Scottish Rite History – Page 2

Tales from a Scenic Artist and Scholar. Part 896 – The Omaha Scottish Rite, 1914

Photograph from my visit to the Omaha Scottish Rite during June 2018.

In 1914, Thomas G. Moses wrote, “Some new Masonic work for Omaha, Nebr.” Moses was referring to the new scenery and stage machinery purchased for the Omaha Scottish Rite Temple on Twentieth and Douglas streets. The firm previously delivered some scenery for Scottish Rite degree work for the Masonic Temple on Sixteenth and Capitol Avenue. The 1914 work mentioned by Moses was an addition to an earlier collection delivered by Sosman & Landis.

Omaha was one of four Scottish Rite meeting places in the state, with the other three located in Lincoln, Fremont and Hastings. In 1914, Sosman & Landis also worked on other Scottish Rite projects that Moses recorded, “furnished a lot of work for the boys.”

On May 18, 1914, the “Omaha Daily Bee” reported:

“Scottish Rite Initiation to Be in Last in Old Building. A class of fourteen will receive the twenty-first degree in Scottish rite masonry Monday evening at the Masonic temple, Sixteenth street and Capitol avenue. This is the last class which will receive the preceptor degree in the old Masonic temple, as it is believed that the new Scottish Rite temple at Twentieth and Douglas streets will be completed and occupied by the order at the time of the initiation of the next class. Refreshments will be served following the initiation Monday evening” (page 10).

The Spring Reunion boasted a class of forty-cone candidates who received the fourth to eighteenth degrees, using Sosman & Landis scenery previously purchased for degree productions. During the two-day reunion, Scottish Rite degree work for the fourth to fourteenth degrees were completed on Tuesday and degree work for the fifteenth to eighteenth degrees were completed on Wednesday. This means that the original Scottish Rite stage in Omaha only had scenery to use for the fourth to eighteenth degrees. A list of all the candidates was published in the “Omaha Daily Bee” on 25 March 1914 (page 3). By the next spring reunion, there were one hundred Scottish Rite candidates in the class at the new building (Omaha Daily Bee, 25 March 1915, page 8).

Images of the Omaha Scottish Rite before it was dedicated in 1914.

The dedication ceremonies in the new building were held on November 16. The Omaha Scottish Rite was erected at a cost of over $225,000. Of the Omaha Scottish Rite’s new home, the “Omaha Daily Bee” reported, “The new Scottish Rite Cathedral is a three story structure, with high basement, built of Bedford granite, with imposing Ionic columns and porticos. The auditorium on the second and third floors where the initiations will take place, is an attractive modern theater, with a stage 30×40 feet and a seating capacity of about 1,000. It is tinted in cream with pink decorated panels and has all the arrangements for lighting, stage settings and precautions against fire, of the most up to minute theater. It has a wardrobe and paraphernalia room adjoin” (1 Nov. 1915, page 25). The size and scope of the project increased over course of the year.

M. C. Lilley & Co. of Columbus, Ohio, received the contracted for Omaha’s Scottish Rite theater. They subcontracted the 1914 set of scenery to Sosman & Landis. Keep in mind that by 1914, Moses had been associated with Sosman & Landis since 1880. He was the current vice-president of the firm and supervised all design, construction, painting and installation. He also negotiated many of the contracts. After Landis’ passing, Moses’ role in the company continued to expand, while Sosman’s responsibilities diminished. It was not easy sailing for Moses during this time; especially when studio projects continued to increase, necessitating the use of annex studios and regional offices.

In 1914, the Omaha Scottish Rite project also encountered a series of snags during planning and production. First and foremost, there was a misunderstanding concerning who was responsible for the structural work necessary to support the scenic drops. It was unusual for anyone else besides M. C. Lilley or Sosman & Landis to install the stage machinery, so I m perplexed that this was an issue. Part of the standard procedure for Scottish Rite scenery installations at that time was that they were suspended from “Brown’s special system.” There was always a company representative who was there during the first reunion to help supervise the operation of the system.

Furthermore, the Omaha Valley Scottish Rite reduced the number of drops to less than half due to the expense, likely deciding to reuse much of the original scenery collection; a common practice for many Scottish Rite’s at the time, but this bit into the expenses expended by the studio during the planning and designing process. The original plan for eighty line sets sixty line sets was reduced to sixty, greatly affecting the final workload and anticipated profits. These two factors, contributed to a delay in the final delivery of the scenery, so it was not until the Spring Reunion of 1915 that everything was in place. That scenery remained in place for the next eight decades.

In 1980, Dr. John R. Rothgeb of the University of Texas in Austin inquired about the original scenery. He received a response from the Secretary D. William Dean that April. Dean responded that the Omaha Scottish Rite currently owned 47 “beautiful curtain drops.” He then wrote, “…and they are all originals. They are remarkably in good condition considering their age as is also the Building which we have tried to keep in the very best of repair.” Over the course of the next sixteen years, however, someone would make the decision to get rid of these drops and purchase a the used scenery from the Kansas City Scottish Rite.

The Omaha Scottish Rite purchased from the Scottish Rite scenery collection from Kansas City, Kansas in 1996 for $40,000. The Kansas City, KS, Scottish Rite scenery dates from the 1950s. It was painted by Maj. Don Carlos DuBois, representing the Great Western Stage Equipment Co. I was able examine all of the current backdrops at the Scottish Rite Theatre in Omaha, Nebraska, on June 15, 2018, while driving south for “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” book signing.

The Kansas City Scottish Rite sold their scenery to the Omaha Scottish Rite in 1996.

The used scenery was available for purchase because the Kansas City Scottish Rite put it’s building on the market in 1996 and moved to a new location. I initially learned of the collection’s relocation to Omaha while researching Scottish Rite compositions for my doctoral dissertation. For a while, the entire set of backdrops was posted online at the time. In the end $140, 000 was spent to purchase, remove, transport, and install the new drops in Omaha. Stylistically, the painted aesthetic of each collections was decades apart.

I still don’t know what happened to the original 1914 Sosman & Landis scenery, as only bits and pieces of stage machinery remain in lobby display cases.

To be continued…

Tales from a Scenic Artist and Scholar. Part 895: The Asheville Scottish Rite, 1914

Asheville’s Scottish Rite stage is in the Masonic Building.

In 1914, Thomas G. Moses wrote, “We received an order for Masonic scenery for Asheville, N.C.”

Sosman & Landis scenery delivered to the Asheville Scottish Rite.

Moses was referring to the scenery collection still housed in the 270-seat theatre. I only know the contents of the scenery collection as Lance Brockman and Larry Hill gifted to me their slide collections. There are also many images posted online, showing the stage area during a variety of events from musical performances to yoga classes. The yoga class on stage beneath historic scenery surprised me, especially when considering the likelihood of dusting dry pigment, flash powder and other contaminants).

A yoga class on stage at the Asheville Scottish Rite.

From various websites, both public and fraternal, I discovered that the building is currently the only one on the National Register in Asheville retaining its original use. At least it has note ben sold and divided to make apartments. Like a few other Masonic stages across the country, the Asheville Masons decided to partner with a local group. In 2010, the Masonic Temple in Asheville, North Carolina, formed a partnership with the Montford Park Players. One of the stated plans was to integrate dinner with live performance.

Of the historic stage used by the community theater, a MountainXpress.com article noted, “There are 48 backdrops, all hand painted by Chicago artists Thomas Gibbs Moses, hanging in the eaves and rafters above the theatre (which haven’t been moved since 1915). The article continued, “These backdrops are visually stunning, and will add to the dimension an quality of the Montford Park Players’ performances.” Unfortunately, much of the information in the article was incorrect, such as Moses painting the drops in 1951; that would be almost three decades after his passing. Moses’ supervised the painting, but certainly did not painted every drop for the venue. Unfortunately the article at Mountainx.com has since been removed and the images are no longer available.

Here is what I discovered about the venue, as noted in historic newspapers. During 1912, several plans for a new temple were brought forward, and an arrangement was entered into between the York Rite bodies and the Scottish Rite bodies in the City of Asheville (“Asheville Citizen-Times,” 2 July 1913, page 5). The architect for the endeavor was Richard Sharp Smith. Smith designed Asheville’s Masonic Temple in the same year that he founded the North Carolina chapter of the American Institute of Architects. Interestingly, Smith was the same a British-born Freemason hired to supervise the construction of Biltmore Castle.

In the end, Asheville’s Masonic building was erected at the cost of $50,000, with the funding being equally divided between the Scottish Rite and york Rite. The Scottish Rite paid for the third floor furnishings that included the stage and equipment. The York Rite paid for the second floor furnishings. Both Scottish Rite and York Rite bodies furnished the first floor, as it was complete with offices, lodge rooms, banquet hall, and kitchen. The cornerstone laying ceremony was under the Grand Lodge of North Carolina and took place on July 1, 1913.

1914 marks a significant moment at Sosman & Landis in regard to Scottish Rite scenery and stage machinery. That year, several collections were produced and shipped across the country to Scottish Rite theaters, including Grand Forks, Tucson and Asheville; each was mentioned by Moses in his diary. Many of these collections are still used, but falling into various states of disrepair.

For decades the scenery was only used twice a year, at each Scottish Rite reunion in the spring and fall. Citing decreased membership and increased expense, many Masonic theater buildings have opened their buildings for public rentals. One rental feature is the Masonic stage and historic scenery collection. The painted settings are popular for weddings, banquets, community theatre productions and musical performances. Many stages are encountering more use in six months that the previously six decades. This causes a problem as most theater systems have never been maintained or repaired since their original construction.

A rental event at the Asheville Scottish Rite.

A wedding at at the Asheville Scottish Rite.

A musical performance at the Asheville Scottish Rite.

Those who currently step on a Scottish Rite stage marvel at the condition of many elements, much of the pristine appearance is from lack of use. Some stages that have been excessively used over the century show it, as both scenery and operating lines look quite tattered. It will be interesting to see how the historic scenes stand up to increased use across the country and if any lines fail during a public performance in the near future. So far, any drops that have fallen to the stage have occurred after performers departed the building. The guardian angels may be working over time.

To be continued…

Tales from a Scenic Artist and Scholar. Part 869 – It’s All a Masonic Circus

In 1914, Sosman & Landis delivered scenery for the Ringling Bros. grand circus spectacle, “King Solomon and the Queen of Sheba.” By that year dozens of Scottish Rite stages had been constructed and held massive scenery collections to stage Scottish Rite degree productions, many that told of events surrounding the reign of King Solomon. Masonic backdrops depicted the private apartments, throne room, courtyard and the Temple of King Solomon.

To look at the sixty-one Scottish Rite scenery collections solely produced by Sosman & Landis (Chicago) and Toomey & Volland (St. Louis) from 1896-1914 puts the Ringling Bros. “King Solomon and the Queen of Sheba” spectacle in perspective. These 61 scenery installations include Scottish Rite Theatres in Little Rock, Arkansas; Tucson, Arizona; San Francisco, Stockton and Los Angeles, California; Atlanta, Georgia; Chicago, Springfield, E. St. Louis, Quincy and Bloomington, Illinois; Davenport and Dubuque Iowa; Fort Wayne, Indianapolis, and Evansville, Indiana; Fort Scott, Fort Leavenworth, Wichita, Kansas City, Lawrence and Salina, Kansas; Louisville and Covington, Kentucky; Portland, Maine; Bay City, Michigan; Duluth and Winona, Minnesota; St Louis and Joplin, Missouri; Omaha, Nebraska; Butte and Helena, Montana; Clinton and Jersey City, New Jersey; Santa Fe, New Mexico; Rochester and Buffalo, New York; Charlotte and Asheville, North Carolina; Grand Forks, North Dakota; Toledo, Davenport, Youngstown and Canton, Ohio; McAlester and Guthrie, Oklahoma; Bloomsburg and Pittsburg, Pennsylvania; Yankton, South Dakota; Memphis, Tennessee; Dallas, El Paso and Austin, Texas; Salt Lake City, Utah; Danville, Virginia; Milwaukee, Wisconsin; Wheeling, West Virginia; Tacoma, Washington; and Cheyenne, Wyoming. There were also those produced by lesser-known studios too. The point is that Masonic membership was dramatically increasing during the early twentieth century.

King Solomon setting by Sosman & Landis at the Scottish Rite theater in Yankton, South Dakota.

King Solomon setting by Sosman & Landis at the Scottish Rite theater in Grand Forks, North Dakota.

King Solomon setting by Sosman & Landis at the Scottish Rite theater in Tucson, Arizona.

King Solomon setting by Sosman & Landis for the Scottish Rite theater in Winona, Minnesota.

All of the Ringling brothers were a Scottish Rite Masons and members of the Scottish Rite Consistory in Milwaukee. By 1913, the Milwaukee Scottish Rite boasted a Sosman & Landis scenery collection, one specifically supervised by Thomas G. Moses during its production.

King Solomon setting by Sosman & Landis at the Scottish Rite theater in Milwaukee, Wisconsin.

The Ringling family all began their Masonic journey in Baraboo Lodge No. 34. There were two other circus families who also belonged to that lodge, the Moellers and the Gollmars. The Ringlings, Gollmars, and Moellers were all related through marriages to the three Juliar sister. Marie “Salome” Juliar married August Ringling (Rüngeling), father of the Ringling Brothers. Her sister Katherine married Gottleib Gollmar, father of the Gollmar Brothers. Mary Juliar married Henry Moeller, father of the Moeller Brothers who became famous as manufacturers of circus wagons and materials.

Gottlieb G. Gollmar (1823-1914) was the son on of Joachim Gollmar & Franziska Caroline Wolf, born in Baden-Würtemmberg, Germany, arriving in the United States at the age of 9 and settling in Valley City, Ohio. He married Mary Magdeline Juliar in Chicago on 17 Nov 1848 and moved to Baraboo in 1851. He and was one of the seven charter members for Baraboo Lodge No. 34 and patriarch of the Gollmar Brothers circuses.The Gollmar Bros. Circus was operated by brothers Walter, Fred, Charles, Ben and Jake Gollmar and lasted until 1926, finally touring as the Patterson-Gollmar Bros. Circus.

Katherine Juliar married Henry Moeller, an immigrant born in Saxony. He learned the trade of a wagon maker in Milwaukee after arriving in the United States. Moeller founded a blacksmith shop in June 1856, a business later operated by his sons Henry and Corwin as the Moeller Bros. Wagon Co. (Wisconsin State Journal, 265 April 1937, page 12). First cousins to the Ringlings and Gollmars, their shop was located at Third Avenue in Baraboo where they built many of the ornate wagons for the Ringling Brothers’ circus, including the famous Bell Wagon of 1892. For many years, the wagons used by the Ringling Brothers were made exclusively in the Moeller Bros. shops, costing as much as $800 each, exclusive of painting.

Marie “Salome” Juliar married August Rüngeling, and their children formed the Ringling Brothers circus. August and his seven sons all joined the Fraternity between January 1890 and August 1891; each being raised in Baraboo Lodge No. 34. This is not unusual, as Freemasonry was often a “family affair” for fathers and sons. Here is when each Ringling brother became a Master Mason: Alf T. (January 22, 1890), John (March 1, 1890), Al (March 29, 1890), Charles (April 9, 1890), Otto (April 9, 1890), Gus (Feb. 4, 1891), Henry (March 18, 1891), August Rüngeling (August 9, 1891). However, it was their combined roles as Masonic officers during 1891 that caught my eye. In the minutes of a meeting on April 8, 1891, Alf T. was listed as Worshipful Master; August “Gus” was listed as Senior Warden; Al was listed as Junior Warden; Charles was listed as Senior Deacon; Otto was listed as Junior Deacon; and Henry was listed as Senior Steward.

The Ringling Bros. bell wagon manufactured by the Moeller Bros.

Ringlng Bros. circus train in Baraboo, Wisconsin.

In 1900, “The Buffalo Courier” included the story of the Ringling family in a section called “Travelers Toward the East” (9 Dec. 1900, page 25). The article reported, “A Masonic journal says that the Ringling brothers are known all over the country as the proprietors of the Ringling Circus. Seven of these brothers are members of Baraboo Lodge No. 34 of Wisconsin jurisdiction, and after the seven were all members of the lodge the petition of the father was received. The Ringling brothers qualified themselves to confer the degrees were assigned to the several positions in the lodge, received the father into the lodge and conferred the degrees upon him.”

Five of the Ringling Bros., advertised as Kings of the Circus World.

Baraboo Lodge No. 34 was almost four decades old by the time the Ringlings became members. Besides belonging to Baraboo Lodge No. 34, the seven brothers also belonged to Baraboo Valley Chapter No. 49, R.A.M (Royal Arch Masons); St. John Commandery No. 21 K.T. (Knight Templars) of Baraboo, and the A.A.S.R. (Ancient and Accepted Scottish Rite) in Milwaukee. The lodge rooms were above McGann’s Furniture in the building at the Northwest corner of Oak and Second Avenue, but a new building was in the making in 1891. The same month that their father was raised, the “Wisconsin State Journal” reported that the corner stone for the Baraboo Masonic Temple was “to be laid with great ceremony” that Thursday (25 August 1891, page 1). A formal procession was formed and consisted of the Baraboo lodges, Eastern Star Chapter, Royal Arch Masons, Knights Templar, members of the Grand Lodge, the members of the city council, and led by the Baraboo military band.

The three Juliar sisters who married Ringling, Gollmar and Moeller also had a brother, Nicholas Juliar (1841-1920). Nicholas collected his sisters’ circus memorabilia and his personal effects are now part of the Memorial Library, Southern Minnesota Historical Center, Minnesota State University – Mankato. Unlike his famous relations, Juliar was a banker, auctioneer, and member of the Minnesota House of Representatives for two terms. To be continued…

Tales from a Scenic Artist and Scholar. Part 868: The John Robinson’s Circus “King Solomon and the Queen of Sheba,”

In 1914 Sosman & Landis created scenery for the Ringling Bros. grand circus spectacle “Solomon and the Queen of Sheba.” Over a decade earlier, the John Robinson circus also included “King Solomon and the Queen of Sheba” at a circus spectacle. It provided a rich and popular subject for a variety of nineteenth-century and twentieth century entertainment venues.

King Solomon and the Queen of Sheba circus spectacle advertised in the “Wichita Beacon,” 18 Aug 1900, page 5.

John F. Robinson and his circus spectacle “King Solomon and the Queen of Sheba” from the “Knoxville Sentinel,” Oct 15, 1903.

The King Solomon story was also staged for Ancient and Accepted Scottish Rite of Freemasonry degree productions at this time. Masonic designs included a variety of settings from King Solomon’s reign, including the Temple, Sanctum Sanctorum, his private apartments, audience chambers, and the throne room. The story of the construction of King Solomon’s Temple was a subject dramatically presented in both Blue Lodge rooms and on Scottish Rite stages as part of their ceremonials. The construction of the Temple and the assassination of its chief architect Hiram, are a prominent topic in Masonic degree work. This story dramatically presented in lodge rooms was theatrically staged for Scottish Rite degree work. Never exclusive to the Fraternity, the reign of King Solomon was a popular subject for a variety of visual spectacles throughout the nineteenth century.

King Solomon degree setting for Scottish Rite degree work by Sosman & Landis Scene Painting Studio, ca. 1904.

In past posts, I have covered the subject of King Solomon on both public and private stages, including two 1840s touring show that featured “Chemical Paintings,” also known as “Magic Pictures.” These were small painted backdrops that transitioned from day to night as the composition was alternatively lit from both the front and back (see past installment #320). Newspapers at the time reported, “by modifying the light upon the picture, exhibits two entirely distinct representations upon the same canvas” (The Times-Picayune, 20 Dec. 1842, page 3). The “Inauguration of Solomon’s Temple” was one of four scenes that toured with the show.

Here is the 1842 description of “The Inauguration of Solomon’s Temple” as published in “The Times-Picayune:”

“This painting represents the magnificent Temple of Solomon, son of David, which he caused to be erected in Jerusalem. Seen in the daytime, it exhibits to the spectacular the richness and elegance of its exterior architecture. The same Painting soon after passes through all the modifications of light: then night comes on, (effects obtained by the decomposition of light, a new process of painting invented by Daguerre,) the Temple appears illuminated interiorly by degrees, reflecting a bright light exteriorly, which discovers a great multitude of people flocking to adore the Ark of the Covenant, which the High Priest has deposited in the Tabernacle” (New Orleans, December 29, 1842, page 3).

Any Mason who attended the 1842 exhibit might leave full of ideas that could make the degree work in my small lodge room better. The scenic effects exhibited at the end of a darkened room suggested the possibilities for dramatic effects during degree work. By the 1850s, the first Scottish Rite stages began to appear, with painted settings and costumed figures under stage lights. Fast-forward a few decades.

In 1891, a King Solomon spectacle was a feature for the Piedmont Exposition in Atlanta, with nightly performances from Tuesday until Saturday (Atlanta Constitution, 19 Oct 1891, page 6). Although met with some controversy from the conservative Christian faction of the time, a series of rebuttals supported the productions. It was a popular production. By 1899, the King Solomon story was picked up by the John Robinson Circus.

Newspapers in 1900 announced “a magnificence of a scenic spectacle of Solomon and Queen of Sheba” produced by the John Robinson Circus (Marshall County Independent, Plymouth, Indiana, 25 May 1900, page 8). It was one of ten big shows that toured with his circus Advertised as the oldest circus on the road in 1824; by 1900 the third generation of John Robinson descendants advertised it as the Robinson Show (Fort Scott Weekly, 9 Aug. 1900, page 8). The John Robinson Circus was one of the oldest running family circuses in the United States. The four generations that managed the circus were John Robinson I (1807 – 1888), John F. Robinson II (1843 – 1921), John G. Robinson III (1872 – 1935) and John G. Robinson IV (1893 – 1954). Here is a link to the circus’ history as it is quite fascinating: http://www.circusesandsideshows.com/circuses/johnrobinsoncircus.html

Three of the four Robinsons who would run the Robinson Circus.

John Robinson Circus advertisements promised, “Nothing Old But the Name” and the “Wichita Daily Eagle” reported, “The most interesting feature in the performance that the Robinson show has is the spectacular production of King Solomon, which was especially beautiful under the dazzling lights in the evening. This part of the show is gorgeously staged and in effect if like the great spectacle production in America of 1893. Triumphal marches, to the music of trumpets, and an acceptionally [sic.] good band, fifty or more girls attired in oriental costume, a hundred on horses representing various clans and allies, correctly costumes true to history, and later ballet and dancers, the story in pantomime of the judgment of King Solomon on the parable of the babe claimed by two women, and closing with the visit of the queen of Sheba, were all produced in magnificent manner. The regular circus performance which followed contained some old features always seen, but it also contained many new features and original idea which makes the show more interesting than the simple old fashioned circus” (Wichita Beacon, 18 Aug. 1900, page 5).

Advertisement for the John Robinson’s circus “King Solomon and the Queen of Sheba,” form From the “Ottawa Herald,” 5 Aug. 1900, page 5.

In 1900, Robinsons Circus advertisements noted that the production included 1,000 men and women, 500 horses, elephants, camels and 100 ballet dancers, transported across the country in several trains of cars. Furthermore, $2,000,000 was purportedly invested in the show. There were “20,000 seats for 20,000 people under an absolutely water-proof canvas,” “40 camels hitched to a $20,000 Golden Chariot,” and “Forty Soul Stirring, Fearless, Madly Ridden Hippodrome Races, Forty” (Wichita Beacon, 18 Aug. 1900, page 5).

John Robinson Circus advertisement from the “Kingman Journal,” 10 Aug. 1900, page 6

By 1902, the “Knoxville Sentinel” advertised the Robinson Circus, reporting, “The Bible contains within its covers no pages so attractive in interest, so impressive in description, so reverential and so expressive of divine devotion, so rand in developments, as those which relate to King Solomon and his reign. It was a felicitous thought, then of the celebrated artist, John Rettig, that led him to contemplate the reign of Solomon as the subject for a spectacle, and to select that period of Solomon’s administration when the king is visited by the Queen of Sheba, as the theme for his grand and all overshadowing masterpiece of vast spectacular presentations (15 Oct. 1902, page 2). A year later, the “Courier Journal” added, “It was a wise thought of the celebrated artist John Rettig, that led him to take the reign of Solomon as the subject for a spectacle” (23 April 1903, page 4). The Robinson Circus show was designed by Cincinnati scenic artist John Rettig and directed by Charles Constantine. Rettig (1858-1932) was a friend of Thomas G. Moses and the two traveled in the same circles.

John Rettig, scenic artist and design for the John Robinson Circus spectacle, “King Solomon and the Queen of Sheba.” From his obituary notice, May 2, 1932, page 2.

“The Oswego Independent” published, “The ‘Queen of Sheba’ was a sight to behold, Arrayed in circus tinsel, with cheap finery and frippery, supposed to represent the original in her journey to view the wonders and glories of King Solomon, she was a sight never to be forgotten, and was a libel on the original, as word painted in the scriptures” (Oswego, Kansas, 31 August 1900, page 3). The “Newton Kansan” added, “The spectacular representation of scenes in connection with the lives of King Solomon and the Queen of Sheba was a novel feature and was one of the best things in the show, but would be vastly improved if shortened as it becomes tiresome” (17 Aug, 1900, page 1). Most reviews, however, were pleased with the presentation. The “McPherson Weekly Republican,” commented, “The presentation of King Solomon’s court, the temple and the amusements of the ancient Hebrew court were a big surprise in excellence and would have done credit to a large opera house performance” (24 Aug. 1900, page 7).

Of the production, an advertisement in the “Wichita Daily Beacon” stated, “King Solomon and Queen of Sheba. Dwarfing and overshadowing to comparative insignificance interior and out door spectacular events of the era. Replete in sacred realisms, historical accuracies, Biblical events, colossal processions, and introducing all the ceremonies with the original pomp and splendor of the Court of Solomon.” In 1929, the John Robinson Circus was still featuring “King Solomon and the Queen of Sheba.”

1929 photograph of the John Robinson Circus for sale online. Note the costumes for the King Solomon circus spectacle.

1929 photograph of Robinson’s Circus production “King Solomon and the Queen of Sheba” from the Library of Congress digital database. Here is the link: Circus tent pix source: https://www.wdl.org/en/
item/10696/view/1/1/

Detail of 1929 photograph of Robinson’s Circus production “King Solomon and the Queen of Sheba” from the Library of Congress digital database. Here is the link: Circus tent pix source: https://www.wdl.org/en/
item/10696/view/1/1/

By 1914, spectacles depicting King Solomon’s life were still a popular to many, including the thousands of men who continued to tell the story in Masonic ceremonials. The Ringling Brothers’ spectacle of “King Solomon,” however, was produced on a much grander scale than any other circuses or fraternity. The Masonic settings at Scottish Rite theaters paled in comparison with the grand spectacle at the circus, yet the same scenic artists were painting the sets for each venue.

To be continued…

Tales from a Scenic Artist and Scholar. Part 848 – The Fort Wayne Scottish Rite, 1913

In 1913, Thomas G. Moses wrote, “Took a quick trip to Fort Wayne and settled for a lot of Masonic work at the Temple.”

Postcard of the Fort Wayne Scottish Rite Cathedral.

Over the past few years, I have repeatedly mentioned the Fort Wayne Scottish Rite. Like many other Scottish Rite stages, their scenery collection was a compilation of backdrops produced by more than one scenic studio over the years. This is not unusual. It was common for Scottish Rite clients to make multiple purchases over a period of years or decades, repairing, replacing and sometimes upgrading their stage work. Masonic scenery collections are like patchwork quilts, all composed of different fabric squares with their own history.

Sosman & Landis records note that they delivered scenery to the Fort Wayne Scottish Rite in 1907 and 1913. The first scenery was delivered prior to the completing the 1909 building. Keep in mind that the Santa Fe Scottish Rite ordered a fill set of scenery for practice prior to the opening of their new building. In Fort Wayne, additional scenery for the 1909 building was delivered by Toomey & Volland, not Sosman & Landis. However, it is very likely that some of the original 1907 Sosman & Landis backdrops were transferred to the new stage in 1909.

1909 Program from the Fort Wayne Scottish Rite.

Program from the 1909 opening of the Fort Wayne Scottish Rite Cathedral.

Toomey & Volland delivered scenery to the Fort Wayne Scottish Rite in 1909 and 1945. The 1909 stage was unveiled at the consecration and dedication ceremony of the Scottish Rite Cathedral on Nov. 17, 1909. The three-day fall reunion coincided with this event. Furthermore, a 1912 advertisement in the “The New Age Magazine” credited Toomey & Volland with the stage scenery installed at the Fort Wayne Scottish Rite. Moses’ 1913 entry in his diary, “Took a quick trip to Fort Wayne and settled for a lot of Masonic work at the Temple” meant that their membership was rapidly growing.

The Fort Wayne Scottish Rite building was described after it opened in the “Kansas Republic” (December 2). The article noted, “The dedication was held at the regular time of the fall meeting of the consistory for the Valley of Fort Wayne, and 300 took the Scottish Rite degrees. Degrees were given from the fourth to the Thirty-second. Heretofore this valley had no jurisdiction beyond the eighteenth degree, and the degrees from the 19 to 32 were conferred here for the first time. As the consistory has already nearly 1,100 members, the Fort Wayne consistory has become one of the largest in the country” (Kansas City, Dec. 2, 1909). This information suggests that the original Scottish Rite scenery in Fort Wayne by Sosman & Landis (1907) was for the 4^th-18^th degrees and delivered prior to the construction of the new building. Toomey & Volland produced the 19019 scenery used in the 19th -32nd degree productions, delivering it to the new stage.

The “Kansas Republic” article further described the new Scottish Rite Cathedral in Fort Wayne: “The cathedral is three stories high, with a spacious basement. The ground floor will be the banquet and ballrooms, with galleries. The social rooms are on the second floor, which is also provided with quarters for the ladies. There is also a room for the Mystic Shrine. The third floor is occupied by the consistory auditorium, which is arranged on the stadium plan with tiers of opera chairs rising steeply, so that those in the rear seats can all see the work on the large floor below. There are seats for nearly 600 in this auditorium. The organ loft is in the north and at the south end there is a spacious stage provided with scenery, the work of a St. Louis firm.” The “St. Louis firm” mentioned was Toomey & Volland.

There are many reasons why the Fort Wayne Scottish Rite may have reached out to Sosman & Landis for new scenery in 1913. If Toomey & Volland could not complete the project in the allotted timeframe, they likely recommended Sosman & Landis. Demand for painted scenery was still greater than supply, making for friendly competition.

Big events were continually planned at the Fort Wayne Scottish Rite too, also providing an incentive for new stage settings. In 1913, the “Fort Wayne Sentinel” announced “Masons Gather in Fort Wayne, Spring Scottish Rite Meeting Attracts Large Number of Visitors” (15 April 1913, page 2). Scottish Rite Masons from Northern Indiana and the Fort Wayne area gathered for the opening session of the annual spring convocation in 1913. Several hundred Masons attended the spring convocation that lasted three days. As Scottish Rite membership skyrocketed in the early twentieth century, additional scenes for degree productions were continually added to existing collections. This practice was common as Scottish Rite bodies continued to focus on superior membership experiences during ceremonials.

In 1914, the “Fort Wayne Sentinel” announced that the Scottish Rite had added a degree production. This is likely the degree that used new scenery produced by Sosman & Landis, first mentioned by Moses in his 1913 diary entry. On Nov. 17, 1914, the article headlined “TO GIVE DEGREE FOR FIRST TIME. Scottish Rite Convocation Opens With Class of Good Size” (Fort Wayne Sentinel, page 9). The article continued, “The annual fall reunion of the Fort Wayne Scottish Rite bodies opened at the Scottish Rite cathedral Tuesday afternoon with the conferring of the degrees of Fort Wayne Lodge of Perfection upon a class of half a hundred candidates. Many Scottish Rite Masons of prominence are in the city to attend the reunion. Fort Wayne consistory has added another exemplified degree to its list, and the present class will be the first one in the city to receive the exemplification of the Twenty-second degree. It will be given late Wednesday evening, and the reunion will come to a close on Thursday evening.”

The Sosman & Landis’ design for the 22^nd degree was known as “The Carpenter Shop.” I have documented a few of these scenes over the years, with the earliest example being in Cheyenne, Wyoming, from 1911. The 22^nd setting did not require a specific composition prior to this time. Many Scottish Rite valleys simply set it in the woods, using props to suggest a carpenter’s shop, and not an interior shop. However, adding new settings, or staging new degrees, facilitated the continued growth of the Rite during this time. Something new, such as the staging of a new degree, prompted old members to return and new members to join. It is a standard marketing technique, repackaging the experience in a way, or creating a superior ceremonial experience. The Northern Masonic Jurisdiction became experts at this approach, rewriting and restaging many degrees over the years. The Southern Jurisdiction seldom revised, but for a long time continued to expand on the experience.

I have to wonder if Scottish membership decline was partially due to the fact that the Fraternity stopped trying to improve individual experiences for each member. I don’t mean that there was an overt attempt NOT to care about the degrees or expansion of the membership, but many Southern Jurisdiction Scottish Rites stopped a variety of practices during the late 1920s, including the investment in fraternal paraphernalia and new degree settings. Overall, the development of new scenery for degrees comes to a screeching halt by the late 1920s. Some cite the Great Depression or military conflicts as a reason, or various progressive movements and a general backlash against what some consider conservative establishments. Regardless of the circumstances, there is a fundamental change in Scottish Rite leadership beginning at this time, one that still continues until today.

At one point, Masonic membership was primarily composed of young men, men in their prime and full of ambition and ideas. That is not meant to say that there were not older members in leadership roles. The organization may have been guided by older and more experienced members, but was expanded by younger enthusiastic visionaries. I think of what Bestor G. Brown accomplished before passing away in his 50s. His contribution to the growth of the Fraternity was providing a superior experience for its members but constantly improving the individual experience.

The focus seems to shift away from the continued improvement of individual member experience to the emphasis as the organization as a benevolent benefactor, or public persona. The social perception of the fraternity as a whole seems to become a major driving force in decision making after WWII.

One example that continues to divide the Fraternity is large charitable donations that are given away to non-Masonic groups. This is happening at a time when lack of financial assistance causes many Masonic lodges to close, the same lodges that continue to donate much of their funding to those outside of the Fraternity.

While a dwindling membership continues to raise massive funds for Masonic charities, lodges close due to lack of funds. At some point the gravy train will come to an end and charitable donations cease when there are not enough lodges to raise money. The thousands of dollars generated from pancake breakfasts and other activities will end when there is no longer the membership to staff each event. Ultimately, each lodge that closes is one less lodge that will contribute funds to Masonic charities. As what point does a lodge fundraise for themselves or their building repairs, just to keep their doors open and focus on the membership experience? I think of the well-known story of the carpenter who lives in a cardboard house and this seems to be happening in many regions.

To be continued…

Tales from a Scenic Artist and Scholar. Part 817 – Portland’s Scottish Rite Murals

Both origins and people are forgotten over time and histories take on a life of their own. What was once important to Scottish Rite Masons a century ago may not be important to the current generation of stewards. As I examined the history of Scottish Rite theatre in Portland, Maine, one particular article caught my attention. It concerned the artist who painted the auditorium murals, making headlines in 2017. This was only two years after Sarah Bouchard was appointed artistic director of the building. Here is a link the 2015 article: https://thebollard.com/2015/04/01/welcome-to-the-masonic-temple/. The article included a picture of the Scottish Rite auditorium during a degree production with the headline “Welcome to the Masonic Temple, Freemasons open their sacred space to the arts.” The 1911 building was described in detail, including the first floor Scottish Rite Reading Room, the second floor Corinthian Hall, the third/fourth floor auditorium and fifth floor Eastern Star Hall. As with other Masonic buildings, a host of small meeting areas and lodge rooms were also mentioned. In 2015, there was an interest to preserve not only the architectural ornamentation in the Scottish Rite, but also many artworks, especially the auditorium murals.

Early in 2017, the Portland’s Scottish Rite Masons decided to restore and preserve the murals for future generations, recognizing that the images had darkened under 77 years of accumulated dirt and varnish. The Maine Project for Fine Art Conservation was brought into work on the paintings. Every Thursday during the summer of 2017, MEAC conservators worked on the paintings high above the auditorium floor.

Let’s look at the big picture. The murals were installed almost three decades after the stage scenery was designed, painted and delivered to the Portland Scottish Rite. Since the building opened, the main feature of the auditorium was the stage work. The addition of murals was similar to a makeover. This was common. For many Scottish Rite theaters between 1940-1960 members tried to update their spaces. New scenery, new costumes, improved lighting systems, new seating, or a fresh coat of paint became a priority. Just like those who introduced the stage elements to Scottish Rite ceremonies, a new generation again attempted to improve the ritual experience. The problem remains that Scottish Rite stage settings are seldom considered large-scale artworks by nationally recognized artists. Too often, the membership perceives a scenery collection as mere backings for degree work. Just imagine if the artists who painted Scottish Rite settings received the same attention as those artists who decorated the auditorium.

The Portland Scottish Rite auditorium murals were credited to fresco artist Harry Cochrane. A Maine artist, Cochrane was 80 years old when he completed the 17-foot murals in his Monmouth studio during 1940. Cochrane’s artistic contribution made headlines in 2015 when conservation work commenced, prompting renewed interest in his work. Linda Johnston, who specializes in Cochrane, described the life of this “untrained” artist in a BDN Portland blog article on August 18, 2017. Cochrane was born in 1860, Johnston explained, “He taught himself to draw and paint,” covering his father’s ledger books with drawings of horses and human faces as a boy. As he matured to adulthood, he became a decorator, focusing on religious edifices, schools, municipal offices and other buildings, such as Masonic Temples. Cochrane also designed fancy plaster moldings, stained glass and furniture. Here is a link to read more about Cochrane: http://portland.bangordailynews.com/2017/08/18/history/painters-final-works-kept-hidden-in-downtown-portland-for-77-years/

Scottish Rite buildings contain a wealth of significant artifacts ranging from rare books and documents to decorative painting and fine art works. But the scenery is especially significant and often created by nationally recognized fine artists. When examining color, composition, technique and the artistic provenance for many stage settings in Masonic edifices, they should not be discounted as “old drops” or mere stage backings; they are large-scale artworks. Furthermore, they often have more artistic provenance than many other artifacts in the building. However, as time slips by, the historical significance of Scottish Rite scenery is forgotten, even in Portland. Portland’s Scottish Rite Masons decided to restore and preserve the Cochrane murals for future generations; a fantastic choice as they look toward the future. Will their scenery for degree productions receive the same consideration?

To be continued…

Tales from a Scenic Artist and Scholar. Part 816 – The Scottish Rite in Portland, Maine, 1912

In 1912, Thomas G. Moses wrote, “More Masonic work for Portland, Maine.” There are two Portland Scottish Rites – one in Oregon and one in Maine. In 1902, Sosman & Landis delivered scenery and stage machinery to Portland, Oregon. A decade later, they delivered scenery and stage machinery to Portland, Maine.

The Scottish Rite Theatre in Portland, Maine.

The Scottish Rite auditorium in Portland, Maine, is located on the corner of Congress and Chestnut Streets. The theater, located on the third and fourth floors of the building, has a seating capacity of approximately 400.

As with other Scottish Rite Valleys, Portland suffered from declining membership and increased building expenses by the end of the twentieth century. When faced with difficult choices, they tried something unique in 1989, selling the front half of the building; the portion containing retail and office space. This proved to be an unwise move, as the stream of revenue generated from the front half of the building needed to operate the back half of the building was lost. The money received from the sales was not a long-term solution. Without the much-needed monthly revenue, it became a struggle to address deferred maintenance and repair the building’s infrastructure. The Portland Scottish Rite then put the back half of the building on the market, but no one was interested in purchasing their portion of the historic venue. They decided to contract with Saco-based catering company Blue Elephant, allowing the firm to book events in the Temple’s first floor rooms.

About this same time, the Portland Scottish Rite Masons allowed Sarah Bouchard to assume the role of “artist in residence,” giving her space on the fifth floor. Previously, the fifth-floor space housed the Order of the Eastern Star Hall and a ladies’ sitting room. Bouchard became the Temple’s first-ever artistic director, working in tandem with the Masonic Temple Foundation – a separated non-profit formed to raise funds for the building’s restoration. Although no longer with the organization, she had the right vision to save the building for future generations. Bouchard was quoted in a 2015 article posted at the Bollard, saying, “I’ve done my research. The Masonic temples that fail are the ones that don’t engage the public.” Bingo.

Where there is a will there is a way, and Bouchard advocated to open the temple up for artistic and cultural programming. Bouchard noted that this move was “in alignment with the phenomenal grandeur and integrity of the space. She stated, “I wanted to establish a dialogue between contemporary visual and performing arts and the ideals of Freemasonry and the history of the space.” What a great idea; this is really a model for struggling Masonic buildings. Embracing the public and hosting events is nothing new to Scottish Rite Masons, and now it is their only way to survive. Even when the Masons don’t figure this out, the new owners of a Masonic building often do.

Bouchard’s vision took hold, and the space is now advertised as “The Portland Masonic, Event and Wedding Venue.” Portlandmasonic.com is a pretty remarkable web site, linking the Fraternity with the community, but it took hiring a person with vision.

Here is one paragraph from Portlandmasonic.com:

“Built in 1911 and listed on the National Register of Historic Places, The Portland Masonic has been reimagined and reborn as one of the premiere event spaces in New England. Featuring some of the most visually alluring and exquisite spaces on the East Coast, and located in the heart of historic downtown Portland, you’ll find The Portland Masonic to appeal to the most discerning of guests. The Portland Masonic is still home to several active Masonic organizations, dating back to the 18th Century, and some of Maine’s famous Masons include Governors, Naval Commanders, Attorney Generals, Supreme Court Justices, and International Diplomats. Built with the purpose of community involvement, we’ve reinvented our space as one filled with every kind of event – corporate, social, weddings, theatre, nonprofit and so much more – with our community at the heart of what we do. We invite you to step into one of the most distinctive and architecturally interesting spaces, and feast your eyes on the years of craftsmanship, details and texture that surround you inside our magnificent building.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 814 – The Second Scottish Rite Stage in Bloomington, Illinois.

The Bloomington Scottish Rite membership dramatically increased during the second decade of the twentieth century. Within less than a decade, a larger facility and grander stage were need for degree work. Sosman & Landis first delivered scenery to the Bloomington Scottish Rite in 1911 and 1912. They would not deliver any scenery for the 1921 stage. The Director of Works, Delmar D. Darrah ordered a second set of scenery from his good friend John Becker of J. C. Becker & Bro. in Chicago. Darrah, an active member of the Supreme Council, was the author and director of the Passion Play. He also was the Director of Works and managed many of the production that won fame in the local Scottish Rite Consistory.

In 1917, a new building was proposed and land purchased at East and Mulberry taking place by May 1918. Necessary building contracts were authorized during November 1919, with the building being completed by 1921. The new Scottish Rite Temple was located at the north edge of the Bloomington’s business district, at 110 E. Mulberry Street. The first Fall Reunion in 1922 included 353 candidates. Owned by the Bloomington Scottish Rite Consistory, the building soon became host to a public theatrical event – “The American Passion Play.”

The stage of the Bloomington Scottish Rite.

Auditorium of the Bloomington Scottish Rite.

I first learned of Bloomington’s Passion Play while cataloguing the Great Western Stage Equipment Co. collection as part of an Undergraduate Research Opportunities Program (UROP) grant in 1989. The collection included a 1928 Bloomington Passion Play program. Beginning in 1923, the Bloomington Scottish Rite Masons presented “The American Passion Play,” an elaborate annual production that was over three hours in length, with fifty-six scenes and up to two hundred and thirty actors.

The success and popularity of the production was immediate for both the Fraternity and local community. On April 18, 1927, “The Panatgraph” reported, “Leon M. Abbott, Sovereign Grand Commander of the Supreme Council, Praises the Passion Play” (Bloomington, Illinoi, page 3). Abbott traveled 1500 miles expressly for the purpose of attending the Passion Play. He also explained to the audience that about five years ago it had been his privilege to see the original Passion Play as portrayed by the inhabitants of the little Bavarian city known as Oberammergau. The Oberammergau Passion Play had been performed since 1634. A staging of Jesus’ passion, covering the short period of his life from his first visit to Jerusalem and leading to the crucifixion, the play was the result of town residents vowing in 1633 that if God spared them from the Bubonic plague they would produce the play thereafter for all time. Of Bloomington’s American Passion Play, Abbot stated, “Today, [Darrah] took me back to that place in the little Bavarian village with a population of 19,000, some 5000 of which take part in the Passion Play. It was a wonderful experience.”

Some of the scenery by J. C. Becker & Bro,. for the Passion Play.

The article continued, “Highest officials in Masonry with other active members of the Supreme Council from Eastern States and from Illinois, witnessed Bloomington’s gigantic production Sunday evening when more than one thousand Consistory men and their wives assembled to honor the distinguished guests – Honor guests lauded work of Delmar D. Darrah, active member of the Supreme Council and Director of Work in Bloomington Consistory and also the Consistory Players.” Abbot as quoted complimenting Darrah, saying, “It almost staggers belief that one man can be responsible for the intricate preparation of all that necessary to present the work which we witnessed this afternoon.” A photograph was included with the article, picturing (left to right) Delmar D. Darrah of Bloomington, C. R. Spillman of Chicago, Leon M. Abbott of Boston, S. O. Spring of Chicago, and Leroy Goddard of Chicago.

(left to right) Delmar D. Darrah of Bloomington, C. R. Spillman of Chicago, Leon M. Abbott of Boston, S. O. Spring of Chicago, and Leroy Goddard of Chicago.

For Bloomington’s Scottish Rite stage and for Darrah’s Passion Play, J. C. Becker & Bro. provided all of the scenery instead of Sosman & Landis.

Why Becker and not Sosman & Landis?

The switch is because John Becker cultivated a close friendship with Darrah. This connection would give Becker an advantage for many 1920s Scottish Rite projects throughout the Northern Masonic Jurisdiction, especially those in Illinois. After becoming a Mason in 1912 (Maywood Lodge 869 F&AM), Becker also became a 33^rd degree Scottish Rite Mason [the final and honorary degree of the AASR]. He was a life member in the Valley of Bloomington and also active in Chicago. Becker joined Chicago’s Medinah Temple Shrine and was a past watchman of White Shrine of Jerusalem. These Masonic connections were a necessity when bidding on Masonic scenery contracts for both the Northern and Southern Jurisdiction of the Ancient and Accepted Scottish Rite of Freemasonry.

Becker’s approach is exactly the same of Joseph S. Sosman. Sosman’s connections were how Sosman & Landis secured the majority of scenery contracts for the Southern Jurisdiction. Sosman enjoyed close friendships with key Southern Jurisdiction representatives, especially Bestor G. Brown of Kansas. Brown was the Past Grand Master of Kansas who became head of many other Masonic Orders, as well as being the western representative of M. C. Lilley in Kansas City. M. C. Lilley was a massive fraternal regalia and paraphernalia manufacturer who supplied many fraternal organizations with necessary products that ranged from paper documents and ritual books to lodge room furniture and costumes. M. C. Lilley, represented by Brown, also outfitted Scottish Rite theaters. Although M. C. Lilley did not manufacture any stage scenery, lighting systems or stage machinery, they subcontracted the work to firms such as Sosman & Landis. Both Brown and Sosman were prominent Freemasons, the key to their success within the Fraternity and theatre industry.

From the mid-1890s until the passing of Sosman in 1915 and Brown in 1917, M. C. Lilley had a close relationship with Sosman & Landis, almost solely using their services for Masonic theater contracts. This rapidly changed after the passing of both Sosman & Brown, leaving Sosman & Landis without a close fraternal connection. Furthermore, the company’s second president, Thomas G. Moses, did not become a Mason until the mid-1920s. By this point it was too late. Moses was well known and his work well respected, but he could not compete with other scenic studios represented by a Mason, such as J. C. Becke & Bro.

So…by 1915, Sosman & Landis does not have a Mason representing the firm, however, both of their major competitors do – J. C. Becker & Bros. and Toomey & Volland. Therefore, Becker Bros. and Toomey & Volland rapidly gain ground during the second decade of the twentieth century, eventually eclipsing Sosman & Landis by 1920. J. C. Becker & Bro. began to secure many of the contracts for Illinois, Indiana and Iowa. With the backing of key Scottish Rite figures, such as Darrah, they began to increase their contacts across the country.

The strength of the Bloomington Scottish Rite could not survive declining membership and aging buildings. In 20, the old Bloomington Scottish Rite became the Bloomington Center for the Performing Arts. In an amazing turn of fate, the Bloomington Scottish Rite moved back to their first home. The original Bloomington Masonic Temple is once again the home and meeting place for the Valley of Bloomington. They went full circle, but lost so much along the way. The 1912 Bloomington Masonic Temple continues to be the meeting place not only for the Scottish Rite, but also other Blue Lodges, the York Rite, Order of DeMolay and Rainbow Girls.

Stage where the Bloomington Scottish Rite now meets.

To be continued…

Tales from a Scenic Artist and Scholar. Part 813 – The Bloomington Scottish Rite and Delmar D. Darrah, 1912

Delmar D. Darrah was a Masonic Johnny Appleseed, sowing the seeds of Freemasonry throughout the State of Illinois during the early twentieth century. Like Bestor G. Brown in the Southern Jurisdiction, Darrah contributed to the rapid membership growth in the Northern Masonic Jurisdiction. He was responsible for organizing and participating in all four Scottish Rite bodies in the Bloomington, Illinois. Darrah was made a 33° Mason in 1909, and an Active Member of the Supreme Council in 1911 and became the Supreme Council Deputy for Illinois by 1932. Like Brown, Darrah was also a mover and shaker in the York Rite, becoming Grand Recorder of the Grand Commandery by the early 1920’s.

Letterhead for Delmar D. Darrah of the Bloomington Scottish Rite.

Both Darrah and Brown were also Grand Masters of their respective states, using their positions of power to actively promote the growth of the Scottish Rite. Being Grand Master for a year provides an incredible opportunity for individuals to push forward any personal agenda. In the case of both Brown and Darrah, these men zeroed in on building up the Scottish Rite. Keep in mind that the expansion of the Scottish Rite is solely dependent upon their success of recruiting Master Masons from Blue Lodges. Darrah became the Grand Master of the Grand Lodge of Illinois from 1910-1911, right before the new Masonic Temple was completed in Bloomington, a structure that included a Scottish Rite stage.

Here is a little background regarding the history of the Scottish Rite in Bloomington, Illinois. In response to the petition of Darrah, the Supreme Council of the Ancient Accepted Scottish Rite of Freemasonry for the Northern Masonic jurisdiction issued dispensation to institute a Lodge of Perfection in the Valley of Bloomington on December 19, 1907. On January 4, 1908, Ill. Amos Pettibone, Deputy for Illinois, instituted the Lodge in Bloomington. The Valley of Bloomington’s first reunion was held in March 1908, with a class that consisted of ninety-two candidates. During the early years, the Scottish Rite met in a fourth-floor lodge room. The Bloomington Scottish Rite grew quickly, and received their charter by September 17, 1908. That same year, dispensations and subsequent charters were also issued for Zerubbabel Council, Princes of Jerusalem, and for Mt. Calvary Chapter of Rose Croix. The Consistory soon followed suite. Darrah became the Scottish Rite Secretary and Director of Work by 1915. He served as the Secretary until 1922, and Director of the Works until 1945. He shaped degree productions and stage work at the Bloomington Scottish Rite.

The cornerstone of the Bloomington Masonic Temple at 302 E. Jefferson Street took place on April 26, 1911. In 1912, the new building opened, complete with stage and scenery. It was such a big deal that a statewide Scottish Rite event was hosted in the new facility. On June 24, 1912,”The Times” reported, “Bloomington, June 24 – Every thirty-third degree Mason in Illinois, it is thought, will attend the state assembly of Scottish Rite bodies, known as the Council of Deliberation, which will be held in Bloomington June 28. This council is the highest degree of Scottish Rite in Illinois. There will be representatives from the lodges in Chicago, East St. Louis, Springfield, Quincy, Peoria, Danville and Freeport. The supreme council is composed of James B. McFatrick, Amos Pettibone and Leroy S. Goddard, all of Chicago; S. O. Spring of Peoria and D. D. Darrah of Bloomington. This will be the first meeting of the council outside of Chicago and is in recognition of Bloomington’s new Masonic temple which was recently dedicated” (Streator, Illinois, page 6). The scenery for the Masonic stage in the building was delivered by Sosman & Landis. Keep in mind that Joseph S. Sosman was extremely active in the Chicago Scottish Rite and the firm was responsible for delivering all of the early scenery to the Chicago Scottish Rite bodies over the years.

The key to the Bloomington’s Scottish Rite success was their elaborate degree productions. On 18 October 1915, “The Pantagraph” reported, “Bloomington Scottish Rite Masons to the number of 200 are to swoop down on Springfield on November 24 in response to an invitation received by Commander-in-Chief Darrah requesting that the local staff confer the Twenty-seventh degree on a class of candidates at that time. A special train is to be chartered for this trip, and it is expected that at least 300 members of the fraternity will make the journey to the Capital City. This degree is one of historic origin and calls for the most elaborate costuming and scenic effects. It requires 110 men for the cast. The consistory purchased special costumes and scenery for this degree some time ago and since then have held numerous rehearsals to perfect the staging of the production” (page 7).

Bloomington’s Masonic Temple on Jefferson Street was the location for the first degree productions in 1912. According to a 1913 annual report, 144 candidates joined 1912. As Scottish Rite membership skyrocketed, the need for a new temple was proposed. In 1917, a new building was proposed, with the purchase of land at East and Mulberry taking place by May 1918. Necessary building contracts were authorized during November 1919, with the building being completed by 1921. The new Scottish Rite Temple was located at the north edge of the Bloomington’s business district, at 110 E. Mulberry Street. The first Fall Reunion in 1922 included 353 candidates.

To be continued…

Tales from a Scenic Artist and Scholar. Part 812 – The Santa Fe Scottish Rite, 1912

In 1912, Thomas G. Moses recorded that Sosman & Landis delivered Scottish Rite scenery to Santa Fe, New Mexico. Santa Fe Masons purchased the original McAlester scenery; this is the first collection, as the second McAlester scenery collection is now in Salina, Kansas. The purchase of a used scenery collection was to get the membership used to degree productions. Once the building was dedicated, the “practice” scenery was sent to the Scottish Rite Charleston, South Carolina.

Two weeks before the Santa Fe Cathedral’s dedication, ”The Deming Headlight” reported, “On the evening of the 17^th of November, the Scottish Rite Masons of New Mexico will dedicate their magnificent cathedral in the city of Santa Fe. On the 18^th, 19^th and 20^th, of November the dedication class of aspirants for Scottish Rite honors will see the beautiful degrees of the Ancient and Accepted Scottish Rite of Freemasonry conferred from a great auditorium 58×72 feet which has a seating capacity of 600. The dedication on the evening of the 17^th will be a memorable occasion to all Masons in New Mexico since it will formally open the most beautiful home consecrated to Masonry in the southwest. The cost of the cathedral, when finally completes with the equipment, will be about quarter of a million dollars” (Deming, New Mexico, November 1, 1912, page 6).

Wood setting at the Santa Fe Scottish Rite

The secret vault setting at the Santa Fe Scottish Rite.

Brown’s Special System at the Santa Fe Scottish Rite.

I am not going into the entire history of the Santa Fe Scottish Rite for this post. After restoring the scenery collection in phases from 2002 to 2005, I was asked to write about the theatre in an upcoming publication. In 2014, I began a project that resulted in “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018). The story of the Santa Fe Scottish Rite is neatly compiled with both historic images and stunning photographs by Jo Whaley. Here is the link to the book on Amazon: https://www.amazon.com/Santa-Scottish-Rite-Temple-Architecture/dp/0890136335/ref=sr_1_1?keywords=waszut-barrett&qid=1570201389&sr=8-1

Photographer Jo Whaley during the Santa Fe Scottish Rite Temple book photo shoot.

Book signing at the Santa Fe Scottish Rite, June 24, 2018. From left to right: Jo Whaley, Wendy Waszut-Barrett, Khristaan Villela, and Rick Hendricks.

My fascination with the Santa Fe Scottish Rite Theatre began early in 2002. I was sitting in Lance Brockman’s office at the University of Minnesota when he received a call from the Santa Fe Scottish Rite. They were looking for someone to assess and repair their scenery collection; he recommended me. At the time, I was still in graduate school, a perpetual student stuck in ABD (all but dissertation) mode. My husband and I were both in school and raising a five-year old daughter. Fortunately, my folks were both retired and helped us out a lot. When I explained the Santa Fe opportunity, they planned their next vacation near Santa Fe, New Mexico. They frequently traveled south in their RV, camping all over the United States.

Me with our daughter Isabelle in 2002 near Santa Fe, New Mexico

I made the long drive with Isabelle from Minnesota to New Mexico that February. In my little red Ford Escort, we ventured from the snowy plains of Minnesota to the arid mesas of New Mexico. Isabelle and I stayed with my folks in an RV campground, just west of Albuquerque, for over a week. During the day, Isabelle and my parents found exciting things to do, while I drove the north on the Turquoise Trail to Santa Fe. In Santa Fe, I spent full days evaluating both the scenery and costume collections. A few times, my father came with me, helping raise and lower scenery, or just sitting and enjoying the art.

The Santa Fe Scottish Rite scenery restoration during 2002

Four months later, I was leading a large group of locals during the first phase of the scenery restoration. That summer, I also began the Scottish Rite scenery restoration in St. Paul, Minnesota. The two collections were created within two years of each other and were almost identical. The only major difference was that the St. Paul collection had moved once to a new location, so it shared much more wear and tear.

The Santa Fe Scottish Rite scenery restoration during 2005

For each phase of restoration in Santa Fe, my husband and daughter joined me. Nothing was better than staying in the dormitory of the beautiful pink building, a stone’s throw from Santa Fe’s central plaza and dozens of trails. We experienced the various summer markets, Canyon Art Road, the Palace of the Governors, opera season, the children’s museum, and many nearby hikes. It did not matter that I was working 10 to 12 hour days, as the crews were fun, the project interesting, and we had two days off each week to play.

There is something beyond Santa Fe’s beautiful scenery collection, ornate architectural décor, and stunning central courtyard. There is an irrepressible energy, not only inside the building, but also within in the city. I travel a lot. I love experiencing different people, cultures and food, easily making friends along the way. When I first arrived at the top of the Santa Fe Scottish Rite steps during February 2002, however, it was different; it was like returning home after a long absence. I experienced a wide array of emotions that ranged from gratitude and relief to excitement and sheer joy. I would give anything to go back and relive those few summers.

View from the top of the Santa Fe Scottish Rite steps.

Sosman & Landis scenery collection at the Santa Fe Scottish Rite

Scenery and stage machinery by Sosman & Landis at the Santa Fe Scottish Rite

I have felt at home in many Scottish Rite temples. There is a specific smell that all of these places share in common, regardless of climate or regional characteristics. While working, I frequently encounter a cool air that carries a slight musty smell. The scent is a combination stale musk and the metallic ting of dry pigment.

Historic theaters, whether they are opera houses or Scottish Rite theaters have a residual energy that lingers about the stage machinery and scenery. You just have to pay attention. I have encountered this in other performance spaces too, not just Masonic ones. It is connected to the original installation. Although hard to explain, it is as if everything is just silently waiting for another performance. Once these elements are removed or altered, the dynamic of the stage changes; it is as if the soul has left the space.

To be continued…