Masonic Degree Productions – Page 2

Tales from a Scenic Artist and Scholar. Part 684 – Scottish Rite Stages in Salina –1901 and 1927

Part 684: Scottish Rite Stages in Salina –1901 and 1927

In Salina, Kansas, the “Daily Union” published an article that almost read like an advertisement for the upcoming Scottish Rite reunion. The heading stated “THE SCOTTISH RITE. Interesting Facts About Bodies Located Here. Spring Reunion in June” (Salina Daily Union, 14 April 1900, page 1). The amount of information provided in this 1900 article is quite intriguing:

“The Bodies of the Ancient and Accepted Scottish Rite, located at Salina, Kan., acknowledge and yield allegiance to the Supreme Council, 33d degree, for the Southern Masonic jurisdiction of the United States of America, whose grand East is in Charleston, South Carolina, and is in fraternal communication with every legitimate Supreme Council in the world.

“The various degrees as conferred by these orders are divided in a series as follows:

The first series comprises the degrees from the 1^st to the 3d inclusive and are termed symbolic, being conferred in the Blue Lodge, actual membership in which is the obligatory qualification for the advancement to the succeeding series.

The second series comprises the several degrees form the 4^th to the 14^th inclusive, are termed ineffable and are conferred in a “Lodge of Perfection.”

The third series comprising the several degrees from the 15^th to the 18^th inclusive are termed the historical and philosophical degrees and are conferred in a “Chapter of Rose Croix.”

The fourth series comprises those from the 19^th to the 30^th inclusive, are termed the modern historical, chivalric and philosophical degrees, and are conferred in a “Council of Kadosh.”

The fifth series comprises the 31^st and 32d degrees, are allegorical and philosophical, and are conferred in a Consistory.

“The work is very solemn and impressive in nature, calculated to improve the mind and character of all coming in under its influence, there by causing them to become better members of the commonwealth.

“The bodies here are thoroughly equipped with all the paraphernalia required for the proper rendition of the work and have among their members several who cannot be excelled in exemplifying the characters required to be taken in conferring the several degrees and are favored with a very competent leader. Owing to the number of applications lately received and a larger number having signified their intention to apply for admission, it has been decided to hold a spring reunion, commencing the 11^th day of June, continuing for four days, at which time the several degrees from the 4^th to the 32^nd will be conferred; the greater majority in full ceremony and form.”

When the article was published in 1900, Salina Masons had already enjoyed their Masonic Temple for four years. They were in the process of planning a major expansion that would result in an even larger stage, complete with fly loft and horseshoe balcony.

*Plans for Masonic Temple stage in Salina during 1901. From the “Salina Daily Republican,” 17 July 1901, page 4*

By 1901, the “Topeka State Journal,” reported the substantial number of Scottish Rite Masons in Kansas, the newspaper reported “Kansas boasts the largest membership in the Scottish Rite of any state in the southern jurisdiction of the United States and the fame of the Topeka officers for their thoroughness and perfection displayed in conferring the degrees is not confined to the borders of the state. No order makes use of as elaborate paraphernalia and so dramatic a ritual as the Scottish Rite and with each succeeding reunion the classes to take the sublime degrees increase in numbers.”

In 1902, the “Junction City Republic” reported about the Fall Reunion at the Salina Scottish Rite noting, “A large number of candidates from this part of the state will be present to take the degrees. This is the fountainhead of all the beautiful allegories and work of freemasonry throughout the world” (24 October 1902, page 1). Membership continued to grow in Salina, as well as the rest of the country and what was once though ample space became cramped quarters.

By 1919, Salina Masons planned for Masonic Temple, referred to as the million-dollar to reflect the expense. Work began in that year, but the concrete design, however, collapsed in 1920 due to faulty construction, occasioning a loss of approximately $250,000 (The Kansas Workman, 1 Sept. 1926, page 6). The arched concrete ceiling of the auditorium gave way. The building was partially re-erected with structural steel and Carthage limestone. The original year scheduled for completion was 1923, until the collapse. During this time, the Masonic bodies were still meeting in their old home when disaster struck again.

*The Masonic building gutted by fire, pictured in the “Salina Evening Journal,” 30 Jan 1922, page 1*

In 1922 the old Masonic Temple was practically destroyed by fire. This was the 1896 building that had been expanded in 1902. Two decades later, the two upper stories of this building were burned out (The Salina Evening Journal, 30 1922, page 1). The Blue Lodge, Order of the Eastern Star, the Royal Arch, the Knights Templar, the Scottish Rite and Shrine all suffered heavy losses of degree paraphernalia. The article reported “Thirty-nine curtains for the stage, used in the ritual work of the lodge and the presentation of degrees, were included in the loss also.” After the fire, the Masonic bodies negotiated with the proprietor of the new theatre building until the Masonic temple was finished. The new scenery collection purchased for the new Masonic Temple was far larger than that in the old building or their temporary theater space.

*From the “Salina Daily Union,” 11 June 1921, page 1*

*The 1927 Masonic Temple in Salina, Kansas*

For their new building, the Salina Scottish Rite would purchase a used scenery collection in 1927. Scenic artist for this collection, Thomas G. Moses, included pasted a newspaper clipping in his scrapbook. It was about the used McAlester Scottish Rite scenery collection purchased by the Salina Scottish Rite Bodies in 1927. The article reported, “The one hundred and seventeen drops of scenery that has been in use on the old stage for twenty-five years, has been sold to the Scottish Rite Bodies of Salina, Kansas, and it has been shipped to them. There was nearly a carload of it. Brother John T. Leibrand, 33°, Wise Master of South McAlester Chapter of Rose Croix, negotiated the sale to the Salina brethren who came to McAlester to inspect it. The scenery was painted by Brother Tom Moses under the direction of that great Scottish Rite Mason and student Bestor G. Brown, and was said to be the finest in the Southern Jurisdiction at the time.” The article also noted, “the Salina brethren are negotiating with Brother John G. Redpath, who had charge of the old stage for years, to superintend the hanging of the drops in their temple.”

*The scenery purchased by the Salina Scottish Rite from the Scottish Rite stage in McAlester, Oklahoma.*

*The painted front curtain for the Salina Scottish Rite*

*The stage at the Salina Masonic Temple for the Scottish Rite*

*The stage at the Salina Masonic Temple from 1927*

To be continued…

Tales from a Scenic Artist and Scholar. Part 681 – The Second Scottish Rite Stage in Little Rock, 1902

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.

To be continued…

Tales from a Scenic Artist and Scholar. Part 679 – The 1900 Guthrie Scottish Rite Contract for Scenery

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 16^th Degree, consisting of one backdrop, and two leg drops, One drop for Cyrus’ Palace; the leg drop of 8^th 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 9^th & 15^th 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.

To be continued…

Tales from a Scenic Artist and Scholar. Part 678 – The 1899 Guthrie Scottish Rite Contract for Costumes

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 18^th 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

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.

To be continued…

Tales from a Scenic Artist and Scholar. Part 674 – Henry Wallenstein and the Scottish Rite in Wichita, Kansas

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.

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 Dakota

Brown’s special system now used at the Wichita Scottish Rite

Fabric-wrapped counterweight form the original system at the Wichita Scottish Rite stage

Counterweight 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.

To be continued…

Tales from a Scenic Artist and Scholar. Part 672 – Charles E. Rosenbaum and Degree Productions

Part 672: Charles E. Rosenbaum and Degree Productions

In 1930, Thomas G. Moses wrote that the three men who “had all to do with the starting of the Scenic decoration of real Scottish Rite Degree work” were Charles E. Rosenbaum, Bestor G. Brown and Joseph S. Sosman.

Charles E. Rosenbaum was born in St. Louis, Missouri during 1855. At the age of twenty-eight, he moved to Little Rock, Arkansas, founding C. E. Rosenbaum Machinery Co. His business endeavor flourished, becoming one of the most successful machinery and mill supply companies in the region.

Rosenbaum joined the Fraternity in Little Rock, Arkansas. On March 10, 1886, he was raised a Master Mason in Magnolia Lodge No. 60. The Scottish Rite of Arkansas credits Rosenbaum with conceiving the idea of staging the second section of the Master’s Degree (here is the link: http://www.ark-scottishrite.org/charles-e-rosenbaum.html.) The Master’s degree, or third degree, of the Symbolic Lodge involves the murder of King Solomon’s chief architect during the construction of the Temple. In fact, it is this story introduced in the third degree that form the basis for many Scottish Rite degrees.

Rosenbaum’s proposal to theatrically stage the third degree was nothing new, but it was new to the area where he was proposing it. Rosenbaum submitted a formal request to the Grand Lodge of Arkansas to grant him permission to stage the Second Section of the Master’s Degree. He was granted permission. On November 20, 1906, Worshipful Master Rosenbaum conferred the third degree on Brother William C. Bond in the auditorium of the Albert Pike Consistory. The event was recorded to include the largest attendance of the Grand Lodge of Arkansas ever assembled up to that time. Now consider that Rosenbaum had been involved in staging Scottish Rite degrees in Little Rock since 1895. He was involved in creating the first Scottish Rite theater in the State of Arkansas. By 1896, Little Rock’s Albert Pike Cathedral was completed and boasted both scenery and stage machinery by Sosman & Landis. Rosenbaum would become a very good friend of the scenic artist who painted many of the Little Rock scenes – Thomas G. Moses, the final president of Sosman & Landis.

Stage at the Albert Pike Cathedral pictured in a Reunion Program from 1899

Since the 1850s, Scottish Rite bodies in the Northern Jurisdiction had staged portions of their degrees. The Blue Lodge, otherwise referred to as the Symbolic Lodge, included the first through third degree. The Scottish Rite expanded on the story of the third degree and other legend in the fourth to thirty-second degrees, with an honorary thirty-third degree. Scottish Rite Orient of Arkansas’ website includes a section in Rosenbaum, noting, “Brother Rosenbaum was convinced that this new innovation would not only better serve the candidate but the membership as well. A dramatic conferral of this most precious of Masonic degrees would, without a doubt in his mind, leave a greater impression upon the candidates but engage the fraternity in a way that it had never seen before. With special effects, lighting, elaborate regalia, stage props and the burning of incense; all of the human senses would be tantalized and stimulated by this new delivery system for these ancient moral lessons.” Not exactly.

I want to stop for moment to reflect on the state of the Fraternity in terms of staging degree work from the first thru thirty-second degree. The Northern Masonic Jurisdiction of the Ancient and Accepted Scottish Rite of Freemasonry had staged degrees for decades before they became popular in the Southern Jurisdiction. Part of the reason that they were not immediately imitated in the Southern Jurisdiction was because of Grand Commander Pike. Pike controlled the Rite from 1859 until his passing in 1891 and was not a fan of degree productions. Although all of the Scottish Rite degrees had been communicated to hi in one day, he believed that men should slowly pass through the degrees. In fact, Pike’s quote from his 1882 Allocution included “The Rite in this Jurisdiction is a Rite of instruction, and not of scenic pomp and stage-show. 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 aesthetic taste and please the imagination, like the pageantry of cardinals and orioles.” When Pike was in charge, there were no large theatrical endeavors started in the Southern Jurisdiction, well, at least that he was aware of. We do not know for a fact that the Grand Lodges in the Southern Jurisdiction completely banned the theatrical interpretation of any degree work, but it would stand to reason that experimental attempts had occurred over the year. There are articles that verify the existence of stages in the Southern Jurisdiction before Pikes’ passing in 1891.

In Cincinnati, a Northern Jurisdiction city, Master Masons were courted in Blue Lodges with notion of a superior degree experience in the local Scottish Rite. Now governance was a little different in the North Masonic Jurisdiction as there were rival Supreme Councils. My research suggests that the early implementation of Masonic stages with scenery, lights and special effects, was a way to increase membership, even steal members from a rival organization. Again the use of theatrical elements promised a superior degree experience for both the candidate and membership. Of this time, I think of two kids are playing happily in a sand box when a third kids stops by and says, “You should see what WE’RE doing in our sand box.” It is likely that at least one of the two kids would leave to check out the nearby activity.

Prior to Rosenbaum joining the Little Rock Scottish Rite, it was a fledging Masonic order in the region like many, suffering the after effects of the Civil War. The Scottish Rite Orient of Arkansas website states, “Brother Rosenbaum was the first person to take Albert Pike’s degrees and dramatize them for a more attractive initiatory experience in the Scottish Rite as well. Illustrious Brother John H. Cowles, 33°, Sovereign Grand Commander, said this about Brother Rosenbaum:

“His fame spread throughout the Southern Jurisdiction. Many letters were received by him from other Valleys, to all of which he replied in a most fraternal and helpful spirit, and so it was not long until many other Valleys, and then still other Valleys throughout the Jurisdiction, began to confer the degrees in a manner worthy of them. That work has grown until now we have magnificent temples all over the Jurisdiction, build especially to enable the officers and members to impress the degrees through proper ritualistic interpretations upon hundreds and thousands who have come into the Scottish Rite since that time. He certainly was the pioneer, and deserves the credit we freely give to him. His worth was soon noted by the Supreme Council, and he was appointed on the Ritual Committee before he was an active member of the Supreme Council.”

He certainly was popular and propagated the use of degree productions, but Rosenbaum was not the first to conceive of the idea in the Southern Jurisdiction. He was possibly one of the first to be publicly recognized in the Southern Jurisdiction besides Bestor G. Brown. There are examples of stages in Southern Jurisdiction building that appeared well before Rosenbaum joined the Fraternity. These stages were constructed in a standard Masonic hall or lodge room before becoming state-of-the-art stages. Furthermore, many of these stages were in states boarding the Northern Jurisdiction; close to Southern Jurisdiction Valleys where membership observed the success of their nearby brothers.

To be continued…

Tales from a Scenic Artist and Scholar. Part 671 – Charles E. Rosenbaum, Bestor G. Brown and Joseph S. Sosman

Part 671: Charles E. Rosenbaum, Bestor G. Brown and Joseph S. Sosman

I have examined Bestor G. Brown and Brown’s special system over the course of several posts, placing both within the context of Midwestern stage carpenters and scenic artists.

Brown’s special system was manufactured by Sosman & Landis and marketed by Bestor G. Brown, western sales representative of M. C. Lilley & Co. Documented examples of Brown’s special system include Little Rock, Arkansas, Guthrie, Oklahoma , Duluth, Minnesota, Wichita, Kansas, Memphis, Winona, Minnesota (1909, recently demolished), Tennessee, Cheyenne, Wyoming, Santa Fe, New Mexico, Portland, Maine, Grand Forks, North Dakota, Asheville, North Carolina, and Tucson, Arizona.

Thomas G. Moses credited with origin of Masonic designs to David A. Strong. In 1911 after Strong’s unexpected death, Moses wrote, “Strong was the ‘daddy’ of all Masonic designs and he was a 32^nd Degree man.” We know that Strong was both a scenic artist and stage carpenter, instrumental in some of the earliest Scottish Rite scenery for the Oriental Consistory of Chicago.

Moses mentioned three other men in his memoirs who he credited with “the starting of the scenic decoration of real Scottish Rite degree work”– Joseph S. Sosman, Bestor G. Brown and Charles E. Rosenbaum.

In 1930, he Moses wrote letters Frank M. Jefferson at the Albert Pike Memorial during April 1930. In the last, he mentions the three men:

“April 20, 1930

My Dear Brother Frank,

I have tried for sometime to write you, to thank you for sending the wire that announced the death of one of my best friends. A man that I had all of the Brotherly Love for that was possible to give.

While at times, he would go for me rough-shod for some neglect of mine, but at the same time would go out of his way to help me in more ways than one, he gave me more sound judgment on my work than I have had from anyone outside of Bestor Brown – and I have put it to useful work. I am going to ask a favor. I want a photograph of Mr. Rosenbaum to place with the one I have of Bestor Brown, my two advisors in my chosen vocation.

Thanking you in advance and with best regards to all.

Sincerely and fraternally yours,

Thos. G. Moses”

_____

“April 29, 1930

My Dear Jefferson,

Yours of the 25^th received. I will visit Little Rock, every time I am in your vicinity, as I count on a warm welcome by my friends.

You mention having enclosed a photo of C. E. Look about your desk and you will find that you did not include it. I shall certainly be pleased to receive it.

I wish you would remember me to the Harris boys and father, Bill Leipzig (I have forgotten how to spell his name) also to Gene Smith and others.

Thanking you again for the photo which you will send.

I am sincerely yours,

Thos. G. Moses”

_____

“April 30, 1930

My dear Frank,

The photo has arrived. I had supposed it was one you intended to include with your letter. I don’t know how to thank you enough for this wonderful portrait you have been kind enough to send me. I will now have the 3 men that had all to do with the starting of the Scenic decoration of real Scottish Rite Degree work: Rosenbaum, Brown and Sosman. Many – many – thanks for the photo.

I am sincerely yours,

Thos. G. Moses”

_____

Charles E. Rosenbaum was president of the C. E. Rosenbaum Machinery Company in Little Rock, Arkansas. Like Brown, he held many offices in the Fraternity, including S.G.I.G. of Arkansas and the Lieutenant Grand Commander of the Supreme Council. Tomorrow, I will look at the remarkable life of Rosenbaum, a man who insisted one should never lose sight of the fact that a business is built on honor and should be maintained in the same manner.

C. E. Rosenbaum Machinery Co. advertisement from the “Daily Arkansas Gazette,” 3 June 1904, page 3

C. E. Rosenbaum Machinery Co. advertisement in the “Arkansas Democrat,” Rosenbaum 13 Sept 1916, page 2

C. E. Rosenbaum advertisement from the “Arkansas Democrat,” Rosenbaum 25 Sept 1914, page 10

To be continued…

Tales from a Scenic Artist and Scholar. Part 630 – Bestor G. Brown and the E. A. Armstrong Manufacturing Co.

Part 630: Bestor G. Brown and E. A. Armstrong Manufacturing Co.

In 1909, Moses wrote, “The Dallas Masonic work came in early, so did San Francisco and Cleveland, Ohio.” That year, Moses also supervised scenery collections for Scottish Rite theaters in Kansas City, Kansas, Winona, Minnesota, and Atlanta, Georgia. Today we look at the Kansas and Bestor G. Brown (1861-1917) before looking at the Scottish Rite installation in Kansas City, Kansas, during 1909.

Starting in the 1890s, Kansas became a hot bed of Scottish Rite activity. Theatre construction, new degree productions, and Masonic celebrations drew men together from across the region. It was during this time that both fraternal and business alliances were formed. Bestor G. Brown became the central hub on a spinning wheel of fraternal activity. As I have discussed in recent posts, Brown, would become the future western sales representative of the M. C. Lilley & Co., with his regional offices in Kansas City, Missouri. Brown joined Siloam Lodge No. 225, on March 11, 1884, where he served as Master in 1887 and 1888. Brown was also involved with other Masonic orders, such as the Ancient and Accepted Scottish Rite of Freemasonry, York Rite, Ancient Arabic Order of the Nobles of the Mystic Shrine, and Order of the Eastern Star. In fact, Brown’s outstanding fraternal service gained him title to Kansas Lodge No. 433 A. F. & A. M. Lodge on March 1, 1923. It is now the Bestor G. Brown Lodge No. 433. Brown was involved with other non-Masonic fraternities, such as the Independent Order of Odd Fellows, the Knights of Pythias and the Benevolent and Protected Order of Elks. I have to ask myself where the guy found enough time to do it all as he traveled so much.

Bestor G. Brown pictured in the American Tyler, 1908, page 471.

Brown became a traveling salesman, peddling supplies for E. A. Armstrong during the 1890s. This was before Brown became the western sales manager for M. C. Lilley & Co. in 1904. From 1897 until 1902, Brown had special charge of the Armstrong’s Masonic department and secured ALL of the consistory contracts except one. That one was in Columbus, Ohio, however, by 1909, he would secure that Consistory contract too. In the 1902 publication “Masonic Voice-Review,” an article titled “Original and Reliable” commended the quality of products manufactured by the E. A. Armstrong Manufacturing Company of Chicago and Brown’s contribution. The article noted, “Excepting the Consistory at Columbus, Ohio, they have furnished the equipment and paraphernalia for every Consistory in the United States that has been in the market for an outfit in the past five years… The Consistories that have been equipped within the period mentioned by the company are located at Indianapolis, Ind.; Little Rock, Ark.; Galveston, Tex.; Kansas City, Miss.; Wichita, Kan.; Guthrie, Okla.; Fargo, N.D.; and St. Louis, Mo.” The article continued, “The Eminent Sir Bestor G. Brown has special charge of the Masonic Department, and his intelligence and energetic methods coupled with a thorough knowledge of the requirements of the Craft has much to do with the notable success of this branch of the business.”

This is a big deal, as it suggested that E. A. Armstrong captured the Scottish Rite theater business of the entire Southern Jurisdiction after Pike’s passing; remember, Pike, was not a supporter of stage degree productions and he was in charge of the Southern Jurisdiction until his death in 1891.

Brown was there when the Southern Jurisdictions first designed and installed their new scenery. He would be there again when these Masonic venues grew and needed new scenery a decade later. The only difference was that Brown would later be representing M. C. Lilley & Co. Consider this…the Valley’s were repurchasing scenery thru Brown. This did not necessarily mean that they were going with another company; they were going with the same man who just happened to now work for a new company. Brown knew what they wanted and what they already had. In other words, the Consistories believed he would take care of them as a fellow 32nd degree Scottish Rite Mason.

The April 15, 1908, issue of “The American Tyler” would credit Brown as “the only Masonic stage manager in the country.” The article would further explain, “This is because he has a national reputation among scenic artists and builders of stage appliances, and because he created and developed the application of modern scenic properties to the dramatic presentation of all Masonic degrees. More value is probably attached to his opinion in such matters than to that of any other man in the country, and he is almost invariably consulted in regard to the construction of stages for the work of the Scottish Rite, everywhere throughout the United States.”

Each Scottish Rite Valley’s loyalty was to Brown and not necessarily the company he represented – M. C. Lilley. The scenic studio of Sosman & Landis was closely linked to Brown and his business. Brown and Sosman were both Scottish Rite Masons. After Sosman died in 1915 and Brown died in 1917, the Masonic connection dried up and much business went to Toomey & Volland who had been steadily building up their Masonic repertoire. And guess what? Volland was a Scottish Rite Mason and in charge of the stage direction at the Scottish Rite in St. Louis; the same as Brown who had been in charge of the stage direction in Wichita, Kansas. Volland was the “shiny new thing” on the Masonic playground. Volland got his Masonic scenery start in 1902, when Toomey & Volland were subcontracted by E. A. Armstrong to deliver $6,200 worth of scenery and stage equipment to the St. Louis Consistory during May and Brown was the one to negotiate the contract.

To be continued…

Tales from a Scenic Artist and Scholar. Part 626 – Photographing Scottish Rite Scenery

Part 626: Photographing Scottish Rite Scenery

There was another significant moment that occurred during the 1909 Biennial Session of the Supreme Council of the Sovereign Grand Inspectors General of the Thirty-third Degree of Ancient and Accepted Scottish Rite of Freemasonry, for the Southern Jurisdiction of the United States of America.

It was an attempt to regulate the use of photograph images of Scottish Rite scenery in publications throughout the Northern and Southern Jurisdictions. Both Supreme councils would implement legislation to limit the amount of visual information that was released to the general public. In other words, they were trying to keep certain elements “secret,” noting that too much was being “shared” with the general public. Up to that time, pictures of Scottish Rite scenery were included not only in souvenir programs for Scottish Rite reunions, but also in newspaper articles. For example, there were photographs of two degree settings published in the “Topeka State Journal” depicting the Egyptian and Peristyle settings for the 31^st and 18^th degrees, respectively ( 30 Oct. 1909, page 6). In 1909 Grand Commander James D. Richardson called for a stop to this practice at the Biennial Session, citing legislation that had already been implemented in the Northern Jurisdiction. From this point on, the publishing of photographs depicting Scottish Rite degree productions or scenery was strictly forbidden.

Egyptian setting published in the Topeka State Journal

Peristyle setting published in the Topeka State Journal

This legislation mostly worked until the 1970, and is now impossible in the age of social media where most Scottish Rite Masons have a camera on their phone. Today there are photos of degree work all over social media – scenes from reunions on Facebook posts, tweets and instagrams of Masons in costume. It is just too tempting for members not to post pictures of things they love.

One example of social media depicting a Scottish Rite class in front of the Peristyle scene for the 18th degree

Similar scene form 1909 with Grand Commander James D. Richardson seated in the center – also showing the Peristyle scene for the 18th degree.

Image of a Scottish Rite degree team posed in front of scenery

Scottish Rite Masons posed in front of scenery at the Yankton Scottish Rite

However, 110 years ago, it was an entirely different issue when Grand Commander James D. Richardson realized that they needed to pull on the reigns of something that was becoming a runaway issue. In the section “Programmes of Reunions. Etc.” of the 1909 Transactions of the Supreme Council (page 64) Grand Commander Richardson commented,

“The inspection of the programmes published by some of our subordinate bodies announcing reunions, etc., and which are sent broadcast throughout the country, I think, will show that the form or ceremony conferring Degrees is advertised by illustrations in these programmes to an improper extent. Many of them are works of art and of exquisite taste. I have no desire to stop, or even discourage this attractive style of advertising, but am of the opinion that greater care should be exercised in the matter than is at present observed. When I was at the session of the Northern Supreme Council, September 1908, I heard with interest the discussion on this subject by Bro. Palmer in his Allocution. He had had his attention called to it by a request for permission to publish in a programme the photographs of the casts of some Degrees. I quote a portion of his reply to this request, as follows:

‘I have to say in reply that the rituals of the Scottish Rite Degrees, like those of all other Degrees in Freemasonry, are secret in all respects. The rituals of Freemasonry constitute its methods of teaching great truths to those who apply for and are found worthy to receive them. These rituals and methods of communicating them to those who have been duly chosen to receive them, in my judgment, rank with secrets of Freemasonry and should be most carefully guarded. No part of the forms or ceremonies connected with the conferring of Degrees, or any of them, or any part thereof, should be published or exhibited to those Masons, either by photographs, written or printed circulars, or advertisements in newspapers, either before or after the Degree or Degrees shall be conferred, and being of this opinion, I was obliged to decline to comply with the courteous request.’

This portion of the address was referred to committee. The committee reported the resolution which was adopted, and which declared, “That it is not permissible to print, publish, distribute, or exhibit any illustration of any part of the rituals, form, or ceremonies, connected with the conferring of degrees of the Ancient and Accepted Scottish Rite, or any of them, or any part, or synopsis, in any manner of form, to the public, or to any one entitled thereto.”

I think it would be wise for the Council to adopt this, or a similar resolution. I am of the opinion that it would be well to require that all programmes and announcements of reunions should be submitted to the Inspector General, or Deputy of the Supreme Council in a jurisdiction where there is no Inspector-General for his approval before they are published and distributed.”

Fast forward ahead eight decades. A small troupe of theatre professors cross the country, documenting historic scenery collections in Scottish Rite theaters. This group, partially funded by USITT travel grants, included Lance Brockman, Larry Hill, Rhett Bryson, and Bruce Brockman. Whether together, or separate, each of the men spent hours gaining access to these significant historic scenery collections and documenting the painted scenery and stage effects.

Their visits caused quite a stir and soon a letter was sent out to every Scottish Rite Valley in the Southern Jurisdiction with the following announcement from the Grand Secretary General:

March 6, 1984

“TO ALL ACTIVES, DEPUTIES AND SECRETARIES

Dear Brother:

It has been brought to our attention that requests have been made in several Valleys in the Southern Jurisdiction to take photographs of the backdrops used in our ritualistic work. Further information has indicated that the individuals pursuing this project have no knowledge of Masonic ritual and consequently have engaged in useless and ignorant speculation concerning the uses to which these backdrops might be put. These discussions lead to derogatory criticism of Masonry.

My suggestion would be not ever to let anyone take photographs of any of the backdrops used in ritualistic work for other than Masonic purposes. This policy should eliminate future problems of this type.

With best wishes,

Cordially and fraternally yours,

Fred Kleinknecht

Grand Secretary General”

This action may have been the equivalent to throwing water on a grease fire. It was not out of spite that the men continued their documentation, but out of an understanding that the historic scenery collections were valuable cultural artifact shared by both the Fraternity and American public; each had a place within American history as well as Masonic history. Thankfully, the photographic documentation continued as Brockman trudged along with his research, soon facilitating the acquisition of two primarily Masonic scenery design collections – the Great Western Stage Equipment Company collection and the Holak Collection – for the Performing Arts Archives at the University of Minnesota from 1988-1991. These were the two collections that I processed with two Undergraduate Research Opportunity Grants while working on my undergraduate degree at the University of Minnesota.

In 1992, the symposium “Theatre of the Fraternity: Staging the Sacred Space of the Scottish Rite” was held from September 10 – 12 in Minnesota. This event was supported by the National Endowment for the Humanities and the University of Minnesota. Activities included a presentation at the Minneapolis Scottish Rite and even a trip up north to visit the Duluth Scottish Rite. The support for the “Theatre of the Fraternity” continued and by 1996, the touring museum exhibit “Theatre of the Fraternity: Staging the Ritual Space of Freemasonry, 1896-1929” opened at the Weisman Art Museum at the University of Minnesota before crossing the country. The exhibit was conceived and curated by Prof. C. Lance Brockman. A catalog was published in conjunction with the exhibit, including contributions by Kenneth L. Ames, William D. Moore, Mary Ann Clawson, Mark C. Carnes, C. Lance Brockman and Lawrence J. Hill. A few more years went by and many of these Masonic Designs became available for the general public in an online database (https://umedia.lib.umn.edu/scenicsearch). This was the project that I helped with in both the design, selection and entering of metadata for each item.

In additional to archival work, I entered into the fray thru the back door of the Scottish Rite – the stage door – restoring deteriorating scenery and replicating historic compositions for various Scottish Rite theaters across the country. However, it was never simply about the art, restoration, or historical scene painting techniques. Working as an assistant to Prof. Brockman, provided me with the incentive to use the subject for my doctoral dissertation: “Scenic Shifts Upon the Scottish Rite Stage: Designing for Masonic Theatre, 1859-1929” (UMN 2009). All the while, membership in the Scottish Rite continued to decrease. Scottish Rite Valleys began closing their buildings and moving to alternative locations. If the new space did not permit the use of their old scenery, entire collections were abandoned or disposed of over the years. In some cases, photographs of Scottish Rite scenery taken by a handful of theatre professors and practitioners are the only thing that remain of these glorious collections. More will disappear in the decades to follow and I have to wonder which ones will survive.

My concern for this loss of this history is one of the reasons that I now daily publish digital images of Scottish Rite scenery to my public FB group Dry Pigment. I hope to raise awareness of this valuable resource for not only theatre practitioners, but also historians. It is also why I pushed so hard to include a degree portfolio, featuring the twenty-nine settings of the 1912 Santa Fe Scottish Rite stage in “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018). Full-page color plates of Scottish Rite degree productions, complete with costumed actors and props, may be all that is left someday. Believe me, convincing a secret society to publically share images of their scenery for all the world to see is no small feat, especially when I was very familiar that this fight had been occurring since 1909.

However, I am not alone, as many Scottish Rite Valleys across the country are attempting other ways to increase membership and sharing their stage. Opening up their doors to the public is one option to increase revenue with rentals. Here is an article in South Dakota magazine that explains why declining membership is prompting some Masons to shed the mystery. This is quite an interesting article that reads a bit like an advertisement:

https://www.southdakotamagazine.com/masons-losing-the-mystery

To be continued…

Tales from a Scenic Artist and Scholar. Part 623 – “Patron Saint” of the Scottish Rite, Albert Pike

Part 623: “Patron Saint” of the Scottish Rite

There was an interesting article that I stumbled across while looking for information about Scottish Rite theaters in Kansas. It concerned Gen. Albert Pike, Grand Commander of the Scottish Rite for the Southern Jurisdiction from 1859 until his passing in 1891. Born in 1809, Pike revised the Scottish Rite rituals in 1857, unifying the degrees. For those unfamiliar with the Ancient and Accepted Scottish Rite of Freemasonry’s theaters and degree productions, this may help clarify why scenery was added during the mid-nineteenth century. Part of Pike’s ritual revision included specific decorations for the various apartments, or necessary settings for each degree. You see, the degree work often included dramatic sections.

Pike’s “Magnum Opus” was replicated in the Northern Jurisdiction by Charles T. McClenachan in his “The Book of the Ancient and Accepted Scottish Rite of Freemasonry.” There is some debate regarding how much McClenachan directly copied from Pike that I won’t get into today. What McClenachan did add into his publication was illustrations of the various apartments, providing visual reference for those purchasing painted settings and draperies for their Scottish Rite lodge room, or stage.

Over time Scottish Rite legislation in both the Southern and Northern Jurisdictions mandated that five of the Scottish Rite degrees had to be conferred in “full form.” This indicated the mandated use of costumes, props and scenery to stage dramatic enactments of certain scenes. At first five in number, these degrees were referred to as “Indispensable” or “Obligatory” degrees and included the 4, 14, 18, 30 and 32. Increasingly theatrical interpretations with scenic elements were used in the center of the lodge room. This was similar to a “theatre in the round” production, with audience members on all four sides.

Soon, small elevated stages were added to include even more elaborate backings for the dramatic sections. For example, a cut out tomb might first be introduced as a profile piece, complete with flip jack, or booked sides. On a stage, the tomb would be painted on a backdrop, maybe even with wooden supports for a practical opening. Each tomb had the same characteristics, yet the presentation changed as the lodge room space was altered, eventually becoming a state-of-the-art theater with hundreds of seats. Simultaneously, the ritual work transitioned from initiating a single candidate to using an exemplar to represent an entire class of candidates in the various staged degree productions.

Pike was adamant, however, that the dramatic portions of each degree were NOT meant to be big melodramatic and theatrically staged affairs. After his passing in 1891, however, plans for Scottish Rite theaters throughout the Southern Jurisdiction immediately commenced with two of the first full-fledged stages being completed in Little Rock, Arkansas and Oakland, California during 1896. The Northern Jurisdiction (geographic region north of the Ohio River and East of the Mississippi) had been constructing Scottish Rite theaters since the 1860s. The degree productions proved time and time again to be an incentive for Blue Lodge Masons to join the Scottish Rite.

With that little bit of background about Grand Commander Pike, here is a wonderful article published in the “Evening Kansasan-Republican on Dec. 29, 1909, celebrating the 100^th birthday of Pike (page 1).

Honor “Patron Saint”

—-

Scottish Rite Masons Observe Centenary of General Albert Pike

Washington, D.C., Dec. 29:-Scottish Rite Masons everywhere unite today in paying honor to the memory of Gen. Albert Pike, known as the “patron saint” of Scottish Rite Masonry, on the one hundredth anniversary of his birth. Plans for a widespread observance of the centenary were perfected at the meeting of this city last October of the supreme council of Scottish Rite Masons for the Southern jurisdiction. In further commemoration of the anniversary the supreme council has distributed among its members two hundred medals, bearing an image of the head and bust of General Pike and with an appropriate inscription.

Though General Pike is best remembered for his services to the Masonic fraternity, these do not by any means constitute his only claim to fame. In the course of his stirring career he fought with distinction in two wars, attained national prominence as a journalist and was known as one of the most able lawyers in his day. He also found time to write much credible poetry.

General Pike was a product of Massachusetts and in his youth attended Harvard University and subsequently taught school at Newburyport. At the age of 21 he went West and engaged in exploring the country. In 1832 he located in Arkansas, where he taught school for a time and then engaged in newspaper work. In 1835 he was admitted to the bar. Upon the outbreak of the Mexican war he recruited a company of cavalry, which he led at the battle of Buena Vista. He returned to his extensive law practice in 1849, and in 1853 transferred his office to New Orleans, returning to Arkansas in 1857. As attorney for the Choctaw Indians, he obtained the award of nearly $3,000,000 from the United States Government.

At the beginning of the Civil war, he was appointed Confederate commissioner to negotiate treaties of alliance with the Indians. He was appointed a brigadier-general in the Confederate

Army and took the leading part in the battles of Pea Ridge and Elkhorn. In 1866 he removed to Memphis, where he edited a newspaper and two years later he came to Washington to practice law.

General Pike was grand commander of the supreme council of the 33^rd degree of Masons, and was also grand commander of the royal order of Scottish Rite Masons. He compiled numerous Masonic rituals and also wrote a famous reply to Pope Leo XIII’s tirade against Masonry.”

Not everything in the article is correct, by it paints a pretty picture of Pike. Keep in mind that 1909 was a period of unprecedented membership growth in the Southern Jurisdiction and Scottish Rite theater construction was booming throughout to country. Scottish Rite Valleys in the Western region of the Southern Jurisdiction were surpassing their eastern counterparts in terms of membership and funding, especially in Kansas. There was space to build massive structures in a region of seemingly unlimited resources. For Scottish Rite Masonry, theatrical interpretations of degree work became the proverbial “goose that laid the golden egg.” Would Pike have approved of the ever-increasing stage effects and settings to accompany the degrees? No.

Pike spoke out against the Northern Masonic Jurisdiction’s performance of staged degree productions throughout his lifetime. In his 1882 Allocution, Pike stated, “The Rite in this Jurisdiction is a Rite of instruction, and not of scenic pomp and stage-show.” Pike also said, “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 aesthetic taste and please the imagination, like the pageantry of cardinals and orioles.”

That being said, men joined in droves and loved the Scottish Rite productions. After all, everyone had a chance to become a star.

To be continued…