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Tales from a Scenic Artist and Scholar. Part 887 – Anton T. Kliegl and Freemasonry

Anton T. Kliegl was a Freemason.

I discovered this fraternal connection while looking for information about Al C. Field’s “The Land of the Midnight Sun” spectacle. A 1925 newspaper reported, “Frank Bliss attended the annual theatre party and dance given by the Lincoln Lodge of Masons at Hotel Astor, Tuesday evening. Mr. Bliss was the guest of Anton Kliegl.” Lincoln Lodge of Masons (Lincoln Lodge No. 3, F. & A.M.) was formed in 1792 and is located in Wiscasset, Maine. Still an active lodge, the “Wiscasset Newspaper” reported, “When the Lincoln Lodge of Masons formed in 1792, Maine was still part of Massachusetts” (17 Dec 2014)

As I processed the following information, my first thought was, “Of course he was a Mason.” I think back to the many other theatre personalities who belonged to the fraternity, including Sosman, Volland, Noxon, and the list goes on. Of all the big movers and shakers in early twentieth century technical theater, the question should be: “Who wasn’t a Mason?” and not “Who was a Mason?” Theatre manufacturers and suppliers needed these fraternal connections to secure new contracts; the Masons built some of the best theaters in the early twentieth century and appeared to possess almost unlimited funds. Who would pass up that connection; a leg up on the competition?

Kliegl Bros. “pose slide” artwork in paper binder, page 17. Ohio State University. Jerome Lawrence and Robert E. Lee Theatre Research Institute. Joel E. Rubin Collection.
Here is the link to the page: https://kb.osu.edu/
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I decided to see if I could dig up a little more information about the Kliegl’s Masonic affiliations and immediately hit the jackpot. My “jackpot” was the form of a blog post.

On April 3, 2012, “Inside and Abandoned Masonic Hall in Tappan, NY” was posted to Scouting New York. Photos attached to the article showed the decaying German Masonic Home in Tappan. Nestled in a picturesque setting, it was located across the road from the German Masonic Park. The park is still home to Traubenfest, Tappan’s Oktoberfest. Yes, lots of German heritage in Tappan. Masonic artifacts sometimes hold more value for those who are not members of the Fraternity. I stumbled across the Scouting post because Anton Kliegl funded to construction of the German Masonic Home chapel in Tappan, New York. After his passing in 1927, stained glass windows with portraits of Anton and his widow were installed as a memorial in 1928. In 1928, Kliegl’s widow was the sole recipient of his estate, valued at $305,756. Today’s equivalent purchasing power is approximately $4,600,000.

Stained glass window of Anton Kliegl at the German Masonic Home in Tappan, NY. Posted to Scouting NY. Here is the link: http://www.scoutingny.com/
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The stained glass windows have since been restored and re-installed in the United Brothers Lodge #356 in Whitestone, New York, according to “Masonic News, Ninth Manhattan District (Summer Issue 2014, page 2). Interestingly, in 1914, the Masters Association (Stuhlmeister-Vereinigung) and Charity Ball Journal were founded. By 1939, the Gala Charity Ball was held in the Hotel Astor in New York and celebrated the “Silber-Jubiläum” (Silver Anniversary). The 1939 issue of the Charity Ball Journal was co-dedicated to the founding of the Master’s Association and to Anton Kliegl. This means that Kliegl’s involvement with the Fraternity was not minimal, he was extremely active.

The same Masonic building was also the featured in an episode of “Abandoned,” available on YouTube. Here is the link as it says a lot about the current state of many Masonic buildings: https://www.youtube.com/watch?v=7O1Lss9sUjE&feature=youtu.be The general public is always intrigued with the Masons and their spaces, in some ways more so that the members that abandon these grandiose facilities. Watching this YouTube video reminds us of how much has been squandered; the lost history.

The German Masonic Home in Tappan, New York, 1920.

Here’s a little background on Tappan, New York. It is steeped in history, especially revolutionary events. As an interesting aside, on October 2, 1780, British Major John André was captured by American soldiers, tried, convicted and hanged as a spy in Tappan. André had plotted the surrender of the American fortress at West Point with American General Benedict Arnold and was capture while returning to British lines. André was also a scenic artist and I spent countless hours as an undergraduate student tracking down his theatrical ties.

German Masons in Tappan purchased 20 acres in 1872 for approximately $14,000. Although construction did not commence until 1906, the complex was completed by 1909. This was at the same time that the Kliegl Bros. were really making a name for themselves and achieving some financial success and discretionary income for charitable endeavors. The facility closed in 1983, less than eight decades after it was opened. This structure, however, may have a second lease on life. According to Steven T. Scwartz, president of Noble Ninth Incorporated, a Manhattan-based Masonic company that owns the property now, renovation work to transform the facility to serve community senior citizens was in the works. After viewing photographs and video of the dilapidated complex, it really is a long shot.

As with many fraternities, care for aged members, their widows and children were once one of the many benefits to belonging to a fraternity, hence the creation of Masonic Homes. This was not unique to Freemasonry. It was an early form of insurance for members that guaranteed their loved ones would be cared for after they passed away. Masonic homes were never intended as profit making ventures. Times change.

To be continued…

Travels of a Scenic Artist and Scholar. Circus World Museum, March 18, 2019

After stopping by the Al Ringling Theater and Baraboo Lodge No. 34, I drove over to the Circus World Museum on Monday, March 18. My intention was to briefly meet with the curator and share my information pertaining to the grand circus spectacles produced by Sosman & Landis from 1905 to 1915.

The gal behind the desk at the museum told me to see the curator Pete. He was currently working in their library and archives across the river on an upcoming exhibit. This building was a very small and unassuming place, yet the walls were lined with posters and circus memorabilia. We chatted for quite a while, with Pete deciding that a copy of my book would be beneficial his patrons as it placed the Ringling spectacles with in a larger context and identified a major theatrical supplier to Al Ringling. He then suggested that I venture back over to the museum to look at a few pieces from the grand spectacle “Cinderella” in the museum. He called over to make sure that I could examine the setting without any difficulty and I realized that more time should have been set aside for my Baraboo side trip.

Circus World Museum with backing from the Cinderella grand circus spectacle in the background.

I whizzed through the museum and easily spotted the scenery. It was awe-inspiring to look at the painting. It depicted all of the standard trademarks for a Sosman & Landis manufacture. I especially appreciated the foil paper-backed strips to accentuate the gold capitals. What was most interesting was the heavy-duty canvas, flat seams, and basic construction that mirrored the floor cloths produced by the company. Drop construction is another area where I am slowly tucking away information.

From 1905 until 1915, Thomas G. Moses completed several designs for grand circus spectacles. The first mention of his designing one of Al Ringling’s spectacles was in 1905. Fast forward to 1912 when Moses mentioned another visit to Baraboo, Wisconsin, during the Ringling Brothers’ off-season. Moses wrote, “I went to Baraboo in the meantime to see Ringling Brothers and close for another big spectacle. Mr. Al Ringling took me through the winter quarters of the animals which was also very interesting. Feeding time for the lions, tigers and all the cat family was a noisy time. Watching the training for the elephants was also very interesting. The immense chain and derricks they have to use to teach the elephants to stand on their heads was strong enough to lift a battleship. A great deal of care is given to all the animals, much more than is given to the men that attend the animals. The Ringlings have their own car shop and paint shops, and everything is taken care of here except scenery and wardrobe. They are very busy getting ready for the next season, making contracts for all supplies at every town they visit, and they certainly have some system.”

In spring of 1912, Moses caught up with the circus in his hometown of Sterling, Illinois, as he needed to collect the final payment for the season’s production. He attended the show and wrote, “Went to Sterling to catch Ringling to collect $1,200.00. As went to the tent to find Al Ringling, I discovered everyone watching a fire – a stable at least four blocks away. A spark was blown towards the tent, the top of which is prepared with parafine to make it water-proof. It soon ignited from the sparks and in less than thirty minutes the big tent was destroyed. The rest of the tents were saved. It was mighty fortunate there were no people in the tent. Some of the animals in another tent started some noise when the smelled the smoke, but they were soon quieted. I sneaked away without making myself known. There was no money for me, that I guessed.”

Moses eventually collected the payment during 1912, and by the end of the year wrote, “Another trip to Baraboo to see the Ringling’s about next year’s show, which I secured.” They were contracted to provide the scenery for another production in 1913. Al Ringling liked the work produced at Sosman & Landis studio and its last president Thomas G. Moses. Winter was the time to plan.

Both equipment and animals were cared for from November until April of each year – their off-season. Baraboo became home to the exotic and their caretakers. In 1913, 117 Ringling Brothers’ Circus employees worked in Baraboo during the winter months. The staff included the following positions: Caring for work horses (23), caring for show horses (7), caring for menagerie animals (8), elephant caretakers (10), blacksmiths (5), railcar repair (16), paint shop (16), harness shop )3), wagon and repair shop (9), wardrobe (5), hotel (12), watchmen (2), and office (1). As the circus employed approximately 1200 people during the season, where did the remainder of employees winter? Some acts sought contracts in warmer climates, returning to Wisconsin in April for the new tour. Some workmen found work in nearby lumber camps and spent the winter in less than ideal conditions. A few took the winter months as an opportunity for rest and relaxation

It was at the winter quarters that the Ringling brothers planned for their upcoming season. Shows were chosen, costumes assembled and scenery designed for elaborate spectacles. Winter was a time for preparation, training and hard labor. There was time available to plan and rehearse the animals for another season. A team of writers wrote news stories for upcoming shoes that would tour the country. Circus wagons were repaired and repainted. Animals were exercised both indoors and outdoors. Everyone had a specific project to accomplish all year long.

Baraboo remained the winter quarters for the Ringling Brothers’ circus from 1886 to 1918. At that time the circus moved to a new location in Connecticut; it had been the Ringling Brothers and Barnum & Bailey Combined Shows since 1907 and began to recoup at the old Barnum & Bailey winter quarters.

It was not until 1954 that John M. Kelly, a personal attorney for the Ringlings, incorporated the Circus World Museum as a historical and educational facility. He had worked for the Ringlings for more than three decades. The Circus Museum opened to the public July 1, 1959. The website reports that “The museum’s collection of circus artifacts is perhaps the largest in the world. It includes over 210 original wagons and vehicles once used by American, English and Irish circuses. It houses an exceptional collection of circus ads and posters. Over 9,500 multi-colored circus posters range in size from half-sheets to an 80-sheet Buffalo Bill Wild West poster which measures 9’ high and 70’ long. Thousands of journals, manuscripts and business records are available as well as original fine art oil paintings, hand bills, heralds, programs, artifacts of circus performers and a collection of rare photographs and negatives.” I have yet to spend a significant amount of time in their archives. Here is the link to their website: http://www.circusworldbaraboo.org/

To be continued…

Travels of a Scenic Artist and Scholar: Baraboo Lodge No. 34, Wisconsin, March 18, 2019

Each of the seven Ringling brothers was a Scottish Rite Mason. They were members of the Scottish Rite Consistory in Milwaukee, a theater that boasted a Sosman & Landis scenery collection supervised by Thomas G. Moses during its production in 1913.

August Rüngeling and his seven sons all joined the Fraternity between January 1890 and August 1891. Each was raised in Baraboo Lodge No. 34 in Baraboo, Wisconsin, during that time. This is not unusual, when considering the percentage of men involved with some type of fraternity during the late 19^th century, and how the Freemasonry could become a “family affair” for fathers and sons.

Alf T. Ringling could be called the “ringleader” of the group, as he was the first to become a Freemason. Here is when each became a Master Mason: Alf T. (January 22, 1890), John (March 1, 1890), Al (March 29, 1890), Charles (April 9, 1890), Otto (April 9, 1890), Gus (Feb. 4, 1891), Henry (March 18, 1891), August Rüngeling (August 9, 1891). However, it was their combined roles as Masonic officers during 1891 that caught my eye. Their Masonic roles were noted in the minutes of a meeting on April 8, 1891: Alf T. Ringling was Worshipful Master; August “Gus” Ringling was Senior Warden; Al Ringling was Junior Warden; Charles Ringling was Senior Deacon; Otto Ringling was Junior Deacon; Henry Ringling was Senior Steward.

In 1900, “The Buffalo Courier” included the story of the Ringling family in a section called “Travelers Toward the East” (9 Dec. 1900, page 25). The article reported, “A Masonic journal says that the Ringling brothers are known all over the country as the proprietors of the Ringling Circus. Seven of these brothers are members of Baraboo Lodge No. 34 of Wisconsin jurisdiction, and after the seven were all members of the lodge the petition of the father was received. The Ringling brothers qualified themselves to confer the degrees were assigned to the several positions in the lodge, received the father into the lodge and conferred the degrees upon him.” The Baraboo Lodge rooms were above McGann’s Furniture in the building at the Northwest corner of Oak and Second Avenue, but a new building was in the making. The same month that their father was raised, the “Wisconsin State Journal” reported that the corner stone for the Baraboo Masonic Temple was “to be laid with great ceremony” that Thursday (25 August 1891, page 1). A formal procession was formed and consisted of the Baraboo lodges, Eastern Star Chapter, Royal Arch Masons, Knights Templar, members of the Grand Lodge, the members of the city council, and lead by the Baraboo military band.

The Baraboo lodge No. 34 received its charter from the Grand Lodge of Wisconsin on June 8, 1852 and early meetings took place in the Lodge Room of Purdy’s building over at the Post Office (Sauk County Standard, Baraboo, Wisconsin, 29 March 1854, page 4). Stated meetings were the first Wednesday, on or before the full moon in each month.

Baraboo Lodge No. 34 was almost four decades old by the time the Ringling brothers became members. Besides belonging to Baraboo Lodge No. 34, the brothers also belonged to Baraboo Valley Chapter No. 49, R.A.M (Royal Arch Masons); St. John Commandery No. 21 K.T. (Knight Templars) of Baraboo, and the A.A.S.R. (Ancient and Accepted Scottish Rite) in Milwaukee.

This little bit of history, prompted me to find the current location of Masonic Lodge in Baraboo on March 18, 2019. If they were open, I would stop on by and donate a book to their library. They might enjoy some additional information concerning their past and the scenic artists that Al Ringling so admired – Thomas G. Moses. After all, it was Ringling who continued to hire Sosman & Landis to deliver the painted settings for his grand circus spectacles, as well as painting the new front curtain for his theater in Baraboo.

I was in luck when I pulled into the parking space, just down the street from the new Masonic lodge building. I noticed a workman carrying in supplies, and based on past experiences, I walked up and said, “Hi, my name is Wendy,” then followed him into the building. After explaining my current trip and interest in Baraboo Lodge No. 34 and the Ringling connection, they took me on a tour of the building. What I really wanted to see was the Masonic aprons for each of the Ringling Brothers.

My tour guides could not have been more accommodating during my visit. You see, given the opportunity, people are often more than willing to share information about themselves and interests. These were three young men, fixing up their lodge on a weekday; a building that they loved.

To be continued…

Tales from a Scenic Artist and Scholar. Part 705 – Masonic Temple Fire in Louisville, 1903

Part 705: Masonic Temple Fire in Louisville, 1903

In 1903, there was a fire that destroyed the Masonic Temple in Louisville, Kentucky; this was not the Scottish Rite Cathedral, but it had a theater. The Weber Bros. managed Louisville’s Masonic Theatre and the house had a seating capacity of 1,743 (Orchestra, 674, Balcony, 478 and gallery, 571). The width of the proscenium was 36 feet wide by 36 feet high. The depth from the footlights to the back wall as 43 feet and the height to the rigging loft was 72 feet. The depth under the stage was 10 feet and the height to the fly gallery was 25 feet. It was certainly a sizable space for productions, and not some little hole-in-the-wall space.

At the time, a theatre in a Masonic building was not unusual. Many nineteenth-century Masonic buildings relied on the rent collected from retail tenants who leased the first few floors of the building, with lodge rooms in the upper levels. For Masonic opera houses they used the performance space for the income, with lodge rooms tucked away in upper levels. Examples were found all over the country, including in Duluth, Minnesota. The building used by the Duluth Scottish Rite before its current home was also a Masonic Temple with public theatre. The Masons only started to encounter major after the constructed huge edifices that were only used and rented by the Fraternity. If the Masonic orders stopped renting or ceased to exist, it was almost impossible to find a new tenant and recoup the lost income. Furthermore, if the building was only occupied by only one Masonic group, it would only take a decline in membership to start the ball rolling in regard to financial problems pertaining to standard building maintenance costs or repairs.

Now, let’s look at the landscape of Masonic opera houses, theaters and halls that were listed in Julius Cahn’s Official Theatrical Guide for the 1903-1904 Season. Seventeen Masonic stages were listed as an option for touring companies. These were not the only ones, just those listed as an option by Julius Cahn.

Advertisement in Julius Cahn’s Official Theatrical Guide for the 1903-1904 Season.

They included:

Masonic Temple Theatre in Fort Wayne, Indiana

Masonic Temple Theatre in Wallace, Idaho

Masonic Hall in Sumner, Illinois

Masonic Opera House in Oskaloosa, Iowa

New Masonic Opera House in What Cheer, Iowa

Masonic Temple in Louisville, Kentucky

Masonic Opera House in Bel Air, Maryland

Masonic Theatre in Ellenville, New York

Masonic Opera House in Forestport, New York

Masonic Hall in Sag Harbor, New York

Masonic Opera House in New Bern, North Carolina

Masonic Opera House in Chillicothe, Ohio

Masonic Opera House in Ironton, Ohio

Masonic Hall in Jenkintown, Pennsylvania

New Masonic Theatre in Nashville, Tennessee

Masonic Opera House in Orange, Virginia

Masonic Temple Opera House in Charlottetown, Prince Edward Island

The earliest mentions of Masonic stages that I have encountered to date were constructed during the 1820s. When you think about it, the idea was brilliant. Lodge rooms were similar as in other Masonic lodges, but it allowed a larger space for events. It is also not hard to make a leap from lodge room floor to elevated stage, especially if there is already a theater in the building complete with stock scenery. How hard would it be to recognize that an existing cave setting, palatial setting, or seascape would enhance a dramatic presentation during degree work?

Back to the Louisville Masonic Theatre fire. One account was published in the “Statesman Journal” 21 Nov. 1903, page 1. Here is the article:

“Masons Lose By Fire.

Old Temple at Louisville Totally Destroyed – Tenants Lose Heavily.

Louisville, Ky., Nov. 20. – Fire early today destroyed the old Masonic Temple, occupying half a block in the heart of the retail business district. The loss is about a quarter of a million dollars, among the largest losers being the Masonic Temple building, $125,000; Insurance, $65,000; Hopkins Theatre, $20,000; J. W. Fowler Drug, $36,000; Rodgers & Krull, jewelers, $40,000.

The fire is supposed to have started in the scenery o the stage of the theatre. The losses to the tenants will be heavier than ordinarily owning to the high insurance rate due to the construction of the building, and because it contained a theatre. There were seven acts on at the theatre this week, and the people presenting them lost their effects. The theatre is owned by Colonel John D. Hopkins, of St. Louis. The building, which was erected in 1864, is a total loss. At one time it was the principal theatre of Louisville.”

Upon a little more digging, I discovered that the building occupied half the block bounded by Fourth, Fifth, Green and Jefferson Streets. The theatre was located on the third floor. Among the losses listed above were Byck Brothers shoes, $15,000; Boston Shoe Co., $15,000; and Charles H. Smith’s Son, hatter, $15,000. From the touring production standpoint, several trained dogs and monkeys lost their lives in the fire. The estimation of totals losses ranged from $200,000 to $300,000.

The loss of the Masons remained relatively low, as they had recently dedicated a new temple at Fourth and Chestnut Streets and removed all their effects to their new home. Hmm. This article completely intrigues me on several fronts, and I am curious to look for a few answers in the Scottish Rite library next week. But there is one more thing…

The big scandal that surrounded the 1903 Masonic Temple Theatre fire was that at least five members of the Louisville fire department were engaged in looting the stores that were being burned. Among the items stolen were meerschaum pipes, shoes, theatre trunks, opera glasses, and jewelry. The box office was ransacked and the dressing rooms behind the stage were rifled through. In other areas, locked desks were broken into with axes, as firemen searched for cash and other valuable artifacts. The corrupt men belonged to two fire companies. The stolen objects were later discovered in their lockers and under their mattresses in the engine house. The search was made after witnesses who came forward made accusations and five were later charged with the actual crime. Nineteen others were charged with being complicit for refusing to give information and/or assisting the men hide the stolen items. An additional six men were dismissed, totaling eleven firemen that were let go. Unreal.

To be continued…

Tales from a Scenic Artist and Scholar. Part 491 – Baraboo Lodge No. 34

Part 491: Baraboo Lodge No. 34

Notice for Baraboo Lodge No. 34 from “Sauk Center Standard,” 29 March 1854, Page 4

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

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

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

G. G. Gollmar, one of the seven charter members for Baraboo Lodge No. 34

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

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

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

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

Ringling Brothers’ 1892 Bell wagon manufactured by their cousins, the Moellers

Gollmar Bros. Circus wagon manufactured by their cousins the Moellers.

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

When the Moeller Bros. Co. shifted their focus from making circus wagons to other products. From the “Wisconsin State Journal,” 25 April 1937, page 12

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

To be continued…

Tales from a Scenic Artist and Scholar. Part 489 – It’s all a (Masonic) Circus

Part 489: It’s all a (Masonic) Circus

This illustration of the five Ringling Brothers appeared in The Arkansas Democrat, 2 Oct. 1891, page 8

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

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

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

In fact, August Rüngeling and his seven sons all joined the Fraternity between January 1890 and August 1891. Each was raised in Baraboo Lodge No. 34 in Baraboo, Wisconsin, during that time. This is not unusual, when considering the percentage of men involved with some type of fraternity during the late 19^th century, and how the Freemasonry could become a “family affair” for fathers and sons. Alf T. could be called the “ringleader” of the group as he was the first to become a Mason. Here is when each man became a Master Mason: Alf T. (January 22, 1890), John (March 1, 1890), Al (March 29, 1890), Charles (April 9, 1890), Otto (April 9, 1890), Gus (Feb. 4, 1891), Henry (March 18, 1891), August Rüngeling (August 9, 1891). However, it was their combined roles as Masonic officers during 1891 that caught my eye. Their Masonic roles were noted in the minutes of a meeting on April 8, 1891: Alf T. Ringling was Worshipful Master; August “Gus” Ringling was Senior Warden; Al Ringling was Junior Warden; Charles Ringling was Senior Deacon; Otto Ringling was Junior Deacon; Henry Ringling was Senior Steward.

Baraboo Lodge No. 34 was almost four decades old by the time the Ringlings became members. Besides belonging to Baraboo Lodge No. 34, the seven brothers also belonged to Baraboo Valley Chapter No. 49, R.A.M (Royal Arch Masons); St. John Commandery No. 21 K.T. (Knight Templars) of Baraboo, and the A.A.S.R. (Ancient and Accepted Scottish Rite) in Milwaukee.

To be continued…

Tales from a Scenic Artist and Scholar. Part 237 – Altoona’s Masonic Temple, 1890

Thomas G. Moses was painting at two theaters in Altoona, Pennsylvania, during 1890. I have been looking at the possible venues where he might have been employed during that year; his typed manuscript does not specify the project.

In the big context, Altoona was home to many fraternal orders, including the Freemasons, Odd Fellows, Elks, Knights of Pythias, Improved Order of Red Men, Independent Order of Foresters, Maccabees, Fraternal Order of Eagles, Patriotic Order Sons of America, Moose, Order of Owls, Loyal Orange Institute, Ancient Order Knights of the Mystic Chain, Knights of Columbus, Improved Order of Heptasophs, Ancient Order of Hiberians, and the list goes on and on. Oh my. Some organizations were new to even me! Each group owned homes, with some were the finest buildings in the city. “In Altoona the lodge takes the place of the social club found in other cities and the spirit of fraternity, nurtured by the various organizations, is strong among the people of the city.” (Jesse C. Sell, “Twentieth Century History of Altoona, Blair County, Pennsylvania, and Representative Citizens,” 1911, page 355). Sell’s statement says a lot.

Masonic Temple in Altoona, Pennsylvania, 1890.

The Altoona Masonic Temple was erected between 1889 and 1890. It is possible that there were two theaters in the building, as was the case in Indianapolis when the “Pork House” was retrofitted to include two theaters for the Scottish Rite. In 1890, the Altoona Masonic Temple was home to many organizations and the building’s dedication included a number of impressive ceremonies throughout the latter part of the 1890.

I then thought back to the Temple Opera House in Duluth and many others built before 1890. The Indianapolis Scottish Rite had two theaters, both strictly for Masonic purposes. The Cincinnati Masonic Building also had two Masonic theaters, one large theatre for the Scottish Rite and one small theatre for the York Rite. But there was also a third theatre in Cincinnati connected to the building. It was a commercial theatre for the general public. Detroit was also later set up with a Scottish Rite stage and a commercial stage.

This was a brilliant business plan to pay the bills. It would be similar to the formula where retail stores occupied and paid rent on a main floor for fraternal spaces on the upper floors. Incorporating an entertainment venue in a Masonic building instead of retail rental was a successful option.

Before I move onto Thomas G. Moses in the year 1891, I will be taking a break as I head to Hawaii to acquire several paintings. My family and I are going to visit Moses’ great grandson. During our two-week stay, I will repost the initial two weeks of this blog as many of you are late comers and may want to see what prompted my writing.

To be continued…