Minnesota Masonic Heritage Center

Travels of a Scenic Artist and Scholar: Saying Goodbye to Fort Scott on July 1

We left Wamego, Kansas, and headed to meet a friend in Fort Scott. Almost three years ago, I made the fateful trip with the CEO of Masonic Charities, the General Director of the Minnesota Masonic Heritage Center and a local Scottish Rite Mason. At that time, I was the Curatorial Director for all incoming acquisitions for the Minnesota Masonic Heritage Center and I was there to evaluate the Fort Scott Scottish Rite Collection, assessing its condition and determining whether it would survive the removal from its current home and transportation to Minnesota. The whole tale of my involvement with the Fort Scott scenery collection, prompted my writing of the story “Tales of a Scenic Artist and Scholar: Acquiring the Fort Scott Scenery Collection for the Minnesota Masonic Heritage Center.” My story evolved to solely focus on the scenic artist who painted the Fort Scott scenery collection – Thomas Gibbs Moses.

The Scottish Rite building still stands in Fort Scott, Kansas. It is no longer the home of the Scottish Rite, they now meet in Pittsburgh, Kansas

The Fort Scott Scottish Rite theater as it looked in 2015. This was before the building the scenery collection transferred to Minnesota.

The Fort Scott Scottish Rite counterweight system that once controlled the painted scenery by Thomas G. Moses. Photograph from 2015.

A painted detail from the brush of Thomas G. Moses for the Scottish Rite theater in Fort Scott, Kansas. Photograph from 2015 before the collection was moved to Minnesota

My involvement with the Fort Scott scenery ceased after its storage in the custom-made racks that I designed during the fall of 2015. My position was terminated upon the opening of the Minnesota Masonic Center and the museum team, Outhouse Productions (who helped design exhibits at the Minnesota Masonic Heritage Center) attempted to restore the collection with the help of their standard exhibit artist, Kimber Lawler. Sadly, the group had never restored any historic theatre scenery before and used hot melt glue to attach netting to the fragile fabric. They also cut many of the leg drops in half after flame-proofing everything; a death sentence to historic scenery. Furthermore they replaced all of the original wooden battens with pipe pockets, losing much of the personal notes written by Thomas Moses during the original installation.

When I first witnessed the “restored” drops hanging at the Minnesota Masonic Heritage Center, I was devastated to see the wrinkles, shiny surfaces from size that was too strong, and further deterioration after a botched restoration attempt by those who did not understand the proper handling of historic scenery. So, today was my day for a sense of closure and sharing the current status of the drops. It still distresses me that the Fort Scott Masons entrusted me to help preserve their history and I wasn’t ultimately able to help them. To both Fort Scott Masons and many Masons in my home state, the CEO of Masonic Charities identified me as the one who would restore the entire collection. Many Minnesota Masons at Grand Lodge this year still believed that I was part of the scenery restoration, as it was so firmly stated on numerous occasions.

However, today was the day that I could tell the tale of my dismissal, pass off a copy of my new book, and stop by the Fort Scott Scottish Rite building one more time. After a lovely lunch, a visit to the old fort, and hike along a prairie trail, I am ready to explore anther Scottish Rite collection – Joplin. We made it to Joplin by late afternoon and enjoyed some local barbeque. One more day enjoying the beauty of some Scottish Rite scenery that may still have a future.

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring the Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 20.

While Wendy Waszut-Barrett is recovering from travel and catching up on current projects. She is reposting a few early installments from “Tales from a Scenic Artist and Scholar Acquiring: The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center.” Here is her twentieth post from March 5, 2017.

Part 20: Little Boxes

Discoveries in loft above the Fort Scott Scottish Rite stage prompted an extensive search of the area. Soon, I was crawling through the dirt and peering into a two-feet deep gap along the studio floor where we discovered the paintbrush. It quickly became apparent to my crew that this was not a case of “finders keepers,” as had been the case with the remainder of trash piles scattered throughout the scenery collection with every new item. These would be part of an exhibit at the entrance of theatre in the Minnesota Masonic Heritage Center. They were wonderful companion pieces to the scenery acquisition.

Dry pigment paint box remnants shipped to Thomas G. Moses while he was painting at the Scottish Rite in Fort Scott, Kansas. Photograph by Wendy Waszut-Barrett, 2015.

In the same spot from where we discovered the scenic brush, colorful pieces of wood began to emerge. I immediately identified these slats as pieces from dry pigment boxes. The crew looked at me in puzzlement every time I added a colorful wooden slat to my pile. Occasionally they asked, “Are you taking THAT back to Minnesota too!?!” Their queries were understandable as most of my finds resembled broken bits of wood, in the dim light. Although each pigment box remnant was covered in filth there were still traces of the original colors.

All the while we pulled up scraps of wood, I kept thinking of the folk song “Little Boxes” and Malvina Reynold’s lyrics:

“There’s a green one and a pink one

And a blue one and a yellow one

And they’re all made out of ticky-tacky

And they all look just the same.”

Some boxes even included the stenciled shipping labels. The dry pigment had been shipped to “Sosman and Landis c/o the Scottish Rite Fort Scott, Kansas.” For me, this was a smoking gun!

Example of shipping label on dry pigment box found twenty feet above the stage floor at the Scottish Rite in Fort Scott, Kansas.

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 19.

For additional installments, visit www.drypigment.net

Part 19: Colorful Ruminations above the Stage

I climbed twenty-feet up above the stage, using the narrow metal ladder to reach a level that had once possibly been Thomas G. Moses’ onsite paint studio. At the age of sixty-eight, Moses would have ascended this same ladder multiple times every day during his brief stay in Fort Scott to paint the scenery. I was reminded once again that scenic art has never been a profession for the weak.

Ladder used to access paint studio above the Fort Scott Scottish Rite stage. Photograph by Wendy Waszut-Barrett, November 2015.

The platform, or studio floor, above the stage area was now in abandoned ruins. By June 2014, all of the contents in the building were auctioned off. Over a year later, any artifacts remaining in the complex were small piles of discarded items. Above the stage, there were only mounds of dirt and debris.

Barrel of whiting above the Fort Scott Scottish Rite stage and edge of Thomas G. Moses’ onsite studio. Photograph by Wendy Waszut-Barrett, November 2015.

I tried to imagine the space as it was 1924 – Moses’ paint studio, complete with impromptu tables with scattered pots of color and brushes everywhere. Buckets of water and a drop tacked onto the temporary frame would have completed the picture. There might only be the single barrel of whiting too and nothing else.

Regardless, my first task was to look for splotches of dry pigment color on the floor, marking paint spills or where the colorful powder had leaked from either bags or boxes. Areas with dry pigment could verify and onsite paint studio. The barrel of whiting could technically belong to any onsite painter and not just a scenic artist. I needed more information to verify the presence of a scenic art studio.

There was almost too much dust and debris to even identify what was beneath my feet in the dim light. I continued my trek across the space, carefully looking down and trying to spot any anomaly amongst piles of dirt. The space was only partially lit by the overspill of the few stage lights that still worked.

View of the stage floor and lights from Thomas G. Moses’ onsite studio at the Scottish Rite in Fort Scott, Kansas. Photograph by Wendy Waszut-Barrett, November, 2015.

Did I bring my flashlight up here? No, of course not. I tripped over a pile of rubbish and kicked up some more dust. Coughing, I also realized that I didn’t have my particle mask. It was next to my flashlight in the auditorium. Oh well, opening the barrel of whiting would warrant another trip anyway.

I continued to move toward the barrel, minding my step and realizing that I could be courting disaster. No flashlight, no particle mask, and no railing along the steep edge. All I needed to do was to cough, trip, stumble and fall to the stage floor. The idea of this catastrophe resulting from Murphy’s law made me giggle. I had already tripped over the tubes downstairs and my ankle was almost swollen beyond recognition!

Dry pigment splotch above the Scottish Rite stage in Fort Scott, Kansas. Photograph by Wendy Waszut-Barrett, November 2015.

These thoughts ceased when I neared the barrel of whiting and saw a splotch of bright blue against the grey floor. I recognized it immediately as dry pigment. Brandon then pointed out another splotch near the edge.

Another dry pigment splotch above the Scottish Rite stage in Fort Scott, Kansas. Photograph by Wendy Waszut-Barrett, November 2015.

Each was a colorful reminder of the past! The dry pigment was not limited to the floor, but splattered all over the brick walls. I was ecstatic and internally celebrating the validation of my theory.

Splatters of dry pigment paint above the Scottish Rite stage in Fort Scott, Kansas. Photograph by Wendy Waszut-Barrett, November 2015.

Austin, the youngest of our crew, became curious and knelt on the dirty floor, brushing away piles of dirt. He crawled to the six-inch gap between the edge of the studio floor and exterior brick wall. Reaching into the gap, he probed the area. He was holding something when he withdrew his arm – a paintbrush!

Scenic fitch found onsite in Fort Scott, Kansas.Photograph by Wendy Waszut-Barrett, November 2015.

Detail of scenic fitch found onsite in Fort Scott, Kansas. Photograph by Wendy Waszut-Barrett, November 2015.

However, this was not just any paintbrush. It was a scenic fitch! This confirmed that a scenic artist had worked up here. This evidence and the written information recorded in Moses’ typed manuscript just verified the location of his onsite studio!

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 18.

Part 18: A Prime Discovery

The 1931 typed manuscript of Thomas G. Moses (1856-1934) provides an abundance of information concerning his design process and the creation of the painted scenery. Moses first mentions working with the Valley of Fort Scott in 1923, noting that he felt they “were in line for the contract.” His story continues with his return during May 1924, writing, “I made a colored sketch for the decorations and then gave another showing of my scenes and closed the contract.”

By August of 1924 Moses finalized the onsite details, met with his carpenter and put in a full days work before continuing on his way to Colorado, Utah, California and Washington. In October he returned again for only a few days. He immediately departed with the intention of returning in two weeks to commence the painting, but poor health and unexpected work intervened. At this time Moses was battling a chronic cough and was beginning to have some severe health issues. He was 68 years old, overworked, constantly traveling, and taking little time to rest and recuperate.

Finally, on October 23^,Moses left for Fort Scott and immediately started painting upon his arrival. He stayed until November 25, recording,” Fulton and I dug in to the work, and it was some hustle to get through, which we did on the 17^th of November. At the finish I got a payment of $7,000, the balance to be paid within a month. Our extras brought the contract up to $22,000.00.” Moses did not return again to Fort Scott until August of 1925.

While we were onsite, I was able to identify where Moses had painted the majority of the scenery – 20’ above the stage floor on the stage-left side. His onsite studio in 1924 was accessible by a narrow ladder that climbed up the back wall of the theatre – on the stage left side.

A few days before our departure, one of the riggers was contemplating the removal of a converted sewing machine as a souvenir. It had been used to track the moon light box across a night sky in the Twenty-first degree. It was located on a ledge high above the stage floor. As he examined the machine, we asked him to look around and see if there was anything else of on the nearby platform.

“Just an old wooden barrel,” he responded. My heart started to race and I immediately asked if he could identify the contents.

“I can’t tell as it’s still sealed. But there is a pile of white stuff next to it and the same type of powder leaking out of the seams.”

“Oh my God,” I thought and my heart leapt. He found a barrel of whiting!

Barrel of whiting found onsite in Fort Scott, Kansas, above the Scottish Rite stage. Photograph by Wendy Waszut-Barret, November, 2015.

Now this might not sound exciting to many people – an old wooden barrel leaking white powder twenty feet above the stage.

What many people don’t know is that whiting was the product used by scenic artists to prime painted backdrops. The chances that this was an original barrel purchased by Moses and abandoned onsite after completing the job was very likely. Whiting was cheap and too heavy to justify shipping it back to the Chicago studio.

The traditional formula for drop primer was mixing strong size (diluted hide glue) with a fine powder that primarily consisted of silica, zinc, lead, or a mixture of thereof. The powder was soaked in a galvanized tub of water overnight, making sure that it was thoroughly dissolved and free from lumps. Then it was then “slaked” before using; this process separated out the gritty substance from the chalk. The chalk was scooped out and mixed with strong size. The primer was evenly worked into the fabric of the drop, thus providing a clean and uniform base on which to draw the design.

If an entire unopened barrel of whiting was up there, what other treasures could be hidden away under a layer of filth? Would I be able to verify that Moses used this space as a temporary onsite studio? We headed toward the ladder to check out this exciting new discovery.

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 17.

Part 17: Rolling the Drops

The drops were loosely rolled to transport down the winding staircase to the first floor in Fort Scott. There, they would need to be unrolled and rolled again onto cardboard tubes for shipping. Prior to any final rolling, however, they we carefully matched up with all of the corresponding scenes. Entire scenes were not lowered simultaneously; we slowly worked from upstage to downstage in succession for safety reasons.

A year earlier, I had completed this same task with Paul Sannerud and was absolutely dreading it. For the Winona scenery, we carefully flattened each scene on the floor and rolled each drop onto 6” tubes of PVC. This was an option due to the shorter length of twenty feet – the height of each scene. For Fort Scott we needed longer tubes -twenty-five feet, hence the cardboard tubes from North Carolina.

I had found a company that manufactured shipping tubes to order. Unfortunately, due to the initial contractual delays, the tubes were very late in arriving – so we had to alter my anticipated process. Instead of “lower, take downstairs, roll and stack” it became “lower, take downstairs, place somewhere, and wait to roll.” This meant that I had to divide each scene on the first floor and remember where all of the scenes were once we started rolling – as there would be a specific placement in order to unload the collection from the truck into the storage unit.

The difficulty of this task is always trying to roll a piece of fabric that is not flat. When a drop hangs for decades, the shape becomes altered over time and it is no longer a perfect rectangle. People fail to understand that the fabric continues to stretch from a variety of factors. Primarily, uneven pick points allow the weight of the batten at the bottom of the drop to reshape the rectangle into a trapezoid – often undetectable from the auditorium. Then there is the hourglass shape with curling edges on each side of the drop – very identifiable from the audience.

Furthermore, the air currents bellow out the center. Think of it as the center of the drop moving forward and backward, gradually stretching the fabric, resulting in a central sagging. These alterations are almost unperceivable, until you lay the fabric on the floor. Some areas will form bubbles, like when you played “parachute” in gym class. Remember how all of the edges could be brought to the floor and the center puffed up? A similar thing happens to the drop when all of the fabric settles to the ground, there are still irregularities in the center.

Another way to understand the difficulty of this task is to think of rolling linoleum on a tube. The rigidity allows it to roll perfectly. This is not what happens with old fabric and wrinkles appear. When wrinkles appear during rolling, the fabric subsequently creases and the paint it cracks off, thus forming an irreparable line.

Even after restoration, wrinkles often occur during rolling. That is the reason why I am so adamant about only restoring scenery on site. You might have a restored a drop and it looks perfect on the floor, but the rolling and transport will damage all of your work. Therefore, you would need to do additional work once it arrived at the space; work that would be extra and drive up the overall expense. This was another point of contention with the CEO. He refused to believe that the drops couldn’t be restored off site and transported without harm. In the end, he found someone to restore them off site. Upon inspection of the first few “restored” drops during February 2017, all of my fears about transportation after restoration were verified.

In Fort Scott, there was not a single space on the first floor where we could fully layout any drop. This added an additional layer of complexity to the process. Prior to rolling, we had to loosely “accordion pleat” about two-thirds of the scene.

Preparing a drop for rolling in Forts Scott, Kansas at the Scottish Rite theater. Photograph by Wendy Waszut-Barrett, November 2015.

I had always rolled up the drops on the floor, but my lead rigger Brandon invented a rolling machine that saved our backs, knees and the painted surface on many drops! He called his invention the “rigger–mo’-roll!”

Rolled drop encapsulated in muslin on the “rigger-mo’-roll,” invented by Brandon Fischer of Fairhope, Alabama. Photograph by Wendy Waszut-Barrett, November 2015.

Starting to roll the wood cut drop in Fort Scott. Notice the netting in the center holes. This was one of the early drops where I had not yet decided to remove the dirty netting. In the end, I regretted this choice as some of the old netting was left on but others restoring the scene. Photograph by Wendy Waszut-Barrett, November 2015.

He picked up sawhorses and casters from Kansas City to create a fabric roller. It took a while to assemble, but I was amazed at the end result. Not perfect, but the weight of the fabric would keep the rolls mostly taut and minimize the wrinkles. In the end, each drop would weigh 100 lbs. and take four robust individuals to safely transport it anywhere.

To be continued…

Rolling the Egyptian backdrop at the Fort Scott Scottish Rite. Photograph by Wendy Waszut-Barrett, November 2015.

Rolled tubes and battens, all stacked according to each scene. This was necessary as the unloading into the final storage unit dictated the original packing order. Photograph by Wendy Waszut-Barrett, November 2015.

Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 16.

While Wendy Waszut-Barrett is traveling for research and art acquisitions (October 14-29, 2017) she is reposting early installments from “Tales from a Scenic Artist and Scholar Acquiring: The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center.” Here is her sixteenth post from March 1, 2017.

Part 16: Stonehenge

Fort Scott Scottish Rite Stonehenge setting. Photograph by Wendy Waszut-Barrett, November 2015.

I need to explain a little history about the Ancient and Accepted Scottish Rite of Freemasonry prior to discussing the Fort Scott Stonehenge composition. I will simplify this history as much as possible so that your eyes don’t glaze over before getting to the scenery part.

The Scottish Rite is divided into two jurisdictions that are based on geographical demarcations. The Southern Jurisdiction is west of the Mississippi and south of the Ohio River. This means that the majority of the country belongs to the Southern Jurisdiction. I am not going to discuss what caused the division or the reason for the appearance of multiple Supreme Councils (governing bodies) in the North.

Southern Jurisdiction for the Ancient and Accepted Scottish Rite of Freemasonry is represented in red.

In the past, I have argued (in various publications and in my doctoral dissertation) that the earliest degree productions were performed in the Northern Jurisdiction.

Why? My theory is competition.

You see, during the mid-nineteenth century there were competing Supreme Councils in the Northern Jurisdiction of the Scottish Rite. This was not the case in the Southern Jurisdiction where one Grand Commander ruled from 1859-1891 (Albert Pike).

If you are in competitive environment, WINNING requires more members and more money. Staging degrees was a great way to promote a superior ceremonial experience that would subsequently bring in more money. Keep in mind that during the 1920s there was even a candidate class of 1000! That is a pile of cash that results from initiation fees and membership dues.

Now in the Southern Jurisdiction, Grand Commander Pike passes away in 1891. Prior to his death, Scottish Rite stages were beginning to appear in the Southern Jurisdiction – especially Minnesota, a state that straddled the western geographical demarcation of the two jurisdictions. By the 1880s, small stages were appearing in Minnesota lodge rooms with settings for the obligatory (or indispensable) degrees. Each degree could be an individual play with the potential for multiple acts. Each act could have numerous scenes. Money determined the size of scenery collections. Some Valleys had small stage with a set of ten roll drops while others had massive auditoriums with over a hundred drops that would be lower from a fly loft.

Grand Commander Pike in the Southern Jurisdiction was against the elaborate staging of degrees, stating, “The Rite in this [Southern] 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…” This pretty much sums up why a lot of Masonic theaters didn’t appear throughout the Southern Jurisdiction until AFTER Pike’s death in 1891.

Albert Pike Consistory in Little Rock, Arkansas. A stage for degree productions was constructed in this 1896 building. The original collection was refurbished and installed at the Pasadena Scottish Rite in California.

At this point, the Supreme Council initially takes a “non-action” as no one wanted to stop the growth of the Scottish Rite. This neutral action enabled the expansion of degree productions and theatrical interpretations of the degrees.

But some of the interpretations went a little too far – especially in Kansas. New designs began to appear – Stonehenge – for the Vedic scene in the 30th degree. There are two extant scenic designs depicting this composition – so the drop in Fort Scott, Kansas wasn’t an anomaly. But was it regionally specific to Kansas? You see, many regions developed unique interpretations for each degree.

Just a few hours to the west of Fort Scott in Wichita, there was another unusual composition that appeared. The stagehands still refer to this as the “goddess degree.” And I first encountered it during the summer of 2015 on our road trip from Fort Scott to Guthrie, Oklahoma.

Wichita Scottish Rite setting with cut center. Photograph by Wendy Waszut-Barrett, August 2015.

Wichita Scottish Rite setting covering for cut opening. Photograph by Wendy Waszut-Barrett, August 2015.

Wichita Scottish Rite setting backing. Photograph by Wendy Waszut-Barrett, August 2015.

Detail of foil strips in Wichita setting, similar to those used in hell scenes. Photograph by Wendy Waszut-Barrett, August 2015.

Enter a new friend and kindred spirit Janet Wolter. Wolter co-authored “America, Nation of the Goddess: The Venus Families and the Founding of the United States” with Alan Butler.

“America Nation of the Goddess” by Janet Wolter and Alan Butler. See www.NationoftheGoddess.com

We met while volunteering at the Minneapolis Scottish Rite library. One of our first discoveries was a handwritten Grange ritual. It was at this point when I exploring the ritual for the National Grange of the Order of Patrons of Husbandry. Beginning in 1867, it too had secret meetings, oaths, and passwords, incorporating themes from Greek and Roman mythology. This intrigued me and I thought about the Stonehenge and Goddess scenes in Kansas, telling Janet about my discoveries.

She suggested that Grange characteristics might have been incorporated into the ceremonies of other organizations. Were these new Scottish Rite compositions a type of outreach to Grange members? Was the Grange in Kansas an overt influence on the staging of Scottish Rite degree productions?

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 15.

While Wendy Waszut-Barrett is traveling for research and art acquisitions (October 14-29, 2017) she is reposting the first fifteen installments from “Tales from a Scenic Artist and Scholar Acquiring: The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center.” Here is her fifteenth post from February 28, 2017.

Part 15: Raising Hell

Many Scottish Rite degrees can be narrowed down to three instructions: follow directions, respect others, and do the right thing. Doesn’t sound much like devil worship, does it? That being said, Scottish Rite Valleys are reluctant to show one particular stage setting to the general public – Hell. Throughout the country the composition is also referred to as Hades, the Dante drop, or the Inferno scene.

A simple explanation for the inclusion of this subject is that the scene depicts the fate for those who fall prey to temptation. It reinforces WHY you want to do the right thing. “Be a good person” doesn’t always work. “Be a good person or this terrible thing will happen to you” provides incentive. The setting often includes one cut drop and a backdrop, sometimes two cut drops for added depth and scenic effect.

Fort Scott Scottish Rite backdrop for Eighteenth degree. Photograph by Wendy Waszut-Barrett, 2015.

Fort Scott Scottish Rite second cut drop for Eighteenth degree. Photograph by Wendy Waszut-Barrett, 2015.

Fort Scott Scottish Rite first cut drop for Eighteenth degree. Photograph by Wendy Waszut-Barrett, 2015.

Compositions frequently include a variety of demons and tortured humans.

Painted detail from Hell backdrop for the Yankton, South Dakota, Scottish Rite. Photograph by Wendy Waszut-Barrett, 2014.

Very seldom did the scene remain as a red cave, but that is the case in a few Valleys, including McAlester, Oklahoma. Fort Scott included one of the most popular depictions and was NOT painted by Thomas Moses in 1924. This scene was painted much earlier in 1904 and enlarged to fit the Fort Scott space during the 1924 installation.

Top third of Hell scene backdrop during removal from Fort Scott Scottish Rite in 2015. Note the fabric additions on top and stage right side for an enlarged theater space. Photograph by Wendy Waszut-Barrett, 2015.

It matches the same scene used in other Scottish Rite theatres, including Grand Forks, ND, St. Paul, MN, and Santa Fe, NM. It was a stock design, and a shiny one at that, being replicated multiple times during the first two decades of the twentieth century. But what makes this scene special? What is the visual appeal? The sparkles.

Detail of foil strips on Fort Scott Scottish Rite Hell scene. Photograph by Wendy Waszut-Barrett, 2015.

The hell scene used foil paper strips to outline many of the figures and rocky outcrops. Why? It was a scenic illusion to reflect the fiery pits of hell. As the drop would slightly move, the crinkled foil strips would reflect the light and sparkle, thus creating the appearance of flickering firelight.

Pretty cool effect, but very labor intensive. Especially when you consider attaching each strip with glue after having already spent a significant amount of time attaching the netting to the cut drops. It was an expensive scene to purchase. Refurbishing the hell scene in 1924 would have saved a significant amount of money for the Fort Scott Scottish Rite and a significant amount of time for Thomas G. Moses.

This is one of the scenes that make evaluations and restorations a delight. People always want their picture taken with this setting – especially if there is an entire group. The caption reads, “Work is Hell.” But then there also is hanging the restored of the scene and shouting “Let’s raise hell!” Or the response you give to your spouse when he asks, “How was work today?” and you respond, “It was hell.”

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 14.

For additional installments, visit www.drypigment.net

Part 14: Lost in Translation

There are few Scottish Rite scenes that were solely designed for Masonic degree productions. Most stage settings that were used by the Fraternity originated for other venues. Many compositions had been used for centuries in a variety of theatrical and operatic productions. Palatial interiors, cathedrals, catacombs, dungeons, classical interiors, mausoleums, Egyptian temples, dessert scenes, forests, rivers, landscapes, Gothic armories, rocky coasts, and garden scenes were all used for both commercial and fraternal productions.

The “INRI Peristyle” scene for the eighteenth degree, however, was unique. It would become a standard setting in many Southern Jurisdiction Scottish Rite theaters during the first decade of the twentieth century. This scene used a translucent lighting effect. The words “Infinity,” “Nature,” “Reason,” and “Immortality” were typically placed at the tops of columns.

*18th degree setting designed by Thomas G. Moses for the Scottish Rite in Fort Scott, Kansas (1924). Photograph by Wendy Waszut-Barrett, 2015.*

*Same 18th degree setting created for Tucson, Arizona. Photograph by Wendy Waszut-Barrett, 2017.*

*18th degree setting by Sosman & Landis Studio for Winona, Minnesota. Photograph by Wendy Waszut-Barrett, 2010.*

The first letter of each word (I.N.R.I.) was backed with red silk, allowing it to glow. Thomas Moses’ design and painting for this Fort Scott scene placed the words at the base of each column – something new. Four corresponding light boxes with backlit words appeared at the appropriate time.

I am frequently asked questions about the subject matter and necessary symbolism in degree productions, especially for the 18th degree. And thus I find myself working as a “Masonic Outreach Specialist,” promoting the benefits of Freemasonry to society. When approached by theatre technicians, however, there is the additional question concerning the design process. How did the artists know what to paint? How did the Masons ensure appropriate symbolism on each backdrop without revealing any secrets?

My standard response includes a discussion on the appearance of theatrical manufacturers who became Masons. Scenic studio owners, regalia suppliers, and publishers greatly profited from Masonic membership and their Fraternal relationships. These individuals directed how the degrees would be staged and the appropriate costumes and props for each production. Was profit their sole reason for becoming a Mason? I like to believe that their motivation for joining the Fraternity wasn’t profit, but this association was a lucrative endeavor.

Did all of the scenic artists understand what they were painting on drops? Absolutely not, and the pelican in the 18th degree is a perfect example. Not even Moses in 1924 (the year before he joined the Fraternity and became an active member at the Scottish Rite in Pasadena, California) understood the symbolism of the pelican.

*1931 design for the 18th degree by Thomas G. Moses. Photograph by Wendy Waszut-Barrett, 2016.*

*Pelican detail in 1931 design by Thomas G. Moses. Photograph by Wendy Waszut-Barrett, 2016.*

The pelican is an integral part of the Peristyle composition, either appearing as a painting on the backdrop, painting on a cut drop, or included as a set prop. Sometimes this set prop was even illuminated as a large light box. The symbolism of the pelican is sacrifice; piercing its breast to feed its young. This image was also found in many churches, often in a stained glass design.

In Fort Scott and many other Valleys, however, the pelican holds a worm in its beak. Salina, Kansas, St. Paul, Minnesota, and Winona, Minnesota are just a few examples where a pelican does not pierce its breast. How was this symbolic detail lost in translation?

*Painted detail on 18th degree cut drop for Winona, Minnesota. Photograph by Wendy Waszut-Barrett, 2010.*

The design failed to show the detail of blood, so the artist just improvised.

*Painted detail on 18th degree backdrop for the Scottish Rite in Yankton, South Dakota.*

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 13.

Part 13: Getting My Hands Dirty

The rigging crew would later admit that no one knew what my contribution would be prior to the project, even Ty Prewitt, owner of BellaTEX. Would I sit with my camera in the auditorium slowly photographing the removal process, or would I actually get my hands dirty? It is important to understand that when I was went to Fort Scott, my directive was to solely supervise and not to help out as a “common laborer.” That was a directive by the CEO.

It is important to understand that throughout the duration of my career I always worked alongside my crew, never expecting anyone to perform a task that I wouldn’t do myself. I realized long ago that this type of attitude and a general willingness to get one’s hands dirty had a positive impact on any work environment. Showing great appreciation for your staff and lending a hand is such an easy thing to do and it always pays off in the long run.

My hands after an hour of handling the Fort Scott Scottish Rite scenery on site. Although I often wore gloves, not ever task could be accomplished while wearing them. Photograph by Wendy Waszut-Barrett, November 2015.

In addition to this instilled work ethic, I was raised to conquer obstacles and take pride in my work. Therefore, when I encountered the thick layer of contaminants coating the scenery and set pieces, I couldn’t ignore it.

Removing loose contaminants on Pepper’s Ghost unit in Fort Scott, Kansas, at the Scottish Rite theater. Photograph by Wendy Waszut-Barrett from November 2015.

Removing loose contaminants from the backside of a drop in Fort Scott, Kansas, at the Scottish Rite theater. Photograph by Wendy Waszut-Barrett from November 2015.

It is possible that others would have ignored the dirt, rolled the drops, shipped them, and dealt with the consequences later. That was not an option for me, so I tackled this initial obstacle, knowing that it would add many hours onto the project in Fort Scott.

We covered both the stage floor and auditorium floor with heavy duty plastic to catch the majority of the dirt that fell off of the drop as it was lowered to the floor and stripped of both battens and hardware. I purchased both dry mops and wet mops to clean the plastic as often as possible so that dirt from one backdrop, wouldn’t contaminate another backdrop. We also occasionally replaced the plastic sheeting.

Then, the drop was placed on the auditorium floor face down. I used my handy Festool dust extractor to remove the majority of loose contaminants with its special HEPA filter. The drop was then flipped face up so that I could vacuum the loose particulates from the painted surface. This initial cleaning was to protect the painted surface during shipping and limit the amount of airborne particles in the space on site.

Dirt and pigment would continue to dust off during the rolling and transportation, necessitating additional vacuuming and extensive cleaning with archival sponges before any necessary repairs or restoration could take place. The vacuuming for each drop in no way made the surface either completely clean or free of contaminants. After vacuuming both sides, it took four of us crawling across the floor on our knees to loosely roll the 24’x36’ long drop. This loose roll meant it could be carried down the winding staircase to the first floor where it would then wait to be rolled onto 25’ cardboard tubes.

The drops couldn’t be rolled immediately after vacuuming on the second floor as the winding staircase could not accommodate a 25’ rigid tube. This was the process prior to rolling, wrapping, and loading each drop onto our shipping truck. Multiply this procedure ninety-two times.

The need for any additional cleaning prior to restoration was a point of contention with the CEO as I had already vacuumed each drop in Fort Scott. Even after several conversations, I could not convince him that this initial cleaning was not sufficient. Nor would he believe that the drops had to be stabilized or any repairs made prior to hanging. It was impossible to convince him that the dusting pigments and other surface contaminates were dangerous to both the performers on stage and the audience members alike.

When I saw the drops hanging at the Minnesota Masonic Heritage center during February 2017, there were still sections of the original netting attached to the drops and contaminants were visible. My heart sank as I wondered if anyone had ever been told of the dangers that I described to the CEO and the general director.

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 8.

Part 8: Our First Day on the Job in Fort Scott

I was unable to conduct a complete evaluation due to time restrictions imposed by the CEO on our August road trip. My preliminary evaluation only depicted the individual drops and I needed to accurately record how each drop was paired with others to stage a complete scene and the subsequent spacing. This was crucial to any understanding of the entire collection as a whole prior to its removal and transportation. It was also imperative that there be “before” pictures for both historical documentation and as a resource during restoration and installation. Furthermore, as Curatorial Director one of my tasks would be to create a publication documenting the acquisition, restoration, significance and artistic provenance of this scenery collection. Therefore, the first two days in Fort Scott were spent documenting all of the scenes.

View of the bottom battens and counterweights at the Fort Scott Scottish Rite theater. Photograph by Wendy Waszut-Barrett, November 2015.

The project’s lead rigger, Brandon, and his second, Todd, were on site that first day. The remaining two members of the crew were still in transit from Jackson, Tennessee, hauling up the necessary supplies and tools for the project. The first morning, after cordial but stilted introductions, we left for the Scottish Rite.

Entrance to the Scottish Rite in Fort Scott, Kansas. Photograph by Wendy Waszut-Barrett, November 2015.

Lobby of the Scottish Rite in Fort Scott, Kansas. Photograph by Wendy Waszut-Barrett, November 2015.

Upon entering the building, we noticed the chill. Our working environment was going to be a cold one. Before lowering anything, we decided to explore the theatre area and inspect our working environment. It was also an opportunity for us to gradually become acquainted with each other. Within the first fifteen minutes of our journey I knew that everything would be fine throughout the duration of the project. Our personalities were well matched. It was obvious that both men were smart, easy going, and had that perfect amount of self-deprecating humor to make any project entertaining.

There is something delightful about exploring all of the nooks and crannies in an abandoned building with others who also see it as an adventure. The space adjacent to the theatre had been a bank and only the old safe remained as a silent reminder of its past grandeur. The space was now a deteriorated shell, the windows all gone. Puddles suggested a recent rainstorm and the only remaining inhabitants were birds and vermin. We left the space feeling slightly deflated, barring the doors once again with a tree branch to prevent unwanted visitors into the theatre.

The old bank connected to the Fort Scott Scottish Rite building. Photograph by Wendy Waszut-Barrett, November 2015.

Old Fort Scott bank adjacent to Scottish Rite building. Photograph by Wendy Waszut-Barrett, November 2015.

Detail of old safe in abandoned Fort Scott bank. Photograph by Wendy Waszut-Barrett, November 2015.

We went on to examine the staircase leading to the space above the auditorium ceiling. In all of my travels, I have crawled high above stages and balanced on planks above plaster ceilings. Every time, it was a treasure trove of artifacts left by the original workmen. Unexpected finds often included Prince Albert in a can, old newspapers, tools, and other abandoned artifacts long forgotten by various individuals. This investigation is always delightful when accompanied by fellow explorers, each seeking clues from a long-forgotten time. Although short and uneventful, this quest formed a basic foundation for the entire project.

Top of staircase leading to space above auditorium at Fort Scott Scottish Rite theater. Photograph by Wendy Waszut-Barrett, November 2015.

View of Fort Scott scenery collection from organ room above the proscenium arch. Photograph by Wendy Waszut-Barrett, November 2015.

Returning to the stage floor, we slowly began the time-consuming process of pairing drops to create the appropriate settings for each degree. We also tried to backlight any transparent area. Lighting was limited as many of the stage lights were missing. I would soon realize that we had not viewed the entire Fort Scott collection during our August visit. There were many more than 80 drops, 94 to be exact. That was eighteen percent more scenery than I had anticipated for this project. In the big picture, all of my estimations were off and it would be a challenge to complete the project before Thanksgiving.

This was a direct result of the CEO ignoring my expertise and request to complete a proper evaluation. Ironically, I would end up shouldering the blame for his ignorance.

View of the stage left side of the Fort Scott Scottish Rite stage and the bottoms of the drops. Photograph by Wendy Waszut-Barrett, November 2015.

To be continued…