Part 685: The Scottish Rite in Portland Oregon, 1902
By 1902, Sosman & Landis studio had delivered Scottish Rite scenery and stage machinery to Southern Jurisdiction Scottish Rite Valleys in Little Rock, Arkansas; Oakland, California; Wichita, Kansas; Guthrie, Oklahoma; Fargo, North Dakota; and Salina, Kansas. Some of this early scenery is still available for examination. The collections from Little Rock, Guthrie and Fargo share many similar compositions, indicating that Sosman & Landis were in the process of developing Masonic stock scenery options.
In 1902, another Scottish Rite scenery collection was being prepared for installation the western region of the United States – Oregon. That year, the Scottish Rite in Portland began the construction of their new home that would later be dedicated in 1903. Portland was just one on many Scottish Rite buildings being constructed during this period to included a theater and scenery.
As with many early-twentieth-century Scottish Rite Valleys, membership rapidly outgrew existing spaces As the size of candidate classes increased, so did the necessary regalia, paraphernalia and stage requirements.
In 1892,The Masonic Temple association of Portland filed articles of incorporation, with the following incorporators: F. A. Moore, J. C. Moreland, John McCracken and D. C. McKercher with a capital stock of $250,000. The purpose of the association was to erect a Masonic Temple at the metropolis (Statesman, 6 Sept. 1892, Page 1).
Postcard of the Scottish Rite in Portland, Oregon.
Later the Scottish Rite began planning for the construction of a cathedral on the corner of Morrison and Lownsdale Streets. The grounds were purchased in 1902 by Oregon Consistory No. 1. Measuring 100 feet by 120 feet, the price of the lot was $18,000. Bonds were issued for the construction of a $100,000 building. Architect and Scottish Rite Mason, Martin Beck, designed the edifice.
Interior of the Portland Scottish Rite in Oregon
The grand opening of the Portland Scottish Rite occurred on May 19, 1903. For the event, there was an grand concert organ recital and ball. By this time, the public attending events was becoming increasingly common. In 1886 an interesting article was published in the “Cincinnati Enquirer” in regard to a public music concert at the Cincinnati Scottish Rite Cathedral (16 Dec. 1884, page 4). The article reported, “It is not a usual thing in the long history of Scottish Rite Masonry that he Cathedrals are thrown open for concert purposes. The first incident of the kind that comes to mind occurred last night in the new Scottish Rite Cathedral on Broadway, between Fourth and Fifth Streets.” That year, the new Scottish Rite Cathedral had been completed at a cost of over a quarter million dollars as was said to be the “finest building for Masonic purposes in the world” (South Haven New Era, 15 May 1886, page 8).
Today, many Scottish Rite buildings host public events as a way to generate revenue, allowing the public a peak at their historic stages.
Scenic artist and final president of Sosman & Landis, Thomas G. Moses (1856-1934), recorded in his memoirs that he was in charge of producing the Scottish Rite scenery collections for Little Rock, Salina, and Portland between 1901 and 1902. However, during these two years, Moses had left Sosman & Landis to establish a studio of his own – Moses & Hamilton. Moses & Hamilton operated out New York from 1901-1904. It was studio founder Joseph S. Sosman who maintained close ties with Moses and his family, finally luring him to return to Chicago during 1904. It is unclear whether Moses returned to Sosman & Landis to paint on any project from 1900-1904, but it would not be unusual as Moses was hired y a variety of other studios during this time. Regardless, Moses takes credit for scenery collection delivered to Portland, Oregon and the 1912 scenery collection delivered to Portland, Maine.
The 1902 drop curtain designed for Portland (Oregon) Scottish Rite is very similar to that created for the Wichita Scottish Rite in 1908. As the two compositions are very unique, I wonder about a possible connection between Wichita and Portland, and the sale of used scenery. Although the majority of 1898 Wichita scenery was resold to the Yankton Scottish Rite, I wonder if certain used pieces made their way west to Oregon. This was the case with the second Little Rock scenery collection being divided between the Scottish Rite theaters in Miami, Florida, and Pasadena, California.
This drop curtain for the Scottish Rite in Portland, Oregon, is similar to that delivered to the Scottish Rite in Wichita, KansasDrop curtain at the Scottish Rite in Wichita, Kansas. Like the curtain for the Portland Scottish Rite in Oregon, it was delivered by Sosman & Landis studio.
Part 684: Scottish Rite Stages in Salina –1901 and 1927
In Salina, Kansas, the “Daily Union” published an article that almost read like an advertisement for the upcoming Scottish Rite reunion. The heading stated “THE SCOTTISH RITE. Interesting Facts About Bodies Located Here. Spring Reunion in June” (Salina Daily Union, 14 April 1900, page 1). The amount of information provided in this 1900 article is quite intriguing:
“The Bodies of the Ancient and Accepted Scottish Rite, located at Salina, Kan., acknowledge and yield allegiance to the Supreme Council, 33d degree, for the Southern Masonic jurisdiction of the United States of America, whose grand East is in Charleston, South Carolina, and is in fraternal communication with every legitimate Supreme Council in the world.
“The various degrees as conferred by these orders are divided in a series as follows:
The first series comprises the degrees from the 1st to the 3d inclusive and are termed symbolic, being conferred in the Blue Lodge, actual membership in which is the obligatory qualification for the advancement to the succeeding series.
The second series comprises the several degrees form the 4th to the 14th inclusive, are termed ineffable and are conferred in a “Lodge of Perfection.”
The third series comprising the several degrees from the 15th to the 18th inclusive are termed the historical and philosophical degrees and are conferred in a “Chapter of Rose Croix.”
The fourth series comprises those from the 19th to the 30th inclusive, are termed the modern historical, chivalric and philosophical degrees, and are conferred in a “Council of Kadosh.”
The fifth series comprises the 31st and 32d degrees, are allegorical and philosophical, and are conferred in a Consistory.
“The work is very solemn and impressive in nature, calculated to improve the mind and character of all coming in under its influence, there by causing them to become better members of the commonwealth.
“The bodies here are thoroughly equipped with all the paraphernalia required for the proper rendition of the work and have among their members several who cannot be excelled in exemplifying the characters required to be taken in conferring the several degrees and are favored with a very competent leader. Owing to the number of applications lately received and a larger number having signified their intention to apply for admission, it has been decided to hold a spring reunion, commencing the 11th day of June, continuing for four days, at which time the several degrees from the 4th to the 32nd will be conferred; the greater majority in full ceremony and form.”
When the article was published in 1900, Salina Masons had already enjoyed their Masonic Temple for four years. They were in the process of planning a major expansion that would result in an even larger stage, complete with fly loft and horseshoe balcony.
Plans for Masonic Temple stage in Salina during 1901. From the “Salina Daily Republican,” 17 July 1901, page 4
By 1901, the “Topeka State Journal,” reported the substantial number of Scottish Rite Masons in Kansas, the newspaper reported “Kansas boasts the largest membership in the Scottish Rite of any state in the southern jurisdiction of the United States and the fame of the Topeka officers for their thoroughness and perfection displayed in conferring the degrees is not confined to the borders of the state. No order makes use of as elaborate paraphernalia and so dramatic a ritual as the Scottish Rite and with each succeeding reunion the classes to take the sublime degrees increase in numbers.”
In 1902, the “Junction City Republic” reported about the Fall Reunion at the Salina Scottish Rite noting, “A large number of candidates from this part of the state will be present to take the degrees. This is the fountainhead of all the beautiful allegories and work of freemasonry throughout the world” (24 October 1902, page 1). Membership continued to grow in Salina, as well as the rest of the country and what was once though ample space became cramped quarters.
By 1919, Salina Masons planned for Masonic Temple, referred to as the million-dollar to reflect the expense. Work began in that year, but the concrete design, however, collapsed in 1920 due to faulty construction, occasioning a loss of approximately $250,000 (The Kansas Workman, 1 Sept. 1926, page 6). The arched concrete ceiling of the auditorium gave way. The building was partially re-erected with structural steel and Carthage limestone. The original year scheduled for completion was 1923, until the collapse. During this time, the Masonic bodies were still meeting in their old home when disaster struck again.
The Masonic building gutted by fire, pictured in the “Salina Evening Journal,” 30 Jan 1922, page 1
In 1922 the old Masonic Temple was practically destroyed by fire. This was the 1896 building that had been expanded in 1902. Two decades later, the two upper stories of this building were burned out (The Salina Evening Journal, 30 1922, page 1). The Blue Lodge, Order of the Eastern Star, the Royal Arch, the Knights Templar, the Scottish Rite and Shrine all suffered heavy losses of degree paraphernalia. The article reported “Thirty-nine curtains for the stage, used in the ritual work of the lodge and the presentation of degrees, were included in the loss also.” After the fire, the Masonic bodies negotiated with the proprietor of the new theatre building until the Masonic temple was finished. The new scenery collection purchased for the new Masonic Temple was far larger than that in the old building or their temporary theater space.
From the “Salina Daily Union,” 11 June 1921, page 1The 1927 Masonic Temple in Salina, Kansas
For their new building, the Salina Scottish Rite would purchase a used scenery collection in 1927. Scenic artist for this collection, Thomas G. Moses, included pasted a newspaper clipping in his scrapbook. It was about the used McAlester Scottish Rite scenery collection purchased by the Salina Scottish Rite Bodies in 1927. The article reported, “The one hundred and seventeen drops of scenery that has been in use on the old stage for twenty-five years, has been sold to the Scottish Rite Bodies of Salina, Kansas, and it has been shipped to them. There was nearly a carload of it. Brother John T. Leibrand, 33°, Wise Master of South McAlester Chapter of Rose Croix, negotiated the sale to the Salina brethren who came to McAlester to inspect it. The scenery was painted by Brother Tom Moses under the direction of that great Scottish Rite Mason and student Bestor G. Brown, and was said to be the finest in the Southern Jurisdiction at the time.” The article also noted, “the Salina brethren are negotiating with Brother John G. Redpath, who had charge of the old stage for years, to superintend the hanging of the drops in their temple.”
The scenery purchased by the Salina Scottish Rite from the Scottish Rite stage in McAlester, Oklahoma.The painted front curtain for the Salina Scottish RiteThe stage at the Salina Masonic Temple for the Scottish RiteThe stage at the Salina Masonic Temple from 1927
Part 683: Scottish Rite Stages in Salina – 1896 and 1901
The first Masonic lodge in Salina, Kansas was organized during 1866. A small group met in what was known as the Goddard house located on the corner of Iron and Santa Fe. A second meeting location was on the second floor of J. F. Hanna’s store in the Probert building. By 1886, Salina Masons constructed their first Temple. Keep in mind that during this same year, Scottish Rite cathedrals with stages were already used in the Northern Masonic Jurisdiction cities of Indianapolis, Cincinnati, Cleveland and Fort Wayne.
The 1886 Masonic Temple in Salina cost $25,000, and by 1888 an addition was added to the south. In 1895, this Temple in caught fire and was severely damaged along with much of Salina’s business district. The Salina Masonic bodies immediately began to rebuild their home at South and Santa Fe Avenues (Salina Evening Journal, 30 Jan 1922, page 1). The Masonic losses at he time were recorded to be nearly $150,000. The Salina Daily Republic reported, “the Masonic Temple was ablaze, the flames leaping over the high south wall and making sad havoc with the substantial building and the elegant and costly paraphernalia of the different orders of Masons. The greedy flames devoured the draperies and curtains speedily and torn down the high cupola” (Salina Daily Republic, 4 March 1895, page 1). Note the mention of costly paraphernalia, draperies and curtains. This suggest the possibility of a stage, especially with differentiation between draperies and curtains. Theatre terminology of the time of differentiated between fabric draperies and painted curtains.
The next 1896 Masonic Temple in Salina definitely included a stage. After the fire, a larger temple was built on the old site. Five years after completion, plans were published in a local newspaper, describing the intended improvements that included a three-story addition to the alley. The 1901 extension included a larger stage across tat now covered the entire east end of the main lodge room. A horseshoe gallery also replaced the existing stage a gallery (Salina Daily Union, 28 May 1901, page 3). The “Salina Daily Republican” proclaimed, “The new edifice now being enlarged to the most handsome home of Masonic Bodies in the West —$11,000 Improvements, Making a total cost of $43,000” (17 July 1901, page 4). Of the new improvements, the article reported, “By the work now going on, the Masonic Temple will be remodeled throughout.” The article cited the attached illustrations, “By Fig. 1 it will be seen that a handsomely decorated horseshoe balcony will replace the present affair and that the stage space will be enlarged by the removal of the organ from the corned at the left to the position at the rear, as observed in Fig 2. The new stage is to be equipped with a complete set of new scenery, shifted by regular traps and flys to be put in…With the additions made to the stage and scenery the Scottish Rite ceremonies can now be given the same advantages as in the larger cities.”
Floor plan of proposed 1901 Masonic Temple in Salina, Kansas. From the article “Temple of Masonry,” in the “Salina Daily Republican,” 17 July 1901, page 4.
That same year, the “Salina Herald” noted, “The Scottish Rite bodies in Salina are holding a reunion this week and ‘breaking in’ their new scenery. It is the silver anniversary of the institution of the Mackay lodge of Perfection in Salina and therefore of more than ordinary interest. A class is also being initiated into the mysteries of the different Scottish Rite degrees. This is the first reunion since the Masonic Temple was remodeled and several thousand dollars spent in fixing it specially for the Scottish Rite” (3 Oct 1901, page 3). “The Independent” reported, “The sets of scenery for the stage cost $2,400” (26 Sept. 1901, page 2). The “Salina Daily Union” described “The Temple is now supplied with finer scenery than in any opera house in Kansas and is equaled by no Masonic Temple in the state with the possible exception of Wichita, the scenery is simply superb while the electrical effects heighten the beauty of the stage settings is a hundred fold” (24 Sept. 1901. Page 3). By 1904, the “Salina Evening Journal” published that the Masonic Temple in Salina was one of the finest in the state, “owning a complete set of magnificent scenery painted from the latest designs.” (14 Nov. 1904, page 4). The article continues “The stage is fully equipped with a most complete arrangement of electric lights and the effect produced exceeds most of the large spectacular representations on the stages of the larger theaters in the country.”
As with the rest of the state, the scenery was provided by Sosman & Landis.
For the past several installments I have focused on the development of the degree productions at Scottish Rite stages in Kansas, Arkansas and Oklahoma Territory. Little Rock, Arkansas, is often cited as the first, and most notable Scottish Rite. The Little Rock Masons remodeled an old synagogue and installed a stage. It was called the Albert Pike Cathedral.
Interesting, in 1896 another old synagogue was purchased and remodeled by the Oakland Scottish Rite bodies. As in Little Rock, the renovation of the synagogue included the installation of a stage with new scenery to confer degrees. The building was located of Fourteenth Street, between Webster and Harrison Streets and dedicated at the Oakland Scottish Rite Cathedral on September 21, 1896.
The first Scottish Rite building in 1896, posted the “The Oakland Tribune,” 21 Dec 1927, page 12
The first paraphernalia used by the Oakland bodies was purchased from the disbanded Lodge of Perfection in Virginia City, Nevada. (Oakland Tribune 12 Dec. 1927, page 16). In 1927, one of the original thirty-eight charter members from the Oakland Scottish Rite from Oakland, California, was still living when the third stage for Oakland was constructed in 1927. Of the Oakland Scottish Rite and his experience in 1883, Hugh Alpheus Kendall, explained, “The work was new to the officers, the paraphernalia was crude, and the meeting place was not suitable for the conferring of degrees inasmuch as the paraphernalia had to be set up before the conferring of the degree and put away immediately after. To remedy this a committee was appointed to look for a home of which we would have the exclusive use.” The old paraphernalia was purchased from the Scottish Rite bodies in Virginia for $100.
On June 22 1896, the Oakland Scottish Rite building committee recommended the purchase of a property general known as the Jewish synagogue. At the time, it was currently occupied by the ACME athletic club. A committee consisting of William Frank Pierce (Inspector General), Charles L. J. W. Pierce and N. W. Spaulding were appointed with the power to act. A corporation was formed under the corporate name of the Masonic Cathedral Association, representing the Oakland Lodge, Scottish Rite of Free Masons. The articles of incorporation were filed on on July 31, 1896 (The San Francisco Examiner, 1 Aug 1896, page 7). The capital stock was $15,000, of which $500 had been subscribed by Directors W. Frank Pierce, C.L.J.W. Pierce, John Martin, D.E. Fortin and G. B. Daniels. The newspaper announcement noted, “The synagogue property, corner of Fourteenth and Harrison streets, will be built upon by the association and the structure will be used as headquarters and lodge rooms by Oakland lodge.”
The actual address was 305 Fourteenth Street. The “Oakland Tribune” noted, “the building was purchased, repaired, painted and furnished in a very modest way” (Oakland Tribune 12 Dec. 1927, page 16). At the time of its dedication, it was the only Scottish Rite cathedral west of the Rocky Mountains. When the Oakland Scottish Rite bodies outgrew their home at 305 Fourteenth Street, the building was used by the Improved Order of Redmen, becoming known as a Redman’s Hall. Unfortunately, the building was razed and there is now a parking lot were the first Scottish Rite in Oakland once stood.
There is a lovely article on the history of the Oakland Scottish Rite, it was originally written by Arthur R. Anderson and published as a booklet for the Oakland Scottish Rite Diamond Jubilee in 1958. The text is posted to the Oakland Scottis Rite website: https://oaklandscottishrite.com/history/
Part 681: The Second Scottish Rite Stage in Little Rock, 1902
By 1901, Sosman & Landis had successfully delivered Scottish Rite scenery and stage machinery to the following valleys in the Southern Jurisdiction: Little Rock, Arkansas (1896 and 1898), Oakland, California (1896), Wichita, Kansas (1898), Guthrie, Oklahoma (1900) and Fargo, North Dakota (1900).
On April 17, 1901, the Wichita Scottish Rite reunion included a class of two-hundred candidates, the large Scottish Rite class size to date. The day before, newspapers across the country shared the news from Wichita, “The largest class of candidates for the mysteries of Masonry in the history of the Scottish Rite in the country will be given the degrees here tomorrow, the special occasion being a twentieth century jubilee” (“San Francisco Examiner,” April 16, 1909, page 3). Biggest candidate class? Sure, but the Guthrie Scottish Rite had already boasted of something else– a bigger and better building for bigger and better degrees. And so the American comparison begins – “Mine is better than yours.”
That same spring, the “Guthrie Daily” announced, “The Scottish Rite at Guthrie has the distinction of being the only building erected exclusively for the Masonic Fraternity, and its equipment in stage scenery, electrical lighting devices, robes and general paraphernalia, is the most complete in the United States” (15 March 1901, page 5). That would soon change as the Little Rock Scottish Rite entered into the fray again with the construction of a new home; their second theater.
By September 1901, an article in the “Arkansas Democrat” about the new Little Rock Scottish Rite building reported, “The stage will be the special feature connected with the auditorium and will be the largest and most thoroughly equipped in the United Sates and used for Masonic purposes. The fact there are few stages in theaters in the larger cities than this one will be and none in the United States more perfectly equipped with scenery and electrical appliances, and few its equal. The scenery will of course be all specially designed for the building and for the use of conferring degrees, but that some idea of the magnitude of the scenic effects may be obtained it is proposed to place on this stage nearly one hundred different drops, at least forty complete sets of scenery each entirely different from the other in design and thought” (18 Sept. 1901, page 2).
By November 28, 1901, the “Arkansas Democrat” commented, “The stage equipment will be the most magnificent that can be secured, and it is contemplated that not less than $5,000 shall be expended upon this feature alone. It will be the largest and most equipped in the United States for Masonic purposes – in fact there are few theater stages more perfectly supplied and arranged, and fewer that can equal for scenery and electrical appliances” (page 1).
Sosman & Landis studio delivered a second scenery installation to Little Rock in 1902, after having installed two other scenery orders at their previous stage in 1896 and 1899. Little Rock’s Albert Pike Consistory building and stage were prominently featured in “New Age Magazine” (later becoming “Scottish Rite Journal”). In the article, Rosenbaum proudly claimed, “…the stage equipment in Little Rock is the most perfect in America – not only for Masonic purposes, for which it is used exclusively, but from any other point of view…nowhere else in America, with the possible exception of one theatre in New York, and one in Chicago, is it possible to produce either the scene or electric effects that can be produced on this stage.”
This Little Rock scenery and stage machinery was replaced when the Scottish Rite built its third stage in the 1920s. The used collection was then sold to the Scottish Rite in Pasadena, California. In Pasadena, the scenery and stage machinery began a new life where it is still used to this day. The scenery collection in Pasadena, Austin and Fargo are extremely significant in the scope of both theatre history and Masonic history. These three valleys are stewards to some of the earliest scenery in the Southern Jurisdiction. This is what their predecessors witnessed when they first stepped foot in a Scottish Rite stage to experience a new form of degree work.
This Scottish Rite scenery and stage machinery was delivered to Little Rock, Arkansas, in 1902, is now used at the Pasadena Scottish Rite.An arbor originally installed on line 89 at the Little Rock Scottish Rite now hangs on line 55 at the Pasadena Scottish Rite. Both line numbers are still visible.Looking up above the Scottish Rite stage in Pasadena, California, at Brown’s special system, originally installed in Little Rock, Arkansas, during 1902.A backdrop painted by Sosman & Landis studio, installed at the Little Rock Scottish Rite. It is now used at the Pasadena, Scottish Rite.
The past few posts examined early Scottish Rite contracts between the Guthrie Scottish Rite and E. A. Armstrong Manufacturing company between 1899 and 1900. Another Scottish Rite theater project occurred during this same time in Fargo, North Dakota. It also included a scenery collection manufactured by Sosman & Landis.
The first steps toward a new Masonic building in Fargo began during 1894. Land was not purchased until February 1898, with the contract for work being finalized during May 1899. On June 7, 1899, the cornerstone was laid for the Masonic Temple at 501 First Avenue North in Fargo. It would be the home to several Masonic orders in Fargo. The building was first occupied on June 6, 1900, but not fully completed. This building would include a Scottish Rite theater, lodge rooms, banquet hall, kitchen, billiard room, armory, reception room and offices. In 1914, an addition was made on the west side of the building. A library, museum, gymnasium, and swimming pool were included in the work. All told, this massive complex included 55,155 square feet of total floor space. The building would be home to the Scottish Rite until 1968 when it was razed as part of an urban renewal plan. In 1968, the Masonic Temple was purchased by the Fargo Parking Authority with the intent to construct a parking lot. Demolition began on June 19, 1968.
Postcard of the Fargo Masonic TempleThe Scottish Rite auditorium in the Fargo Masonic Temple pictured in a 1903 Reunion programThe Scottish Rite stage in the Fargo Masonic Temple pictured in a 1903 Reunion programScene created by Sosman & Landis for the Fargo Scottish Rite stage
The turn of the twentieth century is a period at Sosman & Landis produced some absolutely stunning work. The nineteenth-century aesthetic still dominated Scottish Rite scenery, as scenic artist and stage carpenter David A. Strong (1830-1911) was still actively involved with its production. Thomas G. Moses was on his way out the studio door again; this time to start a new business with Will Hamilton, establishing Moses & Hamilton in NYC during 1900. Back in Chicago, Strong still reigned as the “Daddy of Masonic Design” and was still very active as a scenic artist at the Sosman & Landis studio. My research suggests that Strong was very involved in the production of scenery for Little Rock (1896, 1899, 1901), Oakland (1896), Wichita (1898), Guthrie (1900), and Fargo (1900). After 1900, his contributions to Scottish Rite scenery begin to diminish.
Fellow scenic artists referred to Strong as “Old Trusty” and a member of the Dusseldorf School. Of Strong, Moses wrote, “His color was deep and rich and his drawings very correct.” In “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” Strong was included as a well-respected scenic artist with the article reporting, “David Strong, “Old Trusty,” still at work in this city, is the only survivor of the good old Dusseldorf school. Everything that comes from his facile brush – and he could walk over miles of canvas of his own painting – has the quality of opaqueness peculiar to his school and seldom found nowadays. (“Chicago Sunday Tribune” article, Dec, 18, 1892, page 41). It is the comment “seldom found nowadays” that rings true. Even in 1892, the artistry of Strong’s generation was diminishing. The last vestiges of this art form are likely still hanging in a handful of Scottish Rite stages across the country.
Sosman & Landis scenery produced for Little Rock, Wichita, Fargo and Guthrie, have a unique aesthetic and compositional approach to the painting. Like a person’s signature, it is easy to identify that a particular scenic artist worked for all four collections. Artworks associated with the Dusseldorf school included an active middle ground, with the primary not taking place in the fore ground. The 1892 “Chicago Tribune” article comment about the “quality of opaqueness” to Strong’s work; this was in direct contrast to the English practice of glazing (Chicago Tribune, Dec. 18, 1892). The opaque application of solid color for Strong also meant that a subject could be worked up from dark to light, the approach of the slapdash tradition. The use of glazes often meant that the composition was painted up in the reverse, from light to dark. Each was a successful method, yet supported differing approaches to color mixing and paint application. That being said, most audiences would be unable to identify the differing techniques or aesthetic nuances as they both read well from a distance.
Sosman & Landis setting for the Scottish Rite stage in Fargo, North Dakota.Sosman & Landis setting for the Scottish Rite stage in Guthrie, Oklahoma.
A second scenic artist also contributed scenery to the Little Rock, and Wichita collections during this time, approaching the subject matter in the English tradition of glazing. However, this style is only apparent in a few settings, such as the Egyptian scenes and Royal Chamber. Overall, the majority of the scenery for Scottish Rite collections during the late nineteenth century at Sosman & Landis has in identical feel and aesthetic approach to the subject matter. My research suggests that it was Strong who was the main artist; he would have been in his mid to late sixties at the time. Few pieces beyond the 1904 Sosman & Landis scenery installation for the Duluth Scottish Rite remain and are, what I believe to be, indicative of Strong’s work. The floral wreaths for the 1909 setting of Darius’ Festival Palace created for the Scottish Rite in Winona, Minnesota, was another example. However, by 1909, Strong was 79 years old, and likely unable to contribute as much painting to each Scottish Rite project. Keep in mind that Storng was one of the artists for the original production at the “The Black Crook” at Niblo’s Garden in 1866. “The Black Crook” is considered by many to be America’s first musical.
For more posts about Strong, see past installments #127, 215, 248, and 382.
Sosman & Landis setting for the Scottish Rite stage in Fargo, North Dakota.Sosman & Landis setting for the Scottish Rite stage in Austin, Texas, using glazing techniques.
Part 679: The 1900 Guthrie Scottish Rite Contract for Scenery
On April 28, 1900, the Scottish Rite in Guthrie, Oklahoma, purchased $2,190.00 worth of painted scenery and stage machinery from E. A. Armstrong Manufacturing Co. The firm subcontracted the creation of the leg drops, cut drops, backdrops and set pieces to Sosman & Landis in Chicago. The contract specified that all drops would be “counter-weighted and installed in working order.”
The order included a painted front drop (drop curtain) and white lantern curtain (picture sheet), 22 backdrops, 6 cut drops, 18 leg drops, and 11 other scenic elements.
Much of this collection was later sold to the Scottish Rite in Austin, Texas in 1914, although contract negotiations began as early as 1912.
Original drop curtain for the Scottish Rite in Guthrie, Oklahoma, sold to the Scottish Rite in Austin, Texas.Original wood setting for the Scottish Rite in Guthrie, Oklahoma, sold to the Scottish Rite in Austin, Texas.Original Ruins setting for the Scottish Rite in Guthrie, Oklahoma, sold to the Scottish Rite in Austin, Texas.Detail of Original Treasure drop for the Scottish Rite in Guthrie, Oklahoma, sold to the Scottish Rite in Austin, Texas.
What this contract clarifies, however, is how the scenery was described and the designation titles for composition. The descriptions would change over the years. For example, a “Royal Chamber Setting” becomes “Solomon’s Throne Room” as more painted detail, symbolic objects and emblems are added.
Original Royal Chamber drop for the Scottish Rite in Guthrie, Oklahoma, sold to the Scottish Rite in Austin, Texas.
Here is a portion of the 1900 contract between the Guthrie Lodge of Perfection and E. A. Armstrong Manufacturing Co.-
FOURTH DEGREE
One drop with gates in opening; backing which is also used elsewhere being made reversible
FIFTH DEGREE
One stone interior set, consisting of one back drop with scrim panel and one leg drop – one tomb drop with practical doors
SIXTH DEGREE
One Royal chamber set, consisting of one backdrop and one leg drop; leg drop to be used with other sets.
NINTH DEGREE
One cave set, consisting of cave backing and one cut drop for front of cave; also one set for the water-fall.
FIFTEENTH DEGREE
One set showing ruins at Jerusalem; also used in 16th Degree, consisting of one backdrop, and two leg drops, One drop for Cyrus’ Palace; the leg drop of 8th Degree being used with this – One Treasure House set consisting of back drop and one leg drop- One bridge set, consisting of horizon drop; one profile fore-ground.
SIXTEENTH DEGREE
One Palace set, for Darius, consisting of one back drop and two leg drops
EIGHTEENTH DEGREE
One constellation set, consisting of one transparent spangled drop; one gauze cloud drop three light boxes showing “Faith”, “Hope”, and “Charity”.
One crucifixion set, consisting of one backdrop, one cut drop, and one leg drop.
One Calvary set, consisting of one back drop with set rose – One peristyle drop, with light box for words “Infinity”, “Nature”, “Reason”, “Immortality”.
One Cathedral set, consisting of one back drop, and one leg drop; One Ascension Scene, consisting of one back drop, One cut drop, one gauze cloud drop, one movable figure. One Hades set, consisting of one back, one cut, and one leg drop.
TWENTY-FIRST DEGREE
One interior wood set, consisting of one back drop, one cut and two leg drops; leg drops are also used in the 9th & 15th Degrees.
THIRTIETH DEGREE
One Egyptian Interior set, consisting of one back drop, and two leg drops.
THIRTY-SECOND DEGREE
One camp set, consisting of one backdrop and one leg drop
One white interior, consisting of one back drop and two leg drops, also a transparency of Great Symbol
MISCELLANEOUS
One drop curtain with emblematic devise
One pair of tormentors
One grand drapery
One White lantern curtain
One pair flipper wood wings
All drops counter-weighted and installed in working order in Guthrie.
Besides scenery, the Guthrie Scottish Rite ordered additional costumes, regalia, stage lighting, lighting apparatus, props, stage carpets, and other stage appliances. $1,319.05 worth of costumes and $419.75 of special light fixtures were added to the order in April 1900. The contract noted, “Goods were sent collect, but freight bills receipted are to be valid vouchers against the account.”
Records indicate that the Scottish Rite bodies needed a few more things… by May 15, 1900, an order was placed for belts, bronze pedestals, one table of Shrew-bread, one altar of incense, one brazen laver, one electric bell, three electric buzzers, one dozen small sized plain Mason’s trowels, and ten alcohol torches. A day later on May 16, another order was placed for 74 ½ yards of stage carpet for $46.74. On on April 21, they ordered a full papier mache skeleton for $12.50.
The orders to E. A. Armstrong Manufacturing Co. continued. In September 1900 the Guthrie Scottish Rite purchased a white altar cover, a black velvet cover with tears, a laurel and olive wreath, cast iron floor pocket, 3 extra switches, 14 standards, spears and pennons, 6 extra flags, 4 extra receptacles for $49.75.
In November they purchased an additional two pairs of Flipper wings [book flats], two Ground rows, a 16×24 ground cloth, a gauze cloud drop, a stone altar [likely for JBM] and eight stone blocks and column for $225.50. By the end of the month on November 20, 1900, the Guthrie Scottish Rite placed a large order for $250.10 worth of regalia; various officer jewels, aprons, banners, and lodge furniture from E. A. Armstrong Manufacturing Co. The orders continued, sometimes weekly, monthly, and yearly.
In less than a decade the Valley of Guthrie was outgrowing their theater space, and planned an expansion; one that would necessitate the purchase of all new stage machinery and scenery for a larger stage and proscenium opening. The scenery and stage machinery from 1900 were returned for credit on the purchase of a new collection. However, Brown was working for a different company – M. C. Lilley & Co. The scenery still found its way back to the Sosman & Landis studio, where they stored the collection until it was ready for another sale. The used collection was eventually sold the Scottish Rite in Austin, Texas, for approximately $1500, where it is still in use today; sometimes providing the setting for a children’s theatre production. Fortunately, the Guthrie scenery was never altered or replaced after it arrived in Austin. It did not suffer the fate of other collections as the Austin Scottish Rite continued to expand.
As membership increased in Scottish Rite Valleys across the nation, so did their stage needs. Additional settings were added, or entire scenery collections replaced, necessitating even more costumes, props and effects.
Once Scottish Rite stages were constructed, there were always elements that could be added or updated –as long as the membership recognized the theatrical interpretation of degree work as a priority. Over the decades, however, the priorities in some Scottish Rite Valleys shifted their attention away from stage improvement. This was especially common after membership the Rite began a slow descent. Incoming funds were funneled toward specialty projects, people and events. I have noticed that there was a definitive change in the direction of funds that occurred during the 1960s. It is hard to define the exact impetus or even define the change. You can spot it in the candidate classes, the building projects and charitable endeavors. I understand that at this same time, younger generations sought alternative forms of community and social groups. Some call it part of their struggle against the “establishment.” I wonder if it was simply an increase in social opportunities; there were more options for young people.
During the mid-twentieth century many Masonic buildings were also renovated, often given a “face-lift.”. Suddenly brown paneling concealed original ornamental plasterwork, as certain decorative elements were perceived as “dated.”
Occasionally elements would be added to the theater space, but it no longer was the norm to continually purchase scenic effects for the stage. Many of the changes had to do with individual comfort, such as new seating in an auditorium. Funds were also spent on new costumes, as the sizes of Americans continued to increase in height and girth. Original costumes were shoved to the back of the rack, replaced with larger polyester versions.
Stage crews began to see the wear and tear of scenic elements, often requesting funds that were denied as the work was perceived as optional. Therefore, the backstage crews began a series of in-house repairs. So far removed from the original theatre manufacturers, punctures in scenery could result in amateur patches using odd materials that ranged from fiberglass and plaster. I have even encountered sheet metal patches riveted on to a backdrop in Quincy, Illinois. Then came the contact cement and duct tape generation for in-house repairs. As the funds for maintenance and repair were limited or non-existent, few sought out any theatre professionals. Regardless of these amateur repairs, however, many collections remained untouched. Some were guarded by backstage stewards who yelled, “don’t touch it – leave it be!” These became the gems of the Southern Jurisdiction; the theatre time capsules that are so treasured today.
Part 678: The 1899 Guthrie Scottish Rite Contract for Costumes
E. A. Armstrong Manufacturing Company, manufacturers of secret society, military and band supplies, was located at 300-302-304 Wabash Avenue in Chicago, Illinois. Their letterhead noted that the company was located “Next to Auditorium.” That was the Chicago Auditorium, previously discussed in detail in regard to the development of Brown’s special system.
A copy of the E. A. Armstrong Manufacturing Co. contract with the Guthrie Lodge Scottish Rite
On January 13, 1899, just a few days before a three-day reunion where degrees were conferred by all four Scottish Rite bodies in Guthrie, Oklahoma, the E. A. Armstrong Mfg. Co. filled a large purchase by the Guthrie Lodge of Perfection, No. 1. A.A.S.R. Order No. 1-272 for the Masonic department received a cash payment for costumes, a stereopticon and lantern slides. The head of the Masonic department at E. A. Armstrong was Bestor G. Brown. $1,187.35 worth of costumes and props were purchased for the 4, 5, 6, 9, 14, 15, 18, 21, 30, and 31 degrees. $1,187.35 in1899 is the monetary equivalent of $36,000 today. In addition to costumes, one “double stereopticon with electric lamps and rheostata, mechanical dissolver was purchased for $120.00.” For use with this device, lantern slide subjects included one set “Rock of Ages,” containing twelve slides, one “Ark of the Covenant” and two 18th degree banners, adding another $51.70 to the total.
Here are a few examples of costumes in the 1899 contract, listing degree characters, as it gives a scope of necessary items at the time:
FOURTH DEGREE
Costumes with head-dresses for Venerable Master, two Wardens, and master of ceremonies 30.00
FIFTH DEGREE
Two (2) Costumes – in white- for King Solomon & Hiram King of Tyre – with head-dresses 30.00
SIXTH AND NINTH DEGGREES
Costume for King Solomon – yellow and purple pluch
Costume for Hiram King of Tyre – red plush
Costume for Heardsman – leggings Greek
Shirt, fillet – with sheep skin mantle 85.00
FOURTEENTH DEGREE
Costume for King Solomon – in cashmere 50.00
Two costumes for Wardens in white-
With headdresses, at $15.00 30.00
Costume for Master of Ceremonies
With head-dresses 10.00
Crux Ansata, 1.50
Pentateuch 1.75
Seven branch candlestick 12.00
Gilt triangle for altar 2.75
Embroidered triangle for altar cover 3.75
Cubical stone with pedestel 18.00
FIFTEENTH DEGREE
Costume for Cyrus 40.00
Costume for Satrap Assyria 25.00
Costume for Satrap Persia 25.00
Costume for Master Calvary 20.00
Costume for Master Infantry 20.00
Two (2) Costumes for Persian Guard
Tunic, helmet, hose, armlet, sandals
Spurs and shields at $12.00 24.00
Garb of slavery 2.75
Costume for Zerubbubel 10.00
EIGHTEENTH DEGREE
Costume for Wise Master-cassock,
Cassock, chasable, and biretta for first
Apartment 32.00
Altar cover – black 24.00
Crucifix 2.75
Crosses – two – black 2.00
TWENTY-FIRST DEGREE
Complete costumes for the following
Lieut. Comdr.
Richard
Alphonso
Isadore
Altandorf
Reinfred
Adolph
Thaddeus
Phillippe Augustus
Warder 225.00
THIRTIETH DEGREE
Four (4) Papier mache skulls, 5.00
Triple tiara, regel crown
Roman cap of Liberty 10.00
Four (4) black cowls 5.00
Four (4) white beards 3.60
THIRTY-FIRST DEGREE
Costumes with wire masks, and head-
Dresses for the following:
Osiris
Atum
Ma
Thoth
Anufu
Isis
Nephthys
Har
Four (4) Genic 150.00
Twelve (12) White sateen robes – with
Bald wigs, and white beards, 55.00
Mummy and bier 60.00
Scale, weights and vase 17.00
Four (4) Incense vases 20.00
Looking at the costumes listed about makes me think of the degree performers. It was that western men from a variety of backgrounds who would portray biblical characters, Egyptian gods, and medieval knights. From bankers and lawyers to rancher sand oil men, each had the opportunity to become a star on the Scottish Rite stage.
Part 677: Harper S. Cunningham and the Scottish Rite in Guthrie, Oklahoma
Both Henry Wallenstein and Bestor G. Brown facilitated the Southern Jurisdiction’s inclusion of theatrically interpreted degree work. With the backing of M. C. Lilley & Co. and the assistance of Sosman & Landis, they were on a roll by 1900 and appeared unstoppable.
In 1896 the Little Rock Scottish Rite and the Oakland Scottish Rite each installed a theater in a renovated synagogue. More scenery, lights and effects were delivered to Little Rock in 1898. That same year, the Wichita Scottish Rite installed a theater in a renovated Y.M.C.A. building. In 1900, there were two more Scottish Rite buildings with theaters that appeared in the Southern Jurisdiction – Guthrie, Oklahoma, and Fargo, North Dakota.
For the Wichita Scottish Rite’s Spring Reunion in 1898, Harper S. Cunningham, the Inspector General of Oklahoma Territory, sent fifteen Masons from Oklahoma with the request that the Wichita Bodies confer the nineteenth through thirty-second degrees as a fraternal courtesy. By January 1899, a three-day session was held with fifteen candidates assembled to receive the degrees and participate in the ceremonies instituting the first Council of Kadosh and Consistory in the Territory of Oklahoma. From this point forward, the Valley of Guthrie was now authorized to confer the fourth to the thirty-second degrees. On the third and final day of the three-day of the session during January 1899, Cunningham led the charge in planning for their future and new home.
The Guthrie Scottish Rite
He assembled Brown, Wallenstein and Charles E. Rosenbaum to help him with the construction of a new temple in Guthrie, Oklahoma. Cunningham recognized the powerful motivation for men to participate in degree productions. He understood the appeal of the stage; the shared communal experience of witnessing something special and life-changing. He tapped into the experts at the time to bring brought this magic to his Masonic home in Oklahoma.
The three Kansans brought both knowledge and practical experience to the Guthrie project. They became part of a core group that fueled Cunningham’s enthusiasm and anticipation for Masonic Theaters and degree productions in his territory. In 1899 Brown was still working as a traveling salesman for E. A. Armstrong, but had returned to Topeka, Kansas. He would remain with the company until 1903 when he began working for M. C. Lilley & Co. It was during this earlier, period, however, that everything began to shift and doors opened.
By the end of 1900, there were five Scottish Rite stages – Little Rock, Oakland, Wichita, Guthrie and Fargo. All were all outfitted with scenery and stage machinery manufactured by Sosman & Landis of Chicago. The work was first secured by E. A. Armstrong Manufacturing Co. and subcontracted to Sosman & Landis.
Cunningham would become known as the Scottish Rite’s “Temple Builder.” He was involved with not only the Scottish Rite stage in Guthrie, but also the first one in McAlester, Oklahoma, before moving to Santa Fe, New Mexico. He would end up as the the SGIG for New Mexico, passing away before the 1912 Santa Fe Scottish Rite was completed.
As many endeavors, Scottish Rite most successfully spread through word of mouth. I believe that is still the case today. In the end it is the individual experience prompts people to find other members. That has always been the key. When you are passionate about something, you want to share this experience with your family, friends and colleagues. No amount of description or detail will replace actually being there; experiencing the fellowship.
It is an exceptional experience, a monumental moment, that incites an entire movement. It is a few dozen men becoming a thousand, and many digging deep into their pockets. They contributed to the construction of monumental buildings that were worthy of the speculative Craft they practiced. Scottish Rite buildings were not built solely from the contributions of wealthy men, but also from working men who scraped and saved every penny for their Fraternity. This says a lot.
Although the century-old stories may only remain in newspaper articles, it is hard to miss the passion of people gathering together to create something that will out last their own lives. They are looking toward the future and generations of men who will follow their footsteps. After reading these stories filled with excitement, inspiration and hope, it is difficult to see their hard work of the past being sold for pennies on the dollar today.
There are inspirational moments in history when people and communities unite. People of differing faiths and ethnicities plan for the future. It is this foundation that fuels ingenuity. One result of this ingenuity was when a new counterweight system was conceived, developed and installed in a handful of theaters between 1896 and 1902.
Bestor G. Brown successfully sold elaborate stage settings and other stage equipment to Scottish Rites in Kansas and throughout the region. A portion of his success had to do with his history with the area. The “Wichita Daily Eagle” published the full-page article “Decorative Splendor of Wichita’s Scottish Rite Cathedral,” describing the entire endeavor and furnishings in great detail (3 April 1908, page 6). There was a section that listed all of the of the local contributors, including Brown. Here it is:
Henry Wallenstein
“Mr. Henry Wallenstein informed the editor of the Eagle yesterday that he New Scottish Rite Cathedral will be equipped by the last week in May or the first week in June, ready to confer the degrees on the largest class of candidates in the history of Scottish Rite Masonry.
With him a complete tour of the great building was made and the grandeur of improvements, from and artistic standpoint, and their magnificence in every respect was a revelation.
The cathedral as it now stands is 150 feet north and south, and from 100 to 140 feet from east to west. The larger of the latter figures represent the new portion of the building in the construction of which more than a million of Coffreyville brick were used. For Topeka avenue front of the building several hundred tons of Towanda stone were used to harmonize with the material in the original building. The improvements were begun in February,1907, and when completed, after fifteen months’ of steady work, will have cost in the neighborhood of $175,000. The vastness of this sum in improvements on a single building cannot be conceived by any but those who are intimate with the work done, or who will have good fortune to feast their eyes upon it when it is ready for occupancy as the most complete Scottish Rue building possibly in the world – certainly the most completely equipped in the United States of America.
Wichita Scottish Rite
“Genius of the Enterprise
Mr. Wallenstein has been the master mind in the work which was concurrent with his own remarkably handsome business home – the Boston Store.
With his well known loyalty to Wichita all of the work done in it could be done by Wichita capital, labor and talent was given to home people, so that the genius of Wichita is in every feature of it, and to which it will be monument for all future time.
The construction of work was done by Brandt & Taylor of this city, and Mr. Wallenstein is poetic in his praise of them. They demonstrated that Wichita can carry out contracts for almost any size building that an architect can plan, for no building needed more headwork, skill and energy than this one.
The staff work was done by the F. Siefert Plastic company of St. Louis, under the able superintendency of Thomas Leach.
The architect of C. W. Terry of this city, ably assisted by the young genius Mr. Ed Forsblom. The associate architect was Mr. Charles Thompson of Little Rock, Ark.
The great organ was built by M. P. Moller of Hagestown, Maryland, and it is the finest ever built for the western country.
The Standard company of Chicago made the grand metallic staircase, minutely described in its proper place.
The Western Planing mills of this city did at the woodwork and had the personal attention and enthusiastic superintedency of Mr. Tom Kelso.
The Wichita Iron & Foundry company made all the iron work, and it is a great credit to their shop.
The Heating & Power company of Mr. Soderman of St. Louis put the apparatus in that department.
A.H. Andrews and company made the opera chairs.
The Art Glass Company of St. Joe supplied the many elaborate cathedral glass windows.
Bestor Brown, agent for M. C. Lilley company of Ohio, furnished the elaborate stage settings and other stage equipment.
The decorative work – an important feature of the new building – is in charge of Young Brothers of this city.
Some of the important decorations were also supplied by Parrott & sons of this city.”
