Masonic Degree Productions

Tales from a Scenic Artist and Scholar. Part 1153 – Thomas G. Moses, New York Studios, and the Binghamton Scottish Rite, 1923

In 1923, Thomas G. Moses wrote, “I put in fully a week in Binghamton at the Arlington Hotel on designs for Masonic work and I believe we will get the contract.”

*Arlington Hotel in Binghamton, New York*

Sosman & Landis didn’t get the contract but Moses still painted the scenery. Somehow, David Hunt of New York Studios landed the profitable contract. Keep in mind that New York Studios was the eastern affiliate of Sosman & Landis, and Sosman & Landis was preparing to close.

*From the “Press and Sun Bulletin,” 21 Nov 1923, page 17.*

By summer, Moses wrote, “I have arranged to go to Binghamton, N.Y. for Hunt, $2,500.00 for the job. Sent Loitz on ahead, September 5th.”

Moses was referring to Ed Loitz. Loitz, who had worked with Moses since the 1883. He was a loyal painting assistant and friend who had followed Moses across the country, working alongside him wherever he went. Whether Moses had established a partnership, or was working at Sosman & Landis, Loitz was there. Loitz traveled one step ahead, preparing the next jobsite for Moses’ arrival and then workied on site. Loitz was almost a decade younger than Moses, being born in 1865. In 1923, they had been working together for forty years together. At the time, Moses was sixty-seven years old and Loitz was fifty-eight years old. Loitz was both a scenic artist and carpenter, taking care of everything needed before Moses arrived on site to paint.

Scenery painted by Thomas G. Moses, assisted by Ed Loitz. From the “Press and Sun Bulletin,” 21 Nov 1923, page 17.

Moses was still splitting his time between painting for Hunt (New York Studios) and Sosman & Landis. Sosman & Landis were in the process of liquidating all assets and closing their doors. Moses and Fred Megan were waiting to purchase the name.

The New York Studios project was the stock scenery collection for the Scottish Rite Theatre in Binghamton, New York. This project was completed was just before Moses realized that Chicago Studios was sending out letters to Sosman & Landis clients, explaining that they were the successor to Sosman & Landis, already having secured the same address. David S. Hunt was behind the establishment of Chicago Studios, as well as running both New York Studios and Sosman & Landis. Even though he knew Moses was going to purchase the Sosman & Landis name after the company liquidated their assets, Hunt was using his position at Sosman & Landis to his advantage to discredit any new iteration of Sosman & Landis. This would all happen in November 1923 while he was on site in Binghamton.

On October 17, 1923, Binghamton’s “Press and Sun-Bulletin” featured Moses and his work. The article was entitled “Vies with Nature in Realms of Beauty,” and stated, “Thomas G. Moses Wields a Well-nigh Magic Brush in Painting Scenery, Curtains and Drops for New Masonic Temple.” Here is the article in its entirety:

“Thomas G. Moses of Chicago. Representing New York Studios, who is painting scenery, curtains and drops for the stage in the auditorium of the Masonic Temple under construction at Main and Murray streets, need no assistance of Brownies or other mystical helpers in making things beautiful in the opinion of those who have seen examples of his work.

Fairyland in all its mystical wonderfulness could not surpass the beauty that is represented on the canvas with the paint from the brushes carefully wielded by Moses. Mechanical curtains on which a moon may be seen rising, Persian temple interiors and water, wooded and open scenes are all in the new temple to bring admiration from all the Masons who are privileged to see them all.

Forty drops are being painted by Mr. Moses.”

[Moses was being paid $2,500 dollars for the project, so we can estimate that his average painting fee per drop was no more than $62.50/each, assuming he wasn’t paying for travel, lodging or meals out of that amount. The money equivalent of $62.50 in 1923 is $952.02 in 2021.The contract was for $12,000]

“Each set is used for some one of the 32 degrees prescribed in the ranks of the fraternity. Each degree is exemplified in a different setting. Some are on the plains, others in a temple painted from Biblical descriptions of King Solomon’s temple, extensive Egyptian quarries and water scenes.

The full equipment will be used for the first time on Nov. 18, 19 and 20, when the annual reunion of Otseningo Consistory, Ancient Accepted Scottish Rite, will be held. Exemplification of degree work at that time will be the first that it has been done in full form in four years. Equipment of the Masonic body was destroyed four years ago in a fire in the temple on Chenango street.

All paintings of the scenery are done by Mr. Moses from scale drawings which he completed several months ago. The small scale drawings were drawn from outlines by officers of lodges here. Mr. Moses on a platform suspended from the top of the loft sketches in charcoal on the canvass the scene which he wishes to paint.

Mr. Moses is assisted by Edward Loitz, who has traveled from coast to coast with Mr. Moses working on many contracts. Installation of the drops is supervised by H. E. Naile. The three men have worked together in many cities, their last contract being in Little Rock, Ark.

The stage in the temple here and the scenery and drops being painted are the largest ever handled in a Masonic Temple by Mr. Moses. He says he is well satisfied with the progress of his work and in a short time it will be finished. He expects to remain here to paint some work for another temple.

Products of the brush of Mr. Moses and his assistant, Mr. Loitz, are not entirely new to Binghamton. Mr. Moses painted the landscapes and architectural exteriors for the State hospital theater and Mr. Loitz did the interiors. Mr. Moses painted the original scenery for the Stone Opera House and upon visiting that place a few days ago he found some of the equipment still in use.

Tom Moses, as he is nationally known, was found today busily engaged in painting a drop 21 feet by 40 feet representing an interior of an old German chapel. The picture is complete with stained glass windows and the chapel is profusely decorated with flags, shields and bits of armor.

Tom Moses’ father was a captain of a sailing vessel and when he left the bounding main he started a leather business. He intended his son should follow his footsteps. The world might have been richer with a reliable captain or an expert on leather, but Tom had ideas for a different vocation, and thus the world has not been deprived of a master painter who transfers the sometimes unreal to the real with an intricate movement of his paint brush.

All this was 45 years ago. During the 45 years he has been painting scenery, Mr. Moses has gained much praise throughout the land. His friends are legion. He is short and stocky and has a radiating personality that brings a friendly reception wherever he goes and he has no enemies.

Born in Liverpool, England, in 1856, more than 67 years ago, of English parentage, Mr. Moses came to America with his father and mother but when a little child and settled in Sterling, Ill. His father was a sea captain and later a tanner. Tom’s mother, who died when he was but a youngster, possessed an exceedingly artistic nature and did much to install into her son the love of artistic.

Tom’s father was strict and was certain that the boy would be “better off” as a tanner with his brawny arms wrestling with a piece of hairy hide and covered with tannin. Use of a hickory switch proved to Tom that this would probably be much after his father declared only starvation faced the starving artists.

One try at the tanning game convinced Tom that he would rather be an artist. At the age of 17 he left home “with a forwarding address.” He hired out as a paint boy in the Chicago studio of P. M. Almini. Louis Malmsha, director of the company, recognized the ability in the recently hired paint boy. In a year he had advanced in wages from $4 a week to $21, but the rapid rise was due to his persevering work.

Robert Hopkin, a scenic artist in Detroit, Mich., was the next person to obtain the services of the rising artist. At the age of 20 he returned to his home and married Miss Ella Robbin. The couple lived there until 1880 when they went to Chicago where Mr. Moses started working for the Sosman & Landis Co. He painted the first work of this concern.

In his long and varied career, Mr. Moses has done work for many famous artists and for many famous productions. It was he who designed and executed the original “Floradora” sets for John C. Fisher. He did them, not only once, but four times. The work of Tom Keene, John McCullough, Booth and Barrett, Col. Cody (Buffalo Bill), Julia Marlowe, Robert Lober, Joseph Murphy, Conried and Herman, Emma Abbott, Emma Juch, Sarah Bernhardt, Mme. Modjeska, and score of other greater and lesser figures of the American stage was enhanced by scenery executed by Thomas G. Moses.

Some of the famous productions, in addition to “Floradora,” which Mr. Moses has made are “Shenandoah,” and “Old Kentucky,” famous melodramas; “Marie Antoinette,” “Mary Stuart” and “Macbeth” for Mme. Modjeska; “Judas” for Mme. Bernhardt. Joseph Jefferson’s last “Rip Van Winkle”; “The Holy City,” “By Right Sword,” “Lost in the Desert,” “Quo Vadis,” “The Witch,” “Robinson Crusoe,” “Ben Hur” and scores of other big productions.

He has also produced some of those famous Luna Park spectacles at Coney Island, such as “Fire and Flames,” “The War of the Worlds,” “Trip to the Moon,” “20,000 Leagues Under the Sea,” “The Streets of Delhi” and others. “The Streets of Delhi” was produced at a cost of $100,000.

In the art world outside of scene painting he has received much recognition. He has the distinction of being a member of the world-famous Salmagundi club, that noted organization of artists in New York. Mr. Moses is also a member of the Chicago Society of Arts, the famous Palette and Chisel Club, the California Art Club of Los Angeles and the Laguna Art association of Laguna Beach, Cal.

Rapid advance of motion pictures has crimped the scenic painting industry, Mr. Moses says. “Because of the fewer number of dramatic shows now there is a less demand for drops. Movies take the place of the dramatic productions that one time held sway.”

To be continued…

Travels of A Scenic Artist and Scholar: Relocating the Richmond Scottish Rite Scenery Collection, 2021

.Copyright © 2021 by Wendy Rae Waszut-BarrettThis is one of the 73 drops relocated from the Scottish Rite Theatre in Richmond, Virginia, to the Scottish Rite in Tucson, Arizona in January 2021. The backdrop was painted by Toomey & Volland Scenic Studio for the Richmond Scottish Rite. When the Richmond Scottish Rite moved to a new building in 1968, one-third of the scenery collection was placed in storage. This backdrop was rolled and placed in storage, high above the properties room, stage-left.

*Cut drop by Toomey & Volland of St. Louis, Missouri, c. 1902*

Painted detail. *Cut drop by Toomey & Volland of St. Louis, Missouri, c. 1902*

The cut drop was part of a palatial scene for King Darius (16th degree), but was also used to supplement stage settings for King Cyrus (15th degree) – despite the different time periods.Here is a link for more information about my preliminary site visit to the Richmond Scottish Rite in October 2020

https://drypigment.net…/travels-of-a-scenic-artist-and…/Here is the link to my post about the January 2021 relocation project: https://drypigment.net…/travels-of-a-scenic-artist-and…/For more Richmond Scottish Rite drops, keyword search “Richmond Scottish Rite” at www.drypigment.net.

Tales from a Scenic Artist and Scholar. Part 1148 – Thomas G. Moses and Freemasonry, 1922-1925

In 1922 Thomas G. Moses wrote, “On November 21^st I signed a petition to the Fair Oaks Blue Lodge. I sincerely hope it is accepted. A little doubtful on account of my age.” Moses was 66 yrs. old and initiated into Freemasonry at the Masonic Lodge in Oak Park, Illinois.

*The Masonic Temple in Oak Park, Illinois.*

In 1923 Moses wrote, “March 1^st, I took my first degree in Masonry. I don’t know when I shall get around to the others; rather interesting and I would like to go through the Shrine.” Only a few blocks from his home, he was initiated at Fair Oaks Blue Lodge No. 1006 A.F. & A.M. The Masonic Temple was located at Oak Park Avenue and Lake Street. The building still exists and is now known as Scoville Square, a 72,000 sq. ft. complex.

*Scoville Square in Oak Park, Illinois.*

Two more years passed before Moses returned to his Masonic degree work; this time in California. In his defense for the delay, it was a challenging period in his life, with his health deteriorating, Sosman & Landis studio closing their doors, and Moses struggling to secure projects in an entertainment industry that was gradually turning away from traditional scenic art. In the end, he purchased the name “Sosman & Landis” and began targeting Masonic scenery contracts. Scottish Rite theater scenery installations offered traditional scene painting projects with substantial profits. Although Moses was not a Mason, he intimately understood the designs and demands of many Southern Jurisdiction stages. Finishing his Blue Lodge work and becoming a Scottish Rite Mason would give him an edge in landing these lucrative projects. After the passing of Joseph Sosman in 1915, Sosman & Landis lost their Masonic ties. Sosman was a Mason. Moses may not have realized it when he became president of the company in 1915, but having a Masonic connection made all the difference in the world as it was often the determining factor when Scottish Rite Valleys selected a studio to manufacture scenery for degree productions. Between 1915 and 1925, Toomey & Volland took the lead in Scottish Rite Theatre production as Hugo Volland was a Scottish Rite Mason in St. Louis, Missouri.

In 1925, Moses wrote, “I have made up my mind to go on with my Masonic degrees and have a coach for the Blue Lodge work. I was very fortunate in getting young Champion, as he has a lot of patience and I am afraid he will need all of it, as I can’t commit very easily and especially when it is word of mouth entirely. It will be very hard, but I want to get in the Scottish-Rite class at Pasadena.” After being initiated at Fair Oaks Lodge, Moses was passed and raised in Carmelita Lodge, No. 599, F. and A.M. in Pasadena, California. In 1925, Carmelita Lodge held their meetings on Thursday nights (The Pasadena Post, 2 April 1925, page 8). Fortunately for Moses, he was in town for an extended period of time delivering the Pasadena Scottish Riet scenery for the opening of the new cathedral. Meetings were held on the third floor at the Masonic Temple, located on the corner of Raymond and Colorado streets.

*The Masonic Temple in Pasadena, California, where Thomas G. Moses completed the 2nd and 3rd degrees, became a Master Mason*.

Moses later wrote, “On February 10^th, we completed the Pasadena job – and I finished my 2^nd Degree in the Blue Lodge, Carmeleto [sic.]. The worshipful Master gave me a nice record for my past labors and for my future life, which I hope I will be able to follow to the line.”

*Thomas G. Moses was included on the front page for his scenic contribution to the new Pasadena Scottish Rite cathedral’s stage. “Pasadena Evening Post” Feb. 14, 1925.*

Moses was officially recognition in the “Pasadena Post” on Feb. 14, 1925. An article on the front page announced, “Maj. Skillen is donor of Scenic Drop. Beautiful Curtains Painted for Cathedral Stage by Thomas G. Moses.” The article continued, “The magnificent scenic drop curtains which have been hung in the new Scottish Rite cathedral to be dedicated Thursday evening, are the gift of Maj. Charles M. Skillen, in memory of his son, the late Dr. Ralph G. Skillen. Both father and son were charter members of the Pasadena Consistory. The 73 drops represent some of the finest work that the artists of Sosman & Landis company of Chicago have ever produced, according to Thomas G. Moses, president of the firm, who is in Pasadena to personally supervise the work installing them. Each of the drops were especially designed and finished for the Pasadena cathedral. Months were spent in the preparation of them, it is said. About half were painted in the Chicago studios of the company and the remainder finished in this city. Mr. Moses has watched carefully the painting of the curtains, much credit for their final perfection must go to the assistant and scenic artist, F. B. Fulton. Mr. Fulton believes the scenic work to be some of the finest he has ever produced. The final work of hanging and installing the curtains will be under the supervision of Harry Nail, a member of the Sosman & Landis company. This work demands such expert workmanship that Mr. Nail was brought from Chicago so that no mistakes in installation could be made.”

First of all, the drops noted as being painted in Chicago were the used drops from Little Rock Scottish Rite. With the impressive scope of the project, it is understandable that the Pasadena Scottish Rite did not want to advertise that they were purchasing used scenery.

*King Cyrus setting pictured in the Little Rock Reunion program, 1904.*

*Detail from same setting, now used at the Pasadena Scottish Rite.*

*A scene at the Pasadena Scottish Rite that was originally painted for the Little Rock Scottish Rite in 1902.*

These used drops, a few new drops, fabric curtains and stage machinery were purchased and installed for $8,500. Harry Naile removed both the used drops and stage machinery in Little Rock, so it only made sense that he installed the same equipment in Pasadena.

*The stage left area of the Pasadena Scottish Rite stage showing the bottoms of drops and counterweight system originally manufactured for the Little Rock Scottish Rite in 1902.*

*Used counterweight system installed by Harry Naile in 1925 at the Pasadena Scottish Rite.*

The original line numbers for use in Little Rock and the new line numbers for the Pasadena Scottish Rite stage.

I have written about Naile in the past, as he installed the scenery and stage machinery for Moses at Scottish Rite theaters in Tacoma and Binghamton. Here is the link: https://drypigment.net2020/12/16/tales-from-a-scenic-artist-and-scholar-part-1137-thomas-g-moses-and-harry-e-naile-1922/

In regard to completing the third degree, Moses wrote, “My third was given to me on February 23^rd, just in time for me to get into the Scottish Rite Class on the 24^th.” This is interesting, as the third degree was officially planned for Masons at Carmelita lodge on Feb. 26, and not Feb. 24^th in 1925. On Feb. 26, 1925, the “Fraternal News” section of the “Pasadena Post” reported, “Carmelita Lodge, No. 599, F and A.M., will meet tonight at 7:30 o’clock on the third floor of the Masonic temple. The third degree of Masonry will be conferred, and all members are urged to attend” (page 6). This meant that Moses was considered a special case and was raised three days before the scheduled degree work.

On Feb. 24, 1925, the “Pasadena Post” reported, “Masons of Pasadena were the guests Saturday evening of local Scottish Rite Masons at a reception given in the new cathedral on North Madison avenue. A short program in the auditorium included a display of the costumes and scenery used in the degree work of the order. Following the program, dancing was enjoyed in the large ballroom and the guests were given an opportunity to inspect the new edifice. A reunion will be held at the cathedral, beginning today and ending Saturday, when degree work will be put on for a class of candidates every afternoon and evening” (24 Feb 1925, page 11).

The Pasadena Scottish Rite Reunion took place from Feb. 24 to Feb 29, with degree work put on each afternoon and evening. Moses wrote, “On the 28^th I was a 32^nd Degree Mason and very proud and thankful for it. It was like a dream to me as all my Masonic knowledge was only padded over by the ritual and some new work which was thankfully received. So, after forty years of designing and painting these degrees, I will now go into the work with a better understanding.”

*Thomas G. Moses’ Scottish Rite patent from 1925. From the Waszut-Barrett Theatre Collection.*

*Backside of Thomas G. Moses’ Scottish Rite patent from 1925. Some members used their patent to collect signatures from other Masons, like a yearbook.*

The next month, Moses wrote, “On March 25^th, I crossed the “Hot Sands” of the Al Malaikah” Shrine.” So, from Feb. 10 to March 25, 1925, Moses became a Master Mason and joined both the Scottish Rite and Shrine. With this work completed, Sosman & Landis once again became a major contender for Scottish Rite projects again.

*Thoms G. Moses’ patent for the Shrine. From the Waszut-Barrett Theatre Collection.*

To be continued…

Tales from a Scenic Artist and Scholar. Part 848 – The Fort Wayne Scottish Rite, 1913

In 1913, Thomas G. Moses wrote, “Took a quick trip to Fort Wayne and settled for a lot of Masonic work at the Temple.”

Postcard of the Fort Wayne Scottish Rite Cathedral.

Over the past few years, I have repeatedly mentioned the Fort Wayne Scottish Rite. Like many other Scottish Rite stages, their scenery collection was a compilation of backdrops produced by more than one scenic studio over the years. This is not unusual. It was common for Scottish Rite clients to make multiple purchases over a period of years or decades, repairing, replacing and sometimes upgrading their stage work. Masonic scenery collections are like patchwork quilts, all composed of different fabric squares with their own history.

Sosman & Landis records note that they delivered scenery to the Fort Wayne Scottish Rite in 1907 and 1913. The first scenery was delivered prior to the completing the 1909 building. Keep in mind that the Santa Fe Scottish Rite ordered a fill set of scenery for practice prior to the opening of their new building. In Fort Wayne, additional scenery for the 1909 building was delivered by Toomey & Volland, not Sosman & Landis. However, it is very likely that some of the original 1907 Sosman & Landis backdrops were transferred to the new stage in 1909.

1909 Program from the Fort Wayne Scottish Rite.

Program from the 1909 opening of the Fort Wayne Scottish Rite Cathedral.

Toomey & Volland delivered scenery to the Fort Wayne Scottish Rite in 1909 and 1945. The 1909 stage was unveiled at the consecration and dedication ceremony of the Scottish Rite Cathedral on Nov. 17, 1909. The three-day fall reunion coincided with this event. Furthermore, a 1912 advertisement in the “The New Age Magazine” credited Toomey & Volland with the stage scenery installed at the Fort Wayne Scottish Rite. Moses’ 1913 entry in his diary, “Took a quick trip to Fort Wayne and settled for a lot of Masonic work at the Temple” meant that their membership was rapidly growing.

The Fort Wayne Scottish Rite building was described after it opened in the “Kansas Republic” (December 2). The article noted, “The dedication was held at the regular time of the fall meeting of the consistory for the Valley of Fort Wayne, and 300 took the Scottish Rite degrees. Degrees were given from the fourth to the Thirty-second. Heretofore this valley had no jurisdiction beyond the eighteenth degree, and the degrees from the 19 to 32 were conferred here for the first time. As the consistory has already nearly 1,100 members, the Fort Wayne consistory has become one of the largest in the country” (Kansas City, Dec. 2, 1909). This information suggests that the original Scottish Rite scenery in Fort Wayne by Sosman & Landis (1907) was for the 4^th-18^th degrees and delivered prior to the construction of the new building. Toomey & Volland produced the 19019 scenery used in the 19th -32nd degree productions, delivering it to the new stage.

The “Kansas Republic” article further described the new Scottish Rite Cathedral in Fort Wayne: “The cathedral is three stories high, with a spacious basement. The ground floor will be the banquet and ballrooms, with galleries. The social rooms are on the second floor, which is also provided with quarters for the ladies. There is also a room for the Mystic Shrine. The third floor is occupied by the consistory auditorium, which is arranged on the stadium plan with tiers of opera chairs rising steeply, so that those in the rear seats can all see the work on the large floor below. There are seats for nearly 600 in this auditorium. The organ loft is in the north and at the south end there is a spacious stage provided with scenery, the work of a St. Louis firm.” The “St. Louis firm” mentioned was Toomey & Volland.

There are many reasons why the Fort Wayne Scottish Rite may have reached out to Sosman & Landis for new scenery in 1913. If Toomey & Volland could not complete the project in the allotted timeframe, they likely recommended Sosman & Landis. Demand for painted scenery was still greater than supply, making for friendly competition.

Big events were continually planned at the Fort Wayne Scottish Rite too, also providing an incentive for new stage settings. In 1913, the “Fort Wayne Sentinel” announced “Masons Gather in Fort Wayne, Spring Scottish Rite Meeting Attracts Large Number of Visitors” (15 April 1913, page 2). Scottish Rite Masons from Northern Indiana and the Fort Wayne area gathered for the opening session of the annual spring convocation in 1913. Several hundred Masons attended the spring convocation that lasted three days. As Scottish Rite membership skyrocketed in the early twentieth century, additional scenes for degree productions were continually added to existing collections. This practice was common as Scottish Rite bodies continued to focus on superior membership experiences during ceremonials.

In 1914, the “Fort Wayne Sentinel” announced that the Scottish Rite had added a degree production. This is likely the degree that used new scenery produced by Sosman & Landis, first mentioned by Moses in his 1913 diary entry. On Nov. 17, 1914, the article headlined “TO GIVE DEGREE FOR FIRST TIME. Scottish Rite Convocation Opens With Class of Good Size” (Fort Wayne Sentinel, page 9). The article continued, “The annual fall reunion of the Fort Wayne Scottish Rite bodies opened at the Scottish Rite cathedral Tuesday afternoon with the conferring of the degrees of Fort Wayne Lodge of Perfection upon a class of half a hundred candidates. Many Scottish Rite Masons of prominence are in the city to attend the reunion. Fort Wayne consistory has added another exemplified degree to its list, and the present class will be the first one in the city to receive the exemplification of the Twenty-second degree. It will be given late Wednesday evening, and the reunion will come to a close on Thursday evening.”

The Sosman & Landis’ design for the 22^nd degree was known as “The Carpenter Shop.” I have documented a few of these scenes over the years, with the earliest example being in Cheyenne, Wyoming, from 1911. The 22^nd setting did not require a specific composition prior to this time. Many Scottish Rite valleys simply set it in the woods, using props to suggest a carpenter’s shop, and not an interior shop. However, adding new settings, or staging new degrees, facilitated the continued growth of the Rite during this time. Something new, such as the staging of a new degree, prompted old members to return and new members to join. It is a standard marketing technique, repackaging the experience in a way, or creating a superior ceremonial experience. The Northern Masonic Jurisdiction became experts at this approach, rewriting and restaging many degrees over the years. The Southern Jurisdiction seldom revised, but for a long time continued to expand on the experience.

I have to wonder if Scottish membership decline was partially due to the fact that the Fraternity stopped trying to improve individual experiences for each member. I don’t mean that there was an overt attempt NOT to care about the degrees or expansion of the membership, but many Southern Jurisdiction Scottish Rites stopped a variety of practices during the late 1920s, including the investment in fraternal paraphernalia and new degree settings. Overall, the development of new scenery for degrees comes to a screeching halt by the late 1920s. Some cite the Great Depression or military conflicts as a reason, or various progressive movements and a general backlash against what some consider conservative establishments. Regardless of the circumstances, there is a fundamental change in Scottish Rite leadership beginning at this time, one that still continues until today.

At one point, Masonic membership was primarily composed of young men, men in their prime and full of ambition and ideas. That is not meant to say that there were not older members in leadership roles. The organization may have been guided by older and more experienced members, but was expanded by younger enthusiastic visionaries. I think of what Bestor G. Brown accomplished before passing away in his 50s. His contribution to the growth of the Fraternity was providing a superior experience for its members but constantly improving the individual experience.

The focus seems to shift away from the continued improvement of individual member experience to the emphasis as the organization as a benevolent benefactor, or public persona. The social perception of the fraternity as a whole seems to become a major driving force in decision making after WWII.

One example that continues to divide the Fraternity is large charitable donations that are given away to non-Masonic groups. This is happening at a time when lack of financial assistance causes many Masonic lodges to close, the same lodges that continue to donate much of their funding to those outside of the Fraternity.

While a dwindling membership continues to raise massive funds for Masonic charities, lodges close due to lack of funds. At some point the gravy train will come to an end and charitable donations cease when there are not enough lodges to raise money. The thousands of dollars generated from pancake breakfasts and other activities will end when there is no longer the membership to staff each event. Ultimately, each lodge that closes is one less lodge that will contribute funds to Masonic charities. As what point does a lodge fundraise for themselves or their building repairs, just to keep their doors open and focus on the membership experience? I think of the well-known story of the carpenter who lives in a cardboard house and this seems to be happening in many regions.

To be continued…

Tales from a Scenic Artist and Scholar. Part 801 – Universal Scenic Studio and the Abdallah Temple in Leavenworth, Kansas, 1922

Abdallah Shrine Scenery article in “The Leavenworth Times,” May 14, 1922.

On May 14, 1922, “The Leavenworth Times” reported that Universal Scenic Studio was creating new scenery for the Abdallah Shrine in Leavenworth, Kansas; both a permanent set for the space and a touring version when the Shrine visited other cities.

Here is the article in its entirety:

“’The Crescent is the official Shrine organ, published in St. Paul, Minn. A story in the May number of the publication, which follows, several of the special drops are described but the one that interests Leavenworth people the most and the one with which all are familiar, has been overlooked. This is the woods scene, taken from a photograph of Shrine Park, taken from the lake, looking south toward the bog dam that was constructed by the Fair organization. This scene is quickly recognized by all who have been inside the temple.

Of the other scenes, The Crescent, under the caption ‘Abdallah’s Stage Settings’ says:

It is safe to say that no Shrine temple in North America will possess more magnificent scenery for staging ceremonials that will Abdallah of Leavenworth, Kansas.

The Crescent man has viewed the scenic sets in the making, and if the Abdallah stage stuff is not

‘real class’ then Mohammed was a bum showman.

It just happens that the scenery is being made in St. Paul, where The Crescent mixes with the other saints and that Noble Boyd P. Joy is the man who is making it at Universal Scenic Studio, and those facts gave The man to take chance to see the stage equipment.

We wanted to say that before going ahead with this yarn, and to add that this story is being written, not as a paid advertisement, but as an appreciation of what is being done for Abdallah and her nobility to enjoy.

And that’s that.

Out of 4,000 yards of canvas and 4,000 feet of lumber, coupled with the many gallons of various colored paints, by artists who know their business, Noble Joy is creating reproductions of Meccas, the palaces and the Caliphs, and other views of equal importance to the story of the ritual.

Beginning with the asbestos curtain, showing an asbestos scene, every figure life size, and running through all the stages of the ritual scenes, are being made to fit the enormous stage out n Leavenworth, wit its 58-foot opening, and to truly present Arabic life on the desert as it is – or was when the Prophet was on earth. The asbestos curtain is simply enormous – it weighs half a ton. The picture runs through the entire width and height of the proscenium arch and shows the arrival of the caravan at the oasis at the hour of evening prayer. Over on the left is a low wall well and opposite it the followers of the Sheik appear to be busy in the formation of a camp while the chieftain of the tribe is kneeling on his prayer rug. In the distance appears the desert, with a glimpse of the pyramids showing through the haze. It is a splendid picture, and he wanted it without borders that usually are used to frame such a view – it stands out boldly for just what it is, an Arabic camp.

One cyclorama which must be all of 200 feet in length will encircle the stage, except across the front, while another complete stage setting includes a view of the sacred city from a minaret on the right. The tower has a balcony for the use of Muezzin, and on the opposite side are set pieces representing buildings along the street, with bazaars, etc.

The palace scene is made with set pieces, the drop at the rear being made to carry sliding doors. Through that opening the Potentate will make his entry.

The set pieces include tents, sphinxes, pyramids, palm and date trees, throne, and a whole mess of other things, and all so braced an arranged that they ‘stay put’ when required on stage, but can be quickly removed.

The Abdallah stuff really includes two complete sets of scenery, one for permanent use at the new Leavenworth mosque, and the other to be taken along when the temple visits other cities in the jurisdiction.

The scenery is to be loaded into a car and be delivered and place in the mosque not later than May 15, and from the amount of labor-saving machinery being used on the job, it will likely accomplish it.”

The Abdallah Temple was chartered March 28, 1887. In 1910 the Abdallah Shrine purchased the old Crawford Grand Opera House, originally erected in 1880. Located at the corner of Shawnee Street, south side, between fifth and sixth streets, it was extensively overhauled and became the well-known Shrine Temple until 1921. In 1921, a new Temple was erected on the lots just west of the original one. At a cost of approximately $200,000, the stage was an integral feature to the building with the new scenery from Universal Scenic Studio of St. Paul, Minnesota.

Postcard depicting the Abdallah Temple in Leavenworth, Kansas.

The Shrine was known as the playground of Freemasonry. After a Mason’s arduous study in the Blue Lodge (first three degrees of Freemasonry), he continued his study of the Craft in either the York Rite or Scottish Rite. This labor was a pre-requisite to joining the Shrine, although not any more. However, even in 1921 there was an option if men didn’t want to take the time or money to join the York or Scottish Rite that culminated in the Shrine; they joined a the Grotto. For those Masons not interested in the continued study in the Scottish Rite or York Rite, the Mystic Order of the Veiled Prophets of the Enchanted Realm (M.O.V.P.E.R. Grotto) was an option and considered the “poor man’s Shrine.” Back to Leavenworth and Abdallah Temple.

1921, Abdallah membership reached 4,500 with its jurisdiction extending over nineteen counties in the northeastern part of Kansas. At this time, Abdallah Shrine maintained a band and a patrol unit at Leavenworth, with ceremonials held several times during the year; Abdallah events drew in large numbers of men from Leavenworth and the surrounding districts. The Abdallah Shrine even owned the park southwest of the city, formerly known as the Leavenworth County Fair Association Park. The park included bathhouses, a dancing pavilion, racetrack and other places of amusement, a perfect gathering location for Masons and their families.

To be continued…

Tales from a Scenic Artist and Scholar. Part 702 – Those Who Play Should Pay, 1907

Part 702: Those Who Play Should Pay, 1907

I primarily focus on the Masonic stages hands and scenery. Scottish Rite stages may have rivaled their commercial counterparts, but the performers were primarily amateurs without any professional training. Would a degree team composed of bakers, ranchers, bankers, oil barons, attorneys or clerks understand that a director was really the one in charge? Here is the view of one frustrated thespian who was tired of watching and working with amateur actors. The following excerpt was from the article “Detail and the Drama of the Degree,” written by Epes W. Sargent and published in New Age Magazine (August, 1907, Vol. VII, No. 2, page 181). What was said in 1907 could likely be repeated today:

“… in a recent presentation of the Twenty-third Degree (Northern) we had Moses wearing gold-rimmed eye glasses without a beard that was the pride of every Hebrew of his time. The eyeglasses might have been excused upon the ground of necessity, but there was no excuse for the shaven and shorn appearance of the Patriarch. That the Moses of the moment was an officer who was presently to address the class of candidates in his proper person was no condonation. The costume was slipped off at his exit in character; the removal of the beard would not have required ten second additional delay.

The natural conclusion was that the player feared that by thus masking his identity behind a creation of false hair and wire he might fail to obtain full credit for his work.

It is conceded that few men devote their time to the degree team through some wholly unselfish motives. With some there is hope that efficient work upon the floor may lead to the chairs (as indeed, it often does), others find in their work a gratification of their love of acting, while a score or more of reasons may account for the interest in addition to the proper one of welfare of the rite. It is not to their discredit that they look for reward. That is to be expected.

But those who play should pay. It is not sufficient that they should memorize the speeches, attend some of the rehearsals, and otherwise devote their time to the presentations. They should yield unquestioning obedience to their director and strive with all earnestness to supplement his work by realizing to the fullest the meaning of the part entrusted to their care as well as paying attention to the details of dressing and conduct.

The director cannot be expected to devote his time to the observance of such petty details as personal appearance. Since the exemplar has volunteered for a part, and in someway expects reward, he should give more than passing thought to his work.

In the matter of the beard, the director saw that it was laid out. He could not patiently wait until the exemplar dressed to see that it was worn, nor could he, in this instance, insist that the beard could be put on.

It was the law of Moses that hair whould be worn upon the face. Several passages in Leviticus and elsewhere expressly allude to this, and yet we are asked to regard with due seriousness a Moses who had evidently visited a barber shop on his way to the Tabernacle, and to believe that this was the most majestic figure of Jewish history.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 700 – The Topeka Scottish Rite, 1906

Part 700: The Topeka Scottish Rite, 1906

I briefly return to the Topeka Scottish Rite. In 1906, Thomas G. Moses wrote, “The New Year found me at work on some new work for Topeka, Masonic Hall. Very nice work.”

One of the stage settings delivered tot he Topeka Scottish Rite by Sosman & Landis

The “Topeka Daily Capital” reported, “The Scottish Rite bodies of Topeka purchased the building now occupied by the local Masonic bodies three years ago, and they have spent over $20,000 in the last four months in furnishing a lodge room that will compare favorably with any in the United States. A new stage thirty-five feet in depth has been built, and it is said to have more scenery than any other in the country. There are 110 drops, over one hundred of which are the property of, and will be used by, the Scottish Rite in conferring their degrees, which are peculiarly adapted to stage work. The electrical effects that can be produced are almost without number, and are controlled by a marble switch-board eight feet long.” (21 Feb. 1906, page 5).

Sosman & Landis delivered the scenery to the Masonic building located on Jackson Street in Topeka, Kansas. $15,000 worth of scenery had been sold to the Valley of Topeka, allowing candidates to be conferred in full form during the spring reunion of 1906 (The Topeka Daily, 23 April 1906, page 2). For the event, there were 200 candidates, the largest class ever assembled in the state. The reunion took place over the course of three days (The Topeka Daily, 23 April 1906, page 7). Two of the candidates were Dr. F. O. Hetrick and A. Haggart from Ottawa, Kansas. Their local newspaper, “The Evening Herald” reported that the two men “went to Topeka this morning to attend the twenty-sixth semi-annual reunion of the Ancient and Accepted Scottish Rite Bodies of the Orient of Kansas, Valley of Topeka. Both gentlemen are going to take degree work” (24 April 1906, page 3). This notice is not unusual, and often newspapers would list all of the candidates in a Scottish Rite class. Articles would also describe which degrees were conferred and communicated; conferred often meant that the degree was theatrically staged. Although Freemasonry might be considered a “secret” society, the identity of incoming members was often published in the local newspaper. It says a lot about the size and prominence of the organization at the time. Scottish Rite membership was on the rise and it meant something to be associated with the Fraternity.

The Topeka Scottish Rite stage pictured in the “Topeka Daily”, 21 Feb, 1906, page 5

The reunion in Topeka either ran like a well-oiled machine, or was one chaotic mess. With 100 drops and 17 of the 29 degrees staged, a lot occurred over the course of three action-packed days in 1906. The success of the region was evident as an addition was immediately planned. During November of 1906, the Topeka Scottish Rite again broke ground again for a $100,000 addition to the building. The second floor that contained the stage and auditorium remained unaltered, but the Fraternity needed more space if the membership continued to increase at the same rapid rate

To be continued…

Tales from a Scenic Artist and Scholar. Part 696 – The San Francisco Scottish Rite, Feb. 6, 1905 – April 18, 1906

Part 696: The San Francisco Scottish Rite, Feb. 6, 1905 – April 18, 1906

The cornerstone for the Albert Pike Memorial Temple in San Francisco was laid on July 9, 1904 by the Most Worshipful Grand Lodge, F. and A.M. of California. The name causes a slight problem, as nearly two decades later an Albert Pike Memorial Temple would be built in Little Rock, Arkansas. In Little Rock, the Scottish Rite Masons left their previous home in the 1902 the Albert Pike Consistory Building to join other Little Rock Masonic orders at the Albert Pike Memorial Temple.

Cornerstone laying ceremony for the San Francisco Scottish Rite, 1904.

The San Francisco Scottish Rite’s Albert Pike Memorial Temple was located at 1859 Geary Street in San Francisco, between Steiner and Filmore Streets, the building occupied a 86 feet by 137 feet lot. On February 6^th, 1905, the new home of California Scottish Rite bodies was dedicated and a Scottish Rite Reunion commenced..

Fred J. H. Rickon was the president of the Albert Pike Memorial Temple Association, a group that consisted of some of the most prominent Masons in San Francisco. Other memebers were Frank B. Ladd, William Crocker, W. I. Brobeck and W. C. Ordway. Bestor G. Brown, Past Grand Master of the Grand Lodge of Kansas and western sales manager for M. C. Lilley & Co., not only outfitted the new theater with scenery, stage machinery, lighting and costumes, but also “made the presentation speech, paying a graceful tribute to the energy of local fraters” (San Francisco Call, 7 Feb 1905, page 2). Other than the costumes, the theater’s scenery, stage machinery, and lighting were subcontracted to Sosman & Landis of Chicago, Illinois.

In “The Ancient and Accepted Scottish Rite of Free-Masonry Transactions of the Supreme Council of the 33^rd Degree for the Southern Jurisdiction of the United States of America” from 1905, there was a report from W. Frank Pierce, Sovereign Grand Inspector General, Valley of San Francisco. He stated:

“Only one reunion has been held in this jurisdiction, This one was at the dedication of the Albert Pike Memorial Temple, San Francisco, and held for the purpose of allowing the brethren from various parts of the State to witness the conferring of all degrees in a temple equipped with the most modern paraphernalia and stage fittings to present their dramatic part of the work.”

On February 6, 1905, the San Francisco Call included the article “Albert Pike Memorial to be Dedicated.” The article reported, “On this occasion the degrees will be conferred with full scenic effects and historically correct paraphernalia for the first time in California. Over $100,000 has been invested in this magnificent structure, of which fully $25,000 is in scenery and costume alone. It is anticipated that many of the craft from all over the State will take advantage of this occasion to receive these degrees, and it is thought that many prominent and distinguished visitors from other jurisdictions will grace the meeting with their presence” (“Albert Pike Memorial to be Dedicated.” 11 Dec. 1904, page 50).

Like many buildings in San Francisco, the Albert Pike Memorial Temple was destroyed during the fire that followed the 1906 earthquake on April 18. By April 22, 1906, the San Francisco Chronicle described the Masonic ruins after the fire: “On Geary street between Filmore and Steiner, two large, new, partly constructed brick and stone buildings, one the Albert Pike Memorial Temple and the other the Congregation Beth Israel Church, both practically collapsed, the roofs falling in. Not far away, on Sutter and Steiner streets, a large new building being constructed for the Golden Gate Commandery of the Scottish Rite fell with a crash” (page 6).

Image of the San Francisco Scottish Rite after the earthquake in 1906, from the San Francisco Public Library.

To be continued…

Tales from a Scenic Artist and Scholar. Part 694 – The Scottish Rite in McAlester, Oklahoma, 1904

Part 694: The Scottish Rite in McAlester, Oklahoma, 1904

There was something else happening in the world of the Ancient and Accepted Scottish Rite of Freemasonry when the Scottish Rite in Kansas City, Kansas, was dedicated. In 1904 the Scottish Rite in McAlester, Oklahoma, photographically documented a few of their scenes, complete with costumed characters for the corresponding degrees. I first encountered these photographs while restoring the Scottish Rite scenery collection in the 1929 Masonic Temple. In a room with south-facing windows, a glass display case held a handful of photographs. There were several old photographs that depicted a small Scottish Rite stage and costumed degree teams.

One of the photographs in a display case at the Masonic Temple in McAlester, Oklahoma. This image depicts a degree team from 1904.

The typed card that accompanied the photographs stated:

“These are pictures taken of McAlester Scottish Rite degree teams in 1904, taken on stage “The Tabernacle,” McAlester’s first Scottish Rite Temple. It was located on the south side of Washington Avenue between 2nd and 3rd Streets, where the drive in facility of the Bank, NA, is presently situated.”

As with many onsite discoveries, I carefully tucked this little bit of information away and went on with my work for about a decade. I did not think about the photographs again until I was working on “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” book (Museum of New Mexico Press, 2018). We were trying to track down some interesting images of Harper S. Cunningham, Sovereign Grand Inspector General of New Mexico, when the Santa Fe Scottish Rite was being planned. Cunningham had also functioned as the S.G.I.G. of Oklahoma Territory before moving to Santa Fe to help with the impending plans for constructing a new home with stage. Cunningham was referred to as the “Temple Builder.” As possible images were passed back and forth, one included Cunningham seated in front of a candidate class. This was taken in front of Santa Fe’s first Scottish Rite stage on Water Street.

Drop curtain created for the first Scottish Rite stage in McAlester, Oklahoma.

Curtain created for the first Scottish Rite stage in McAlester, Oklahoma, used by the Santa Fe Masons at their Masonic Hall on Water Street.

As with many Scottish Rite Valleys, the stage was constructed at the end of a Masonic hall. The intent of this stage was to get the members used to staging degrees, as they were planning a new theater in the proposed Scottish Rite building. Cunningham had directed the Snat Fe Scotish Rite to purchase the used scenery from the McAlester Scottish Rite Masons as they had just built a new stage and ordered new scenery.

Small stage constructed at the end of the Masonic hall on Water Street in Santa Fe, New Mexico.

As I looked at the photograph of Cunningham stoically seated amongst a candidate class of twenty-two men, I noticed the tassels on the drop curtain behind. Many Scottish Rite drop curtains during the first two decades of the twentieth century have a similar feel and composition, but I have yet to find two that are identical. When I compared the drop curtain in the Santa Fe photograph and the McAlester photograph, I realized that they were identical. The used scenery purchased from the McAlester Scottish Rite during the planning and construction of the Santa Fe Scottish Rite Cathedral was sitting in a display case in McAlester, Oklahoma.

At the time I documented the McAlester degree team images, they were deteriorating from direct exposure to sun and heat. I realized that it was unlikely a conservator had swept in after my departure from McAlester and removed the photographs form the cases to care for these significant images. I simply treasured the images that I already had and requested additional photographs depicting the scenery installed for the Santa Fe Scottish Rite Masons on Water street to get an understanding of the collection’s scope.

Jump ahead to the fall of 2018. I am carefully adding the research files of Professor Emeritus Lance Brockman to my own files. Years earlier, I had already added the research of Larry Hill, who thoughtfully sent me boxes of slides and past research about historic scenery, stage machinery, and panoramas upon his retirement. As I tucked Brockman’s “McAlester Scottish Rite file” in with my own, I quickly flipped through the contents. In one manila folder, there was a color copy of a 1995 letter from Rhett Bryson at Furman University (Greenville, South Carolina). It an old newspaper clipping. Bryson also traveled with Brockman and Hill across the country, documenting Scottish Rite scenery during the 18980s and 1990s.

The first 2” x 3” color image pictured in the letter was recognizable as the scenery behind the degree team for the 1904 McAlester Scottish Rite degree team photo. This was huge! Rhyson indicated that there were thirteen drops clearly marked “So. McAlister” on the back. This meant that the original scenery created for the McAlester Scottish Rite was used by the Santa Fe Scottish Rite and then shipped to and used by the Charleston Scottish Rite. The scenery had three lives! I was curious to see what I could find about the Scottish Rite stage in Charleston that used the scenery.

To be continued…

Tales from a Scenic Artist and Scholar. Part 686 – Meanwhile, in the Northern Jurisdiction

Part 686: Meanwhile, in the Northern Jurisdiction

I am in the midst of examining the progression of Scottish Rite stage construction in the Southern Jurisdiction, before I return to the life and times of Thomas G. Moses in 1909. 1908 to 1910 is when Sosman & Landis reach their peak production period of fraternal theater production and Brown’s special system. There is little documented evidence of degree productions in the Southern Jurisdiction before 1896, with the earliest stages being constructed in Little Rock, Arkansas, and Oakland, California, much flew under the official radar.

The major aspect to the evolution of theatrically interpreted degree work in the Southern Jurisdiction is a systematic marketing plan by a relatively small number of individuals that included Bestor G. Brown as the spokesman for the movement. Brown created demand for a particular product manufactured by Sosman & Landis studio. The development of Brown’s special system directly increased the amount of painted scenery that was able to be installed in a Scottish Rite theaters. Although Sosman & Landis scenic artists and stage carpenter David Austin Strong (1830-1911) was credited by Thomas G. Moses (1856-1934) as the “Daddy” of Masonic design, the theatrical staging of degree work had long been occurring in the Northern Jurisdiction for decades before the Southern Jurisdiction.

Before moving forward with the expansion of Scottish Rite stages throughout the Southern Jurisdiction, from 1896 onward, here’s a brief recap of what was already occurring in the Northern Masonic Jurisdiction (NMJ) of the Ancient and Accepted Scottish Rite of Freemasonry. Keep in mind that the NMJ is located east of the Mississippi and north of the Ohio River. At the time the geographical demarcations were established, the NMJ included many of the United States’ major metropolitan areas, including Boston, and Philadelphia. These were vibrant theatrical hubs during the mid-nineteenth century when the NMJ began staging portions of their degree work, not to mention the Masonic Opera Houses that were constructed during the time.

The Baldwin Building used by the Indianapolis Scottish Rite in 1873

The Indianapolis Scottish Rite remodeled a pork slaughterhouse to include two stages for degree work in 1882.

In the 1860s the Indianapolis Scottish Rite Bodies used movable scenery and a small stage in their 1863 space of the Yohn Building, before moving to the Baldwin Building in 1873. Increasingly elaborate stage productions of degrees continued until 1882 when the Indianapolis Scottish Rite purchased and remodeled an old pork slaughterhouse, installing two stages for degree work. Originally a five-story brick building, the back half was raised an additional story to accommodate a theatrical fly system. Theatre spaces occupied both the fourth and fifth floors and were of similar size, each including galleries on three sides with 450-seat capacities. The fourth-floor and fifth-floor auditoriums measured approximately forty by eighty feet. The fourth-floor auditorium included a twenty-eight foot proscenium opening that was primarily used for scenic effects in connection with the conferring of degrees. The fifth-floor proscenium stage opening was twenty by thirty feet and included a forty-five-foot high fly loft.

Despite the popularity of Scottish Rite stages, the Southern Jurisdiction did not follow suit because of Grand Commander Pike. The same year that the Indianapolis Scottish Rite building was completed, Grand Pike addressed the dissimilarity of degree work in each jurisdiction in his 1882 Allocution, stating, “The Rite in this jurisdiction is a Rite of Instruction, and not of scenic pomp and stage-show. We do not indulge in melodrama or pantomime. It is the firm conviction of hundreds of our zealous workers that our books are well worth being studied, and that the Rite, as developed in our Degrees, is destined by God to be in our future one of the chief benefactors of humanity…I can not conceive of a more useless occupation than the arranging and performing of degrees, neither the effect nor the purpose of which is to make men wiser or better, but which are acted as melodramas, to gratify an æsthetic taste and please the imagination, like the pageantry of cardinals and orioles. It is not Masonry.”

The 1886 Cincinnati Scottish Rite stage with scenery painted by E. T. Harvey.

As in Indianapolis, Cincinnati also constructed a series of early stages before building a full Scottish Rite cathedral. Cincinnati’s first Scottish Rite cathedral was destroyed by fire during 1884. The New Scottish Rite Cathedral was described in the Masonic Column of Cincinnati’s Commercial Gazette on July 5, 1885. The article boasted, “When fully completed the Cathedral will constitute the most complete and elegantly fitted building devoted to any one branch of Masonry in the World.” It was competed by 1886 at a cost of $82,500. (Democratic and Chronicle, 16 May 1886, page 2). The Cincinnati Scottish Rite auditorium contained a three-tiered balcony and a thirty-two-foot proscenium opening. The entire scenic installation for their newly constructed Scottish Rite building was credited to E. T. Harvey. His scenery included a tomb, interior palace, palatial chamber, landscape, fiery underworld, ascension of Christ, and a cathedral interior to name a few. As an itinerant artist, Harvey worked at a variety of theatres throughout the region, including Heuck’s New Opera House where the Scottish Rite scenery had been painted. E. T. Harvey would create 18 new sets of scenery for the Cleveland Scottish Rite in 1901 too after they suffered the loss of a previous building to fire (Cincinnati Enquirer, 31, Oct 1901, page 3). Harvey (1843-1918) was an Englishman who immigrated to America in 1860 and worked extensively as a scenic artist in the east. He also worked at the Grand Opera in Cincinnati for 25 years. Harvey was a member of the Scottish Rite and Shrine, as many of the first scenic artists to create Masonic scenery,

Painted scene by E. T. Harvey for the Cincinnati Scottish Rite.

In 1886, the same year that the second Cincinnati Scottish Rite Cathedral was completed, another one was finished in Columbus, Ohio. The “Fort Wayne Daily Gazette” included an article “Gorgeous Quarters. The Magnificent Scottish Rite Cathedral at Columbus, Ohio” (5 Dec. 1886, page 8). The Third Street Universalist church was purchased and remodeled for $12,000. The renovation included a stage and property room. At the time, the newspapers proclaimed the building to be “one of the most complete in the country.” Indianapolis, Cleveland, Columbus, and Cincinnati were only a few examples of a wave sweeping through the Northern Masonic Jurisdiction a full decade before the first small Scottish Rite stages appeared in Little Rock and Oakland.

To be continued…