Masonic Degree Productions – Page 3

Tales from a Scenic Artist and Scholar. Part 620 – 1909 Masonic Work – Topeka

Part 620: 1909 Masonic Work – Topeka

In 1909, Moses wrote, “The Dallas Masonic work came in early, so did San Francisco and Cleveland, Ohio.” He also commented, “I think we should turn out some work and we do. It is often a puzzle to me where it all goes, but the Masonic work requires a lot of time, and there is an average of eighty drops in each order so it makes plenty of work and is very interesting. The artists never grumble when they get it to do.” That year, Moses also supervised scenery collections for Scottish Rite theaters in Kansas City, Kansas; Winona, Minnesota; and Atlanta, Georgia. From 1906-1907, he had already supervised scenery for Scottish Rite theaters in Detroit, Michigan; Topeka, Kansas; Fort Wayne, Indiana; Salt Lake City, Utah; Wheeling, West Virginia; Dubuque, Iowa; Danville, VA; Wichita, Kansas; and Clarksburg, West Virginia. By 1909, Moses’s resume recorded that he had supervised the creation of eighteen Scottish Rite scenery installations.

Masonic work now made up between 25% and 30% of all projects in the Sosman & Landis studio. The Scottish Rite was growing extremely fast. Newspaper articles even detailed the necessary qualifications for Scottish Rite membership: “An applicant for the degrees of the Ancient and Accepted Scottish Rite must be an affiliated Master Mason of good standing and a resident of the state of Kansas” (Topeka State Journal, 19 March 1909, page 1).

During 1906, Thomas G. Moses wrote, “The New Year found me at work on some new work for Topeka, Masonic Hall. Very nice work.” 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.

Although Freemasonry might be considered a “secret” society, the identity of incoming members was often published in the local newspaper. In many ways, membership growth and the construction of Scottish Rite theaters across the country became quite a competition. Scottish Rite membership was on the rise and it meant something to be associated with the Fraternity. Spring and Fall Scottish Rite Reunions were big news in many areas. I have heard so many people say, “My grandfather was a Scottish Rite Mason, but he never spoke of it and we had no idea what he did.” I believe that communities from the first decade of the twentieth century had a pretty good idea of what happened during Scottish Rite Reunions. Schedules were published, candidates were listed by name, and impressive images of Scottish Rite building interiors dominated newspapers around Reunions time. Sure, not ever detail was provided, but one was able to gather quite a bit of information pertaining to the various events and banquets held throughout the Reunion.

The “Topeka State Journal” described the four-day Fall Reunion from November 8-11, 1909, in great detail. It was the thirty-third semi-annual gathering and included a Scottish Rite Class of 100 candidates (30 Oct. 1909, page 6). Images included with the article, pictured two stage settings for the Peristyle Scene (3^rd Apartment of the 18^th Degree) and the Egyptian Scene (31^st degree Hall of Justice).

“Topeka State Journal,” 30 Oct. 1909, page 6

Slide taken by Professor Emeritus Larry Hill of the Peristyle cut drop in Topeka, Kansas. A different backdrop was paired with it for this picture.

The fact that they pictured two stage settings used during degree work is mind boggling to me. This was a “look at the cool stuff we do” moment for area Masons.” I am including a few paragraphs about the Topeka Reunion as it really provides some historical context for the Fraternity using media to entice new members across the country. One just had to read the paper to understand the extent of activities happening at the Scottish Rite in many cities at this time. Here is a small section of the article from the Topeka State Journal:

“The Rite of Freemasonry called by the French writers the ‘Ancient and Accepted Scottish Rite,’ which title is now generally adopted as the correct one, although one of the youngest of the Masonic Rites, having been established not earlier that the year 1801 is today one of the most popular and extensively diffused. Supreme councils and governing bodies are to be found in almost every country of the world and in many of them it is the only Masonic obedience.

Outline of Work.

In speaking of the new features among the detail program of the reunion this fall, William M. Shaver, director of the work said: ‘With a view to placing candidates who reside outside of Topeka on the same basis with those who reside in Topeka, as nearly as may be, as to the cost of obtaining the Scottish Rite Degrees, the Topeka bodies have adopted a new rule which will go in to effect with this coming fall reunion. The rule is this: Non-residents of Shawnee county, who take the entire series of degrees form the 4 degree to the 32 degree inclusive at the same reunion, will have refunded to them their actual railroad expense from their home to Topeka and return…The bodies will continue to bear the hotel expense of candidates as has been the custom on the past.”

Topeka was trying many new things to increase membership. Earlier that year, “The Topeka Daily Capital” reported, “The Topeka bodies of the Scottish Rite began their evening class work in the Lodge of Perfection degrees at the Masonic temple on Friday evening. This evening work is designed for the accommodation of Topeka Masons who thus avoid the loss of time in business hours necessarily attendant upon regular reunion work and the plan is increasing in favor. About one hundred and twenty-five members and visitors sat down to a 6 o’clock supper in the new banquet hall and this number was largely increased as others dropped in later in the evening to see the work. A number if sojourning legislators and politicians were among the visitors” (25 Jan. 1909, Page 8).

The Topeka Scottish Rite figured something out in 1909, they had to invest in their members and understand their outside obligations that may prohibit men from joining. They took this into account, and made it possible for many more men to join.

To be continued…

Tales from a Scenic Artist and Scholar. Part 592 – The Approach to Jerusalem

Part 592: The Approach to Jerusalem

In 1908, Thomas G. Moses wrote, “Starting on Wheeling, W. Va. Masonic work, a good contract and I enjoyed the work. The Darius Palace and the approach to Jerusalem were very interesting things to do, and a dozen others with the same amount of interest for others to do.” Instead of starting with the venue, I began with the Sosman & Landis scenic design for “Darius Palace” yesterday. Today, I am looking at the “Approach to Jerusalem” design, also titled the “Road to Jerusalem,” by some scenic studios.

Sosman & Landis design for the approach to Jerusalem. Holak Collection, Performing Arts Archives, University of Minnesota.

Backdrop. Sosman & Landis design for the approach to Jerusalem. Holak Collection, Performing Arts Archives, University of Minnesota.

Cut drop. Sosman & Landis design for the approach to Jerusalem. Holak Collection, Performing Arts Archives, University of Minnesota.

Moses’ statement suggests that he found these two specific compositions interesting to paint. This is a consistent sentiment, as throughout his memoirs Moses mentions that Masonic scenery was enjoyable to work on due to the variety. It may also imply that the standard design used for past installations changed and was now more interesting. For example, in 1908 the Darius Palace scene design took on a new look when the composition shifted from vibrant colors, to a classical ivory interior with colorful garlands.

Sosman and Landis design for Darius Palace in 1898.

Sosman & Landis design for Darius Palace in 1914

The approach to Jerusalem was a fairly straightforward design that included a cut drop and backdrop. The cut drop depicted the beginning of a dirt road that continued into the distance toward a walled city. This particular cut drop was able to be used for multiple Scottish Rite degrees, not with just the Jerusalem backdrop. The design was generic enough to be pair with not only an ancient city, but also a variety of other exterior backdrops.

Design for 16th degree approach to Jerusalem by Thomas G. Moses, 1931.

The beauty of Scottish Rite stage designs is their versatility, with many being relatively generic compositions that could span continents and eras. Unfortunately, many Scottish Rite stage crews and degree directors do not understand that there are many more compositions that can be created beyond the specific shipping label located on the stage right side. For example, the cut drop for the approach to Jerusalem was also paired with the wood drop. Instead of a road to Jerusalem, it became a path into the forest or to a distant medieval castle. This shifted the setting from a biblical one to a medieval one. Just as there were certain masking drops to accompany many scenes – drapery, wood, rough cut stone, or classical – there were many cut drops that would alter the stage setting.

I have noticed that over time, there were certain stage designs for Scottish Rite degree production that “evolved,” while others remained cemented in the past. I am not simply suggesting that the Northern Masonic Jurisdiction of the Scottish Rite altered its stage settings for specific degrees more frequently than the Southern Jurisdiction. Although this is true, I believe that there is much more to Moses’ statement. The 1908 the scenic interpretation for the two sixteenth degree settings “evolved,” breaking from past designs.

Sosman & Landis approach to Jerusalem for the Scottish Rite in Wichita, Kansas, 1898 This setting is now at the Salina Scottish Rite.

Becker Studios approach to Jerusalem for the Scottish Rite in Moline, Illinois, 1930.

In some cases, scenic studios unified the Scottish Rite degree work and established a standard expectation for every Valley throughout the United States. In the nineteenth century, many of the theatrical interpretations for degree work on the Scottish Rite stage were similar. Both the Southern Jurisdiction and Northern Jurisdiction purchased similar settings for their respective degree productions. During the first decade of the twentieth century, this began to change.

To place the production of Scottish Rite scenery in context, we also need to look at the studio artists at Sosman & Landis during that time. Often a variety of scenic artists contributed to the production of new Scottish Rite scenery collection. In scenic studios during the early twentieth century, many of the scenic artists specialized in a particular genre – draperies, exteriors, interiors, etc. This was a shift from the previous generations of scenic artists – it was implemented for efficiency, increasing the overall speed of production. This also makes sense from an efficiency standpoint; the studio would want and artist familiar with the scene to do the work, one who had painted it before. Moses was known for his exterior woodland scenes, however, he was trained as a scenic artist during a period in American history when theatre worked necessitated that itinerant artists be equally skilled in all genres.

Keep in mind that in 1908, Moses had been working as a scenic artist for 44 years. His skill at painting landscapes was well-known and sought after, but he could also paint draperies, exteriors, ornament and figures. It would certainly make sense that he painted both the Darius Palace and the approach to Jerusalem drops for Wheeling. The approach to Jerusalem was a picturesque landscape with a road winding to a city in the distance. The palace of King Darius was often decorated with floral garlands that held dozens of roses.

Detail of a rose in a floral garland from Darius Palace, painted by Thomas G. Moses in 1909.

It is relatively easy to identify individual artists who produced certain settings for Scottish Rite scenery collections. Although they may currently remain nameless, their paint application is like a signature, and a specific artist can be traced from one collection to another; it just takes time and energy to make the identification. It is obvious when a particular setting is produced by a different hand at Sosman & Landis. I have tracked the painting techniques for various scenes from one Scottish Rite to another. The approach to Jerusalem provides an ideal opportunity to examine aesthetic shifts from 1896 to 1914.

Almost identical Sosman & Landis designs were produced for the Scottish Rite in Little Rock, Arkansas, in 1896 and Wichita, Kansas, in 1898. A similar design was again produced in 1914, for the Scottish Rite in Tucson, Arizona. Comparing and contrasting these designs provides an ideal opportunity to examine shifts in composition, artistic interpretation, predominant colors, and scenic art techniques.

Sosman & Landis approach to Jerusalem for the Scottish Rite in Little Rock, Arkansas, 1896. This setting is now at the Pasadena Scottish Rite.

Sosman & Landis approach to Jerusalem for the Scottish Rite in Tucson, Arizona, 1914.

To be continued…

Tales from a Scenic Artist and Scholar. Part 591 – The Sixteenth Degree Setting for King Darius’ Palace

Part 591: The Sixteenth Degree Setting for King Darius’ Palace

In 1908, Thomas G. Moses wrote, “Starting on Wheeling, W. Va. Masonic work, a good contract and I enjoyed the work. The Darius Palace and the approach to Jerusalem were very interesting things to do, and a dozen others with the same amount of interest for others to do.” Instead of starting with the venue, I am beginning with the Sosman & Landis scenic design called “Darius Palace.”

Darius Palace setting by Sosman & Lanids for the Scottish Rite in Winona, Minnesota, 1909.

Painted detail on Darius Palace cut drop by Sosman & Landis, 1909

For the Scottish Rite’s sixteenth degree production, it is important to consider the historical context and inspiration for the stage work. The exiled Hebrews returned to Jerusalem in approximately 530 BCE, yet they had to wait for Darius’ ascension to the throne for the rebuilding of King Solomon’s Temple. The Second Temple was completed about 510 BCE. There is much more to the story, but this provides us with the basic context that inspired three Sosman & Landis scene designs: King Solomon’s Temple ruins, King Darius’ palace, and the rebuilding of the Temple. I have recently posted a series of images regarding stage settings that depict the ruins of King Solomon’s Temple from the 15^th degree. This degree includes the story of when King Cyrus reigned and Zerubbabel was sent to check on the site. The 15^th degree stage setting carries over the 16^th degree and was often used again. Understand, however, that what appears on Scottish Rite stages now does not always use the scenery as intended.

Two of the sixteenth degree settings were noted in the “Buffalo Consistory” during 1908. An article describing the upcoming events at a Scottish Rite Reunion reported, “On Tuesday morning there is no class, but in the afternoon the sixteenth degree, prince of Jerusalem, will be presented in three sections. The first and third represent the ruins of the Holy City and the second the court of Darius, King of Persia” (Buffalo Morning Express, 21 April 1908, page 6).

That same year, the “Brooklyn Daily Eagle” also mentioned the 16th degree production at the Scottish Rite: “The sixteenth degree, Princes of Jerusalem, was the work in Brooklyn Consistory on Wednesday evening last.” After listing the cast members, the newspaper commented, “This beautiful, instructive, historic degree is one of the most interesting in the entire Scottish Rite system.” (5 April 1908, page 25).

For those unfamiliar with King Darius I, here is a brief recap. Darius the Great was born in 522 BCE. He is recorded as being one of the greatest rulers of the Achaemenid dynasty, ascending to power in 522 BCE and reigning until 486 BCE. Darius was known for his administrative genius and monumental construction projects, including his palace in Susa located at the center of the Persian Empire. Stretching from the Nile and the Aegean to the Indus Valley, at its peak, the Persian Empire included much of West Asia, the Caucasus, parts of the Balkans (Thrace-Macedonia and Paeonia), most of the Black Sea coastal regions, parts of North Caucasus, and Central Asia. It reached as far east as the Indus Valley with portions of north and northeast Africa including Egypt, eastern Libya and coastal Sudan. A great book on this subject is Jean Perrot’s “The Palace of Darius at Susa: The Great Royal Residence of Achaemenid Persia.”

King Darius was known for centralizing and unifying the Persian empire, He divided land under his reign into provinces, placing satraps to govern it. Darius established a new uniform monetary system, introduced standard weights and measures, as well as making Aramaic the official language of the empire. He also instigated several construction projects throughout the empire, including Susa, Pasargadae, Persepolis, and Babylon. This is the part that we are most interested in as nineteenth-century archeological discoveries would greatly impact popular culture and Masonic stage design.

It was the information and illustrations published about archeological discoveries that were incorporated into Masonic degree productions designs by Sosman & Landis and other scenic studios. King Darius’ Palace at Susa (western Iran) was one of the most important of the Achaemenid Persian palaces. When it was rediscovered in 1851, details of the architecture and ornamentation remained in the public eye and were eagerly sought after by all types of artists.

These discoveries especially fueled the designs of stage settings for the 16^th degree. Scenic studios labels became more description over time, going from a simple “Darius Palace” to Darius Festival Rose Palace.”

Darius Palace by Sosman & Landis for the Scottish Rite in Tucson, Arizona, 1914

Early twentieth century Sosman & Landis scenic designs were characterized by Persian columns and double-bull capitals, replicating discoveries in Persepolis and Susa. Floral garlands were draped throughout the scene, wrapping around orate columns. Skilled scenic artists at Sosman & Landis painted hundreds of roses in varying shades of pink, depicted from every conceivable angle. These floral garlands are some of the most beautiful examples of scenic art that I have encountered to date.

Artists in scenic studios relied on printed source material for these ancient palaces, such a Dr. Franz von Reber’s “The History of Ancient Art.” This publication provided beautiful examples of ancient architectural ornamentation for the sixteenth degree. Here is a link to Dr. Von Reber’s 1882 publication, as it is a wonderful addition to any library: imageshttps://www.gutenberg.org/files/42082/42082-h/42082-h.htm#page_025

To be continued…

Tales from a Scenic Artist and Scholar. Part 553 – The 1906 Eruption of Mount Vesuvius

Part 553: The 1906 Eruption of Mount Vesuvius

Yesterday’s post was about the White City Amusement Park near Chicago in 1906. Attractions included “The Last Days of Pompeii” and the “Chicago Fire.” It is important to keep in mind that although these two disasters were not recent, two similar ones had just occurred that year. A devastating fire raged throughout San Francisco after an earthquake, and Mount Vesuvius erupted again. They both occurred during April 1906. Disasters fascinated the public and were quickly incorporated into publications and amusements.

Image from “The Chicago Tribune,” 8 Aug 1906, page 3

While researching the San Francisco Fire, I was reminded of a gift I received years ago; it was the 1906 book – “The San Francisco Earthquake and Fire Horror, the complete Story of the Greatest American Disasters, Horrors of the Vesuvius Eruption.” Written by Charles Eugene Banks and Opie Read, there was a poignant passage in the preface: “Strike one section of the world a terrible blow and all other sections have their deepest sympathies immediately centered in that spot. It is this fact that keep’s alive man’s belief in the universal brotherhood of the race.” At few paragraphs later, the authors continue, “Following close upon the eruption of Vesuvius on the other side of world the San Francisco disaster found the country busy raising funds for the homeless Neapolitans. The Golden Gate City was involved in this work when of a sudden it became the subject of the world’s bounty.”

There were many from the entertainment community who dipped into their personal funds or performed at benefit concerts to send funds to those recovering from a disaster. Buffalo Bill donated $5000 to the Neapolitan relief effort. After all, he had performed in front of a smoldering Vesuvius while on his 1889 European Tour. But there were many theatre manufacturers who directly benefited from staging spectacles that depicted these devastating events.

The Volcano setting at the Scottish Rite in Salina, Kansas

The Volcano setting at the Scottish Rite in Salina, Kansas. This section was painted partially translucent to simulate lava spilling down the mountain side.

Stage machinery for the effect. The Volcano setting at the Scottish Rite in Salina, Kansas. This section was painted partially translucent to simulate lava spilling down the mountain side.

The theme of erupting volcanoes became a popular staged spectacle at Scottish Rite theaters after 1906. Instead of Mt. Vesuvius erupting, however, it was a volcano on the isle of Patmos. Patmos (Greek: Πάτμος) is an island in the Aegean Sea, the most well-known of the smaller Dodecanese islands. Patmos was known as the location where a vision was given to the disciple John in the Book of Revelation and where the book was written. The degree production relates to the breaking of the seven seals. Cataclysmic events occur and a variety of painted visions are magically revealed in transparent sections of the composition.

Scottish Rite Vision scene for the 17th degree for Fort Scott, Kansas. The stage right temple collapses and is transparent to reveal a “vision” from the Book of Revelation.

The revelation of a “vision” stage right. Scottish Rite Vision scene for the 17th degree for Fort Scott, Kansas.

This scene had the potential to be one of the most exciting degree productions on a Masonic stage. Lighting flashed, thunder rumbled, the ground trembled, and a volcano exploded. Classical buildings that were painted on a cut drop toppled as a red plume of lava spewed high in the sky. Then red rivulets streamed down the mountainside, soon spilling into a lake and turning it blood red. This scenic illusion was a new popular design option for the seventeenth degree on many Southern Jurisdiction Scottish Rite stages after 1906.

Backside of painted volcano for scenic illusion. The Scottish Rite in Omaha, Nebraska

The first time I staged the action for this setting was in Winona, Minnesota. During the evaluation, volunteers assisted in successfully presenting the collapse of two-dimenional buildings for photographic documentation. The Winona scenery was produced in 1909 by Sosman & Landis. As these drops were sold at auction, it is unlikely that Humpty Dumpty will ever be put back together again. What was really interesting about the Winona Volcano scene was the hardware. Much was formed from cut metal canisters and adapted for a specific task. Very little was pre-manufactured other than the batten holders that secured the bottom of a drop to the stage floor so it would not shift.

Batten hardware to anchor bottom of cut drop to stage floor. This prevented the scene from moving when ropes were lowered painted facades on drop to simulate collapsing classical temples.

Batten hardware to anchor bottom of cut drop to stage floor.

Previously, this seventeenth degree composition depicted ancient ruins were a series of visions were revealed to the audience. This remained the case with Northern Masonic Jurisdiction Scottish Rite scenery. It was only degree work in the Southern Jurisdiction that adopted volcanic explosion on Patmos. Sosman & Landis labeled their design either“17^th degree Vision” or simply, “Volcano.”

Design from the Twin City Scenic Co., in the Performing Arts Archives at the University of Minnesota.

Design from the Twin City Scenic Co., in the Performing Arts Archives at the University of Minnesota. Notice the translucent section for the revelation of “vision” scenes placed behind the drop.

To be continued…

Tales from a Scenic Artist and Scholar. Part 540 – Thomas G. Moses and the Topeka Scottish Rite, 1906

Part 540: Thomas G. Moses and 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.”

Illustration of the Topeka Scottish Rite stage published in the Topeka Daily, 21 Feb, 1906, page 5

Illustration of the Topeka Scottish Rite audirorium published in the Topeka Daily, 21 Feb, 1906, page 5

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.

Grand Commander James D. Richardson, published in the Topeka State Journal, 27 Oct 1906, page 16

For the Fall Reunion in Topeka, Grand Commander James D. Richardson and his associates in the Grand Commandery were in attendance. They were attending various Scottish Rite Reunions. After Topeka, they would visit Reunions in Denver, Colorado, and Salina, Kansas. Richardson was a well-known national legislator; for twenty years he served in congress from Tennessee, concluding his service on March 4, 1905. The article reported, “He gave up a brilliant political career to devote his time and energies to the interests of Scottish Rite Masonry and is now one of the highest Masons in the land. He is sovereign grand commander of the supreme council for the southern jurisdiction of the Ancient and Accepted Scottish Rite of Freemasonry.” By the end of the fall Reunion, the “Topeka State Journal” published a picture of Richardson and an article titled, “He Likes Topeka. James D. Richardson, ex-Democratic Leader, Visiting Here.” He was quoted saying, “You have a fine city here and there are evidences on every hand that it is in a most flourishing condition.” When questioned about things political, Richardson replied, “Politics and Masonry do not mix, and I will never mix them, so you will have to excuse me from discussing any phase of politics.”

An article in the Topeka State Journal listed the activities at the Fall Reunion in detail,” Sessions yesterday were devoted to the registration of classes and preliminaries and the festivities will close Saturday evening with a reception and banquet in honor of James Daniel Richardson, of Washington. D. C., sovereign grand commander and his associates and the members of the consistory. Arrangements have been made to use the large room on the first floor of the Masonic building formerly occupied by the Topeka Athletic Association, as a banquet room during the reunion. Congressman Richardson of Tennessee is one of the orators. A condensed schedule of the work which will be accomplished during the four days of the reunion is as follows:

WEDNESDAY, OCTOBER 24

Afternoon and evening, registration of class

THURSDAY, OCTOBER 25

9:00 a.m., 4 deg. Secret Master, conferred

9:45 a.m., 5 deg. Perfect Master, conferred

11:00 a.m., 6 deg. Provost and Judge, communicated

1:30 p.m., 8 deg. Intendant of the Building, conferred

2:00 p.m., 9 deg. Elus of the Nine, conferred

3:15 p.m., 10 deg. 11 deg., 12 deg. And 13 deg., communicated

4:00 p.m., 14 deg. Perfect Elu, conferred

7:15 p.m., 15 deg. Knight of the East, conferred

8:30 p.m., 16 deg. Prince of Jerusalem, conferred

FRIDAY. OCTOBER 26

9:00 a.m., 17 deg. Knight of the East and West, conferred

10:00 a.m.,18 deg. Prince Rose Croix, conferred

1:00 p.m., 19 deg. communicated

1:15 p.m., 20 deg. Master of the Symbolic Lodge, conferred

2:00 p.m., 21 deg. Noachite, or Prussian Knight, conferred

3:15 p.m., 22 deg. Knight Royal Axe, Prince of Libanus, conferred

4:00 p.m., 23 deg. And 24 deg., communicated

4:15 p.m., 25 deg. Knight of the Brazen Serpent, conferred

4:45 p.m., 26 deg. 27 deg. And 28 deg., communicated

5:00 p.m., 29 deg. Scottish Knight of Saint Andrew, conferred

7:30 p.m., 30 deg. Knight Kadosh, conferred.

SATURDAY, OCTOBER 27

9:00 a.m., 31 deg. Inspector Inquisitor, conferred

2:00 p.m., 32 deg. Master of the Royal Secret, conferred

6:30 p.m., Reception and banquet

(The Topeka State Journal, 24 Oct. 1906, page 8).

The reunion either ran like a well-oiled machine, or it 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. The members and the money just kept rolling into Kansas. They were really the first state to soar in the southern jurisdiction.

Scottish Rite degree team from Siloam Lodge No. 225, Topeka, Kansas, 1920

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 (The Wichita Daily Eagle, 13 Nov. 1906, page 6).

To be continued…

Tales from a Scenic Artist and Scholar. Part 488 – The King Solomon Story

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

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

Poster for the Ringing Brothers’ 1914 Grand Spectacle “King Solomon and the Queen of Sheba”

1901 Masonic setting for King Solomon’s Throne Room at the Scottish Rite in McAlester, Oklahoma.

Detail of setting by Sosman & Landis produced for the Scottish Rite in Little Rock at the turn of the twentieth century.

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

1842 advertisement for the visual spectacle called “chemical paintings” of the “Inauguration of Solomon’s Temple”

King Solomon’s Temple scene at the Scottish Rite in Cheyenne, Wyoming

Detail of painted setting for the Scottish Rite in Cheyenne, Wyoming

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

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

To be continued…

Tales from a Scenic Artist and Scholar. Part 474 – Grand Master Brown in 1903

Part 474: Grand Master Brown in 1903

Thomas G. Moses thought very highly of Bestor G. Brown and his contribution to the development of Scottish Rite Degree Productions. He commented in his 1931 memoirs that Brown was one of the three key individuals responsible for its rapid spread throughout the Southern Jurisdiction.

Photograph of Bestor G. Brown, Grand Master of Kansas, from the “Topeka Daily Capital,” 14 February 1904, page 6.

For the past two days, I have explored the life of Bestor G. Brown, his Masonic activities, and the promotion of theatrically staged degree work. While reading numerous newspaper articles published about Brown between 1903 and 1904, I came across a wonderful article in the “Topeka Daily Capital,” on 14 February 1904, page 6. As very little information is available about Brown, I am including this article in its entirety as it provides a wonderful summary of his life up to 1904:

“Bestor G. Brown, the present grand master, is one of the most prominent men in the Masonic order. He was born November 22, 1861, at Bluffton, the county seat of Wells county, Indiana, “on the banks of the Wabash.” On his father’s side he is of Scotch ancestry. They were Quakers, and came to this country with the William Penn colony. At the time of settlement at Philadelphia the head of the then generation of the Brown family was a personal friend of William Penn, and the secretary of the colony. His maternal ancestry is German, the immigration thereof having been to Maryland in the early part of the eighteenth century.

Bestor G. Brown was educated in the public schools of Topeka, and later attended Washburn college. In 1878, at the age of 16, he was given a position on the Topeka Daily Commonwealth as reporter, subsequently having charge of the city, or local department of that paper. In 1879 he decided to accept his father’s offer of a college education, and entered the University of Michigan; here he remained until 1882, when through the influence of Andrew D. White, then president of Cornell University, and other personal friends in Ithica, he was transferred to Cornell University. In both universities he was prominent in athletics, and held many positions of honor in the student world. He was an active and prominent member of the Psi Upsilon college fraternity, one of the oldest of these organizations.

In 1882 his father died, and his return to college was prevented. For a time he had charge of a special department of dramatic and literary matters on the Topeka Capital; later accepted a position with the First National bank of Topeka, with which institution he remained for seven years, progressing from the lowest to the highest clerical position in the bank. He left the bank to engage in a financial business for himself, which proved highly profitable, but met the fate of all such enterprises, in the depression of 1892, resulting in the loss of a comfortable fortune. He then became associated with a large manufacturing concern in Chicago, as its western representative, in which capacity he is now employed.

He was very prominently connected with social, dramatic and literary affairs of Topeka; was married in 1885 to Emma J. Kellam, a beautiful, accomplished and extremely popular young lady in Topeka Society. Three years later death severed the union, leaving one child, a girl. Probably no man has ever lived more devoted to Masonry, and had it not been for his untiring efforts, his great intellectual and physical strength, used so generously for the benefit of the cause, Kansas would not hold its present high position in the Masonic world. He is spoken of today as one of the best ritualists in the United States, and his opinion is sought by the most distinguished Masons of the country.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 473 – Staging the Third Degree

Part 473: Staging the Third Degree

Yesterday I began exploring the increased sales of Masonic regalia and paraphernalia across the country at the beginning of the twentieth century. Part of the development of theatrically staged Masonic degrees was establishing a need for elaborate stages, complete with painted settings, props, costumes and lighting systems. As the western sales representative for M. C. Lilley and Co., Brown increased the visibility of the fraternal supply company by not only joining numerous Masonic orders and fraternal organizations, but also by ascending to high offices in each order.

A key period becomes 1903 to 1904. By this time, M. C. Lilley had secured the theater contracts for several Southern Jurisdiction Scottish Rite stages, including Little Rock, Arkansas; Oakland, California; Wichita, Kansas; Salina, Kansas; McAlester, Oklahoma; Guthrie, Oklahoma; Portland, Oregon; Duluth, Minnesota and Fort Scott, Kansas. I am sure that there are more, but these are the ones that I have positively identified.

In 1903, Bestor G. Brown became Grand Master of the Grand Lodge of Kansas, placing him in a regional spotlight. He was provided with a unique opportunity to market his vision, especially pertaining to the staging of degree work. This included staging the first three degrees of Freemasonry (Blue Lodge). The Topeka Daily Capital reported, “Good Program is Arranged. Masons will have great meeting tomorrow” (14 February 1904, page 6). Masons from all over Kansas gathered in Topeka for “the forty-eight annual communication of the most worshipful grand lodge of the A.F. and A.M., the thirty-ninth annual convocation of the most exalted grand chapter of the Royal Arch Masons and the thirty-sixth annual assembly of the most illustrious grand council of the Royal and Select Masters.” What this means is that 600 to 700 of the top Masons in Kansas, as well as other visiting dignitaries, would be gathered both for both public and Private meetings; many would be exposed to the theatrical interpretation of degree work for the first time.

Envelope from Bestor G. Brown of M. C. Lilley & Co.

If one were to pitch a new idea, this is the time and place to promote it. Here is what Brown did, he promoted his company and staged the third degree of Masonry in full costume. The “Topeka Daily Capital” reported that the Grand Officers, together with a team selected from the local lodges, would stage the third degree of Masonry “in full costume” in the Representative Hall. This space was fitted up to function like the early stages in Masonic Halls. Masonic Halls were the precursor to a formal Scottish Rite stage. A rectangular room, similar to a banquet hall, was slightly altered to include an elevated stage on one end of the room; sometimes the stages were temporality constructed for a specific event. Some even included a proscenium arch, front curtain, and a few roll drops to establish the appropriate environment. In cases were roll drops were not rigged for the performance, wings, shutters, book flats, or profile pieces were temporarily positioned to provide the painted backings for early degree productions.

Interestingly, at the end of this event, the Scottish Rite Masons of Topeka hosted a banquet and musical program for all visiting Masons in the Masonic Hall. There is something to be said about the visual impact of a staged scene. During the same event, a special assembly was held in the Masonic Hall to confer the high degrees of Royal, Select, and Super-Excellent Master. The article reported, “This council has not only a state, but a national reputation, and will present the beautiful degrees of Cryptic Masonry with its complete equipment and paraphernalia.”

Winding staircase for the second degree.

Winding staircase for theatrically staging the second degree.

A profile piece for the staged version of the third degree. This depicts the slain assassins who murdered King Solomon’s the chief architect Hiram.

Detail of profile piece for the staged version of the third degree depicting the slain assassins who murdered King Solomon’s the chief architect Hiram

To be continued…

Tales from a Scenic Artist and Scholar. Part 355 – California Here I Come!

Part 355: California Here I Come!

Thomas G. Moses started preliminary negotiations for the resale of the Little Rock scenery to the Pasadena, California, in 1921. Moses would later join the Fraternity and become a member of the Pasadena Scottish Rite. I want to take a moment to explore why he possibly spent so much time trying to relocate the old Little Rock scenery to Pasadena. Furthermore, why would he join the Scottish Rite in Pasadena and not Chicago, especially when he was dividing his time between Chicago and Oakland? I believe that he preferred the degree work of the Southern Jurisdiction; the designs were more familiar to him. In 1926, Moses wrote, “I feel that we are a trifle shy on the proper designs for the northern jurisdiction, which are somewhat different from our southern, of which we have done by far the most.”

Moses also had an artistic connection and an emotional attachment to the 1896 Little Rock scenery collection. As a member of Pasadena, he would continue to see not only some of his best work, but also that of his good friend and mentor, David Austin Strong, another Sosman & Landis artists who Moses credited as the “Daddy of Masonic Design.” I think it was much more than making a dollar on a used scenery collection, or even trying to offload some old product. I believe that Moses carefully considered which Scottish Rite that he would join, and what painted scenery he would want to see during degree work. He also donated fine art to the Pasadena Scottish Rite when he became a member.

So, the original Little Rock scenery still hangs above the Pasadena stage and is used. Although it has been repeatedly tampered with over the years, and added to by other studios, the remnants of late-nineteenth century art are visible, as well as the individual paintings of Moses and Strong.

Today’s scenery at Pasadena, Yankton, Salina, and Austin all share one thing in common; they are some of the earliest installations in the Southern Jurisdiction and all have backdrops painted by Strong. His work is some of the most beautiful scenic art that I have ever encountered and he was credited as being the last American scenic artist to represent the Dusseldorf school. Walter Burridge affectionately referred to Strong as “Old Trusty.” Fellow scenic artists heralded Strong’s skill, his “facile brush,” and his “quality of opaqueness” (Chicago Tribune, Dec. 18, 1892).

An example of what I believe to be David Austin Strong’s work. This is a detail from a Little Rock drop currently hanging in Pasadena.

I am currently in Pasadena Scottish Rite to repair the crucifixion backdrop at the Scottish Rite; it ripped in half and plummeted to the stage. A few years back, I completed a similar repair in Grand Forks when their Hell scene split in two. The Pasadena version, however, is almost beyond repair as there is other extensive damage throughout the composition. My flight arrived quite early this morning, after a series of delays, so the day is starting out a little slow.

Luckily for me, there will be some “dry time” while I am on site completing the repair. I intend to look for more clues indicative of the studio practices at Sosman & Landis from the late-nineteenth- through early-twentieth century. If anything, I have promised Rick Boychuk some detailed rigging pictures as I believe that the system may be from the 1902 Albert Pike Consistory in Little Rock.

To be continued…

Tales from a Scenic Artist and Scholar. Part 353 – 1898 Scottish Rite Scenery for Wichita, Kansas

Part 353: 1898 Scottish Rite Scenery for Wichita, Kansas

Bestor G. Brown set his sites on a new project after completing the Albert Pike Cathedral in Little Rock, Arkansas – Wichita, Kansas. Keep in mind that Brown was a leader with a magnetic personality, well known for his eloquence. He was frequently praised for his deep understanding of Masonic ritual and its theatrical interpretation on a Scottish Rite stage. Brown had many loyal fans throughout the course of his career, not just in Kansas, but throughout the country. All of these factors made Brown a natural to sell fraternal supplies and promote degree productions. But there was also something else that made him unstoppable – he was also working from the inside out.

In addition to representing M. C. Lilley & Co., Brown was the stage director for the Wichita Consistory. This allowed him to speak with clients from a position of experience and deep understanding of the demands for various degrees. He wasn’t just a member, he was an extremely active member. As active members, it only took a few key individuals to systematically market the new degree paraphernalia. A fairly small group of individuals established the “gold standard” and it became the most sought after degree experience to share with the Fraternity. Because they were all members, these men were able to successfully communicate with degree participants and degree directors.

Even though Brown’s primary residence was in Chicago from 1892 to 1898, he remained extremely active in Kansas Masonry, as well as other fraternal orders such as the Odd Fellows and the Knights of Pythias. I cannot imagine where he found the time to do it all. He was a salesman who intimately knew the fraternal market and what his clients really needed in each area for a successful production or ceremony. He was able to speak their language as both a member and a degree participant.

In Wichita, Brown recommended the purchase and renovation of an existing building. A stage for degree productions was included in the renovation plans during 1898, led by Brown. The Valley of Wichita purchased the Young Men’s Christian Association for $20,339.90 and during January 1898, and extensively remodeled the space to include a 300-seat auditorium. The planning and construction was similar to that in Little Rock, during 1896.

The Wichita Scottish Rite Bodies renovated an existing building to include a stage in 1898. The building was enlarged again to included a new auditorium and banquet hall less than a decade later. Photo showing new addition on right, ca. 1907.

The second member from Wichita to aid in the theatrical interpretations of Scottish Rite degree work was Henry Wallenstein. 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. As with Brown, Wallenstein was also a well-known “staging expert” for the Scottish Rite degree productions in the area. Later, the Wichita Scottish Rite bodies noted Wallenstein’s contribution to the successful dramatization of degree work as his outstanding achievement in Masonry. Both Wallenstein and Brown greatly facilitated the Southern Jurisdiction’s inclusion of theatrically interpreted degree work on Scottish Rite stages throughout Kansas and the region. With the backing of M. C. Lilley & Co. and the assistance of Sosman & Landis they were on a roll, and unstoppable. There was too much money being made from the initiation of new members to cause the Supreme Council to shut down these new activities.

So by 1899, Brown had returned to living in Topeka, Kansas, and was deeply involved in the planning of the new 1900 Guthrie Scottish Rite stage. Immediately after the Wichita Scottish Rite was completed, the SGIG of Oklahoma (Harper S. Cunningham) brought in Brown, Wallenstein and Charles E. Rosenbaum to help with his new project. Cunningham would later be heralded as the Scottish Rite’s “Temple Builder.” He was involved with not only the Scottish Rite stage in Guthrie, but also the first one in McAlester, Oklahoma, before moving to Santa Fe, New Mexico.

This is where is gets interesting. The three brought extensive knowledge and experience to the project. Cunningham watched them incite enthusiasm and anticipation for the new Masonic space. In later years, Cunningham would use this same technique in Santa Fe, New Mexico. There, he would attain the support of the membership and prepare them for the new stage as their building was being planned (the 1912 Moorish-revival style complex). In 1908, Cunningham would negotiate the purchase of the original McAlester scenery for Santa Fe.

Drop curtain pictured at the McAlester Scottish Rite, also called “the Tabernacle” in 1904.

Same drop curtain purchased by the Santa Fe Scottish Rite in 1908 to practice degree productions while their new building was being planned. The picture is from the Masonic Hall on Water Street in 1909 with Harper S. Cunningham seated in the center.

At this same time, some of the original 1898 scenery from Wichita was purchased by Yankton, Scottish Rite. This was after the Wichita Scottish Rite building added a larger auditorium and dining hall.

Scene produced by Sosman & Landis for the 1898 Wichita Scottish Rite stage. Image from 1898 Fall Reunion program.

Same scenery as pictured above in 1898 Fall Reunion program for Wichita Scottish Rite. The scenery original produced for Wichita is currently used by the Yankton Scottish Rite.

The original Scottish Rite scenery location is still visible on the backside of scenery currently used in Yankton. South Dakota.

Backside of a scene depicting an original Sosman & Landis shipping label. This 1908 shipping label is identical to one found on a Winona Scottish Rite counterweight arbor, dating from 1909.

Records would also indicate that Yankton purchased some of the original Guthrie scenery when M. C. Lilley divided the Guthrie collection between Yankton and Austin. The original scenery collections were like trading in used cars and receiving credit for a new car purchase.

Both the original Wichita (1898) and Guthrie (1900) scenery collection were created by Sosman & Landis when they were subcontracted by M. C. Lilley.

To be continued…