Part 683: Scottish Rite Stages in Salina – 1896 and 1901
The first Masonic lodge in Salina, Kansas was organized during 1866. A small group met in what was known as the Goddard house located on the corner of Iron and Santa Fe. A second meeting location was on the second floor of J. F. Hanna’s store in the Probert building. By 1886, Salina Masons constructed their first Temple. Keep in mind that during this same year, Scottish Rite cathedrals with stages were already used in the Northern Masonic Jurisdiction cities of Indianapolis, Cincinnati, Cleveland and Fort Wayne.
The 1886 Masonic Temple in Salina cost $25,000, and by 1888 an addition was added to the south. In 1895, this Temple in caught fire and was severely damaged along with much of Salina’s business district. The Salina Masonic bodies immediately began to rebuild their home at South and Santa Fe Avenues (Salina Evening Journal, 30 Jan 1922, page 1). The Masonic losses at he time were recorded to be nearly $150,000. The Salina Daily Republic reported, “the Masonic Temple was ablaze, the flames leaping over the high south wall and making sad havoc with the substantial building and the elegant and costly paraphernalia of the different orders of Masons. The greedy flames devoured the draperies and curtains speedily and torn down the high cupola” (Salina Daily Republic, 4 March 1895, page 1). Note the mention of costly paraphernalia, draperies and curtains. This suggest the possibility of a stage, especially with differentiation between draperies and curtains. Theatre terminology of the time of differentiated between fabric draperies and painted curtains.
The next 1896 Masonic Temple in Salina definitely included a stage. After the fire, a larger temple was built on the old site. Five years after completion, plans were published in a local newspaper, describing the intended improvements that included a three-story addition to the alley. The 1901 extension included a larger stage across tat now covered the entire east end of the main lodge room. A horseshoe gallery also replaced the existing stage a gallery (Salina Daily Union, 28 May 1901, page 3). The “Salina Daily Republican” proclaimed, “The new edifice now being enlarged to the most handsome home of Masonic Bodies in the West —$11,000 Improvements, Making a total cost of $43,000” (17 July 1901, page 4). Of the new improvements, the article reported, “By the work now going on, the Masonic Temple will be remodeled throughout.” The article cited the attached illustrations, “By Fig. 1 it will be seen that a handsomely decorated horseshoe balcony will replace the present affair and that the stage space will be enlarged by the removal of the organ from the corned at the left to the position at the rear, as observed in Fig 2. The new stage is to be equipped with a complete set of new scenery, shifted by regular traps and flys to be put in…With the additions made to the stage and scenery the Scottish Rite ceremonies can now be given the same advantages as in the larger cities.”
Floor plan of proposed 1901 Masonic Temple in Salina, Kansas. From the article “Temple of Masonry,” in the “Salina Daily Republican,” 17 July 1901, page 4.
That same year, the “Salina Herald” noted, “The Scottish Rite bodies in Salina are holding a reunion this week and ‘breaking in’ their new scenery. It is the silver anniversary of the institution of the Mackay lodge of Perfection in Salina and therefore of more than ordinary interest. A class is also being initiated into the mysteries of the different Scottish Rite degrees. This is the first reunion since the Masonic Temple was remodeled and several thousand dollars spent in fixing it specially for the Scottish Rite” (3 Oct 1901, page 3). “The Independent” reported, “The sets of scenery for the stage cost $2,400” (26 Sept. 1901, page 2). The “Salina Daily Union” described “The Temple is now supplied with finer scenery than in any opera house in Kansas and is equaled by no Masonic Temple in the state with the possible exception of Wichita, the scenery is simply superb while the electrical effects heighten the beauty of the stage settings is a hundred fold” (24 Sept. 1901. Page 3). By 1904, the “Salina Evening Journal” published that the Masonic Temple in Salina was one of the finest in the state, “owning a complete set of magnificent scenery painted from the latest designs.” (14 Nov. 1904, page 4). The article continues “The stage is fully equipped with a most complete arrangement of electric lights and the effect produced exceeds most of the large spectacular representations on the stages of the larger theaters in the country.”
As with the rest of the state, the scenery was provided by Sosman & Landis.
For the past several installments I have focused on the development of the degree productions at Scottish Rite stages in Kansas, Arkansas and Oklahoma Territory. Little Rock, Arkansas, is often cited as the first, and most notable Scottish Rite. The Little Rock Masons remodeled an old synagogue and installed a stage. It was called the Albert Pike Cathedral.
Interesting, in 1896 another old synagogue was purchased and remodeled by the Oakland Scottish Rite bodies. As in Little Rock, the renovation of the synagogue included the installation of a stage with new scenery to confer degrees. The building was located of Fourteenth Street, between Webster and Harrison Streets and dedicated at the Oakland Scottish Rite Cathedral on September 21, 1896.
The first Scottish Rite building in 1896, posted the “The Oakland Tribune,” 21 Dec 1927, page 12
The first paraphernalia used by the Oakland bodies was purchased from the disbanded Lodge of Perfection in Virginia City, Nevada. (Oakland Tribune 12 Dec. 1927, page 16). In 1927, one of the original thirty-eight charter members from the Oakland Scottish Rite from Oakland, California, was still living when the third stage for Oakland was constructed in 1927. Of the Oakland Scottish Rite and his experience in 1883, Hugh Alpheus Kendall, explained, “The work was new to the officers, the paraphernalia was crude, and the meeting place was not suitable for the conferring of degrees inasmuch as the paraphernalia had to be set up before the conferring of the degree and put away immediately after. To remedy this a committee was appointed to look for a home of which we would have the exclusive use.” The old paraphernalia was purchased from the Scottish Rite bodies in Virginia for $100.
On June 22 1896, the Oakland Scottish Rite building committee recommended the purchase of a property general known as the Jewish synagogue. At the time, it was currently occupied by the ACME athletic club. A committee consisting of William Frank Pierce (Inspector General), Charles L. J. W. Pierce and N. W. Spaulding were appointed with the power to act. A corporation was formed under the corporate name of the Masonic Cathedral Association, representing the Oakland Lodge, Scottish Rite of Free Masons. The articles of incorporation were filed on on July 31, 1896 (The San Francisco Examiner, 1 Aug 1896, page 7). The capital stock was $15,000, of which $500 had been subscribed by Directors W. Frank Pierce, C.L.J.W. Pierce, John Martin, D.E. Fortin and G. B. Daniels. The newspaper announcement noted, “The synagogue property, corner of Fourteenth and Harrison streets, will be built upon by the association and the structure will be used as headquarters and lodge rooms by Oakland lodge.”
The actual address was 305 Fourteenth Street. The “Oakland Tribune” noted, “the building was purchased, repaired, painted and furnished in a very modest way” (Oakland Tribune 12 Dec. 1927, page 16). At the time of its dedication, it was the only Scottish Rite cathedral west of the Rocky Mountains. When the Oakland Scottish Rite bodies outgrew their home at 305 Fourteenth Street, the building was used by the Improved Order of Redmen, becoming known as a Redman’s Hall. Unfortunately, the building was razed and there is now a parking lot were the first Scottish Rite in Oakland once stood.
There is a lovely article on the history of the Oakland Scottish Rite, it was originally written by Arthur R. Anderson and published as a booklet for the Oakland Scottish Rite Diamond Jubilee in 1958. The text is posted to the Oakland Scottis Rite website: https://oaklandscottishrite.com/history/
Part 681: The Second Scottish Rite Stage in Little Rock, 1902
By 1901, Sosman & Landis had successfully delivered Scottish Rite scenery and stage machinery to the following valleys in the Southern Jurisdiction: Little Rock, Arkansas (1896 and 1898), Oakland, California (1896), Wichita, Kansas (1898), Guthrie, Oklahoma (1900) and Fargo, North Dakota (1900).
On April 17, 1901, the Wichita Scottish Rite reunion included a class of two-hundred candidates, the large Scottish Rite class size to date. The day before, newspapers across the country shared the news from Wichita, “The largest class of candidates for the mysteries of Masonry in the history of the Scottish Rite in the country will be given the degrees here tomorrow, the special occasion being a twentieth century jubilee” (“San Francisco Examiner,” April 16, 1909, page 3). Biggest candidate class? Sure, but the Guthrie Scottish Rite had already boasted of something else– a bigger and better building for bigger and better degrees. And so the American comparison begins – “Mine is better than yours.”
That same spring, the “Guthrie Daily” announced, “The Scottish Rite at Guthrie has the distinction of being the only building erected exclusively for the Masonic Fraternity, and its equipment in stage scenery, electrical lighting devices, robes and general paraphernalia, is the most complete in the United States” (15 March 1901, page 5). That would soon change as the Little Rock Scottish Rite entered into the fray again with the construction of a new home; their second theater.
By September 1901, an article in the “Arkansas Democrat” about the new Little Rock Scottish Rite building reported, “The stage will be the special feature connected with the auditorium and will be the largest and most thoroughly equipped in the United Sates and used for Masonic purposes. The fact there are few stages in theaters in the larger cities than this one will be and none in the United States more perfectly equipped with scenery and electrical appliances, and few its equal. The scenery will of course be all specially designed for the building and for the use of conferring degrees, but that some idea of the magnitude of the scenic effects may be obtained it is proposed to place on this stage nearly one hundred different drops, at least forty complete sets of scenery each entirely different from the other in design and thought” (18 Sept. 1901, page 2).
By November 28, 1901, the “Arkansas Democrat” commented, “The stage equipment will be the most magnificent that can be secured, and it is contemplated that not less than $5,000 shall be expended upon this feature alone. It will be the largest and most equipped in the United States for Masonic purposes – in fact there are few theater stages more perfectly supplied and arranged, and fewer that can equal for scenery and electrical appliances” (page 1).
Sosman & Landis studio delivered a second scenery installation to Little Rock in 1902, after having installed two other scenery orders at their previous stage in 1896 and 1899. Little Rock’s Albert Pike Consistory building and stage were prominently featured in “New Age Magazine” (later becoming “Scottish Rite Journal”). In the article, Rosenbaum proudly claimed, “…the stage equipment in Little Rock is the most perfect in America – not only for Masonic purposes, for which it is used exclusively, but from any other point of view…nowhere else in America, with the possible exception of one theatre in New York, and one in Chicago, is it possible to produce either the scene or electric effects that can be produced on this stage.”
This Little Rock scenery and stage machinery was replaced when the Scottish Rite built its third stage in the 1920s. The used collection was then sold to the Scottish Rite in Pasadena, California. In Pasadena, the scenery and stage machinery began a new life where it is still used to this day. The scenery collection in Pasadena, Austin and Fargo are extremely significant in the scope of both theatre history and Masonic history. These three valleys are stewards to some of the earliest scenery in the Southern Jurisdiction. This is what their predecessors witnessed when they first stepped foot in a Scottish Rite stage to experience a new form of degree work.
This Scottish Rite scenery and stage machinery was delivered to Little Rock, Arkansas, in 1902, is now used at the Pasadena Scottish Rite.An arbor originally installed on line 89 at the Little Rock Scottish Rite now hangs on line 55 at the Pasadena Scottish Rite. Both line numbers are still visible.Looking up above the Scottish Rite stage in Pasadena, California, at Brown’s special system, originally installed in Little Rock, Arkansas, during 1902.A backdrop painted by Sosman & Landis studio, installed at the Little Rock Scottish Rite. It is now used at the Pasadena, Scottish Rite.
The past few posts examined early Scottish Rite contracts between the Guthrie Scottish Rite and E. A. Armstrong Manufacturing company between 1899 and 1900. Another Scottish Rite theater project occurred during this same time in Fargo, North Dakota. It also included a scenery collection manufactured by Sosman & Landis.
The first steps toward a new Masonic building in Fargo began during 1894. Land was not purchased until February 1898, with the contract for work being finalized during May 1899. On June 7, 1899, the cornerstone was laid for the Masonic Temple at 501 First Avenue North in Fargo. It would be the home to several Masonic orders in Fargo. The building was first occupied on June 6, 1900, but not fully completed. This building would include a Scottish Rite theater, lodge rooms, banquet hall, kitchen, billiard room, armory, reception room and offices. In 1914, an addition was made on the west side of the building. A library, museum, gymnasium, and swimming pool were included in the work. All told, this massive complex included 55,155 square feet of total floor space. The building would be home to the Scottish Rite until 1968 when it was razed as part of an urban renewal plan. In 1968, the Masonic Temple was purchased by the Fargo Parking Authority with the intent to construct a parking lot. Demolition began on June 19, 1968.
Postcard of the Fargo Masonic TempleThe Scottish Rite auditorium in the Fargo Masonic Temple pictured in a 1903 Reunion programThe Scottish Rite stage in the Fargo Masonic Temple pictured in a 1903 Reunion programScene created by Sosman & Landis for the Fargo Scottish Rite stage
The turn of the twentieth century is a period at Sosman & Landis produced some absolutely stunning work. The nineteenth-century aesthetic still dominated Scottish Rite scenery, as scenic artist and stage carpenter David A. Strong (1830-1911) was still actively involved with its production. Thomas G. Moses was on his way out the studio door again; this time to start a new business with Will Hamilton, establishing Moses & Hamilton in NYC during 1900. Back in Chicago, Strong still reigned as the “Daddy of Masonic Design” and was still very active as a scenic artist at the Sosman & Landis studio. My research suggests that Strong was very involved in the production of scenery for Little Rock (1896, 1899, 1901), Oakland (1896), Wichita (1898), Guthrie (1900), and Fargo (1900). After 1900, his contributions to Scottish Rite scenery begin to diminish.
Fellow scenic artists referred to Strong as “Old Trusty” and a member of the Dusseldorf School. Of Strong, Moses wrote, “His color was deep and rich and his drawings very correct.” In “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” Strong was included as a well-respected scenic artist with the article reporting, “David Strong, “Old Trusty,” still at work in this city, is the only survivor of the good old Dusseldorf school. Everything that comes from his facile brush – and he could walk over miles of canvas of his own painting – has the quality of opaqueness peculiar to his school and seldom found nowadays. (“Chicago Sunday Tribune” article, Dec, 18, 1892, page 41). It is the comment “seldom found nowadays” that rings true. Even in 1892, the artistry of Strong’s generation was diminishing. The last vestiges of this art form are likely still hanging in a handful of Scottish Rite stages across the country.
Sosman & Landis scenery produced for Little Rock, Wichita, Fargo and Guthrie, have a unique aesthetic and compositional approach to the painting. Like a person’s signature, it is easy to identify that a particular scenic artist worked for all four collections. Artworks associated with the Dusseldorf school included an active middle ground, with the primary not taking place in the fore ground. The 1892 “Chicago Tribune” article comment about the “quality of opaqueness” to Strong’s work; this was in direct contrast to the English practice of glazing (Chicago Tribune, Dec. 18, 1892). The opaque application of solid color for Strong also meant that a subject could be worked up from dark to light, the approach of the slapdash tradition. The use of glazes often meant that the composition was painted up in the reverse, from light to dark. Each was a successful method, yet supported differing approaches to color mixing and paint application. That being said, most audiences would be unable to identify the differing techniques or aesthetic nuances as they both read well from a distance.
Sosman & Landis setting for the Scottish Rite stage in Fargo, North Dakota.Sosman & Landis setting for the Scottish Rite stage in Guthrie, Oklahoma.
A second scenic artist also contributed scenery to the Little Rock, and Wichita collections during this time, approaching the subject matter in the English tradition of glazing. However, this style is only apparent in a few settings, such as the Egyptian scenes and Royal Chamber. Overall, the majority of the scenery for Scottish Rite collections during the late nineteenth century at Sosman & Landis has in identical feel and aesthetic approach to the subject matter. My research suggests that it was Strong who was the main artist; he would have been in his mid to late sixties at the time. Few pieces beyond the 1904 Sosman & Landis scenery installation for the Duluth Scottish Rite remain and are, what I believe to be, indicative of Strong’s work. The floral wreaths for the 1909 setting of Darius’ Festival Palace created for the Scottish Rite in Winona, Minnesota, was another example. However, by 1909, Strong was 79 years old, and likely unable to contribute as much painting to each Scottish Rite project. Keep in mind that Storng was one of the artists for the original production at the “The Black Crook” at Niblo’s Garden in 1866. “The Black Crook” is considered by many to be America’s first musical.
For more posts about Strong, see past installments #127, 215, 248, and 382.
Sosman & Landis setting for the Scottish Rite stage in Fargo, North Dakota.Sosman & Landis setting for the Scottish Rite stage in Austin, Texas, using glazing techniques.
Part 679: The 1900 Guthrie Scottish Rite Contract for Scenery
On April 28, 1900, the Scottish Rite in Guthrie, Oklahoma, purchased $2,190.00 worth of painted scenery and stage machinery from E. A. Armstrong Manufacturing Co. The firm subcontracted the creation of the leg drops, cut drops, backdrops and set pieces to Sosman & Landis in Chicago. The contract specified that all drops would be “counter-weighted and installed in working order.”
The order included a painted front drop (drop curtain) and white lantern curtain (picture sheet), 22 backdrops, 6 cut drops, 18 leg drops, and 11 other scenic elements.
Much of this collection was later sold to the Scottish Rite in Austin, Texas in 1914, although contract negotiations began as early as 1912.
Original drop curtain for the Scottish Rite in Guthrie, Oklahoma, sold to the Scottish Rite in Austin, Texas.Original wood setting for the Scottish Rite in Guthrie, Oklahoma, sold to the Scottish Rite in Austin, Texas.Original Ruins setting for the Scottish Rite in Guthrie, Oklahoma, sold to the Scottish Rite in Austin, Texas.Detail of Original Treasure drop for the Scottish Rite in Guthrie, Oklahoma, sold to the Scottish Rite in Austin, Texas.
What this contract clarifies, however, is how the scenery was described and the designation titles for composition. The descriptions would change over the years. For example, a “Royal Chamber Setting” becomes “Solomon’s Throne Room” as more painted detail, symbolic objects and emblems are added.
Original Royal Chamber drop for the Scottish Rite in Guthrie, Oklahoma, sold to the Scottish Rite in Austin, Texas.
Here is a portion of the 1900 contract between the Guthrie Lodge of Perfection and E. A. Armstrong Manufacturing Co.-
FOURTH DEGREE
One drop with gates in opening; backing which is also used elsewhere being made reversible
FIFTH DEGREE
One stone interior set, consisting of one back drop with scrim panel and one leg drop – one tomb drop with practical doors
SIXTH DEGREE
One Royal chamber set, consisting of one backdrop and one leg drop; leg drop to be used with other sets.
NINTH DEGREE
One cave set, consisting of cave backing and one cut drop for front of cave; also one set for the water-fall.
FIFTEENTH DEGREE
One set showing ruins at Jerusalem; also used in 16th Degree, consisting of one backdrop, and two leg drops, One drop for Cyrus’ Palace; the leg drop of 8th Degree being used with this – One Treasure House set consisting of back drop and one leg drop- One bridge set, consisting of horizon drop; one profile fore-ground.
SIXTEENTH DEGREE
One Palace set, for Darius, consisting of one back drop and two leg drops
EIGHTEENTH DEGREE
One constellation set, consisting of one transparent spangled drop; one gauze cloud drop three light boxes showing “Faith”, “Hope”, and “Charity”.
One crucifixion set, consisting of one backdrop, one cut drop, and one leg drop.
One Calvary set, consisting of one back drop with set rose – One peristyle drop, with light box for words “Infinity”, “Nature”, “Reason”, “Immortality”.
One Cathedral set, consisting of one back drop, and one leg drop; One Ascension Scene, consisting of one back drop, One cut drop, one gauze cloud drop, one movable figure. One Hades set, consisting of one back, one cut, and one leg drop.
TWENTY-FIRST DEGREE
One interior wood set, consisting of one back drop, one cut and two leg drops; leg drops are also used in the 9th & 15th Degrees.
THIRTIETH DEGREE
One Egyptian Interior set, consisting of one back drop, and two leg drops.
THIRTY-SECOND DEGREE
One camp set, consisting of one backdrop and one leg drop
One white interior, consisting of one back drop and two leg drops, also a transparency of Great Symbol
MISCELLANEOUS
One drop curtain with emblematic devise
One pair of tormentors
One grand drapery
One White lantern curtain
One pair flipper wood wings
All drops counter-weighted and installed in working order in Guthrie.
Besides scenery, the Guthrie Scottish Rite ordered additional costumes, regalia, stage lighting, lighting apparatus, props, stage carpets, and other stage appliances. $1,319.05 worth of costumes and $419.75 of special light fixtures were added to the order in April 1900. The contract noted, “Goods were sent collect, but freight bills receipted are to be valid vouchers against the account.”
Records indicate that the Scottish Rite bodies needed a few more things… by May 15, 1900, an order was placed for belts, bronze pedestals, one table of Shrew-bread, one altar of incense, one brazen laver, one electric bell, three electric buzzers, one dozen small sized plain Mason’s trowels, and ten alcohol torches. A day later on May 16, another order was placed for 74 ½ yards of stage carpet for $46.74. On on April 21, they ordered a full papier mache skeleton for $12.50.
The orders to E. A. Armstrong Manufacturing Co. continued. In September 1900 the Guthrie Scottish Rite purchased a white altar cover, a black velvet cover with tears, a laurel and olive wreath, cast iron floor pocket, 3 extra switches, 14 standards, spears and pennons, 6 extra flags, 4 extra receptacles for $49.75.
In November they purchased an additional two pairs of Flipper wings [book flats], two Ground rows, a 16×24 ground cloth, a gauze cloud drop, a stone altar [likely for JBM] and eight stone blocks and column for $225.50. By the end of the month on November 20, 1900, the Guthrie Scottish Rite placed a large order for $250.10 worth of regalia; various officer jewels, aprons, banners, and lodge furniture from E. A. Armstrong Manufacturing Co. The orders continued, sometimes weekly, monthly, and yearly.
In less than a decade the Valley of Guthrie was outgrowing their theater space, and planned an expansion; one that would necessitate the purchase of all new stage machinery and scenery for a larger stage and proscenium opening. The scenery and stage machinery from 1900 were returned for credit on the purchase of a new collection. However, Brown was working for a different company – M. C. Lilley & Co. The scenery still found its way back to the Sosman & Landis studio, where they stored the collection until it was ready for another sale. The used collection was eventually sold the Scottish Rite in Austin, Texas, for approximately $1500, where it is still in use today; sometimes providing the setting for a children’s theatre production. Fortunately, the Guthrie scenery was never altered or replaced after it arrived in Austin. It did not suffer the fate of other collections as the Austin Scottish Rite continued to expand.
As membership increased in Scottish Rite Valleys across the nation, so did their stage needs. Additional settings were added, or entire scenery collections replaced, necessitating even more costumes, props and effects.
Once Scottish Rite stages were constructed, there were always elements that could be added or updated –as long as the membership recognized the theatrical interpretation of degree work as a priority. Over the decades, however, the priorities in some Scottish Rite Valleys shifted their attention away from stage improvement. This was especially common after membership the Rite began a slow descent. Incoming funds were funneled toward specialty projects, people and events. I have noticed that there was a definitive change in the direction of funds that occurred during the 1960s. It is hard to define the exact impetus or even define the change. You can spot it in the candidate classes, the building projects and charitable endeavors. I understand that at this same time, younger generations sought alternative forms of community and social groups. Some call it part of their struggle against the “establishment.” I wonder if it was simply an increase in social opportunities; there were more options for young people.
During the mid-twentieth century many Masonic buildings were also renovated, often given a “face-lift.”. Suddenly brown paneling concealed original ornamental plasterwork, as certain decorative elements were perceived as “dated.”
Occasionally elements would be added to the theater space, but it no longer was the norm to continually purchase scenic effects for the stage. Many of the changes had to do with individual comfort, such as new seating in an auditorium. Funds were also spent on new costumes, as the sizes of Americans continued to increase in height and girth. Original costumes were shoved to the back of the rack, replaced with larger polyester versions.
Stage crews began to see the wear and tear of scenic elements, often requesting funds that were denied as the work was perceived as optional. Therefore, the backstage crews began a series of in-house repairs. So far removed from the original theatre manufacturers, punctures in scenery could result in amateur patches using odd materials that ranged from fiberglass and plaster. I have even encountered sheet metal patches riveted on to a backdrop in Quincy, Illinois. Then came the contact cement and duct tape generation for in-house repairs. As the funds for maintenance and repair were limited or non-existent, few sought out any theatre professionals. Regardless of these amateur repairs, however, many collections remained untouched. Some were guarded by backstage stewards who yelled, “don’t touch it – leave it be!” These became the gems of the Southern Jurisdiction; the theatre time capsules that are so treasured today.
Part 678: The 1899 Guthrie Scottish Rite Contract for Costumes
E. A. Armstrong Manufacturing Company, manufacturers of secret society, military and band supplies, was located at 300-302-304 Wabash Avenue in Chicago, Illinois. Their letterhead noted that the company was located “Next to Auditorium.” That was the Chicago Auditorium, previously discussed in detail in regard to the development of Brown’s special system.
A copy of the E. A. Armstrong Manufacturing Co. contract with the Guthrie Lodge Scottish Rite
On January 13, 1899, just a few days before a three-day reunion where degrees were conferred by all four Scottish Rite bodies in Guthrie, Oklahoma, the E. A. Armstrong Mfg. Co. filled a large purchase by the Guthrie Lodge of Perfection, No. 1. A.A.S.R. Order No. 1-272 for the Masonic department received a cash payment for costumes, a stereopticon and lantern slides. The head of the Masonic department at E. A. Armstrong was Bestor G. Brown. $1,187.35 worth of costumes and props were purchased for the 4, 5, 6, 9, 14, 15, 18, 21, 30, and 31 degrees. $1,187.35 in1899 is the monetary equivalent of $36,000 today. In addition to costumes, one “double stereopticon with electric lamps and rheostata, mechanical dissolver was purchased for $120.00.” For use with this device, lantern slide subjects included one set “Rock of Ages,” containing twelve slides, one “Ark of the Covenant” and two 18th degree banners, adding another $51.70 to the total.
Here are a few examples of costumes in the 1899 contract, listing degree characters, as it gives a scope of necessary items at the time:
FOURTH DEGREE
Costumes with head-dresses for Venerable Master, two Wardens, and master of ceremonies 30.00
FIFTH DEGREE
Two (2) Costumes – in white- for King Solomon & Hiram King of Tyre – with head-dresses 30.00
SIXTH AND NINTH DEGGREES
Costume for King Solomon – yellow and purple pluch
Costume for Hiram King of Tyre – red plush
Costume for Heardsman – leggings Greek
Shirt, fillet – with sheep skin mantle 85.00
FOURTEENTH DEGREE
Costume for King Solomon – in cashmere 50.00
Two costumes for Wardens in white-
With headdresses, at $15.00 30.00
Costume for Master of Ceremonies
With head-dresses 10.00
Crux Ansata, 1.50
Pentateuch 1.75
Seven branch candlestick 12.00
Gilt triangle for altar 2.75
Embroidered triangle for altar cover 3.75
Cubical stone with pedestel 18.00
FIFTEENTH DEGREE
Costume for Cyrus 40.00
Costume for Satrap Assyria 25.00
Costume for Satrap Persia 25.00
Costume for Master Calvary 20.00
Costume for Master Infantry 20.00
Two (2) Costumes for Persian Guard
Tunic, helmet, hose, armlet, sandals
Spurs and shields at $12.00 24.00
Garb of slavery 2.75
Costume for Zerubbubel 10.00
EIGHTEENTH DEGREE
Costume for Wise Master-cassock,
Cassock, chasable, and biretta for first
Apartment 32.00
Altar cover – black 24.00
Crucifix 2.75
Crosses – two – black 2.00
TWENTY-FIRST DEGREE
Complete costumes for the following
Lieut. Comdr.
Richard
Alphonso
Isadore
Altandorf
Reinfred
Adolph
Thaddeus
Phillippe Augustus
Warder 225.00
THIRTIETH DEGREE
Four (4) Papier mache skulls, 5.00
Triple tiara, regel crown
Roman cap of Liberty 10.00
Four (4) black cowls 5.00
Four (4) white beards 3.60
THIRTY-FIRST DEGREE
Costumes with wire masks, and head-
Dresses for the following:
Osiris
Atum
Ma
Thoth
Anufu
Isis
Nephthys
Har
Four (4) Genic 150.00
Twelve (12) White sateen robes – with
Bald wigs, and white beards, 55.00
Mummy and bier 60.00
Scale, weights and vase 17.00
Four (4) Incense vases 20.00
Looking at the costumes listed about makes me think of the degree performers. It was that western men from a variety of backgrounds who would portray biblical characters, Egyptian gods, and medieval knights. From bankers and lawyers to rancher sand oil men, each had the opportunity to become a star on the Scottish Rite stage.
Part 677: Harper S. Cunningham and the Scottish Rite in Guthrie, Oklahoma
Both Henry Wallenstein and Bestor G. Brown facilitated the Southern Jurisdiction’s inclusion of theatrically interpreted degree work. With the backing of M. C. Lilley & Co. and the assistance of Sosman & Landis, they were on a roll by 1900 and appeared unstoppable.
In 1896 the Little Rock Scottish Rite and the Oakland Scottish Rite each installed a theater in a renovated synagogue. More scenery, lights and effects were delivered to Little Rock in 1898. That same year, the Wichita Scottish Rite installed a theater in a renovated Y.M.C.A. building. In 1900, there were two more Scottish Rite buildings with theaters that appeared in the Southern Jurisdiction – Guthrie, Oklahoma, and Fargo, North Dakota.
For the Wichita Scottish Rite’s Spring Reunion in 1898, Harper S. Cunningham, the Inspector General of Oklahoma Territory, sent fifteen Masons from Oklahoma with the request that the Wichita Bodies confer the nineteenth through thirty-second degrees as a fraternal courtesy. By January 1899, a three-day session was held with fifteen candidates assembled to receive the degrees and participate in the ceremonies instituting the first Council of Kadosh and Consistory in the Territory of Oklahoma. From this point forward, the Valley of Guthrie was now authorized to confer the fourth to the thirty-second degrees. On the third and final day of the three-day of the session during January 1899, Cunningham led the charge in planning for their future and new home.
The Guthrie Scottish Rite
He assembled Brown, Wallenstein and Charles E. Rosenbaum to help him with the construction of a new temple in Guthrie, Oklahoma. Cunningham recognized the powerful motivation for men to participate in degree productions. He understood the appeal of the stage; the shared communal experience of witnessing something special and life-changing. He tapped into the experts at the time to bring brought this magic to his Masonic home in Oklahoma.
The three Kansans brought both knowledge and practical experience to the Guthrie project. They became part of a core group that fueled Cunningham’s enthusiasm and anticipation for Masonic Theaters and degree productions in his territory. In 1899 Brown was still working as a traveling salesman for E. A. Armstrong, but had returned to Topeka, Kansas. He would remain with the company until 1903 when he began working for M. C. Lilley & Co. It was during this earlier, period, however, that everything began to shift and doors opened.
By the end of 1900, there were five Scottish Rite stages – Little Rock, Oakland, Wichita, Guthrie and Fargo. All were all outfitted with scenery and stage machinery manufactured by Sosman & Landis of Chicago. The work was first secured by E. A. Armstrong Manufacturing Co. and subcontracted to Sosman & Landis.
Cunningham would become known as the Scottish Rite’s “Temple Builder.” He was involved with not only the Scottish Rite stage in Guthrie, but also the first one in McAlester, Oklahoma, before moving to Santa Fe, New Mexico. He would end up as the the SGIG for New Mexico, passing away before the 1912 Santa Fe Scottish Rite was completed.
As many endeavors, Scottish Rite most successfully spread through word of mouth. I believe that is still the case today. In the end it is the individual experience prompts people to find other members. That has always been the key. When you are passionate about something, you want to share this experience with your family, friends and colleagues. No amount of description or detail will replace actually being there; experiencing the fellowship.
It is an exceptional experience, a monumental moment, that incites an entire movement. It is a few dozen men becoming a thousand, and many digging deep into their pockets. They contributed to the construction of monumental buildings that were worthy of the speculative Craft they practiced. Scottish Rite buildings were not built solely from the contributions of wealthy men, but also from working men who scraped and saved every penny for their Fraternity. This says a lot.
Although the century-old stories may only remain in newspaper articles, it is hard to miss the passion of people gathering together to create something that will out last their own lives. They are looking toward the future and generations of men who will follow their footsteps. After reading these stories filled with excitement, inspiration and hope, it is difficult to see their hard work of the past being sold for pennies on the dollar today.
There are inspirational moments in history when people and communities unite. People of differing faiths and ethnicities plan for the future. It is this foundation that fuels ingenuity. One result of this ingenuity was when a new counterweight system was conceived, developed and installed in a handful of theaters between 1896 and 1902.
Bestor G. Brown successfully sold elaborate stage settings and other stage equipment to Scottish Rites in Kansas and throughout the region. A portion of his success had to do with his history with the area. The “Wichita Daily Eagle” published the full-page article “Decorative Splendor of Wichita’s Scottish Rite Cathedral,” describing the entire endeavor and furnishings in great detail (3 Aril 1908, page 6). There was a section that listed all of the of the local contributors, including Brown. Here it is:
Henry Wallenstein
“Mr. Henry Wallenstein informed the editor of the Eagle yesterday that he New Scottish Rite Cathedral will be equipped by the last week in May or the first week in June, ready to confer the degrees on the largest class of candidates in the history of Scottish Rite Masonry.
With him a complete tour of the great building was made and the grandeur of improvements, from and artistic standpoint, and their magnificence in every respect was a revelation.
The cathedral as it now stands is 150 feet north and south, and from 100 to 140 feet from east to west. The larger of the latter figures represent the new portion of the building in the construction of which more than a million of Coffreyville brick were used. For Topeka avenue front of the building several hundred tons of Towanda stone were used to harmonize with the material in the original building. The improvements were begun in February,1907, and when completed, after fifteen months’ of steady work, will have cost in the neighborhood of $175,000. The vastness of this sum in improvements on a single building cannot be conceived by any but those who are intimate with the work done, or who will have good fortune to feast their eyes upon it when it is ready for occupancy as the most complete Scottish Rue building possibly in the world – certainly the most completely equipped in the United States of America.
Wichita Scottish Rite
“Genius of the Enterprise
Mr. Wallenstein has been the master mind in the work which was concurrent with his own remarkably handsome business home – the Boston Store.
With his well known loyalty to Wichita all of the work done in it could be done by Wichita capital, labor and talent was given to home people, so that the genius of Wichita is in every feature of it, and to which it will be monument for all future time.
The construction of work was done by Brandt & Taylor of this city, and Mr. Wallenstein is poetic in his praise of them. They demonstrated that Wichita can carry out contracts for almost any size building that an architect can plan, for no building needed more headwork, skill and energy than this one.
The staff work was done by the F. Siefert Plastic company of St. Louis, under the able superintendency of Thomas Leach.
The architect of C. W. Terry of this city, ably assisted by the young genius Mr. Ed Forsblom. The associate architect was Mr. Charles Thompson of Little Rock, Ark.
The great organ was built by M. P. Moller of Hagestown, Maryland, and it is the finest ever built for the western country.
The Standard company of Chicago made the grand metallic staircase, minutely described in its proper place.
The Western Planing mills of this city did at the woodwork and had the personal attention and enthusiastic superintedency of Mr. Tom Kelso.
The Wichita Iron & Foundry company made all the iron work, and it is a great credit to their shop.
The Heating & Power company of Mr. Soderman of St. Louis put the apparatus in that department.
A.H. Andrews and company made the opera chairs.
The Art Glass Company of St. Joe supplied the many elaborate cathedral glass windows.
Bestor Brown, agent for M. C. Lilley company of Ohio, furnished the elaborate stage settings and other stage equipment.
The decorative work – an important feature of the new building – is in charge of Young Brothers of this city.
Some of the important decorations were also supplied by Parrott & sons of this city.”
Part 675: The Second Scottish Rite in Wichita, Kansas.
The Wichita Scottish Rite Masons laid their cornerstone for their second cathedral in 1907. That year, the “Grand County Republican” reported, “The consistory has grown from two little room, decorated with calico curtains to a stately temple erected at a cost of $250,000 and with costing paraphernalia for the proper setting of the different degrees valued at no less than $25,000” (6 April 1907, page 5).
Wichita Scottish Rite Temple cornerstone from 1907.
When the building opened in 1908, the “Wichita Daily Eagle” included a full page spread about the new Scottish Rite Cathedral, detailing specifics of the building. There were three sections of particular interest to me that I am going to share today:
The Auditorium
The mind at this stage has been raised to such a pitch of pleasurable delight that one forgets that there are grandeurs yet to com. Standing in the center of the great auditorium, which measures 77×73 feet, two feelings struggle for mastery, a sense of largeness of the place and its extreme beauty. The sense that one generally gets when standing in the great cathedrals or buildings of the world, is here replaced by the sense of beauty which is inculcated by the choice of the best effects of the ages have produced. One feels for the moment that these past ages have been profitable only in that they have produced this, for there is no room in the mind to think of other glories of architecture and
art while the senses are yet endeavoring to assimilate the surroundings here.
Passing under the proscenium arch, one enters upon the immense stage which measures 73×37½x42. This is a stage commensurate for any production the world has ever seen, and will afford ample space for all the rites and ceremonies for which it was built. An idea of the immensity of the stage may be gained from the fact that it will house 115 drops, each of which measures 20×36 feet. There are six boarder lamps, each containing 192 subsidiary lights divided into four colors –red, white, green and amber [I hope this was a misprint!] These lights will produce and known combination in stage effect and would meet even the exigencies of a Savage or Belasco production. The switchboard is a striking example of advanced electrical proficiency and contains 110 switches. The dimmers are of the very latest pattern and the whole system is laid in conduits and not exposed in any place in the entire building.
Underneath the stage are the dressing rooms. The space devoted to them covers 25×73 feet and they contain all the modern paraphernalia and costumes necessary for the rendition of the degrees. To the south of the dressing rooms are property rooms and toilets. These rooms are finished in golden oak.
The decorations f the auditorium, foyers and halls are the work of the F. Seifert Plastic Company of St. Louis, Mo. The stairways were designed by Terry and were made by the Standard company of Chicago.
Lights for the Stage
The stage equipment will require about 2,500 lights. Of these there will be six border lamps, each of which will carry 248 lights in four colors. By means of these colors in the lights, stage effects can be produced which are impossible in a ordinary theater. The switchboard, which in part of the stage equipment, will be between seven and eight feet in length, and six feet in height, and will carry one hundred and ten switches, controlling a different set of lights.
As an auxiliary to the switchboard will be the dimmer plant by which the power of any separate set of lights, or all of them, can be turned low or high at will. This will set near, ad be operated in connection with the switchboard.
Besides this, facilities have been installed for a system of arc lights to be used in connection with or alone in stage illumination. Other means of handling the lighting equipment for stage lighting are by what are known as “stage pockets.” These are holes in the floor, from which connection is made for lighting the lower portion of the scenery. An ordinary good stage usually has two to three of these on each side, but this stage is equipped with sixteen on each side, with an additional of six others for special purposes.
The Electrical Equipment
The electrical equipment of the old building has been installed under the personal supervision of Mr. Frank Payne, who is well known in Wichita. Although not identified with electrical work commercially in the past, Mr. Payne – or “Frank” as he is familiarly known to everyone, has kept pace with electrical matters for a number of years, and has planned equipment of a number of buildings. Associated with him has been Mr. Henry Stumberg, formerly of St. Louis, who did the conduit work in the new building.
At first it was intended to let much of the wiring in the old building remain but upon inspection, non of it was found up to standard, and as nothing short of the most carefully installed and complete equipment was to be considered. All the old wiring was removed and reinstalled to meet the most modern requirements
The equipment will be by far the finest and most complete in any structure west of Chicago, and in stage equipment proper, will probably not be excelled by any theater in any city, large or small. The current will be distributed from seven separate switchboards advantageously placed in different sections of the building, and by this means a much more economically arranged system is secured, and also one which is readily handled.”
There is a point at which numerous Scottish Rite theaters began shifting from using red, white and blue lights to light their scenery to red, white and green lights. This shift always confused me. M. C. Lilley offered three-color and four-color systems to Scottish Rite theaters. Reading the newspaper article and the role of Frank Payne, the hometown lighting guy with minimal electrical experience, makes me pause. Was this the moment when the green was introduced to the Scottish Rite border lights?
The article specified, “There are six boarder lamps, each containing 192 subsidiary lights divided into four colors –red, white, green and amber. These lights will produce and known combination in stage effect and would meet even the exigencies of a Savage or Belasco production.”
Example of red, green and white border lights in a Scottish Rite auditoriumExample of red, green and white border lights in a Scottish Rite auditorium
Part 674: Henry Wallenstein and the Scottish Rite in Wichita, Kansas
In 1898, Little Rock Scottish Rite purchased more scenery, effects and lighting for their degree. That same year another Scottish Rite building with stage was dedicated in the region – Wichita, Kansas. “The Wichita Daily Eagle” commented on the rapid growth of the Scottish Rite in Wichita, a very similar situation to the Little Rock Scottish Rite from 1891 to 1899. (6 Nov 1898, page 13). The newspaper article reported, “The pyrotechnic career of the local organization of Scottish Rite Masonry is so really marvelous and brilliant that a brief recapitulation must be of interest to all readers. Its embryonic state was commonplace and primeval enough. Eleven years ago the co-ordinate bodies in this valley were organized with twelve charter members. They then met in the Hacker and Jackson block corner Douglas Avenue and Fourth, in lowly quarters. In January, 1891, having 92 members, the Cathedral property, corner of Market and First streets, was purchased of the First Baptist church society, and fitted up for exclusive Scottish Rite purposes. From that date, the advancement was so rapid that it was very soon it became evident that those accommodations were entirely inadequate and it was talked among members to erect a new edifice on that site….The result is that right here in Wichita is located one of the most completely equipped and magnificent Temples entirely devoted to Masonry any where in the southern jurisdiction.” By 1908, there were 412 members,
Bestor G. Brown set his sites on this new project after outfitting the stage at the 1896 Albert Pike Cathedral in Little Rock, Arkansas. The scenery for the stage was subcontracted to Sosman & Landis. In addition to representing E. A. Armstrong Manufacturing Co. of Chicago in 1898, Brown was the stage director for the Wichita Consistory. This allowed him to speak with his Scottish Rite clients in Kansas from a unique position and deep understanding of the demands for various degrees. Even though Brown’s his primary residence was in Chicago from 1892 to 1898, he remained active in Kansas Masonry. As a traveling salesman, Brown’s returning to Kansas for a Scottish Rite reunion twice each year helped fraternal sales.
Wichita Scottish Rite before the addition.Wichita Scottish Rite after the additon
In Wichita, Brown recommended the purchase of a building for their Scottish Rite, just a he had in Little Rock, Arkansas. The renovation of an existing building was far less costly than the construction of an entirely new structure. As with Little Rock, the renovation included a theater space. The Valley of Wichita purchased the Young Men’s Christian Association for during January 1898, and extensively remodeled the space to include a 300-seat auditorium. $15,000 was spent on the inclusion of a stage, scenery and other necessary paraphernalia.
Brown was not alone in this endeavor. There was a second Scottish Rite Mason from Wichita to greatly aided in promoting the theatrical interpretation of Scottish Rite degree work- Henry Wallenstein, a 33rd degree and Grand Cross. In Wichita, Wallenstein was the Director of the Work. Born in Cincinnati, Ohio, Wallenstein moved to Wichita at the age of twenty-seven and entered the mercantile business, becoming a co-owner of the business by 1886. He came from a city that was well-known for staged degree productions and beautiful Masonic theaters. As with Brown, Wallenstein became a well-known “staging expert” for the Scottish Rite degrees. His contributions to the successful dramatization of degree work were recognized as an outstanding achievement in Masonry.
Wallenstein was a Deputy of the Supreme Council in Kansas during 1909 when the second Scottish Rite building was dedicated on November 19. From the modest 300-seat auditorium of 1898, the Wichita Scottish Rite constructed a 1500-seat auditorium. Located on Seventh Street and Ann Avenue in Wichita, the dimensions of the complex were 138 feet long, 65 feet wide, and 78 feet high. Towering four stories over the area, the building was exclusively constructed for Masonic uses. By 1910, there were 2,400 Scottish Rite Masons holding membership in Wichita Consistory No. 2. That same year, the “Wichita Daily Eagle” reported, “Wichita Consistory is now without peer throughout the southern grand Masonic jurisdiction in the high quality of the dramatic work placed and staged before yearly increasing classes; and in numerical membership, and ranks high among other cities of the world. It boasts the costliest cathedral exclusively dedicated to Masonry, in the world” (3 July 1910, page 5). The article continued, “To Henry Wallenstein as to no other one man, belongs the most credit for any single individual…For ten years Mr. Wallenstein has been the Director of the Work, his fine dramatic personality, rare histrionic conceptions, pecularly [sic.] fitting him for this trying position.”
Auditorium and stage after the addition at the Wichita Scottish Rite
The 1909 stage measured 60 feet wide by 35 feet deep, necessitating all new scenery and stage equipment, including Brown’s special system. By this time, Brown was the western sales manager for M. C. Lilley and a Past Grand Master of the Grand Lodge of Kansas. He was well-respected throughout the country and known as the only Masonic stage carpenter in the United States.
The 1898 scenery and stage machinery in Wichita were returned to M. C. Lilley & Co. for credit on the purchase of their new collection. Only a few pieces were retained; the seventeenth degree visions drops were enlarged and are still used today. Keep in mind that in 1909 Brown’s special system was the standard counterweight system delivered by Sosman & Landis, subcontracted by M. C. Lilley & Co. It likely replaced their previous counterweight system. The used system and stage machinery were then sold to another Scottish Rite Valley – Yankton, South Dakota.
Original counterweight system at the Wichita Scottish Rite, now in Yankton, South DakotaBrown’s special system now used at the Wichita Scottish RiteFabric-wrapped counterweight form the original system at the Wichita Scottish Rite stageCounterweight from Brown’s special system
It remains uncertain as to what the 1896 stage machinery delivered to Little Rock, Arkansas looked like, but it likely was similar to what was delivered to Wichita in 1898 and is now at the Scottish Rite in Yankton, South Dakota. The rigging system delivered to the Yankton Scottish Rite is an interesting blend of elements, including a pinrail and cloth-wrapped iron weights, resembling sand bags. There is no question that the scenery delivered to the Scottish Rite in Yankton was the original Wichita Scenery. As is the case in Pasadena with the Little Rock collection, the Wichita scenery was clearly marked with shipping notes on the sandwich battens and “Wichita” as the first destination written on the back of many drops. The same writing is still apparent in Wichita on a few enlarged scenes that remained at the venue. This makes the scenery in Yankton, the earliest known example of a counterweight rigging system used in the Southern Jurisdiction.
Studio label noting Wichita as destination location for backdrop in Yankton, with “Wichita” clearly visible.Studio label noting Wichita as destination location for backdrop in Wichita, with “Wichita” clearly visible.
