ingersoll of Ingersoll Construction Company, the park was located on a 35-acre site, bounded by Woodland Avenue, Woodhill, Mt. Caramel, and East 110^th Street. Ingersoll Construction Company got its start by building roller coasters and other amusement park rides. The first two parks that Ingersoll opened were in Cleveland and Pittsburgh in 1905, both of which Moses created scenery for the old mill attraction.

Of Ingersoll’s second park, Moses wrote, “We went to Pittsburg to do an old mill there for the same firm. We also did two small stages in the Pittsburg Park.” At one time, Ingersoll owned and operated over forty amusement parks not only in the United States, but also in Berlin, Germany and Mexico City.

Although Cleveland’s Luna Park shared the same name as the one on Coney Island in New York, there was no official affiliation, yet Ingersoll’s Luna Parks replicated many of the rides from Coney Island. The Old Mill ride was featured alongside other attractions, such as Fire and Flames, Coasting the Gorge, Trip to the Moon, Scenic Railways, the Miniature Railway, the Circle Swing and Infant Incubators. The Old Mill was a six-minute ride for 10 cents (The Scranton Republican, 18 June 1905, page 6 and The Raleigh Times, 7 July 1905, page 11).

Although Moses was on staff at Sosman & Landis in Chicago, he would still accept a variety of independent projects. In 1906, he would briefly partner with Will Hamilton to produce additional scenery for Pittsburgh’s Luna Park. He wrote, “Did some designs for a Park in Pittsburg for my old partner Hamilton. I did them in black and white, rather effective.” There is no other information to identify his second project for Pittsburg’s Luna Park.

To be continued…

Part 492: Ringling Brothers’ Grand Spectacle of 1913 – “Joan of Arc”

In 1913, Thomas G. Moses wrote, “When we were setting the Ringling scenery at the Coliseum, the big elephants stampeded and there was some excitement for awhile, but the trainer went after them and brought them back and made them go through all the tricks again.” At the time, he was working on another Ringling Brothers’ grand spectacle “Joan of Arc.”

Newspapers reported that the Joan of Arc story was told by 1200 characters, 300 beautiful dancing girls, a chorus of 400 voices and 600 horses (The Daily Herald, 12 April 1912, page 4).

The “Santa Ana Register described the spectacle:

“The story of ‘Joan of Arc,’ a simple peasant girl who became the deliverer of France, and at last, betrayed by all, was burned on the public square on the false charge of heresy and witchcraft, is familiar to all. It is presented by Ringling Brothers in a masterful way, retaining to the end its pathos, its sentiment and its thrilling dramatic interest. The play begins with Joan, just sixteen years old, comes from her father’s pasture at Domremy at the command of the Archangel St. Michael to the court of Charles VII at Chinon. In the light of a thousand torches she is brought into the presence of the king in the great palace which throngs with the nobles of France. The reception which the king gives the peasant girl is filled with impressiveness and suspense. The second climax of the great spectacle is reached when Joan, dressed in armor, crosses the river at Orleans and rides at the head of the French army into the beleaguered city. One of her heralds presents himself at the English camp. Respect to the messenger of a reputed sorceress is denied and the herald is threatened with death. Another messenger is sent to defy Talbot, and to declare from the girl that if any harm is done him ot shall be retaliated on the English prisoners.

Joan in shining armor appears on a tower facing the Tournelles, bidding, the soldiers of Suffolk and Talbot to depart. This they refused to do. At the head of the French knights and archers Joan rides between the towers of the besiegers and followed by the villagers who look on in wonder at the sight of a mere girl leading the armies of France.

Joan rides through victory after victory, her mysterious power leading her on. A scene of matchless beauty is disclosed by the changing of scenery to that of the magnificent court of Charles VII at Rheims, where, through the inspired deeds of the Maid of Orleans the king is restored to his throne. Here amid regal splendor, the joyous acclaim of the populace and the pomp of pageantry, is enacted the most beautiful episode in French history. The stage version ends with the introduction of a great ballet of 300 beautiful dancing girls, a grand opera chorus, 600 horses and an ensemble of 1200 people. The closing chapter of Joan’s life is too sad for this drama of gladness, through her capture, her imprisonment and her execution are told in a series of thrilling tableaus by means of tone of scenery and a great battery of electric mechanism” (4 Sept. 1913, page 8).

The Ogden Standard reported, “Nearly one-half of an entire train section is used to transport the scenery and costumes f the spectacle of Joan of Arc. This spectacle includes a cast of 1,250 characters and a ballet of 300 girls under the personal direction of Ottokaa Bartik, ballet master of the Metropolitan Opera House, New York, and late of La Scala, Milan. In a series fo striking pantomimic pictures this spectacle tells the dramatic and historical story of the Maid of Orleans, who went forth to battle for her country and her king. The costumes and scenery used in this production are more gorgeous and costly ever secured for a presentation of this kind, either under canvas or in a theatre and the spectacle is produced with all the scenic pomp and splendor and detail of a grand opera. It is presented on a stage larger than that of ten ordinary sized theatres, occupying nearly one entire side of the main circus tent, which measure 498 by 234 feet and seats more than 12,000 persona at a performance” (1 Aug. 1913, page 9).

After “Joan of Arc,” 375 performers took part in the ring entertainment, with approximately 200 who were recruited by Ringlings’ European agent (The Daily Herald, 12 April 1912, page 4). There were 124 acts, 40 elephants, and 108 caged animals in the traveling Ringling Brothers’ zoo.

“Joan of Arc” was reported as costing in excess of $500,000 to devise and produce (The Placer Herald, 23 Aug. 1913, page 3). Keep in mind that the amount twas half the price of “King Solomon,” the grand spectacle that the Ringlings would produce in 1914. For “King Solomon” the Ringlings added a railway car, an elephant, eighty horses, and a much larger main tent. The horses increased from 650 in 1913 to 730 in 1914. The 1913 tent measured 498 feet by 234 feet, seating 12,000. The 1914 tent measured 560 by 320 feet and added an additional 2,000 seats, totaling 14,000.

 

To be continued…

Part 491: Baraboo Lodge No. 34

While researching Masonic ties to the Ringling brothers, I stumbled across an interesting online article at the Phoenixmasonry Masonic Museum and Library website. The following information was first published in “10,000 Famous Freemasons” and then reposted at Phoenixmasonry: “In the middle 1800’s an Alsatian named Juliar had three daughters whose descendants were to make circus history. One married August Ringling, father of the Ringling Brothers; one married Gottlieb G. Gollmar, father of the Gollmar Brothers; and the third married Henry Moeller, father of the Moeller Brothers. The Ringlings and, in a more modest degree, the Gollmars were to acquire fame as circus owners and operators. The Moellers likewise became famous as manufacturers of circus wagons and materials. All of the branches of this family had early and strong connections with Masonry.” Here is the link: http://www.phoenixmasonry.org/masonicmuseum/circus_masonic_fdcs.htm.

The three Juliar sisters were Marie Salome, Katherine, and Mary. Marie “Salome” married August Ringling (Rüngeling). Katherine married Gottleib Gollmar. Mary married Henry Moeller. The three sisters had a brother Nicholas Juliar (1841-1920) who collected his sisters’ circus memorabilia. Juliar was a banker, auctioneer, and member of the Minnesota House of Representatives for two terms. His personal effects and family clippings are now part of the Memorial Library, Southern Minnesota Historical Center, Minnesota State University – Mankato.

I am not surprised about the fraternal connection to circus families; this would open the same doors that it did for traveling salesmen. Wherever they went, if there was a Masonic Lodge, there would be a network of support. But were there specific lodges that circus families connected with during their respite in winter quarters? We know that the entire Ringling family belonged to Baraboo Lodge No. 34 in Baraboo, Wisconsin. The Ringling Brothers’ Circus winter quarters were in Baraboo.

Gottlieb G. Gollmar (1823-1914), was one of seven charter members of Baraboo Lodge No. 34 (Wisconsin State Journal, 27 June 1942, page 3). He was also founder of the Gollmar Brothers circuses. Gottleib was the son on of Joachim Gollmar & Franziska Caroline Wolf, born in Baden-Würtemmberg, Germany. He immigrated to the United States at the age of 9 and the family settled in Valley City, Ohio. He married Mary Magdeline Juliar in Chicago on 17 Nov 1848. A blacksmith by trade, he had also worked as a driver on the Erie canal alongside his friend James A Garfield. He moved to Baraboo in 1851.

Mary Juliar Gollmar’s sister, Marie “Salome” Juliar, married August Rüngeling; their children formed the Ringling Brothers circus. The Gollmar Bros. Circus was operated by brothers Walter, Fred, Charles, Ben and Jake Gollmar and lasted until 1926, finally touring as the Patterson-Gollmar Bros. Circus.

Henry and Corwin Moeller were the first cousins to both the Ringling and Gollmar brothers, operating the Moeller Bros. Wagon Co., a blacksmith shop and wagon manufactory. The family business was founded by their father Henry Moeller in June 1856 (Wisconsin State Journal, 265 April 1937, page 12). Henry was born in Saxony and learned the trade of a wagon maker in Milwaukee over the course of four years when he arrived in the United States. He married the third Juliar sister Katherine.

Their shop was located at Third Avenue in Baraboo where they built many of the ornate wagons for the Ringling Brothers’ circus, including the famous Bell Wagon of 1892. For many years, the wagons used by the Ringling Brothers were made exclusively in the Moeller Bros. shops, costing as much as $800 each, exclusive of painting.

After the death of their father, the Moeller sons carried the business and transitioned more to the making of house cars and constructing special bodies for automobiles, instead of the carriages, buggies and wagons that Henry Sr. took pride (Wisconsin State Journal, 25 April 1937, page 12).

The Moellers, Gollmars and Ringlings all belonged to Baraboo Lodge No. 34.

To be continued…

Part 490: Yankee Robinson and the Ringling Brothers

While examining the Ringling family’s Masonic activities, I wondered about the key individuals who may have introduced the Ringling brothers to the Fraternity. After a little digging, I came across a vague reference to Fayette L. Robinson, or “Yankee Robinson,” who was a Freemason. Robinson was described by the Ringling Brothers as the man who taught them how to run a circus.

Fayette Lodawick “Yankee” Robinson (May 2, 1818-Sept. 4, 1884) was a showman and clown. He was born near Avon Mineral Spring in New York. First working with his father as a shoemaker in West Richmond, New York, he later opened his own shop in Medina, Michigan in 1837. After his young wife suddenly died within a few short months of their marriage, he moved to Dansville, New York, in 1838. He continued as a shoemaker, but he also entered the entertainment business. In Danville, Robinson changed careers by 1845, exhibiting two oil paintings by S. C. Jones representing “The Raising of Lazarus” and the “Baptism of Christ” while lecturing on Biblical subjects.   Each painting measured 12 feet by 15 feet. By the end of the year, Robinson was performing in “Richard III” for a theatrical troupe in St. Louis. By 1846, he organized the Olympic Serenaders and performed with a few other troupes in Cincinnati. By 1848, he was traveling with a new wife and Charles Gibson, a musician, in a two-horse wagon and later on a river boat. After many trials and tribulations, the small group expanded and continued until 1851. From 1852 to 1853, Robinson was first billed as “Yankee” when he leased Frank’s Museum in Cincinnati. He then toured “Uncle Tom’s Cabin” and “Sam Patch.” During the winter months, he managed a theater in Dayton, Ohio.

In1855, the “Wisconsin State Journal” reported, “Robinson’s Atheneum,” that was originally established on August 5^th, 1845, was now elegantly refitted for the Campaign of 1855! Embracing over 100 Men and Horses!” (Madison, Wisconsin, 10 July 1855, page 2). The advertisement continued, “This vast establishment – the only one of the kind in the world- will give their varied performances at Madison, Wednesday, July 18, Afternoon Performance at 1 o’clock, Evening Performance at eight. A grand colossal marquee of the largest size, which will accommodate nearly 4000 persons.” Yankee Robinson was referred to as “son of Momus” and “the people’s funny man. Gymnastic, dramatic and pantomimic.” Prior to the show, his Atheneum Band played music as they paraded through the principal streets in their “mythological car, followed by a train of over 20 vehicles, forming and imposing and grand procession.” This was the exact sane formula that the Ringlings would later use in their circus. The admission Robinson’s circus during 1855 was 40 cents, with children half price. Today’s buying power equivalent is $11.59 for adults and $5.79 for children, a reasonable price for entertainment and in some cases cheaper than seeing a movie today.

Some of Robinson’s history was passed along over a century later in 1958 by Samuel G. Barker. Barker attended the first performance of the Yankee Robinson-Ringling Bros. Great Double Show May 19, 1884 in Baraboo, Wisconsin. In 1958, he was interviewed by the “Des Moines Tribune” about the life and legacy of Yankee Robinson (30 May 1958, page 16). Standing next to Robinson’s grave in Jefferson, Iowa, Barker explained “Yankee was the first man to put on ‘Uncle Tom’s Cabin’ as a traveling tent show. About 1850, Yankee Robinson owned a 175-horse circus – a circus which required 175 horses to move it from town to town. In 1860, he owned the richest circus in America – a 225-horse affair.”

Robinson discovered a successful formula during the 1850s that drew people into his show. It was a variety show that consisted of “equestrianism, acrobatic and gymnastic exercises, and herculean feats, &c., that were interspersed and enlivened by the comicalities of the CLOWN” (Edgefield Advertiser, 1 Dec. 1858, page 3). Robinson’s ads explained that their “entertainment differs materially from old fogy Circuses.” It reported as having “SCENERY and FIXTURES ample to present the GREAT MORAL DRAMA of the Days of ’76: or the Times that Tried Men’s Souls!’ On which Yankee Robinson will ‘Stand down’ the Hall. This great Drama is founded on incidents which occurred during the settlement of the Scioto Valley. It excels anything over introduced in public amusements.” Two companies performed in the same tent with “Yankee Robinson” on a “regular elevated stage with splendid scenery.”

The “Reading Times” from 1859 included an advertisement about Yankee Robinson’s “Double Show, Circus and Theatre” (18 June 1859 page 3). Robinson now boasted over 150 men and horses, with six lady performers and five clowns. His spacious touring pavilion (tent) accommodated “nearly 3,000 persons” to see his spectacle “Days of ’76.”

Over the years Robinson’s shows included Burt & Robinson’s Old-fashioned Circus, James Melville and Jerry Mabie’s Australian Circus. In 1866, he erected Yankee Robinson’s Coliseum and Zoological Garden in Chicago. During the early 1870s, Robinson worked along the west coast and organized a hippodrome, menagerie, and a circus with a stage. He was an incredibly busy showman, simultaneously working on a variety of projects during this time. Al Ringling worked for the “Yankee Robinson Circus” before starting his own theatrical troupe in 1882. He then joined forces with Robinson to create the “Yankee Robinson and Ring-ling Brothers Great Double Shows, Circus and Caravan” in 1884.

In 1884, Robinson became very ill at and died shortly thereafter on August 27, 1884. Robinson always wore a Masonic pin. It was this small piece of jewelry that ensured care during his final days and a Masonic burial. Cemetery Stories published in “Iowa Living Magazines” reported, “There’s the great circus entertainer and owner who landed in his deathbed in Greene County named Fayette Yankee Robinson, who took ill on the train between Bagley and Lohrville and was taken off the train in Jefferson by the conductor as no one thought he would make it to the next stop. He died in Jefferson and was buried in the Jefferson Cemetery in 1884. No one knew his name at the time he took sick, and he wasn’t able to tell them. However, amongst his belongings was an item [Masonic pin] that identified him as belonging to the Masons. Members of the local Masonic Lodge helped take care of Robinson until he died and paid for his burial in the Jefferson Cemetery. At the time of his death, he was partnered with the Ringling Brothers. Numerous years after his death, the Sells Brothers and the Ringling Brothers circus companies had a huge monument made for his grave. The marker bears the date 1890. As late as 1996, circus and tent performers coming through the area would visit the grave, leaving flowers and other memorabilia.” (http://www.iowalivingmagazines.com/2013/10/09/cemetery-stories-5/).

“The Evening Bulletin” reported the “Death of ‘Yankee’ Robinson” in 1884 (Maysville, Kentucky, 6 Sept 1884, page 4). “New Jefferson, Iowa, Sept. 6. – Fayette Ledawick Robinson, better known as ‘Yankee’ Robinson, the famous circus and theatrical showman, died here Thursday afternoon, aged sixty-six years. He had devoted nearly fifty years to the show business. He was a lineal descendant of Dr. Robinson, the eminent divine who came to this country with the Pilgrims in the Mayflower. ‘Yankee’ Robinson was a prominent Freemason, and the fraternity here will have charge of the funeral.”

Additional details about Robinson’s career and life can be found at the Circus Historical Society’s webpage “Olympians of the Sawdust Circle.” Here is the link: http://www.classic.circushistory.org/Olympians/OlympiansR2.htm

To be continued…

 

Part 489: It’s all a (Masonic) Circus

In my last post, I explored staged spectacles depicting the reign of King Solomon, and their appeal to Freemasons. Today, I am examining the connection that linked the Ringling Brothers with Freemasonry. The Ringlings Masonic affiliation may have provided additional incentive to stage the grand circus spectacle “King Solomon” in 1914.

By 1914 dozens of Scottish Rite stages had been constructed and held massive scenery collections to stage Scottish Rite degree work. Masonic backdrops depicted the private apartments, throne room, courtyard and the Temple of King Solomon. Scottish Rite Bodies with scenery collections were located all across the country.

To look at the sixty-one scenery collections solely produced by Sosman & Landis (Chicago) and Toomey & Volland (St. Louis) from 1896-1914 puts it in perspective. These installations included painted scenery for Scottish Rite Theatres in Little Rock, Arkansas; Tucson, Arizona; San Francisco, Stockton and Los Angeles, California; Atlanta, Georgia; Chicago, Springfield, E. St. Louis, Quincy and Bloomington, Illinois; Davenport and Dubuque Iowa; Fort Wayne, Indianapolis, and Evansville, Indiana; Fort Scott, Fort Leavenworth, Wichita, Kansas City, Lawrence and Salina, Kansas; Louisville and Covington, Kentucky; Portland, Maine; Bay City, Michigan; Duluth and Winona, Minnesota; St Louis and Joplin, Missouri; Omaha, Nebraska; Butte and Helena, Montana; Clinton and Jersey City, New Jersey; Santa Fe, New Mexico; Rochester and Buffalo, New York; Charlotte and Asheville, North Carolina; Grand Forks, North Dakota; Toledo, Davenport, Youngstown and Canton, Ohio; McAlester and Guthrie, Oklahoma; Bloomsburg and Pittsburg, Pennsylvania; Yankton, South Dakota; Memphis, Tennessee; Dallas, El Paso and Austin, Texas; Salt Lake City, Utah; Danville, Virginia; Milwaukee, Wisconsin; Wheeling, West Virginia; Tacoma, Washington; and Cheyenne, Wyoming. These are the collections that I have tracked, yet there were many, many more by 1914 and some Scottish Rite Valleys had purchased more than one collection by this point as membership dramatically increased during the first decade of the twentieth century.

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.

In fact, 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. could be called the “ringleader” of the group as he was the first to become a Mason. Here is when each man 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 Ringlings became members. Besides belonging to Baraboo Lodge No. 34, the seven 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.

To be continued…

Part 488: The King Solomon Story

As I started to explore the Ringling Brothers’ grand spectacle, “King Solomon and the Queen of Sheba,” I could not help but think of the many stage settings for the Ancient and Accepted Scottish Rite of Freemasonry. The designs include a variety of images from King Solomon’s Temple, the Sanctum Sanctorum, palatial apartments and the throne room. The story of the construction of King Solomon’s Temple was a subject dramatically acted in both Blue Lodge rooms and in Scottish Rite stages as part of their degree work. It was also a rich and popular subject for a variety of nineteenth-century entertainment venues.

The construction of the Temple and the assassination of its chief architect Hiram, remain a prominent topic in Masonic degree work, especially as a morality play. This story acted in lodge rooms was expanded upon and theatrically staged for Scottish Rite degree work. Never exclusive to the Fraternity, the reign of King Solomon was a popular subject for a variety of visual spectacles throughout the nineteenth century.

In past posts, I have covered the subject of King Solomon on both public and private stages, including two 1840s touring show that featured “Chemical Paintings,” also known as “Magic Pictures.” These small painted backdrops transitioned from day to night as the composition was alternatively lit from both the front and back (see past installment #320). Newspapers from the time reported, “by modifying the light upon the picture, exhibits two entirely distinct representations upon the same canvas” (The Times-Picayune, 20 Dec. 1842, page 3). The Inauguration of Solomon’s Temple was one of four scenes that toured with the show. For a more thorough understanding of the 1842 exhibition, here is the description of “The Inauguration of Solomon’s Temple” as published in “The Times-Picayune:” “This painting represents the magnificent Temple of Solomon, son of David, which he caused to be erected in Jerusalem. Seen in the daytime, it exhibits to the spectacular the richness and elegance of its exterior architecture. The same Painting soon after passes through all the modifications of light: then night comes on, (effects obtained by the decomposition of light, a new process of painting invented by Daguerre,) the Temple appears illuminated interiorly by degrees, reflecting a bright light exteriorly, which discovers a great multitude of people flocking to adore the Ark of the Covenant, which the High Priest has deposited in the Tabernacle” (New Orleans, December 29, 1842, page 3).

Now to understand the popularity and appeal of the subject to Freemasons, I want to contrast these two events. The 1842 scenic effects, exhibited at the end of a darkened room suggested the possibilities for dramatic effects during degree work. As a Mason who attended the 1842 exhibit, I might leave full of ideas that could make the degree work in my small lodge room better. In contrast, the Ringling Brothers’ spectacle of “King Solomon” was produced at a scale that the Fraternity could never achieve. By 1914, dozens of Blue Lodge and Scottish Rite stages were using painted scenes that depicted King Solomon’s Temple, palatial quarters and the nearby landscape. They all paled in comparison with the grand spectacle at the circus, yet the same scenic artists were painting the sets for each venue.

Tomorrow, I will and taking the day off and will examine the Masonic history of the Ringlings on Wednesday.

To be continued…