Minnesota Masonic Heritage Center – Page 6

Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 49.

Give Me the Hook or the Ovation

I drove to the Masonic Heritage Center for the Grand Opening. It was June 24, 2016, and a gust of hot air greeted us as I opened the driver’s door in the new parking lot. I had envisioned this day for two years, wanting to share it with my children and parents. Now, it was just my husband and Paul Jacob Roberts. I had requested that my folks and son stay home because of the heat and possible lack of seating.

We entered the Minnesota Masonic Home where Andrew quickly located his lodge, joining fellow lodge members to march in the processional. Paul and I wound our way through the crowds and I felt a hand grab my shoulder – it was the Grand Master of Minnesota, Bob Darling. “Here she is!” he exclaimed, “The woman who made it all possible!” and then he kissed me on the cheek. I smiled, gave him a hug, and introduced Paul Jacob Roberts. The Grand Master really doesn’t know what’s happening to me, I thought. That made me feel a little better.

Officers and Grand Master from the Grand Lodge of Minnesota during the procession for the opening of the Minnesota Masonic Heritage Center.

My husband Andrew Barrett, and officers from Helios Lodge of Cambridge, Minnesota during the processional for the Grand Opening of the Minnesota Masonic Heritage Center.

The opening of the Minnesota Masonic Heritage center on June 24, 2016.

When we were almost to the door, the CEO passed by and I took the opportunity to introduce him to Paul. I was curious to get Paul’s impression of the man. The final “nice to meet you” handshake reminded me of the moment from “It’s a Wonderful Life” when George Bailey shakes Mr. Potter’s hand; with a look of distaste, George wipes his hand on his suit coat as if to get the feel of Potter off of him. A similar moment occurred after Paul let go of the CEO’s hand and I realized that he felt it too. With an awkward “Well, enjoy the facility” the CEO dismissed us.

We left the Masonic Home and went to wait with a small group of women in the parking lot, including the Minnesota Masonic Charities staff and the museum team. Only a small canopy had been set up for the event to shade the elderly, but there obviously weren’t enough chairs. This puzzled me as I thought of all the Eldercare residents with fraternal ties. It was quite a small gathering and I realized that it was almost all Masonic couples – not the general public. I pondered why and was curious as to the reason why the Grand Opening had been to NOT been publicly advertised. Why wasn’t it televised as had been discussed for months?

The procession began and I watched the men dressed in full Masonic regalia slowly process to the main entrance – fully lit by the hot sun in the afternoon. It was a long ceremony, especially the speech given by the CEO and that given by A&P Construction. A&P noted that they still accomplished their goal even though the entire scope of the project had undergone significant changes. I knew that we were up to group number 44 for change orders when I last attended an OAC (Owner/Architect/Contractor) meeting that spring, but I had no idea of what the final percentage was; how much had this building really cost?

The speeches ended and the crowd was invited into the building. I was looking forward to answering questions as a member of the staff about the theatre space and scenery acquisition.

Grand opening of the Minnesota Masonic Heritage Center in the theatre. The three blank vertical spaces were intended to have hand painted murals. I had designed multiple compositions during fall 2014, including the personification of Faith, Hope, and Charity.

The theatre at the Minnesota Masonic Heritage Center. During fall 2015, I was concerned that the carpet would appear “orange” when Nelson Design reduced the scale of the pattern. The pattern included colors that matched the seating and grand drapery colors, with a little gold highlighting the shapes.

My view of the theatre from the balcony. Notice the area in front of the stage without seating that is used for degree work. I had brought this up in early architecture meetings as the original design had not included this crucial component for degree productions. The first few rows of seating are now removable to accommodate Scottish Rite degrees.

The theatre at the Minnesota Masonic Heritage Center. The light walls on either side of the proscenium opening were to accentuate the complex had-painted murals on each side of the building. When the final colors were selected, I was concerned that the cream both here and in the lodge room would appear “white.”

As I walked down the house left theatre aisle, I spotted the general director. That’s odd, I thought, he should be in the banquet area with his new assistant – Lauren Ide. He looked at me and then turned to the crowd to ask if anyone had questions about the theatre. What?!?

I then got his attention and said, “I’m here to work. It just took me a while to get into the building.”

“Oh, That’s okay. You don’t need to be here, I’ll answer questions about the space.”

I stopped dead in my tracks. He had been the one who placed me and my painting assistant in this space, as “it was too big for a single person.” My assistant was to have been Annie Henley, but she had to cancel at the last minute. “It’s not a problem,” I responded, “I completely planned on working today.”

“No,” he said, “I got it.” He smiled and turned away. Oh, so it’s like that, is it?

I turned to leave the space and encountered a look of fury on my husband’s face. “Don’t let them do this to you!” he whispered to me, “Stand your ground!”

I sighed and shrugged my shoulders, attempting a smile. “Why, not?” I asked, “I am obviously not wanted here and don’t even have a name tag. No one will know who I am or even think of me as staff without one.” In the lobby, I saw the executive administrative assistant and asked if she had name tag for me too, as I had been scheduled to staff the theatre? She looked flustered and said, “Oh no. We are just using ones we already have– we didn’t make any new ones for this.” Not make any name tags for the staff who is greeting the public at the opening of a 30 million dollar building? How odd, especially since each name tag had the new logo.

I have lived much of my life thinking of the line from “On Golden Pond:” “Sometimes you have to look hard at a person and remember he’s doing the best he can. He’s just trying to find his way, just like you.” In hindsight, that philosophy made me an easy target for both the general director and CEO. It would take a lot for me to actually ascribe malice to their actions or call them on it.

The Grand Opening of the building was the beginning of my own end. I was purposefully being excluded, effectively silenced, and erased so that no one would notice when I was gone or ask questions. Unfortunately, Paul was there to witness every interaction and uncomfortable exchange. I was mortified. It is one thing to be treated horrendously by others, but it is an entirely something else to have both your spouse and a good friend be witness to it.

I desperately just wanted to go home, curl up into a ball, and cry until the next day from the sheer sense of betrayal. However, I am a fighter and was proud of my contributions to the center to date, so I grabbed my husband’s hand, smiled up at him and said, “Let’s go find some friends and look at my painting!”

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 48

Stage Directions, Entrances, and Exist

As requested by the CEO to prove my experience and skill set, I submitted a thirty-seven page curriculum vitae. No response. The deadline for my departure to Europe was perilously close.

One May morning after Jean Montgomery showed up to work on the library, she asked, “Do you really want to keep working for these people?” Crestfallen, I looked at her and said, “Not really.” I believed that the work was too important to walk away from at that point, having labored so hard on the museum exhibits, library collection, theatre space, scenery collection, stained glass window, interior designs, color palettes, and everything else. How could I just walk away from the project and abandon the artifacts, especially Thomas Moses’ paint sweater with the flower petals, the Scottish Rite paint cap, and his paint brush? The scenery would have no guarantee of proper handling, or even survival. It began to appear as if everything I had accomplished had been done in vain.

In addition to Jean’s daily counsel, I sought the advice of many theatre colleagues and Masonic scholars nationwide. I desperately wanted to make an informed decision and gather their respected opinions. Everyone who heard about the CEO’s comment regarding my lack of skills reflexively laughed out loud, and then immediately sobered up, asking “What?!? Are you serious?” This was followed by the general comment, “get out while you can.” In my heart I knew that if I continued working for the people who now ran the Minnesota Masonic Heritage Center, it would destroy my and crush my spirit.

By the end of May, I had I received no response from the CEO in terms of a meeting to discuss my qualifications as listed in my curriculum vitae, my job description, and flow chart. Taking Jean’s advice, I had resubmitted the original 2015 versions. She explained that it was my employer’s job to redefine my position within the organization or eliminate it, not mine, even if I were directed to do so. My identifying a new position and submitting it for acceptance was ultimately renegotiating for a new new job and could possibly jeopardize my stance with the unemployment office if it weren’t accepted. Then I would be out a job and out any unemployment insurance.

On May 25, I requested a meeting with the CEO for my annual review and to discuss any future position. One was scheduled for June 1 and then cancelled by the CEO. Although I was available to meet the following week before my departure, the CEO was very busy. I left to present my paper on Masonic theatre in Stockholm without any knowledge of my future at the Minnesota Masonic Heritage Center.

I returned to Minnesota on June 22, just two days day before the Grand Opening. A friend from Chicago was coming into town for the event and I was to pick him up the afternoon of the June 23. That morning, I received an email from the CEO at 10:51AM stating, “I would like to meet with you in my office at 2:30 this afternoon (June 23). Please confirm.” No reason or context. “Well,” I thought with a sickening feeling in the pit of my stomach, “This could be it.” I then realized that I would have to pick my friend up on my way to the meeting. He would just have to wait in the lobby while I met with the CEO.

Once we arrived at the Masonic Home and entered the Minnesota Masonic Charities office hall, we encountered the executive administrative assistant. She explained that the CEO had just cancelled the meeting; she had personally just sent me an email. A half an hour earlier at 1:51PM, she had written, “Hi, Wendy! [The CEO] had several things come up with the Museum that he needs to deal with this afternoon so we won’t be able to meet with you. He would like to reschedule the meeting to Tuesday, June 28, at 2:30 pm.” I thought back to all of the late night and early morning texts from the CEO about various aspects of the project and was stunned that he couldn’t have texted me himself, knowing that I live almost thirty minutes away. My out-of-town friend summed up my thoughts immediately when he whispered, “Well, that was rude.” I agreed and we drove back to my house where I explained the whole saga over dinner and drinks.

My friend was a Masonic scholar who also had a background in theatre. We had known each other since he first volunteered for the St. Paul Scottish Rite Restoration Project in 2002, maintaining contact for over a decade. During the restoration project in St. Paul, a Scottish Rite member had hosted this young man. The young Mason was Paul Jacob Roberts and his Scottish Rite host was Jack Morehouse.

Here is where life becomes interesting and can circle back on itself. Jack Morehouse was currently one of only two volunteers at the Minnesota Masonic Historical Society and Museum and the other elderly volunteer was George Avis (a member of my husband’s Scottish Rite Class that spring).

Jack Morehouse and Paul Jacob Roberts during the 2002 scenery restoration at the St. Paul Scottish Rite.

It was at this museum in the basement of the Masonic Home where I selected all of the artifacts for the Exhibit. I had been pleasantly surprised at the time to reencounter Jack after almost fifteen years. You see, it was Jack and Larry Wert (then Secretary of St. Paul Valley) who had been the ones to feature me as guest speaker for the Feast of Tishri event, presenting on Scottish Rite scenery. During this event, I sat next to Peg and Jerry Oliver (current SGIG of Minnesota), meeting the couple for the first time and realizing that we had mutual friends in the Cambridge-Isanti area.

Larry Wert working on a cut drop for the “Rebuilding of the Temple” scene during the 2002 St. Paul Scottish Rite restoration.

But back to the story at hand, Paul was excited to reconnect with Jack Morehouse and also to see my work at the complex; I had been posting process photos for over eighteen months depicting my various contributions to ongoing projects. Paul had also been the subject of a recent conversation with the William J. “Bill” Mollere (President of the Scottish Rite Research Society and Sovereign Grand Inspector General of Louisiana). Bill had asked me whether my travels had ever brought me into contact with a fascinating young man – Paul Jacob Roberts. Bill and Paul had recently chatted over lunch in Baton Rouge and Bill immediately thought of me because of Paul’s theatre training.

On a side note, my continued emails with Bill stemmed from my work at the Fort Scott Scottish Rite when I was removing the scenery with a rigging crew. One of the riggers was interested in joining the Fraternity and was fascinated with the symbolism and legends incorporated into Scottish Rite degree work. We chatted about a lot of Masonic history while we were working. After my return to Minnesota, I contacted Bill to see if he could touch base with this young man to discuss Masonic options as they were both from the same region.

At the time, Bill also mentioned my continued work as a Masonic scholar and newly appointed position as Curatorial Director for the Minnesota Masonic Heritage Center. He ended one email, writing, “Please keep in touch and please continue protecting, collecting and maintaining some very valuable items that you obviously have been able to secure. How great that Minnesota Masons are thinking toward the future and finding the right person as Director. The very best to you.”

To be continued…

Making dinner with Paul when he arrived on June 23, 2016 – the day before the Grand Opening of the Minnesota Masonic Heritage Center.

Taking another selfie with Paul as it had been 14 years since we last saw each other!

Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 47.

Someone is on Your Side, No One is Alone

For years, I have given individuals and organizations “the benefit of doubt.” This is who I am; I have an overtly optimistic look on life and people. It is hard for me to ascribe malicious intent to others, when I could not fathom taking such actions myself. Although I am able to identify challenges down the road in terms of work and come up with plans to trouble-shoot and problem solve, I cannot always do this with people.

This essence makes me who I am and is one of the reasons that I was initially drawn to the Fraternity as a whole. The Masonic messages, the degree instructions, the duties, and the obligations all struck a chord of truth with me. To believe that people took these oaths and acted with malicious intent seems unfeasible to me. I have often viewed organized religion with this same astonishment. Am I naïve? No, I just honestly believe that people mean well and try to be kind and decent individuals. The majority of Masons are amazing men, honorable and trustworthy. I knew there were some men who used Freemasonry for financial gain and power, but I never worked for one before.

I was unprepared when the CEO called me into his office, explaining that I would be let go after the opening of the building because I simply didn’t have the “skill-set” for the job as Curatorial Director. He stated that I was primarily a theatre practitioner and not a Masonic scholar, librarian, or museum expert; I just had been “learning on the job” since I started in August 2014. At the time he was explaining this to me, I gave the CEO the benefit of the doubt – maybe he really didn’t understand what I had accomplished over the past 18 months, let alone the past 28 years.

I took a deep breath to steady a surge of anger. “Well, that’s really unfortunate,” I said. Then I looked him in the eye and calmly began explaining my past experiences with museum exhibits, library archives, and my publications as a Masonic Scholar.

“But your resume only lists theatre restoration and art!” he insisted.

“Well,” I responded, “In July 2014, I reduced my curriculum vitae to solely support my role as historical consultant for the MMHC theatre space and future scenery collection.”

An the end of our conversation, he explained that he MIGHT be convinced to keep me on IF I could prove my history in working with museum, archives, and Masonic scholarship. I would think that my work over the past eighteen months had demonstrated my capabilities and my contributions to this entire endeavor. Regardless, he went on, there were some stipulations if he were to allow me to stay: I would no longer have the title of Curatorial Director, I would take a 25% pay cut, my new boss would be the general director, and I would greatly have to increase my workload.

The CEO had intended to hire a whole crew of interns, but if they kept me on, I would have to complete the majority of their anticipated workload myself. Furthermore, I would also have to rewrite my new job description, showing a flowchart and where I was placed below the general director. Then, I smiled at him from across his desk and requested a little time to come up with the paperwork. After all, I was in the final stages of completing the mural for the lodge room, finalizing the details for the start of the restoration project, and getting ready to leave on my trip to Europe.

“You can’t take longer than a week though,” he warned, “as I am in the process of hiring people for your job.” So, holding my head high, I walked back to my office and painted on the mural a bit to brighten my mood. I was heartbroken. The CEO was willfully ignoring all of my accomplishments to date. All of my hard work to be demoted and work the general director, someone who had yet to prove he could follow basic instructions and complete any task without an assistant. In hindsight, I realize that the CEO completely understood what he was doing and this was simply another attempt to break my spirit and have me work for even less money.

Fortunately for me, Jean Montgomery was still processing the library, so I sought her counsel. She had known me since the beginning of my academic career in 1987 when I first started at the University of Minnesota theatre department. She later was the editor for my doctoral dissertation, “Scenic Shifts upon the Scottish Rite Stage: Designing for Masonic Theatre, 1859-1929.” Now she was a friend. Jean was the best person to guide me through this entire process as she had worked extensively with contract negotiations at the university and elsewhere.

First of all, she explained, he has asked you to redefine your job description. Don’t do that! You could start with simply submitting your CV as part of your annual review, allowing him the opportunity to read it before beforehand. After all, your contract stipulates that your position will be reviewed annually, right? And he’s your supervisor? I nodded. At that point, I started updating my 37-page curriculum vitae, thankful to have Jean on my side.

It was quite therapeutic to look back at the age of 46 on my academic training, professional decisions, and the choices I had made up to that point in your life as I updated my CV. I would repeat the entire journey again in a heartbeat – even my participation in the Minnesota Masonic Heritage Center.

To be continued…

Beyond Masonic scholarship, the other half of my life is theatre design and scenic art. Since the 1990s, I have primarily focussed on historical scene painting techniques, the dry pigment method of painting, and scenery restoration. This is a photo of me restoring the Hades scene (18th degree) for the Minneapolis Scottish Rite. It was one drop from the Peoria Scottish Rite (Illinois) scenery collection that I rescued in 2010.

Presenting my research for the Scottish Rite Research Society at the Biennial Session in 2003, “Theatrical Interpretations of the Indispensable Degrees: Masonic Legislation and the Theatrical Industry that Manufactured Them.”

Scottish Rite Journal article on highlights of the Biennial Session 2003, the same year Ronald Seale was installed as Grand Commander.

Martin Starr’s comments on the my 2003 presentation at the Scottish Rite Research Society meeting. “Theatrical Interpretations of the Indispensable Degrees: Masonic Legislation and the Theatrical Industry that Manufactured Them.”

First notification of my being the guest speaker and presenting “Theatrical Interpretations of the Indispensable Degrees: Masonic Legislation and the Theatrical Industry that Manufactured Them.”

My paper, “Theatrical Interpretations of the Indispensable Degrees,” published in “Heredom.”

Lance Brockman wrote and article about my UROP project for the U of MN Office of Educational Development journal “Focus” (Spring 1990, Vol. V, no. 2). Here is a picture from 1990, when I was invited to display my research on the Great Western Stage Equipment Company Collection at an academic event. A collection depicting scenery for the Ancient and Accepted Scottish Rite of Freemasonry.

Detail from the U of MN Office of Educational Development journal “Focus” (Spring 1990, Vol. V, no. 2). Here is a picture from 1990, when I was invited to display my research on the Great Western Stage Equipment Company Collection at an academic event. A collection depicting scenery for the Ancient and Accepted Scottish Rite of Freemasonry.

My doctoral dissertation for the University of Minnesota – 2009.

Table of contents for my doctoral dissertation for the University of Minnesota – 2009.

Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 46.

We Must Pass Through Darkness to Reach the Light

The CEO repeatedly asked, “What will it take to get you on staff?” during the first half of 2015 when I was his historical consultant. This question was followed by, “How do you envision your future role at the Minnesota Masonic Heritage Center?” As part of these ongoing discussions, the CEO directed me to create and submit a job description for myself. I already owned a business, Bella Scena, LLC, and this was not an easy decision for me to make. It would necessitate my walking away from a company that had taken years to create and gain a national reputation. The various projects for the Minnesota Masonic Heritage Center had consumed all of my time since August 2014, causing me to temporarily shut down my company until after the June 24, 2016 opening.

On June 1, 2015, I accepted the position as Curatorial Director for the Minnesota Masonic Heritage Center. Both the general director and I reported to the CEO. I was responsible for the collections management and the general director was responsible for facilities management. My duties included acquisitions, collections, and exhibits for the Museum, Theatre, and Library, whereas the general director’s duties included events management, building management and financial management. Although many of my responsibilities could not commence until the facility opened, as salaried staff I continued to function as the sole historical consultant for all of the planning and construction of the complex, including design, painting and scenery restoration.

At this same time, another opportunity appeared on the horizon. I was asked to present a paper on Masonic Theatre scenery in Stockholm as part of the OISTAT (International Organization of Scenographers, Theatre Architects and Technicians) Research Committee conference during June of 2016. The event was titled “An Open Window on Pictorial Performance Design.” (http://www.oistat.org/Item/list.asp?id=1440, being held to celebrate the 250th anniversary of Drottningholm’s Slottsteater with a meeting in Stockholm and Drottningholm dedicated to the legacy of painted scenery.

Presenting at the OISTAT Research Event in Stockingholm, Sweden.

Front curtain at Drottningholm Slottsteater.

Rick Boychuk (author of Nobody Looks Up (http://www.counterweightrigging.com/), and I were scheduled to present the unique aspects of Scottish Rite scenery collections across North America. The Fort Scott Scottish Rite scenery at the Minnesota Masonic Heritage Center and the Masonic scenery from Winona, Minnesota were to be my primary focus. I intended this event to be part of a larger campaign to establish national and international connections with other professional organizations for future endeavors at the Minnesota Masonic Heritage Center. After all, my job description specified, “the arranging of loans between institutions.”

Once the conference dates were established, I asked the CEO’s permission to participate in the event. The conference was scheduled from June 10 – 11, 2016, and would not interfere with the intended timeline to either restore or hang the anticipated scenery for opening. I anticipated only leaving for a week after the restored scenery was hung. The CEO happily agreed and suggested that I take even more time as there was little I could do the week before the opening as “everything should be done by that point.” Therefore, we agreed that I would return just in time for the opening of the complex on June 23. For the opening I would be in the theatre with an assistant to answer public questions about the scenery, rigging, equipment, and décor.

As I finalized my itinerary, I emailed the Minnesota Masonic Charities and Minnesota Masonic Heritage Center staff on May 17 to remind them of my upcoming absence: “I will be in Europe from June 9-22, 2016. On June 11, I present a paper on Masonic design and scenery for OISTAT in Stockholm. This is the “Organisation Internationale des Scénographes, Techniciens et Architectes de Théâtre” (“International Organisation of Scenographers, Theatre Architects and Technicians). I was able to extend my stay a few days longer so that I can make connections with other Curatorial Directors specializing in Masonic History, Theatre, and Literature in Europe. This is a great opportunity to internationally promote the Minnesota Masonic Heritage Center as a destination location for scholars.

To date, my post-conference stops include:

1.) The exhibition of La Franc-Maçonnerie (French Masonry), at the Bibliotheque Nationale de France – Paris. This exhibit is only up for two months, so my timing is superb.

Visiting in Freemasonry exhibit in Paris, France.

The Freemasonry exhibit in Paris at the Biblioteque Nationale.

2.) The Musée de la Franc-Maçonnerie (French Museum of Freemasonry)

3.) Cesky Krumlov Castle Theatre in the Czech Republic (oldest painted scenery before Drottningholm Castle theatre)

Cesky Krumov theatre and painted scenes in the Czech Republic.

Cesky Krumlov theater’s painted scenes. Czech Republic.

4.) Freemasonry Museum in Linz, Austria (Schloss Rosenau).

Candidates preparation room in Schloss Roseneau, Austria. The Masonic aspect of the caste remained hidden until portions of a false ceiling fell. This revealed painted Masonic symbolism. This is one of the locations where some believe that Mozart became a Freemason.

Vienna and Budapest are also on the list of potential candidates, but I might not have enough time. I will have my Minnesota Masonic Heritage Center business cards, but would greatly appreciate a letter from the Grand Lodge verifying my position as Curatorial Director at the Minnesota Masonic Heritage Center during my travels. This will help overcome some potential barriers in speaking with museum staff who are masons.”

Three days before my departure, on June 6, I received the following email from the CEO:

“Your note indicates that you will be presenting information on our facilities as MMHC Curatorial Director. Please be advised that your activities at the conference do not come within the scope of your duties as Curatorial Director and will in no way be considered a part of your responsibilities. Your time spent presenting at the conference and subsequent touring is not within the scope of your employment and is purely an activity engaged in at your instance and is not directed by or approved by me on Minnesota Masonic Charities. Your time away from your duties is pursuant to our Paid Time Off policies for employees.”

And that’s when I figured out my entire position had been a scam. My position as Curatorial Director for the Masonic Center was in name only, allowing the CEO to secure my services for an entire year at a 40% discount. All of the pieces fell into place for me as I contemplated his email.

I had never been publicly recognized in my new staff role other than a short internal memo for a few Minnesota Masonic Charities and Minnesota Masonic Home staff members. It had been a struggle to have the OAC (Owner/Architect/Contractor) meeting minutes change my business affiliation from Bella Scena, LLC, to my new employer. The 2016 Minnesota Masonic Charities film at the Grand Lodge breakfast showed me, as “the national expert to restore the scenery,” but didn’t state that I was the center’s Curatorial Director. I had not been allowed to directly hire my painting assistant or library assistant; both hires were listed as working for the general director as “museum interns.” The entire staff had a credit card except me.

On paper, I had worked solely as an historical consultant since the beginning. Only my business cards and the initial job offer gave me the title of “Curatorial Director.” I am certain that the business cards were an oversight as I had asked the Director of Communications to order new ones with my correct title. Before I was on staff, they gave me “Historical Consultant” cards to use with vendors to make it “look official” as they didn’t want me handing out my Bella Scena, LLC, business cards.

I had been hired directly by the CEO without any search, interview, board approval, or public announcement. That is also how the general director was hired too so I thought little of it at the time. The CEO had (and may still have) sole hiring and firing power for everyone on staff without any real oversight or accountability. The crushing realization that I had been played to attain my services at a discount was devastating; forever changing the way that I view Minnesota Masonic Charities, the Minnesota Masonic Home, and Freemasonry in Minnesota.

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring the Fort Scott Scottish Rite Scenery Collection for the Minnesota Masonic Heritage Center, part 45.

It’s the Last Midnight

Wendy Waszut-Barrett at the Minnesota Masonic Heritage Center during the Grand Lodge tour group on April 7, 2016.

My access to the stage for restoration work was initially delayed from April 1 until May 9; the construction was woefully behind schedule due to excessive change orders. It was then further delayed until May 23. I would have just enough time to restore one scene and hang it for the opening on June 24.

These delays were problematic in securing individuals to restore the scenery. From the beginning of March, my restoration crew had remained on “temporary standby” the entire spring. Each week, I asked the CEO if we were still intending to restore drops for the June 24 opening. His standard response was “Certainly, ” but my biggest concern during this time was keeping a crew “on hold” without any guarantee of funds or a signed contract. This meant that they had to turn down other paying gigs and simply wait for me to call, “Start!”

Therefore, I altered the demographic of my crew, now targeting older theatre professionals and retirees who were interested in the experience and not necessarily the money. Then, if the entire project were postponed for months, they wouldn’t be financially devastated when they turned down other opportunities in lieu of this project. For the future, I would consider this a training ground for students. For now, I wanted a crew of competent adults who were familiar with historic scenery and could follow instructions. Although I had interviewed many individuals, I was hesitant to commit to students who needed secure summer work. I looked to my colleagues who were on sabbatical, those would not be teaching during May and June; those who had requested over the years to work with me on a restoration project.

On May 2, 2016, at 8:34am – three weeks before our restoration start date – I sent the following email to both the CEO and general director:

“Good morning. I hope you both enjoyed the weekend.
Two quick questions as we are three weeks away from starting the drop
restoration:
1. Can I guarantee my restoration crew a start date of May 23?
2. Have the requested restoration supplies been ordered?
Have a great day!“

Three minutes later at 8:57 am, I received the following response from the CEO: “Before deciding on when to begin drop restoration, we need to discuss the timing and availability of space and the time needed to rig drops. I suggest that we meet at 10:30 am tomorrow to discuss.”

I was told the next day that the restoration was now postponed until after the opening of the building on June 24, 2016. The new start date for the crew was now Monday, June 27.

Oh no, not again. I sent out an email to my crew “I am so sorry for the continued delays, thank you for your patience with our endeavor. The restoration work has now been postponed until June 27. I’ll keep you updated and confirm that date in early June.” As this was now after the opening, I created a new timeline for the first phase of restoration

By the beginning of June, all of restoration materials had been delivered and new timelines constructed for the first phase from June 27 through September 15. The general director had no intention of renting the theatre space that entire summer. On June 8, I emailed the CEO: “Today, I am confirming with the restoration crew that the project commences on June 27. Please verify this start date.”

The CEO immediately responded, “Work on the drops cannot commence on June 27. Construction delays due to untimely material deliveries and other factors make it necessary to delay the commencement of any work. Once a definite schedule is presented by the builders it will be possible to decide on a commencement date.”

“I completely understand and will release the crew from their obligation,” I emailed, writing, “As I explained to you during December 2015, I believe that some of the ready labor hires did not put the battens in the correct storage slots. The construction delay allows me ample time to identify and make sure that we will be able to locate and pull the necessary items for restoration quickly. Please verify that I will have access to the storage unit on June 27 as I know we all will be tired after the opening. See you on June 24 as I have everything prepped to staff the theatre for the grand opening and answer visitor questions! Have a great week!”

He confirmed that my access to the storage unit on June 27 and the music from “Into the Woods” began playing in the back of my mind:

“It’s the last midnight
It’s the last wish
It’s the last midnight
Soon it will be boom
Squish!

Told a little lie
Stole a little gold
Broke a little vow
Did you?”

To be continued…

State of the stage during Grand Lodge event at Minnesota Masonic Heritage center on April 7, 2016.

State of the rigging during Grand Lodge event at Minnesota Masonic Heritage center on April 7, 2016.

State of the auditorium during Grand Lodge event at Minnesota Masonic Heritage center on April 7, 2016.

State of the auditorium during Grand Lodge event at Minnesota Masonic Heritage center on April 7, 2016. View of the balcony.

State of the auditorium during Grand Lodge event at Minnesota Masonic Heritage center on April 7, 2016. Vertical panels were initially to have murals.

State of the auditorium during Grand Lodge event at Minnesota Masonic Heritage center on April 7, 2016. Ceiling was initially to have constellations in blue sky areas.

State of the auditorium during Grand Lodge event at Minnesota Masonic Heritage center on April 7, 2016. View from the balcony.

Tales from a Scenic Artist and Scholar. Acquiring the Fort Scott Scottish Rite Scenery Collection for the Minnesota Masonic Heritage Center, part 44.

Send in the Clowns

On Tuesday, March 29, the CEO requested that I create a timeline and deliverables for the entire Fort Scott scenery restoration. Again, this was so that riggers could estimate the cost of hanging the entire scenery collection. It is crucial to note, that during the time of this request I was only six days into starting the painting of the lodge room mural. Remember, this mural was to have been completed by March 1 to successfully move onto the scenery restoration.

On March 30 at 8:26AM, I emailed the restoration timeline to the CEO and general director. I had divided the project into ten phases over a two-year period. This was standard for any Scottish Rite scenery restoration and by this point in my career I had restored over 500 historic drops. Each phase of the restoration included the restoration of approximately nine drops, identifying the specific transportation, restoration, and hanging dates. The table of contents divided the project into succinct drop transportation crew dates, restoration crew dates, rigging crew dates, subsequent timelines, and deliverables during each project phase.

However, instead of starting on April 1 and restoring 19 drops, I was now planning to restore only 9 backdrops, starting on May 9, 2016. Restored scenes for opening day would include the Egyptian Interior, Darius Palace, the Woods, the Cathedral, the Treasure Chamber, the Classical Landscape, the DeMolay Mausoleum, the FHC Constellation, and the INRI Landscape.

The remaining nine phases for the scenery restoration after the opening would be:
Monday, July 6, 2016 – Tuesday, July 26, 2016 and Thursday, August 4 – Friday, August 19
Monday, October 3, 2016 – Friday, November 11, 2016
Monday, January 2, 2017 – Friday, February 24, 2017
Monday, March 6, 2017 – Friday, April 28, 2017
Monday, May 8, 2017 – Friday, June 16, 2017
Monday, August 7, 2017 – Friday, September 29, 2017
Monday, November 13, 2017 – Friday, January 5, 2018
Monday, February 19, 2018 – Friday, April 13, 2018
Monday, May 21, 2018 – Friday, July 13, 2018

Similarly, the schedule for hanging the remaining restored scenery after the opening were:
Monday, August 22, 2016 – Friday, August 26, 2016
Monday, November 14, 2016 – Friday, November 18, 2016
Monday, February 27, 2017 – Friday, March 3, 2017
Monday, May 1, 2017 – Friday, May 5, 2017
Monday, June 19, 2017 – Friday, June 23, 2017
Monday, October 2, 2017 – Friday, October 6, 2017
Monday, January 8, 2018 – Friday, January 12, 2018
Monday, April 16, 2019 – Friday, April 20, 2018
Monday, July 23, 2018 – Friday, July 27, 2018

Additionally, having me on staff dropped the overall restoration cost by 75%. Otherwise the restoration could have quickly become cost-prohibitive for the center.

By 1:46PM March 30, the general director emailed me his response to the restoration timeline:

“The proposed schedule is highly problematic from an operational standpoint. It leaves only 11 weeks each in 2016 and 2017. And only nine weeks in the first seven months of 2018 for programming of any sort. We are marketing the space for community rentals and weddings, and already have substantial revenue opportunities. I really can’t shut the place down for the first two years to accommodate scenery restoration. We could work around a few weeks every several months, but not a total blackout including all weekends. I understood the decision on Tuesday to be that Wendy would contact rigging providers for a block price to hang the 74 indicated drops with the understanding that they would be coming out seven times to hang not fewer than 10 pieces at a time. I am extremely reluctant to commit to this specific schedule.”

Thirty minutes later, the CEO reinforced this sentiment writing, “I agree. We can’t have the facility tied up for such extensive blocks of time. Another solution must be found.”

By this stage, approximately $125,000 had been spent to purchase, remove, transport, and store the scenery collection. There were also all of the travel expenses for the initial evaluation in August, my expenses while working three weeks on site, and all of my time as a salaried employee working on this endeavor. This amount did not even take into consideration the hundreds of thousands of dollars spent to custom-design a theatre space to display an historical Scottish Rite scenery collection.

From the beginning of my involvement with this project, I had been crystal clear about the time commitment needed to restore scenery, the limitations of onsite restoration, and the overall expenses. The CEO had always responded, “Not a problem” – until now.

So my response to both of their emails was simply, “Please advise me on how you would like me to proceed. Should we meet to discuss alternatives?”

The next morning we met in the CEO’s office. He said, “So what should we do?” I explained that I had solved the entire dilemma and it would not interfere with any potential income. The CEO raised his eyebrows and said, “Tell me your plan.” I explained that each Friday I would ask the general director if the stage was available for the coming week. If it was, I would then contact my local rigger to see if he could assemble a crew. If he could, I would then assemble my own restoration crew. If both a rigging crew and a restoration crew were available, we would restore a drop. This would involve transporting it on Monday, restoring the drop from Tuesday through Thursday, and hanging the drop on Friday. It would be more expensive in the long-term, but it would never interfere with any anticipated rental income or unnecessarily tie up the space. “Besides,” I added, “I’m on staff, so I can drop everything at a moment’s notice.”

“But what will you be doing ‘on staff’ when you’re not restoring any scenery?” queried the general director.

“All of the duties that are listed in my job description as Curatorial Director, plus painting the remaining lodge room murals,” I answered.

There was an awkward silence, and I thought of a line from Sondheim in “A Little Night Music:”

“And where are the clowns?
Quick, send in the clowns
Don’t bother…
They’re here.”

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring the Fort Scott Scottish Rite Scenery Collection for the Minnesota Masonic Heritage Center, part 43.

Art is Never Finished, Only Abandoned

During March, 2016, I was given another directive from the CEO: he wanted me to identify a theatrical rigger to bid on the hanging of all the scenery. Although it might take up to five years, he was hoping to get a price break on the job in its entirety. I had initially encountered his approach of “bulk purchasing” when I was seeking a portrait artist to depict the various individuals for whom the Minnesota Masonic Heritage Center spaces were named, such as Charlie Nelson for the Nelson Library.

The CEO had directed me to find portrait painter, and I stumbled across Joe Burns‘ website and a few newspaper articles on his neighborhood portraits. Here is a link to his work: (https://www.pinterest.com/joeburnsartist/). I immediately liked and admired Burns for both his fine art technique and community involvement. He had an interesting contemporary interpretive style, but some of his paintings harkened to an older tradition. Upon meeting and interviewing Burns, I realized that we had both received training from the Atelier during the early 1990s (Richard Lack’s studio in Minneapolis).

After contracting Burns for all of the portraits, the CEO wanted an additional painting – one depicting the entire facility. He asked me what I thought the price should be and I again explained Burn’s fine art formula based on the square inch. He looked surprised, and said, “Well, I have certainly paid him enough money and should get a steep discount on this next work.”

I am always fascinated when people believe that the price of art should be reduced if you order numerous paintings. They are attempting to parallel a unique artistic creation with office supplies from Staples. Does the discount apply after buying 5 or 25 items?

It is at times like these that I step back and reflect on past Masonic endeavors, when their lodge rooms included murals, beautifully carved woodwork, hand-painted tracing boards and celestial skies. Were the members looking for the cheapest version at the time? No, they were looking for something that would honor the spirit of Freemasonry.

At what point does any organization start to look for the cheapest artifact and stop caring about the artistry? Is it at the same time that quantity surpasses quality?

So, here we were less than three months before the opening and trying to hang irreplaceable artworks as cheaply as possible. I was reminded of the general director hiring a Ready Labor crew to move these same artworks into storage.

We needed the individuals who handled the Thomas G. Moses scenic art collection to do it with care for the inherent fragile state of a ninety-year-old artwork and understanding of its cultural value. We could not afford to hire “cheap labor” who didn’t have a clue as to what they were doing. This decision could ultimately destroy the entire acquisition.

The rigger, or rigging company, needed to understand that the drops were not mere backgrounds for a degree production; they were artworks that depicted a shifting aesthetic in both popular art and stage design. An artistic heritage of national significance. The collection was a small part of a much larger picture that identified a shared material culture between the general public and the Fraternity. I needed Paul Sannerud, Brandon Fischer, Ty Prewitt (BellaTex, LLC), Dan Culhane, or Rick Boychuk to be involved in this project as I KNEW that they each understood and appreciated the collection. They also understood that so much of this history had been lost over the decades; painted scenery is ephemeral in nature. Similarly, there are Masonic scholars across the country who are watching their own history being abandoned.

We all understand what is happening nationwide and we are scrambling to preserve something – anything – for future generations.

Had I saved an internationally significant collection only to watch it be destroyed during the installation? I hoped not, as it would truly be a loss of epic proportions.

To be continued…

Joe Burns holding a preliminary painting for the final portrait.

Joe Burns with his preliminary study and final portrait.

Preliminary study, small-scale design, and final portrait by Joe Burns.

Joe Burns and I on June 24, 2016 – opening day for the Minnesota Masonic Heritage Center.

Tales from a Scenic Artist and Scholar. Acquiring the Fort Scott Scottish Rite Scenery Collection for the Minnesota Masonic Heritage Center, part 42.

Well-behaved Women Seldom Make History

The CEO was insistent that my shipping inventory for the St. Paul Masonic Library should have been flawless; any mistakes made during the two-week span allotted to record 10,000 items was unacceptable. This was part of his continued argument to shelve unprocessed and unidentifiable books in the Nelson Library. This current course of action did not bode well for the future Fort Scott scenery collection. Furthermore, the CEO ‘s statements repeatedly devalued the significance of our acquisition, explaining that it contained nothing unique; many of the texts were already available as scans.

“But we have many first edition and signed copies, as well as books with important inscriptions,” I explained. “Many of these signatures include famous individuals, such as Ulysses S. Grant, Albert Mackey, Albert Pike, A. E. Ames, A.T.C. Pierson, and Manly P. Hall.”

Unmoved by my logic, he was adamant that we should not have to open up every single book in order to process the entire collection, especially if there were duplicates. “For example,” he continued “We don’t need more than one set Mackey Encyclopedias do we? We only need to keep the one that is in the best condition, so why waste time on examining the others?”

“We might want to keep MORE than that one set if there is a signed set by the author who gifted it to a Grand Master of Minnesota,” I persisted. “That is just one of many reasons why we need to actually open every book and to determine which ones we keep!” I further explained that many old books contained hidden artifacts like Masonic petitions, personal letters, or even money. This was the main reason to actually open up and LOOK in each book. Unfortunately, my arguments fell on deaf ears.

Stafford King (1893-1970) was born in Fair Haven, MN to Cyrus Murdock King and Minnie King (née Cooper). His parents were the descendants of early settlers of the state and had been involved in local causes and politics in and around Itasca County, Minnesota. He was raised on the family homestead in Itasca County and attended school in Deer River, MN, later attending the University of Minnesota and the St. Paul College of Law. During WWI, he served in the army, achieving the rank of first lieutenant. After the war he worked in a variety of state and local government positions and also became active with the American Legion and the Scottish Rite. In 1930 he won election as Minnesota State Auditor, a position he held for ten terms. During WWII, he left his position to serve as a first lieutenant in the United States Air Force. He left his personal library to the Valley of St. Paul upon his death in 1970, including Ridpath’s “History of the World,” inscribed by his parents in 1906 to their only child at the age of 13. Each volume had lovely inscription for Stafford.

Title page from Ridpath’s “History of the World,” owned by Stafford King (1893-1970) with wonderful inscriptions about the human struggle.

Transcription: “To Our Only Child Stafford King on Christmas Day 1906, We give you these volumes as a little expression of our great love for him, Cyrus M. and Minnie King.” “Read well and thoughtfully for in these volumes you can come to know the good, the wise, the great of every time and clime – know them, think from their lines, act as they would in your time, and become your God’s child, your country’s son, a protector of home, a defender of your fellow man, a guardian of Human Rights.” Great advise from a family well ensconced in the Fraternity and civic duties. You can see why Freemasonry would later appeal to him and his political involvement.

This was my first ethical struggle with what was happening to incoming acquisitions at the Minnesota Masonic Heritage Center. As I sought the advice of fraternal scholars and librarians nationwide, they all expressed disbelief that anyone would request to NOT process an acquisition prior to placing it on display. Then many scholars suggested another cause for his mandate: If you don’t know really know what you have, you’ll never know what goes missing. My colleagues bluntly explained that as I held all of the institutional memory associated with this acquisition, my job was in peril. I would be systematically discredited and then dismissed, effectively silencing me.

Regardless of their warnings, I focused on the final endgame – safeguarding this collection and other acquisitions for future scholars. Using a new strategy, I explained that the boxes holding the St. Paul library acquisition had been hastily piled in the basement of the processing center when they were removed from record storage three months prior. I had not been able to put the boxes on the main floor due to their sheer weight and my back injury, expressing concern about the current storage environment and potential for damage. A leak in spring could destroy the entire collection. This approach worked, and the CEO approved a temporary hire for four weeks to solely get the books off of the floor. I then immediately requested that we hire the main librarian at the Minneapolis Scottish Rite, Peter Tomlinson, as he was familiar with historic publications and available immediately.

This picture is after Peter had unpacked dozens of boxes and organized the remaining ones into specific sections. This organization had been impossible at first due to the sheer volume of boxes in the space. When the boxes from the record storage were unloaded from the original pallets on the delivery truck, they were randomly placed in the basement and stacked over five boxes high – causing the bottom boxes to collapse from the excessive weight.

View into the second book room in the basement – the bomb shelter. Peter and I decided that the oldest and rarest books went here, including the personal collections of Past Grand Masters and notable Masons, such as A.T.C. Pierson and A.E. Ames.

View from second book room into main room of basement. This smaller second room held the most significant books in the collection, such as signed copies and the personal libraries of Past Grand Masters in Minnesota.

My ethics required me to do everything possible to honor my word with the Valley of St. Paul, even if this was not the case of my employer. I was determined to process the library prior to placing the books on the Nelson Library shelves. Therefore, I would seek highly skilled volunteers after Peter’s four-week employment ended, specifically assistance of experienced archivists, specifically retired university professors. This would cost the Minnesota Masonic Heritage Center NOTHING and I would still feel that I kept my word.

On January 29, 2015, I emailed an update to the CEO and general director, detailing our progress on the library collection. The document noted that in just four weeks, Peter had successfully assembled 24 metal shelving units and updated information in the original shipping excel spreadsheet as boxes were unpacked. This spreadsheet could then be inputted into a future software system. Peter also took digital images of each item that he handled, entering the necessary information pertaining to the publisher, previous ownership, and signature editions. They would also have photographic documentation of the collection to pair with the information in the excel spreadsheet.

By February 1, 2016, there only remained 450 religious books in 21 boxes, 40 classical books in 2 boxes, 75 philosophical works in 3 boxes, and the dozens of boxes containing Masonic periodicals, as well as various Proceedings from a variety of fraternal organizations. Realistically, only the bound periodicals would ever be placed on library shelves due to the fragility of unbound periodicals. Although we couldn’t assign local identifiers without appropriate software, we initially processed enough books to place on the Nelson Library shelves for opening day. There remained ample time to complete the collection prior to June 24, 2016.

This is the state of the library when Jean Montgomery took over the project during spring 2016.

Among the many individuals to help during the spring of 2016, professors emeritus Jean Montgomery and Dr. Larry Hill spent months unpacking the remaining boxes and organizing the contents. Jean is an individual with many attributes, including leading the archival documentation for the U of MN Theatre Department and Centennial Showboat, as well serving multiple roles at USITT. She was also the editor for my dissertation! Dr. Hill is a theatre historian, past Scottish Rite theatre research colleague of Lance Brockman, contributor to “Heredom,” contributor to the “Theatre of the Fraternity” exhibit catalogue, and also served in multiple roles for USITT. There are many more qualifications for each, much to numerous to mention. They each understood my plight and wanted to ensure this collection to remain intact for future scholars. Furthermore, Dr. Hill’s brother, Dave M. Hill, was Right Worshipful Senior Grand Warden in Michigan. All of my volunteers had had decades of experience creating archival databases and cataloguing publications; they were also familiar with the Fraternity.

I continued to work on the lodge room mural and restoration preparation upstairs while my volunteer crew processed the books downstairs.

To be continued…

Once Jean was done, she started to weed out duplicates and do some preliminary packing for transport.

The rarest books were in the smaller room, located off of the main room. The signed memoirs of Ulysses S. Grant and books sent to A.T.C. Pierson by Albert Pike were some of the amazing publications found in the St. Paul Masonic library collection.

The St. Paul Valley librarian and historian, Joe Ryder, also donated his entire collection, including an anti-Masonic pamphlet from WWII, printed by the Nazi party. It was pulled to go on display in the Ladd museum exhibit.

Tales from a Scenic Artist and Scholar. Acquiring the Fort Scott Scottish Rite Scenery Collection for the Minnesota Masonic Heritage Center, part 41.

Bait and Switch

After my return from DC to secure Masonic scholars for the museum team, I completed the St. Paul library acquisition. By the end of February 2015, the books were packed and ready for transport to both record storage (250 boxes) to the Minnesota Masonic Historical Society and Museum (25 boxes). I then began to create the necessary timelines and labor requirements to process this collection. This, however, was a very small part of a much larger administrative project. The CEO also directed me to anticipate the staffing requirements and labor expenses for the museum, library, and theatre spaces to plan for the upcoming year’s budget and subsequent opening of the facility.

For the new library acquisition, I requested four individuals to help process the 10,000-item collection. In assembling the proposal, I met with Theresa Norman, the part-time Minnesota Masonic Historical Society and Museum curator. Norman worked only 8 hours each week as she already had a full-time job as a curator elsewhere. Like me, she was in desperate need of assistants beyond her own two sole octogenarian volunteers.

I suggested that it was possible for us to share the talents of a single group of assistants/interns, depending on the museum and library project timelines. That way, we could immediately start the hiring process for them to come on board to start processing the opening exhibit artifacts for the Ladd Museum. I was in the midst of the thematic layout for the six-gallery museum, realizing that this project would take precedence over the library as its impending deadline was June 1, 2015.

The museum team needed a year for artifact conservation and exhibit construction. However, it was anticipated that there would be a point when I could set up several interns to process the St. Paul Masonic collection – hopefully in summer after the museum exhibit was finalized. Throughout the spring and summer of 2015, I had to repeatedly explain that it would take at least a full year to process the library collection and assign local identification numbers for each item.

As it was a Masonic library, we would also use a slightly different labeling system based on Boyden’s classifications. It was not until September of 2015 that I was given the “go-ahead” to remove the collection from record storage, hire one intern, and start processing the collection. By this time, I had identified a possible place to process the St. Paul Masonic Library – the old residential cottage (5 bedroom two-story house over looking the river) that remained on the Minnesota Masonic Home grounds. I had encountered this space when Steve Johnson and I identified it as a possible location to film A. E. Ames footage for various informational displays at the future museum.

5-bedroom, two-story residential house at Minnesota Masonic Home in Bloomington, Minnesota, that was selected as the location to process the St. Paul Masonic Library. This also become my “office house.”

During that same month, the CEO recommended Mark Anderson for the position of library intern so that we could start processing the books immediately. I ordered metal shelving units and some folding tables to set up the library-processing center. One of the rooms would also serve as my on site office. No need to spend money on space rental and I was a stone’s throw away from the Minnesota Masonic Charities and the Grand Lodge offices! The nine pallets of books were removed from record storage and transported to the basement of my “office house” in mid-September 2015. I was now only waiting for my library intern to schedule his TB test, a requirement as a Minnesota Masonic Home employee.

I was also deeply ensconced in a third library project directed by the CEO; researching identifying, and selecting an appropriate library software system for the Nelson library. I sought advice from curators and librarians across the country at a variety of Masonic museums and libraries, including Adam Kendall at California’s H. W. Coil Library, Mark Tabbert at the George Washington Masonic Memorial, Jeff Croteau at the National Heritage Museum, Joan Sansbury at the House of the Temple, Heather Calloway at Washington College, and many others.

I was narrowing down my selection when we began negotiations for the purchase and removal of the Fort Scott scenery collection. I soon realized that the library processing might have to be placed on hold until after my three-week absence in Fort Scott, Kansas during November 2015 when we removed the scenery. There was no one else to oversee any of my projects while I was gone and my intern had yet to finalize his paperwork.

Upon my return from Fort Scott, however, I learned that the entire scope for the library acquisition had changed during my absence. In mid-December 2015, the CEO and general director informed me that the books would no longer be processed and were to be placed onto the shelves for the opening without any identification. I was stunned. We had promised the Valley of St. Paul that the books would be thoroughly processed, and that they would be placed in climate-controlled storage. As part of our continued discussions with the Valley of St. Paul, we assured a better environment for the books in a dedicated and secure setting.

Furthermore, the CEO explained that we no longer needed any library software system, putting off all processing until after the facility opened. I tried to explain that this would quadruple the anticipated future workload and timelines. I was numb. After all, I had personally given the Valley secretary my word that the books would be carefully preserved for future generations as that is what I was told would happen.

What was the point of having a room full of unlabeled books? This would make the entire library unusable and it could no longer be considered a research facility.

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring the Fort Scott Scottish Rite Scenery Collection for the Minnesota Masonic Heritage Center, part 40.

A Mercenary Mission

It was February 2015 and the search for a scenery acquisition was just beginning. I was in the middle of working on the St. Paul library acquisition, when I was ordered to travel to Washington, D.C. for a short three-day trip. The purpose of the trip was to hire a nationally recognized Masonic scholar who could write the text panels and object labels for the six galleries in the Ladd Museum. There was simply not enough time in the day for me to take on this task too. I had suggested that we hire another professional for that specific reason. It was early 2015 and there were too much for one person to manage.

The CEO had directed me to request and schedule a series of meetings there to make the necessary introductions and pitch the project in its entirety. He wanted to hire either Art De Hoyos or Brent Morris. While we were in the DC area, we would also examine Masonic museums, libraries, and architectural ornamentation at both the House of the Temple and the George Washington Masonic Memorial Museum in Alexandria, Virginia. Sean Graystone would host the DC tour while Mark Tabbert would host the Alexandria tour.

House of the Temple, Washington, D.C. lobby.

House of the Temple, Washington, D.C. library.

House of the Temple, Washington, D.C. museum display case.

Tour by Mark Tabbert at the George Washington Masonic Memorial in Alexandria, Virginia. February 2015.

Regardless of my busy schedule, I jumped at the chance to get at least one more Masonic scholar on board. I was being placed in charge of too many projects and needed someone who could quickly create the necessary text and timelines concerning the history of the Fraternity and the origins of speculative masonry for the Museum. I knew that an exhibit required an extensive amount of research and fact checking prior to finalizing the text panels and object labels. I needed at least one professional to guarantee that we would meet the necessary text deadlines, thus ensuring the museum’s overall success for the opening.

Lunch in DC with Sean Graystone and Art De Hoyos to discuss the Minnesota Masonic Heritage Center museum exhibit. February 2015.

Dinner in DC with Brent Morris to discuss the Minnesota Masonic Heritage Center museum exhibit.February 2015.

Besides the obvious business, I was excited to see my friends again and update them on various projects. The previous fall we had all participated at the Scottish Rite Research Society Symposium (October 4, 2014), held in the new Chicago Scottish Rite building (Bloomingdale, Illinois). It had been delightful to reconnect with everyone after a few years apart, sharing my current research and upcoming restoration projects. I always enjoyed the battle of wits and discussion of Masonic theories.

Valley of Chicago Scottish Rite Cathedral built in Bloomingdale, Illinois. This was the site for the Scottish Rite Research Symposium, held in conjunction with the SRRS board meeting. October 2014.

Valley of Chicago Scottish Rite Cathedral built in Bloomingdale, Illinois. Beautiful onsite bar!

Dinner after the 2014 Scottish Rite Research Symposium with Sean Graystone and Art De Hoyos.

The DC trip was delightful, but I knew that no one was not on board yet. During our various meetings, I sensed their concern and hesitation to join the project. They knew that we were trying to accomplish a difficult feat in an incredibly compressed timeline. Hesitant to jump on board our big shiny ship, the whole endeavor could quickly sink like the Titanic. I had the same feeling; unless we stayed on task and hit every single deadline proposed by the museum team that the exhibit would not be ready for opening day.

On the morning of our departure for home, I asked Brent to pick me up from our hotel at 6:00AM on his way into work. I wanted to discuss a few details and make a personal plea. Critical to the success of this project was having someone else on board as it could not end up like the library acquisition – just me and my parents.

I met separately with each scholar that morning, proposing the same thing – that they BOTH work on the project. We could fly them out to Minnesota so that they could personally examine my preliminary selection of exhibit artifacts and thematic layout for the six galleries. They would also meet the museum team, discuss the necessary timelines, and make their final decision whether to participate after the trip.

Thankfully, both Art and Brent agreed to this proposal. I had a huge feeling of relief as I descended the front steps at the Temple and entered the waiting airport shuttle. On our way to the airport, I described my tentative plan to the CEO and their hesitancy to join our endeavor. He agreed that the DC trip was a success and he would start the paperwork for their travels upon his return.

House of the Temple, Washington, D.C. front steps.

It was during the second leg of our return flight to MSP, that I would encounter my first real sense of doubt about the general director’s qualifications. Sitting next to him in the plane, he looked at me an asked, “Why would anyone ever become a Mason?” I froze.

This caught me off guard and I wondered whether I was being set up for a little joke. His expression didn’t change and he continued to slightly smile at me. It was no joke. “Nope,” I thought, “I am not even entering this conversation.” I was not going to play this game and I quietly whispered that he better ask my husband Andrew. After all, my husband had joined the Fraternity in Cambridge just a few years ago. He still carried that genuine enthusiasm and glow that almost every newly raised Mason emanates from his core.

The general director’s question, however, greatly concerned me. I couldn’t possibly comprehend why anyone working at a Masonic Heritage Center would EVER ask that question. For the record, the general director is a Mason.

As I turned away and opened a book, I stared at the page for quite a while, listening to the hum of the plane. I began to ponder my traveling companion and his background. What strengths did he bring to the project? I honestly couldn’t think of any. Sure, he was friendly, but was there a hidden skill that I had yet to encounter? The only thing that I really knew about him was that he had known the CEO for years and returned to his home in Duluth every weekend.

To be continued…