Travels of a Scenic Artist and Scholar: Service Provider Expo at the League of Historic American Theatre National Conference, July 16
I operated a scenery restoration business, Bella Scena LLC, for years without ever having to advertise. All of my business was secured through customer satisfaction and word of mouth. Positive referrals can be some of the best advertising, traveling fast across among a group or throughout a region. If you do a good job, people talk about it and you get more work. The same can be said for poor craftsmanship; if you do a bad job, it lives forever and people realize that you have no idea what you are doing. I have restoration projects that are over two decades old and they remain in good shape. People still pass along my name and their satisfaction with my work. My new book “The Santa Fe Scottish Rite Tempe: Freemasonry, Architecture and Theatre” even includes detail images and entire scenes from the restored 1912 collection; the images show the quality of my work.
Our new company Historic Stage Services LLC goes far beyond what Bella Scena could offer as a restoration service. We identified a need and created a company to fill that void. Many historic theaters owners and operators are not always presented with good information, including the complete history of their venue so that they can understand the cultural significance of their stage, especially the machinery, draperies, lighting and scenery. We research the venue and provide a variety of options from straightforward restoration to a blend of old and new technologies. HSS specializes in everything BEHIND the curtain line. There are many companies that focus on FOH (front of house) projects, but none that specialize solely in stage houses at historic venues. If a client has the best information, they can make the best decisions for the future of their theater. We provide a new approach to old problems.
Historic Stage Services LLC booth, with Wendy Waszut-Barrett and Rick Boychuk, at the League of Historic American Theatre Service Provider Expo. Austin, Texas, July 16, 2018.
Two of us traveled to Austin, Texas, for the LHAT conference. This was primarily a marketing trip; Historic Stage Services had a booth at the League of Historic American Theatres Service Expo. Our company generated a lot of interest at the Expo yesterday. Enthusiastic people introduced themselves and described a variety of stage spaces and renovation projects. There is a lot more networking to do over the next few days, including another theatre ramble to the Paramount in Austin. However, today we return to the Scottish Rite with a few new friends to explore the potential of painted scenery. This is too much fun!
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, KansasThe 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.
Main Street in Fort Scott, KansasFort Scott National Historic ParkFort Scott National Historic Park
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.
Prairie State Park in western MissouriPrairie State Park in western Missouri
The mission of Historic Stage Services LLC is to help clients make informed decisions about their historic backstage area, especially when considering the repair and restoration of damaged scenery collections. Selecting an individual, or company, to restore water-damaged areas to their original brilliance necessitates decades of experience and an in-depth knowledge of historical scenic art techniques. It is crucial that the individual hired to restore water-damaged areas really understands the original dry pigment paint media and historical paint application techniques.
This article is intended as a resource to help you understand how historical scenery was manufactured, the precautionary measures to take when handling these large-scale artworks, and the various levels of restoration offered by Historic Stage Services LLC. Why? It may be one of the most important decisions that you will make in regards to your stage, as it will directly affect the health of your performers and audience members, in addition to the overall longevity of your scenery collection.
Water damage to roll drop at the Scottish Rite in Danville, Virginia.
Water damage is often perceived as a death sentence to any historical backdrop. Colors can dust or mold can form in damaged areas. Some may suggest that dry rot has set in and the scene is beyond repair. The damaged scenes are thrown out, or left unused high above the stage floor. Restoring a water-damaged drop is never simple, but it is always an option. Almost everything is reparable, no matter how unsightly and fragile it may appear. We have the techniques to restore severely water-damaged scenes.
The process to remove or conceal the water-damaged area is time consuming and complicated. This article is not intended as a do-it-yourself guide, or any instructional manual. It will give you a working knowledge of the process. If a proposed budget and timeline seem too good to be true, it may indicate that the individual or organization is inexperienced and will take short cuts. Restoring a water-damaged area to its original appearance takes time, talent, historical materials and years of training. We will provide you with options.
Distemper Painting
Most historical scenery collections were painted with a combination of dry pigment (powdered color) and size water (diluted animal hide glue). This process is also referred to as distemper painting. The powdered color was transformed into a paste and then mixed with size on the scenic artists’ palette before applying the mixture to a backdrop. It is a complicated process that demanded years of training.
The type of paint used by scenic artists to create stage settings included only three ingredients: color, water and binder. When a roof leaks or a pipe bursts above the stage, any backdrop below is in immediate peril – especially if it was created with distemper paint. If smoke doors accidentally open up above a stage during a rainstorm, historical backdrops can be destroyed in an instant. When water touches a painting produced with dry pigment and size, the colors are immediately reconstituted into a soft state. The painted surface can return to its liquid form rather quickly. We specialize in the use of dry pigment and size water. All of our repairs and restoration techniques use historical materials and paint mediums, don’t settle for anything less.
The Dye Line
There are only two ways to conceal the heavy concentration of color that is characteristic of a dye line resulting from water damage – removal or sealing. One method is to remove the line of consolidated pigment; this necessitates scraping it off of the fabric as depicted in the photograph below.
Scraping off the dye ringSealing the dye ring
Another way to conceal a dye line is to apply a sealant on top of the concentrated pigment. This approach attempts to ensure that the color will not continue to permeate the top surface of any new painting. In other words the dye line will continue to reappear in the top layer of paint, even after dozens of coats, unless it is sealed or removed. Historic Stage Services LLC specializes in both methods after evaluating the condition of the fabric and severity of the dye ring.
Cleaning
Regardless of the water damage, the entire painted composition needs to be cleaned prior to any repair or restoration. If the dye line was scraped off, the surface must be cleaned a second time, as any loose paint particles will contaminate the surrounding areas. First, a low-suction dust extractor is used on both the painted surface and backside to remove most of the contaminants. This process necessitates using a HEPA filter in your dust extractor to prevent any potential toxins from becoming airborne. Particle masks must be worn during this entire process – not only by those working on the drop, but also by everyone in the room.
Removing loose surface contaminants with a low-suction dust extractor
It is imperative to understand that over time, a variety of pollutants have settled on the surface of both front and back of a painted drop. These contaminants range from mortar dust and flash powder to bat guano and pigeon excrement. The typical color of the dirt layer can range from a mid-tone grey to a soot black. This layer of filth darkens the light areas and lightens the dark areas, thus reducing the overall contrast of values in the composition. In addition to removing the loose surface contaminants, there is often a layer of deeply embedded dirt and grime that needs to be extracted prior to any repair. Simple dust extraction with a vacuum will not remove this embedded layer of filth.
It requires the use of additional cleaning methods, such as dry chemical sponges and archival putty. The appropriate product cannot be determined until after close inspection of the damage and evaluation of the painted surface. No color should ever come off of the drop while cleaning it, especially with a sponge. If color does come off, it indicates that the binder has failed and is indicative of a much larger problem.
Removing deeply-embedded contaminants with archival putty
Consolidating the Painted Surface
When the binder of distemper paint fails, the color begins to fall off of the fabric. Backdrops with this problem must have the loose particles consolidated to prevent further deterioration. In other words, the dusting colors need to be stabilized so that they will not flake off of the fabric. To stop the dusting of dry colors, an application of the original binder, or diluted hide glue called “size,” must be sprayed onto the painted surface.
Spraying the painted surface with a diluted hide glue solution to consolidate the loose dry pigment
If left untreated, the backdrop’s color and composition will lose all depth and vibrancy. The composition then takes on the appearance of stained fabric. In this situation, only the color absorbed into the fabric during initial paint application remains visible. All of the color on the surface falls to the stage floor or becomes airborne. Some colors are hazardous when they become airborne.
The inhalation or ingestion of dry pigment may carry toxins, posing a potential health threat to all who inhale it. The overall hazard is dependent on the specific color and its chemical properties. Some colors are primarily inert and pose no imminent health threat, while others may contain harmful ingredients such as lead, arsenic or cadmium. Only a scientific analysis of each color can verify the pigment’s origin and define its toxicity. All dusting pigments should be considered dangerous until proven otherwise.
Examples of Our Work
Below are before and after pictures of a severely damaged backdrop owned by the Church of St. Patrick in Shieldsville, Minnesota. Wendy Waszut-Barrett, president of Historic Stage Services LLC and former founder of Bella Scena LLC, completed the work during February 2018.
Before restoration by Historic Stage Services LLCAfter restoration by Historic Stage Services LLC
Here is another example of restoring a scene and concealing water damage for the York Rite of Freemasonry in Duluth, Minnesota.
Damaged scene being prepared for restoration at Historic Stage Services Studio
Restored scene for Duluth York Rite degree production with new painted scrim insert in center of the dropRestored scene placed in lodge room at Duluth Masonic Center, 2014.
For three decades, I have worked as a scenic artist and designer. My focus remained the study of historical scenic art techniques, especially for Masonic theaters. My passion to preserve theatre history led me specialize in the repair and restoration of painted scenery for historic theaters, opera houses, public halls, and Scottish Rite stages. After years of solely focussing on the restoration of scenery, I recently formed a new partnership – Historic Stage Services LLC. We are much more than a scenery restoration business.
We offer a unique service – the only one of its kind in North America.
Our mission is to provide historic theaters with the information that they need to make important decisions about their future. Our team specializes in historic stages, scenery, stage machinery, and how to make them work to today’s needs. We offer a new approach to old problems.
Click on the new permanent link above to check our website and new brochure at www.historicstageservices.com
Part 356: The Little Rock Scottish Rite Scenery from 1896, 1899, 1902 and 1923
Today, we return to the story of the Scottish Rite scenery collection that was produced by Sosman & Landis for Little Rock, Arkansas, in 1896. Some of his collection was expanded in 1899. When the new building was planned in 1901, a new scenery collection was purchased from Sosman & Landis to fit the larger stage. Scenery from the old building (1896-1899) was gifted to the New Orleans Scottish Rite in 1906.
In Little Rock, membership continued to increase, again necessitating a larger space. In 1923, this second collection (the 1902 scenery) was returned to Thomas G. Moses, president of the Sosman & Landis Studio, for credit on the purchase of a new scenery collection in 1923. The new scenery was for the massive Albert Pike Memorial Temple in Little Rock. Original backdrops from the 1902 Little Rock scenery collection were resold to the Pasadena Scottish Rite during 1925 for their new building. That same year, Thomas G. Moses joined the Scottish Rite in Pasadena; he was a member of their first class in the new building.
The 1902 Albert Pike Consistory building that was expanded in 1913.The Albert Pike Memorial Temple that replaced the 1902 Albert Pike Consistory building.
I was contacted by a Little Rock Mason for many years about the 1923 scenery collection. He worked at the Scottish Rite and would periodically call to get advice, enquiring about everything from backdrop repair to mural restoration. This gentleman had no theatre experience, artistic training, nor rigging knowledge. During every conversation, we would talk about the history of their collection. We would discuss the significance of the backdrops, and I would place them within the context of both Masonic history and theatre history. Each time during a conversation he would say, “Wow. I just wish that I could convince my boss to bring you down and talk to the membership about what we have here.”
In every telephone conversation, my Little Rock Mason would consistently explain that his superiors had no intention of hiring anyone to help fix the scenery; he was going to have to figure out how to do it by himself if they wanted to use a damaged one for the next reunion. So we would game plan for what was possible on his end, as he would be working alone. “They really don’t understand the stage or what needs to be done here,” he repeatedly explained to me over the years.
The Albert Pike Memorial building stage. Picture posted online. Note that a drop is being worked on and the one ladder would be the one that my friend used to lower the scene all by himself.The Albert Pike Memorial building auditorium.
He acquired my name and number from the “boys in McAlester.” It was one of the many times that he was desperately reaching out for help and seeking advice after a backdrop ripped. Through the grapevine, he discovered that the Scottish Rite in McAlester, Oklahoma, had hired a “little gal from the north” to “fix” their scenery. They passed along my number and he gave me a call.
A backdrop from the Albert Pike Memorial building. Picture was posted online. Notice the central fold in the fabric running vertical along the scene. This suggests that their was a pucker in the fabric when it was attached to the batten after a repair.
Each time I picked up the phone, I planned to be occupied for an hour or so, hearing about his scenery problems and all of the administrative obstacles. I envisioned a white-haired gentleman who still was full of “piss and vinegar.” He was skeptical of the “higher-ups” and wanted to do his best, as he loved their scenery collection and the backstage area. I learned a lot about the administration in Little Rock from his unique point of view. Over the years, I passed along as much information as possible to do adequate job, especially as he would be working alone without any additional sets of hands. The work was going to happen anyway, so he might as well have some guidance, albeit was from a few states away.
A backdrop from the Albert Pike Memorial building. Picture was posted online. This is the treasure chamber for the 15th degree.
They were only a few things that ever made me cringe when chatting on the phone. The most memorable was his describing how he could remove a backdrop from the lines all by himself. He put large eye screws in the stage floor and secured the lines to them, as he slowly unhooked each of the three pick points and removed the backdrop. Eek. I envisioned what the Little Rock stage floor must look like – large holes from the eye screws everywhere. He explained that it was a less than an ideal situation, but there was no one else to help and his employers refused to hire anyone to help with the repair. Once again, his situation depicted that those who understand the significance of historic scenery collections are often not in charge. In fact, these Masonic historians, or stewards of the backdrops, are devoid of any type of support or financial assistance when a backdrop is damaged.
A backdrop from the Albert Pike Memorial building. Picture was posted online. The is the hell scene for the 18th degree.
I know that the current 1923 collection has been extensively patched and handled over the years. Their collection won’t last forever and my friend has since retired. Hopefully, his replacement cares as much about their historic scenery collection as his predecessor.
Exterior of the Scottish Rite in Pasadena, California.
A little after 8:00 AM I arrived at the Scottish Rite. My goal was to attach the top and bottom battens by 10:00AM so that we could hang the scene before my departure at 2:00PM. This should be a fairly simple task to accomplish…if the battens had been labeled per my request when they were removed from the drop. If these were the only wooden sandwich battens along the back wall of the stage, that would be one thing – but there were others.
So I started to pull from the pile the ones that I thought might be for the scene. On top of this, one of the two volunteers was not going to make it. In a way, this was a little bit of a relief as the “hunting” was going to be problematic at best. The only worse thing would be an assistant randomly pulling lumber and asking, “Is this it?” A one point, my sole volunteer pointed to a stack of neatly labeled lumber on one of the racks and suggested that the pile might be from our drop. As I looked at the handwriting on the masking tape labels, I said, “Those are MY labels from the last time I was here and we had to remove the bottom battens from a damaged leg drop.”
There are a few fortunate things that happened during the search. The first was that the bottom batten was painted to match the scene. The second was that the top batten had paint slopped on it from the 1940s when the scene was touched up. All I had to do was match the screw holes, right? Well, kind of… You see there were two sets of screw holes – the first from when the scenery was installed in Little Rock, the second from when the scenery was installed in Pasadena. It took some time, but I was attaching the battens by 10:00AM.
Over the years, I have gotten pretty smart about how I attach the fabric to the battens. The big thing is that I use tables and work standing up. This saves my back and time. Well, this method only works with a minimum of three people, ideally four. I had one – so I started to create my guidelines on the floor, determined to occasionally stand up and stretch my back. Twenty years ago, attaching battens on the floor was a snap – no so much anymore. There was not much help as my volunteer could not easily kneel on the floor either. Looking like I was stretching for yoga, I slowly scooted along the filthy floor, thankful that I had a change of clothes for my flight that afternoon.
Now, the second problem – locating the screws. We had picked up new screws as sometimes the old hardware was compromised during the removal from the batten. The Valley requested that I reuse the slotted screws. Ok. I did, but all couldn’t be located at first. Ironically, my assistant found the screws on top of a table in a stage left alcove. I cannot tell you how humorous I found his finding the screws next to the mannequin of the “dead Hiram” that was laying on the table. Of all the places to find them! So with all of the screws, except three that had snapped during the initial removal, I completed attaching the battens.
Then we waited for my rigging crew to show up, after I sent the “ready to go” text. Nothing like having a professional crew on standby. Everything worked beautifully and the drop was up in the air by 1:30PM – just in time.
This project was the perfect “dry run” for the upcoming restoration work. I have my rigging crew and am thrilled with their personalities and abilities. This was also a good run for the Valley as they now know me, my work, the complexity of handling historic scenes and the hanging of backdrops.
Tomorrow, I am back to the storyline in my blog about Thomas G. Moses in the year 1896.
The new solar panels over the Pasadena Scottish Rite parking lot, providing shade for the cars and power for the building. The is really a healthy and vibrant Valley that is looking toward the future.
I was able to finish the fabric repair on the crucifixion drop at the Pasadena Scottish Rite yesterday. The patches needed to fully dry overnight, so that the battens could be attached this morning before my departure. Everything appears to be still on schedule.
The central damage to the crucifixion scene at the Pasadena Scottish Rite.Preparing to join the two halves of the crucifixion drop at the Pasadena Scottish Rite.
The reason that I love scenery restoration work is the uncertainty and surprise. You can never be positive of the outcome. Dye batches, textile mills, and the stage environment all wreak havoc with the scene over decades; there are no guarantees or standard guidelines to follow. Trying to rejoin a drop that has been ripped in half has a dozen possibilities for an unsuccessful end.
There could be puckering along the patch as the historic fabric and the fabric of the new patch shrink at differing rates. The glue can bleed through to the painted surface, causing unsightly dye lines. The fabric can have stretched to such an extent that the painted composition is a ½-inch off. Wrinkles may be introduced to the scene while gently pulling the two sides together as the fabric will stretch when damp before tightening up again. The list is unending and one cannot anticipate many of the problems that will be encountered.
Finished repair after attaching thirteen reinforcement strips and the central patch for the crucifixion scene at the Pasadena Scottish Rite.
Yesterday, everything went like clockwork as I slowly pieced the scene together with a series of patches. The patch must absorb the majority of the liquid in the glue before placing it onto a historic backdrop; this prevents potential dye lines. However, there is a small window of time when the patch is “perfect” for attaching to the scene before it becomes too dry to still adhere to the fabric. I was lucky today and had good help.
View of the various patches applied to the back of the crucifixion backdrop at the Pasadena Scottish Rite.
For all of the patches, the fabric was so thin that the glue immediately bled through to the painted surface, yet I was fortunate as there were minimal dye lines. I had to determine the perfect amount of glue and set time before applying the patch, preventing unsightly dye lines yet allowing the patch to hold. If there is not enough glue or the “set up” time is too long, the patch won’t stick or stay secure. You don’t know if the patch is successful and undetectable from the audience until the repair is fully dried. Every step is a gamble.
I waited an hour for the center seam to dry and then I began attaching the reinforcement strips along the top and the bottom edges. For the center seam, I joined the two pieces “face up.” I used this same technique for the 4” reinforcement strips at the top and bottom. Luckily for me, one of the volunteers showed up to help me with the reinforcement strips as they were over 20 feet long.
Then, I dealt with the splitting seams in the translucent areas. Although I used theatrical gauze for the central rip, the remainder of the seams were reinforced with a small amount of glue applied to the underside of the seam. This secured it without using a 1” strip that may be visible in the end. There were many other small patches to place, but it all went well and the repaired scene was completed.
It was a successful repair as the president of the building association couldn’t detect the original central rip.
In the afternoon, we met with the local TD who would secure a rigging crew to hang the scene. By the way, when is one of the worst times to locate a certified rigger in Pasadena? That would be immediately after the Oscars – this week. We are still hoping to get the drop up in the air before my departure. That is is something that I had not thought possible upon assessing the damage upon my arrival two days ago. So, off I go in great hopes that everything will continue to work out. Attaching battens is as risky as attaching a patch, and I am sure that there will be surprises along the way.
As the Song Goes, “Always Look on the Bright Side of Life” (cue the whistling). It was an appropriate tune while repairing the crucifixion scene at the Pasadena Scottish Rite Cathedral yesterday.
Last November, the Crucifixion backdrop at Scottish Rite in Pasadena, California ripped in two. The damage was instigated by a horizontal tear near the top batten on the stage right side. I had notified the Valley about this impending problem during my visit in August 2016 when I was evaluating their scenery collection. At the time, the rip had temporarily “paused” at a vertical seam. It took fifteen months before the rip would finally break through that seam and continue across the drop. Near the center of the drop, there was another weak spot in the fabric, causing the rip to change direction and become a vertical tear.
The damage that I was anticipating at the Pasadena Scottish Rite. A few large tears in the crucifixion backdrop.
In addition to this massive damage there were many other problems, punctures and previous repairs throughout the drop. One of the patches was attached to the drop with hot melt glue, making me cringe as this particular adhesive destroys historic fabric.
This hot melt glue patch is not the first one that I have encountered. Have I mentioned how much I hate people who use hot melt glue on historical scenery?The damage caused to the fabric substrate when trying to remove hot melt glue. No, freezing it does not work like gum on a shirt.
It is impossible to remove without destroying the fabric, but cannot remain as it does not provide adequate support. In short hot melt glue cause more damage to historic fabric than almost anything else – except water. All of the previous patches on the Crucifixion drop were also starting to fail and needed to be replaced.
If this damage weren’t bad enough, there were two other factors were at play: extremely thin fabric and a later application of flame retardant.
The rust tinge caused by applying flame retardant to the back side of a drop that is already painted. It takes a few decades to appear, but flame retardant sprayed “after the fact” is a death sentence to historic scenery.Notice how thin the fabric is for the Crucifixion backdrop at the Pasadena Scottish Rite Cathedral.
The fabric was akin to fine theatrical gauze. I had never encountered such a fine backdrop material before and was shocked at the choice. The translucent areas had been left as raw muslin and darkened over time, especially with the application of flame retardant. The particular formula of flame retardant in 1949 stained much of the fabric, giving everything a slight look of pale rust stains. Flame retardant, applied “after the fact,” also left standard damage that included flaking paint and crunchy fabric. The combination of these two factors made some areas of the drop feel like old tissue paper, ready to crumble at a moments notice. The combination of all the above-mentioned elements contributed to an even larger problem; all of the vertical seams were starting to fail.
One of eleven failing vertical seams.
I had anticipated the two large rips and needing to replace some previous patches. I had not anticipated the failing of all seams, nor had the pictures depicted this particular issue as I corresponded with the Scottish Rite representatives over the past few months. I had allotted a two-day repair with hanging the drop on the morning of my departure. There would be no extra time for me as I had another project waiting at home.
Immediately upon my arrival at the Burbank airport, we dropped off my supplies at the Temple before heading to my hotel. My flight had been delayed and it was after 1AM in the morning when the plane landed. Upon visiting the Scottish Rite, I assessed the damage and felt that familiar sinking feeling of impending doom. As the damage was far more extensive that anticipated, I began my preparations for the next day by 2AM.
Button on the Pasadena Scottish Rite light board.
Unless I managed to put in about five days time in 2 ½ days, the drop would never be ready to hang before my departure. I knew that I would never be able to see it hang, but I could make sure the drop was repaired. Yesterday was a long day, 9:00AM until 11:30PM. On the bright side, I will likely make my target. What I did manage to accomplish was the following: carefully removing the remaining wooden battens; preparing the space for restoration; cleaning the damaged areas; and reinforcing the splitting with vertical patches.
One more day of my life spent crawling around on my hands and knees over historic scenery. Regardless of the physical strain, lower back paint, and sore shoulders, I was blissfully happy (as almost always). There is something wonderful about trying to revive a scene that most would deem unsalvageable and likely find its way into a dumpster. For me, it would be unconscionable to walk away, explaining that the vertical seams were failing and no amount of help could salvage the torn remnants. I decided to look at it as a challenge a make the best of my time here.
In the morning, I presented the various options for repair to the President of the Temple Building Association in light of the new discoveries. We decided to apply a vertical patch to each seam as there was not time or material to back the entire drop. There are several reasons for selecting this method, timeframe being the most important. So, I cleaned the seam and began slowly patching each of the eleven vertical seams. I needed to finish all of them the first day, so that I could focus on the actual rip next and the reinforcement of the top and bottom the second day.
A photo of my progress while patching the splitting seams on the crucifixion drop at the Pasadena Scottish Rite. I will use different fabric for patches in the translucent section of the sky so that they are not visible when backlit.A view of the backdrop repair occurring on the stage form the light booth at the Pasadena Scottish Rite.
Thomas G. Moses started preliminary negotiations for the resale of the Little Rock scenery to the Pasadena, California, in 1921. Moses would later join the Fraternity and become a member of the Pasadena Scottish Rite. I want to take a moment to explore why he possibly spent so much time trying to relocate the old Little Rock scenery to Pasadena. Furthermore, why would he join the Scottish Rite in Pasadena and not Chicago, especially when he was dividing his time between Chicago and Oakland? I believe that he preferred the degree work of the Southern Jurisdiction; the designs were more familiar to him. In 1926, Moses wrote, “I feel that we are a trifle shy on the proper designs for the northern jurisdiction, which are somewhat different from our southern, of which we have done by far the most.”
Moses also had an artistic connection and an emotional attachment to the 1896 Little Rock scenery collection. As a member of Pasadena, he would continue to see not only some of his best work, but also that of his good friend and mentor, David Austin Strong, another Sosman & Landis artists who Moses credited as the “Daddy of Masonic Design.” I think it was much more than making a dollar on a used scenery collection, or even trying to offload some old product. I believe that Moses carefully considered which Scottish Rite that he would join, and what painted scenery he would want to see during degree work. He also donated fine art to the Pasadena Scottish Rite when he became a member.
So, the original Little Rock scenery still hangs above the Pasadena stage and is used. Although it has been repeatedly tampered with over the years, and added to by other studios, the remnants of late-nineteenth century art are visible, as well as the individual paintings of Moses and Strong.
Today’s scenery at Pasadena, Yankton, Salina, and Austin all share one thing in common; they are some of the earliest installations in the Southern Jurisdiction and all have backdrops painted by Strong. His work is some of the most beautiful scenic art that I have ever encountered and he was credited as being the last American scenic artist to represent the Dusseldorf school. Walter Burridge affectionately referred to Strong as “Old Trusty.” Fellow scenic artists heralded Strong’s skill, his “facile brush,” and his “quality of opaqueness” (Chicago Tribune, Dec. 18, 1892).
An example of what I believe to be David Austin Strong’s work. This is a detail from a Little Rock drop currently hanging in Pasadena.An example of what I believe to be David Austin Strong’s work. This is a detail from a Little Rock drop currently hanging in Pasadena.
I am currently in Pasadena Scottish Rite to repair the crucifixion backdrop at the Scottish Rite; it ripped in half and plummeted to the stage. A few years back, I completed a similar repair in Grand Forks when their Hell scene split in two. The Pasadena version, however, is almost beyond repair as there is other extensive damage throughout the composition. My flight arrived quite early this morning, after a series of delays, so the day is starting out a little slow.
Luckily for me, there will be some “dry time” while I am on site completing the repair. I intend to look for more clues indicative of the studio practices at Sosman & Landis from the late-nineteenth- through early-twentieth century. If anything, I have promised Rick Boychuk some detailed rigging pictures as I believe that the system may be from the 1902 Albert Pike Consistory in Little Rock.
Dry pigment has four categories: earth colors, organic colors, manufactured colors, and mineral colors. Earth colors are those such as ochre, umber, and sienna. Organic colors are often plant-based like the indigos and Indian yellows or the red that is made from insects (cochineal). The manufactured colors are produced with a chemical process and are often the most toxic, but stunning. Mineral colors, such ultramarine (ground lapis lazuli), often have chemically-manufactured versions. In the end, some colors are considered “fugitive,” meaning they and are prone to change. Other colors may be labeled “poisonous” as they not only change, but also attack their neighbors.
My smallest dry pigment palette. This was when I was preparing to touch up at patch on a historic drop at the SOKOL Hall in St. Paul, Minnesota.A selection of dry pigments brought to Santa Fe to be photographed and included in the book, “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” Museum of New Mexico Press, 2018).
Dry pigment painting is incredibly complex if you are unfamiliar with the medium. There are surprises that will occur with certain color combinations. Old books, manuscripts, and other publications may briefly mention historical painting techniques with dry pigment, but you have to look for them. The Chicago Sunday Tribune article “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” described the challenges of certain colors for the nineteenth century scenic artist (Dec, 18, 1892, page 41). For the article in its entirety, see installments #246 to 251. The article reported that scenic artist “must avoid powerful greens which become coarse” and “strong blues which grow black.” Furthermore, they must “exaggerate yellows which are robbed of strength by excessive light.”
I love studying dry pigment and historical scenic art techniques. It is both exciting and extremely frustrating. Just like making bread, a few simple ingredients can produce drastically different end products. To explore the nuances and master the color combinations is more than a simple challenge. Producing a new painting with dry pigment is radically different than trying to match colors during restoration. A new painted composition becomes all about technique. Restoring an old composition is all about science. You need to identify identify the correct color combination while factoring in discoloration, color characteristics and other factors that will continue to affect a hue over time.
“In painting,” or retouching damaged areas of paint on any historical backdrop is appealing to many people. You need to get in the original artist’s head and take the whole composition into account. This is the big appeal for many individuals during a restoration project, especially if they are artists.
Working on a Scottish Rite drop in Danville, Virginia, 2012.
I have frequently had people say, “give me a call when you get to the painting part.” They simply don’t understand that most of my knowledge comes from handling the historic scenes well before picking up a brush to apply any paint. One must also be familiar with the history of scenic art techniques as well as the history of color. Unless there is severe water damage, applying paint to a historic backdrop makes up approximately 5%, or less, of any restoration project. Ideally, you don’t want to apply any paint at all if the damage is minimal.
During restoration it is imperative to create a color chart of the colors. Dry pigment colors vary from manufacturer to manufacturer. Slight changes of color occur over time. Think of the current need to place batch numbers and manufacturing dates on cans of paint. There are always variables and if the paint fails, the manufacture needs to consider what happened to that entire batch, or whether something happened to the paint after it left the factory.
Scraps of dry pigment boxes shipped to Thomas G. Moses while working on site at the Scottish Rite theater in Fort Scott, Kansas.Bag of dry pigment from Gothic. Dry pigment was shipped to restoration artists on site while working at the Scottish Rite in Deadwood, South Dakota (1990s).Bag of dry pigment found backstage at the Deadwood Scottish Rite during November 2017.
For dry pigment powders, you cannot always identify a manufacturer, or even the decade when it was made. Some colors are no longer available, and yet they are still needed when mixing the correct sky colors. There is also the consideration that not every drop used the correct color combinations in the beginning. Not every studio purchased a good batch of binder and not ever paint boy prepared the size water correctly. I am sure that some projects left the studio with the instructions “just get it out the door today.”
Some colors have high dye contents. This means that a particular color – like malachite green – will continue to permeate any other color placed on top of it. A pure white highlight painted over a malachite green base will become a lovely shade of pale green. No matter how thick that white paint is when applied, the base color will rise to the surface. You have to understand what colors must be used sparingly. There is a science to the paint mixing and application.
The preparation of the dry pigment paste is also very important in the painting process. If you rush the preparation and a few granules do not dissolve in the paste they will eventually reappear – even a century later. Pigment granules that did not dissolve at the time of initial application will blossom when water (or any liquid) is introduced at a later date. You can literally see the granules on the surface of historic drops and there is nothing that can be done. If they are scraped off, the powder will spread and the color reappear. If the painted surface becomes wet, a yellow background with small particles of magenta that was mixed into the base color to “warm it up,” with turn the area bright pink.
Then there is whiting. Whiting is the wild card when mixing paint. It was a product used by scenic artists to both prime the fabric surface and lighten some of the colors. When mixed with other colors it can cause a wet color to appear many shades lighter once dry.
The difference between a wet and dry color (dry pigment and size water).
Light colors are the most tricky to match during restoration as the wet color applied to the composition appears to be nothing like what you are matching. You just have faith that it will dry the same shade and that there wasn’t anything in the original base coat that will shift the final color. The variables are the type of whiting and the type of color. There is nothing like having a dark blue magically transition to sky blue in the last thirty seconds of drying a test sample.
Adding whiting during restoration of roll drop last summer. Shieldsville Catholic Church, 2017.Matching color during restoration of a roll drop last summer, Shieldsville Catholic Church 2017. Being able to use similar scraps of old drop fabric is very helpful.
Regardless of all the ups and downs, painting with dry pigment is extremely exciting. It is therapeutic, like the ceremony of making tea. Yes, some people can heat up a cup of water in the microwave and plop a tea bag in for their cup of earl grey. However, there is another process: the careful measuring of loose-leaf tea, the correct water temperature and straining the tealeaves that is almost like a ritual. Your first sip marks success. The preparation of dry pigment and hide glue mirrors that same ritual process for me. Anyone can pop open a can and scoop out color. I enjoy sharing a heritage with those who came before me.
