Scottish Rite Scenery – Page 15

Tales from a Scenic Artist and Scholar. Part 593 – The Wheeling Scottish Rite, 1908

Part 593: The Wheeling Scottish Rite, 1908

For the past two days, I have examined the subject of the scenes that Moses worked on in 1908 – Darius Palace and approach to Jerusalem. Today’s post is about the actual Scottish Rite building in Wheeling, West Virginia, where the scenery was delivered. In 1907, the Wheeling Scottish Rite Masons began the construction of a massive edifice, complete with a theater and scenery by Sosman & Landis. The Wheeling Scottish Rite was built on the corner of Fourteenth and Byron Streets in Wheeling, West Virginia. Previously at that location, was the residence on Mr. James Caldwell. Soon after his marriage in 1839, Caldwell erected a residence, which, with its garden and stable yard.

*Scottish Rite Cathedral in Wheeling, West Virginia, that had scenery produced by Sosman & Landis in 1908. This building was destroyed by fire in 1915.*

The Sosman & Landis Studio’s work was short lived, however, as the Wheeling Scottish Rite Cathedral was destroyed by fire on March 4, 1915. Losses were estimated at $50,000. While looking for information to include in the timeline for the “Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre,” I read that the Wheeling Scottish Rite Cathedral was destroyed by fire on the morning of March 5 (“Santa Fe Scottish Rite Bulletin,” April 1915, Vol. II No 4, page 8).

*The auditorium of the Wheeling Scottish Rite, pictured after a devastating fire during 1915.*

Last week, I discovered another article about the fire published on April 7, 1915. Interestingly, it was posted at fireengineering.com:

“The Masonic Scottish Rite Cathedral at Wheeling, W. Va., was partially destroyed by fire on March 4th, with an estimated loss of about $50,000. The fire started in the basement and is attributed to rubbish. The fire was discovered at 12:20 A. M., and the alarm was sent in over the Gamewell system from a street box. When the department, commanded by Chief Engineer Edward T. Rose arrived, fire was coming out of the windows in the basement. The flames spread through an airshaft to the back of the stage in the main auditorium on the second floor and swept through that and the upper portion of the building, the first floor being damaged by smoke and water. The building, a four story structure, was less than ten years old, and was constructed with brick walls, wood joists and tar paper roof. All partition walls were hollow. There were few hand extinguishers in the building. There was in service one first size Ahrens-Fox engine, two third size Ahrens-Fox engines, one Silsby third size engine, one 85foot aerial ladder, and 9,000 feet of 2 1/2-inch hose. Three 6-inch and five 4-inch hydrants were available, the distance between them being 800 to 1,000 feet. The water pressure at the hydrants was 80 to 65 pounds. In all 11 streams were thrown, including three hydrant and eight engine streams. Three turrets and one cellar nozzle were used. The loss on building amounted to $30,000, and on contents to $20,000. The contents included scenery on stage, paraphernalia of the order, and a large pipe organ. Chief Rose is quoted as saying the fire demonstrated the danger of vertical openings and lack of fire stops, there being a large space under the roof without a fire stop of any kind. Chief Rose sounded a genera! alarm and a call was sent in to Martin’s Ferry and an auto truck responded. (https://www.fireengineering.com/articles/print/volume-57/issue-14/features/scottish-rite-cathedral-at-wheeling-partially-destroyed.html)

The Wheeling Scottish Rite immediately began plans for a new building in 1915, and by October 1916, the new Scottish Rite was completed, dedicated, and held the first reunion. I have uncovered very little about the original Scottish Rite, other than the opening was postponed. On March 18, 1908, the “Daily Telegram” reported “Postponed Is Dedication of Scottish Rite Cathedral as Interior Work Will Not Be Finished” (Clarksburg, West Virginia, page 1). The article continues, ”The new Scottish Rite cathedral, corner of Fourteenth and Byron streets, Wheeling, will not be dedicated until the latter art of June, as the interior work will not be completed until that month. Elliot & Winechell, contractor who built the Empire building and the county jail and sheriff’s residence in the city, are building the cathedral.

*Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The 1916 auditorium. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The bowling alley. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The Scottish Rite room. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The Ladies Room. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The Blue Lodge room. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

It was originally intended to hold the dedication exercises at the time of the spring convocation or reunion of the Consistory of the Valley of West Virginia, but he high officers of the society were notified by the contractors that it would be an impossibility to have it completed and ready for dedication by that time. The paraphernalia for the degree work has been already ordered from the manufacturers.

The spring convocation will be held in the old temple, on Market street Easter week, closing the usual Maundy Thursday banquet. The latter will probably be held in the Arion hall. There will be work in all of the degrees, and they will be exemplified at the old temple.”

Volland business records indicate that the new scenery was delivered by Toomey & Volland Studios of St. Louis, Missouri in 1916. I was surprised when I encountered a image of the 1916 drop curtain for the auditorium. The design reminded me of a Sosman & Landis version (c. 1898-1908) now used in Yankton, South Dakota. It is very likely that some of the scenery delivered for the new Scottish Rite stage was previously owned and painted by Sosman & Landis artists. The drop curtain is characteristic of Sosman & Landis designs, not that delivered by Toomey & Volland artists.

*The 1916 drop curtain at the Wheeling Scottish Rite.*

*Yankton Scottish Rite drop curtain delivered in 1910 by Sosman & Landis is similar to the one delivered by Toomey & Volland to the Scottish Rite in Wheeling, West Virginia, during 1908.*

To be continued…

Tales from a Scenic Artist and Scholar. Part 592 – The Approach to Jerusalem

Part 592: The Approach to Jerusalem

In 1908, Thomas G. Moses wrote, “Starting on Wheeling, W. Va. Masonic work, a good contract and I enjoyed the work. The Darius Palace and the approach to Jerusalem were very interesting things to do, and a dozen others with the same amount of interest for others to do.” Instead of starting with the venue, I began with the Sosman & Landis scenic design for “Darius Palace” yesterday. Today, I am looking at the “Approach to Jerusalem” design, also titled the “Road to Jerusalem,” by some scenic studios.

Sosman & Landis design for the approach to Jerusalem. Holak Collection, Performing Arts Archives, University of Minnesota.

Backdrop. Sosman & Landis design for the approach to Jerusalem. Holak Collection, Performing Arts Archives, University of Minnesota.

Cut drop. Sosman & Landis design for the approach to Jerusalem. Holak Collection, Performing Arts Archives, University of Minnesota.

Moses’ statement suggests that he found these two specific compositions interesting to paint. This is a consistent sentiment, as throughout his memoirs Moses mentions that Masonic scenery was enjoyable to work on due to the variety. It may also imply that the standard design used for past installations changed and was now more interesting. For example, in 1908 the Darius Palace scene design took on a new look when the composition shifted from vibrant colors, to a classical ivory interior with colorful garlands.

Sosman and Landis design for Darius Palace in 1898.

Sosman & Landis design for Darius Palace in 1914

The approach to Jerusalem was a fairly straightforward design that included a cut drop and backdrop. The cut drop depicted the beginning of a dirt road that continued into the distance toward a walled city. This particular cut drop was able to be used for multiple Scottish Rite degrees, not with just the Jerusalem backdrop. The design was generic enough to be pair with not only an ancient city, but also a variety of other exterior backdrops.

Design for 16th degree approach to Jerusalem by Thomas G. Moses, 1931.

The beauty of Scottish Rite stage designs is their versatility, with many being relatively generic compositions that could span continents and eras. Unfortunately, many Scottish Rite stage crews and degree directors do not understand that there are many more compositions that can be created beyond the specific shipping label located on the stage right side. For example, the cut drop for the approach to Jerusalem was also paired with the wood drop. Instead of a road to Jerusalem, it became a path into the forest or to a distant medieval castle. This shifted the setting from a biblical one to a medieval one. Just as there were certain masking drops to accompany many scenes – drapery, wood, rough cut stone, or classical – there were many cut drops that would alter the stage setting.

I have noticed that over time, there were certain stage designs for Scottish Rite degree production that “evolved,” while others remained cemented in the past. I am not simply suggesting that the Northern Masonic Jurisdiction of the Scottish Rite altered its stage settings for specific degrees more frequently than the Southern Jurisdiction. Although this is true, I believe that there is much more to Moses’ statement. The 1908 the scenic interpretation for the two sixteenth degree settings “evolved,” breaking from past designs.

Sosman & Landis approach to Jerusalem for the Scottish Rite in Wichita, Kansas, 1898 This setting is now at the Salina Scottish Rite.

Becker Studios approach to Jerusalem for the Scottish Rite in Moline, Illinois, 1930.

In some cases, scenic studios unified the Scottish Rite degree work and established a standard expectation for every Valley throughout the United States. In the nineteenth century, many of the theatrical interpretations for degree work on the Scottish Rite stage were similar. Both the Southern Jurisdiction and Northern Jurisdiction purchased similar settings for their respective degree productions. During the first decade of the twentieth century, this began to change.

To place the production of Scottish Rite scenery in context, we also need to look at the studio artists at Sosman & Landis during that time. Often a variety of scenic artists contributed to the production of new Scottish Rite scenery collection. In scenic studios during the early twentieth century, many of the scenic artists specialized in a particular genre – draperies, exteriors, interiors, etc. This was a shift from the previous generations of scenic artists – it was implemented for efficiency, increasing the overall speed of production. This also makes sense from an efficiency standpoint; the studio would want and artist familiar with the scene to do the work, one who had painted it before. Moses was known for his exterior woodland scenes, however, he was trained as a scenic artist during a period in American history when theatre worked necessitated that itinerant artists be equally skilled in all genres.

Keep in mind that in 1908, Moses had been working as a scenic artist for 44 years. His skill at painting landscapes was well-known and sought after, but he could also paint draperies, exteriors, ornament and figures. It would certainly make sense that he painted both the Darius Palace and the approach to Jerusalem drops for Wheeling. The approach to Jerusalem was a picturesque landscape with a road winding to a city in the distance. The palace of King Darius was often decorated with floral garlands that held dozens of roses.

Detail of a rose in a floral garland from Darius Palace, painted by Thomas G. Moses in 1909.

It is relatively easy to identify individual artists who produced certain settings for Scottish Rite scenery collections. Although they may currently remain nameless, their paint application is like a signature, and a specific artist can be traced from one collection to another; it just takes time and energy to make the identification. It is obvious when a particular setting is produced by a different hand at Sosman & Landis. I have tracked the painting techniques for various scenes from one Scottish Rite to another. The approach to Jerusalem provides an ideal opportunity to examine aesthetic shifts from 1896 to 1914.

Almost identical Sosman & Landis designs were produced for the Scottish Rite in Little Rock, Arkansas, in 1896 and Wichita, Kansas, in 1898. A similar design was again produced in 1914, for the Scottish Rite in Tucson, Arizona. Comparing and contrasting these designs provides an ideal opportunity to examine shifts in composition, artistic interpretation, predominant colors, and scenic art techniques.

Sosman & Landis approach to Jerusalem for the Scottish Rite in Little Rock, Arkansas, 1896. This setting is now at the Pasadena Scottish Rite.

Sosman & Landis approach to Jerusalem for the Scottish Rite in Tucson, Arizona, 1914.

To be continued…

Tales from a Scenic Artist and Scholar. Part 591 – The Sixteenth Degree Setting for King Darius’ Palace

Part 591: The Sixteenth Degree Setting for King Darius’ Palace

In 1908, Thomas G. Moses wrote, “Starting on Wheeling, W. Va. Masonic work, a good contract and I enjoyed the work. The Darius Palace and the approach to Jerusalem were very interesting things to do, and a dozen others with the same amount of interest for others to do.” Instead of starting with the venue, I am beginning with the Sosman & Landis scenic design called “Darius Palace.”

Darius Palace setting by Sosman & Lanids for the Scottish Rite in Winona, Minnesota, 1909.

Painted detail on Darius Palace cut drop by Sosman & Landis, 1909

For the Scottish Rite’s sixteenth degree production, it is important to consider the historical context and inspiration for the stage work. The exiled Hebrews returned to Jerusalem in approximately 530 BCE, yet they had to wait for Darius’ ascension to the throne for the rebuilding of King Solomon’s Temple. The Second Temple was completed about 510 BCE. There is much more to the story, but this provides us with the basic context that inspired three Sosman & Landis scene designs: King Solomon’s Temple ruins, King Darius’ palace, and the rebuilding of the Temple. I have recently posted a series of images regarding stage settings that depict the ruins of King Solomon’s Temple from the 15^th degree. This degree includes the story of when King Cyrus reigned and Zerubbabel was sent to check on the site. The 15^th degree stage setting carries over the 16^th degree and was often used again. Understand, however, that what appears on Scottish Rite stages now does not always use the scenery as intended.

Two of the sixteenth degree settings were noted in the “Buffalo Consistory” during 1908. An article describing the upcoming events at a Scottish Rite Reunion reported, “On Tuesday morning there is no class, but in the afternoon the sixteenth degree, prince of Jerusalem, will be presented in three sections. The first and third represent the ruins of the Holy City and the second the court of Darius, King of Persia” (Buffalo Morning Express, 21 April 1908, page 6).

That same year, the “Brooklyn Daily Eagle” also mentioned the 16th degree production at the Scottish Rite: “The sixteenth degree, Princes of Jerusalem, was the work in Brooklyn Consistory on Wednesday evening last.” After listing the cast members, the newspaper commented, “This beautiful, instructive, historic degree is one of the most interesting in the entire Scottish Rite system.” (5 April 1908, page 25).

For those unfamiliar with King Darius I, here is a brief recap. Darius the Great was born in 522 BCE. He is recorded as being one of the greatest rulers of the Achaemenid dynasty, ascending to power in 522 BCE and reigning until 486 BCE. Darius was known for his administrative genius and monumental construction projects, including his palace in Susa located at the center of the Persian Empire. Stretching from the Nile and the Aegean to the Indus Valley, at its peak, the Persian Empire included much of West Asia, the Caucasus, parts of the Balkans (Thrace-Macedonia and Paeonia), most of the Black Sea coastal regions, parts of North Caucasus, and Central Asia. It reached as far east as the Indus Valley with portions of north and northeast Africa including Egypt, eastern Libya and coastal Sudan. A great book on this subject is Jean Perrot’s “The Palace of Darius at Susa: The Great Royal Residence of Achaemenid Persia.”

King Darius was known for centralizing and unifying the Persian empire, He divided land under his reign into provinces, placing satraps to govern it. Darius established a new uniform monetary system, introduced standard weights and measures, as well as making Aramaic the official language of the empire. He also instigated several construction projects throughout the empire, including Susa, Pasargadae, Persepolis, and Babylon. This is the part that we are most interested in as nineteenth-century archeological discoveries would greatly impact popular culture and Masonic stage design.

It was the information and illustrations published about archeological discoveries that were incorporated into Masonic degree productions designs by Sosman & Landis and other scenic studios. King Darius’ Palace at Susa (western Iran) was one of the most important of the Achaemenid Persian palaces. When it was rediscovered in 1851, details of the architecture and ornamentation remained in the public eye and were eagerly sought after by all types of artists.

These discoveries especially fueled the designs of stage settings for the 16^th degree. Scenic studios labels became more description over time, going from a simple “Darius Palace” to Darius Festival Rose Palace.”

Darius Palace by Sosman & Landis for the Scottish Rite in Tucson, Arizona, 1914

Early twentieth century Sosman & Landis scenic designs were characterized by Persian columns and double-bull capitals, replicating discoveries in Persepolis and Susa. Floral garlands were draped throughout the scene, wrapping around orate columns. Skilled scenic artists at Sosman & Landis painted hundreds of roses in varying shades of pink, depicted from every conceivable angle. These floral garlands are some of the most beautiful examples of scenic art that I have encountered to date.

Artists in scenic studios relied on printed source material for these ancient palaces, such a Dr. Franz von Reber’s “The History of Ancient Art.” This publication provided beautiful examples of ancient architectural ornamentation for the sixteenth degree. Here is a link to Dr. Von Reber’s 1882 publication, as it is a wonderful addition to any library: imageshttps://www.gutenberg.org/files/42082/42082-h/42082-h.htm#page_025

To be continued…

Tales from a Scenic Artist and Scholar. Part 567 – Thomas G. Moses and the McAlester Masonic Job, 1907

Part 567: Thomas G. Moses and the McAlester Masonic Job, 1907

In 1907, Thomas G. Moses wrote, “South McAlister Oklahoma was a good Masonic job.” He was referring to the second scenery installation delivered to the Scottish Rite in McAlester, Oklahoma by Sosman & Landis. Moses was also involved with the delivery of the first and third installation to the McAlester Scottish Rite. For me, everything gets exciting at this point in Moses’ diary as many of the Scottish Rite installations that he worked on are still hanging in theaters across the country.

The scenery created for the Scottish Rite in McAlester, Oklahoma, now hangs in Salina, Kansas.

Looking up into the flies above the Salina Scottish Rite stage. This is the original scenery and stage machinery created for the McAlester Scottish Rite in 1907, as recorded by Thomas G. Moses.

The used McAlester Scottish Rite scenery collection from 1907 is now used in Salina, Kansas. The drops are clearly marked with the original delivery location of “So. McAlister,” or sometimes, “McAllister;” the same misspelling that Moses used in his diary. Other charcoal notations on the scenery note the original size of 18 feet high by 36 feet wide.

The scenery in Salina, Kansas, will have the original shipping notes for McAlester, Oklahoma.

Here is the story of the three scenery installations for McAlester – 1901, 1907 and 1929. In 1901, Sosman & Landis delivered the first scenery installation to “South McAllister.” By 1907, there was the construction of a second theater that necessitated the purchase of a new scenery collection for McAlester, Oklahoma. As with many first-generation Scottish Rite scenery collections, it was returned to the studio for credit on a new purchase to be refurbished and sold to another venue.

The first Scottish Rite theater in McAlester, Oklahoma. Scenery for this stage was purchased by the Scottish Rite in Santa Fe, New Mexico, to practice with while building their own theatre.

The first 1901 collection was sold to the Scottish Rite in Santa Fe, New Mexico during the planning phase for their 1912 building. The purchase of the used scenery was requested by the SGIG (Sovereign Grand Inspector General) of New Mexico, Harper S. Cunningham. Cunningham was previously the SGIG to Oklahoma and instrumental in integrating theatrical productions as part of Scottish Rite degree work. He was known as the “Temple Builder.” When Cunningham requested that the Santa Fe Scottish Rite Bodies purchase the used McAlester scenery collection, he intended that the purchase old McAlester scenes would prepare the members for their new theatre; they would understand the logistics of theatrically staging degree productions.

At the time of the used scenery purchase, the Santa Fe Scottish Rite Masons met in a standard lodge room – the Masonic Hall on Water Street near the center of town. Like many Masonic meeting rooms, it was located in an upper-level space and was rectangular in format. In 1908, the hall was renovated to include a small stage for the McAlester, Scottish Rite scenery – this was also common practice at the time.

Scottish Rite drop curtain in McAlester, Oklahoma, that was purchased by the Scottish Rite in Santa Fe, New Mexico.

Same drop curtain from McAlester, Oklahoma, pictured at the Masonic Hall in Santa Fe, New Mexico.

I made this discovery while doing research for the book “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018). I recognized the drop curtain in a few historic photographs that were being used in another chapter. The drop matched images that I took of a historic McAlester Scottish Rite photograph. I compared the two sets of historic photographs and realized that they matched! The first-generation scenery is no longer in existence, with the exception of a possible grand drape piece that was rolled up and stored in wardrobe.

Notice grand drape pictured in the first-generation Scottish Rite theatre in McAlester, Oklahoma.

Detail of the grand drape pictured in the first-generation Scottish Rite theatre in McAlester, Oklahoma.

Detail of the same grand drape in the Masonic Hall in Santa Fe, New Mexico.

Masonic Hall in Santa Fe with stage that housed the used first-generation McAlester Scottish Rite scenery.

As with McAlester, both the first-generation and second-generation scenery collections for the Santa Fe Scottish Rite were produced by Sosman & Landis, a subcontracted project from M. C. Lilley & Co. Bestor G. Brown, western sales manager for M. C. Lilley, would contract all of the theatre work for a Scottish Rite theater and then subcontract portions of it, such as the scenery to Sosman & Landis and the lighting to Frank Adam electric.

When the third McAlester Scottish Rite stage was planned, their second scenery collection was sold to the Scottish Rite in Salina, Kansas, for their new building during 1927.

Painted detail of a scene created for the Scottish Rite in McAlester, Oklahoma, now hanging in Salina, Kansas.

In Moses’ scrapbook, he pasted a newspaper clipping about the used McAlester Scottish Rite scenery collection that was purchased by the Salina Scottish Rite 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. Brother Tom Moses is painting the scenery for our new stage settings. He is also building stage properties, and all will be the last thing in that line. The brother that does not see this great stage and these wonderful properties at our Fall Reunion will miss something. 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.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 557 – Home for the Holidays, 1906

Part 557: Home for the Holidays, 1906

Thomas G. Moses wrote, “Pitt, Stella and Baby Eleanor arrived home for Christmas.”

During the summer of 1906, “The Oak Park Leaves” reported, “Mr. and Mrs. W. Pitt Moses of Trenton, N.J., are the proud parents of a baby girl, who arrived Sunday, July 29. The father is the son of Mr. and Mrs. Thomas G. Moses of 233 South Euclid avenue” (4 August 1906, page 10).

Tom and Ella had four children: William “Pitt” Moses (1879), Mary “Mamie” Titcomb Moses (1881), Lillian Ella Moses (1886), Thomas “Rupert” Moses (1889). Moses recorded that Pitt and Mamie were the mischievous pair of the four when they were young, keeping his wife Ella on watch every minute.

As the first child to become an adult, Pitt followed in his uncle Frank Moses’ footsteps. In 1900, he moved to Trenton and worked at the gas plant in New Jersey. Three years later, he married Stella Martin of Trenton. Moses’ youngest son, Rupert, entered the theatre manufacturing business with his father. The girls were married and became homemakers. Lillian married George Salzman in 1910. Mamie married William Hanover in 1911. Last, but not least, Rupert married Ula McNeill of Ames, Iowa in 1914.

By 1917, Moses wrote, “Pitt came out for a short visit and for the first time in twenty years, we had only the four children at home for a dinner. They were not allowed to mention their families. We sat each in their accustomed place. We all enjoyed it immensely. It carried us back many years when we were all much younger. I wish we could do it every year.” That same year, Moses wrote, “Stella and the girls arrived on December 22^nd. Pitt came out on the 24^th. We certainly had some family this Christmas – 17 at the table and two in the kitchen, and we had a fine dinner. I had Eugene Hall come to the house and pose us and he got one good negative. Had to use a flash as the light was very poor. I have wanted this for a good many years, and I am pleased to get it, even if it is not as good as a gallery picture.” I would love to find this picture.

Because Rupert and his father worked together, the two families would occasionally share the same home, sharing everything from food to scarlet fever over the years. Although his eldest son Pitt lived far away in Trenton, New Jersey, Moses passed along fatherly advice across the miles in the form of letters.

In 1931, Moses wrote to his eldest son,

“My dear Pitt.

Many thanks for your letter of congratulations and expression of your love. I am very thankful to know and receive both of them. As the 75 years bear down on me I often wonder if my life has been worthwhile to myself and others. While I have been partly successful in many ways. I have failed to reach the goal I set for myself fifty odd years ago. But the domestic side of my life has been a very happy one in choosing a wonderful mate, and who has not only been a good mother to our four healthy children, but a good help in sifting out many financial difficulties that are bound to come in our lives.”

1931 letter to William “Pitt” Moses from his father Thomas G. Moses

Fortunately for us, John H. Rothgeb (University of Texas) corresponded with many of Moses’ descendants, by gathering copies of letters written by Moses near the end of his life. At the time, Rothgeb was researching the life of Moses, as well as the history of the Sosman & Landis studio. This was during the 1970s and early 1980s. He left an enormous wealth of information in the Harry Ransom Center in Austin, Texas. Rothgeb was the second generation to identify the significance of Masonic scenery. The first generation was James “Jim” Maronek, a Chicago scenic artist who collected many Sosman & Landis artifacts during the 1960s. He even held the first exhibit placing Masonic scenery within the context of theatre history; this was during the early 1960s.

The third generation of scenic artists to study Moses and Masonic scenery was Lance Brockman at the University of Minnesota, hence how I became the fourth generation. Early in my undergraduate career I created an index for Moses’ typed memoirs and scrapbook for Brockman as a class project. I was also the assistant to the curator (Brockman) for the Theatre of the Fraternity exhibit in 1996. This was when I wrote letters to all known descendants of Thomas G. Moses.

During this same time, I came in contact with another student and friend of Maronek, one who became the paint charge at Chicago’s Lyric Opera. Like me, Brian Traynor became fascinated with Moses and his contemporaries. He actively collected materials and other information pertaining to historical scenic art. I have remained in contact with Traynor over the years and we have become friends. He is an amazing source of information and artifacts relating to the Chicago scenic art scene, while remaining a professional scenic artist. Traynor was also the one who contacted me about the Scottish Rite collection in Peoria, Illinois, when the Valley was getting rid of it. We worked together in search of a new home, but when no university or museum was willing to receive the donation, I rented a truck and took it home.

Without my predecessors, Maronek, Rothgeb, Brockman and Traynor, I would not be able to successfully tell the story of Thomas G. Moses.

To be continued…

Travels of a Scenic Artist and Scholar: The Kansas City-Deadwood Connection, November 3, 2018

Last fall I evaluated the Scottish Rite scenery collection in Deadwood, South Dakota. On site findings suggested that the Deadwood Scottish Rite had purchased a new scenery collection from Twin City Scenic Co. around the turn of the century and two used scenery collections after that. The Deadwood Scottish Rite purchased one scenery collections from the Scottish Rite in Joplin, Missouri (1902) and another one from the Scottish Rite in Kansas City, Kansas (1904). There are many drops still waiting to be discovered, rolled up and stored above the stage. There were also a few other pieces added over time, including a set for the Shrine. Twin City Scenic records from the year 1940 also note that the studio did business with the Deadwood Scottish Rite that year too. Interestingly a fly loft and stage were not added to the building until 1961. Prior to that time, the Scottish Rite Masons temporarily hung the scenes, storing them in the basement.

1919 picture of 47 DeMolay members in Kansas City with the backdrop that is now in Deadwood, South Dakota.

Backdrop at the Scottish Rite in Deadwood, South Dakota.

Fast forward to yesterday at Lance Brockman’s house. I was picking up a some files and books. As I started to merge our two records at home last night I made a startling discovery. In his materials, there was a 1927 program for DeMolay. I quickly paged through it before putting on an archival sleeve. Only a few pages into the program, I stopped in shock. I was looking at the same drop that now hangs in Deadwood!

1927 DeMolay Program with backdrop now at the Deadwood Scottish Rite.

Here is a link to the full history of the Order of DeMolay: https://demolay.org/history/

Book plate on the 1927 program with the Deadwood Scottish Rite drop, pictured in 1919 in Kansas City.

I immediately phoned my South Dakota Scottish Rite contact, Mike Rodman, sharing the exciting news. It was perfect timing. Tonight is the Deadwood Scottish Rite Quasquicentennial celebration. They are celebrating 125 years of building community partners and building Masonic Brothers. Activities start at 4:00 pm today! Rodman is planning to share my discovery tonight at the event.

Event in Deadwood tonight – November 3, 2018.

This backdrop was pictured in the 1927 program alongside the first forty-seven members to join DeMolay. From this youth order started in 1919, it grew to a membership of a quarter of a million young men by 1927.

However, this may not be a drop specifically created for DeMolay. Over the years, many class pictures were taken in front of Scottish Rite or York Rite scenery, wherever the boys met. It is possible that this backdrop was for a Masonic order other than DeMolay. Regardless, we know that the beautifully painted scene came from Kansas City and was hanging in 1919.

To be continued…

Tales from a Scenic Artist and Scholar. Part 554 – Black and White Backdrops

Part 554: Black and White Backdrops

In 1906 Thomas G. Moses wrote that he “did some designs for a Park in Pittsburg.” The project was with his old partner Will F. Hamilton. Moses & Hamilton had operated in New York from 1900-1904.

In regard to Moses’ Pittsburg project, he was referring to Luna Park in Pittsburg created by Frederick Ingersoll. Ingersoll of Ingersoll Construction Company constructed Luna Park in Cleveland, Ohio, and then a second park in Pittsburgh, Pennsylvania; no official relation to the famous Luna Park on Coney Island, just the same name. For Pittsburg and Cleveland, Moses created scenery for old mill attractions and scenery for two small stages. The Ingersoll Construction Company got its start by building roller coasters and other amusement park rides. At one time, Ingersoll owned and operated over forty amusement parks in the United States, Berlin and Mexico City.

What is interesting about the Pittsburg Park design, however, is that Moses recorded it being a monochromatic scene. He wrote, “I did them in black and white, rather effective.”

I have encountered only a few mentions of “the black and white art” in the past, stumbling across buts of information while researching scenic artists who worked in early film and photographic backings.

One example was Harley Merry (see past installments #138-142). Merry’s name was actually Ebenezer J. Britton; he used his birth name as an actor. “Harley Merry” was his scenic artist name. Merry was well-known for a variety of skills, including his talent for painting monochromatic backdrops. An article from 1892 noted this skill: “Harley Merry is another master in the same school in perpetuating the English ideas of water-color. Merry is the greatest painter of monochromes and photographic backgrounds in the country” (“Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains,” Dec, 18, 1892, page 41). As an aside, Merry was the first President of the Protective Alliance of Scenic Painters of America, organized in 1895 – he was a major contributor to the industry in New York.

Merry also specialized in spectacles with scenic realism, which made his transition to producing settings for early film a natural shift. He actually partnered with the Edison Manufacturing Company and was involved in creating scenery for many early film productions, including “Parsifal,” a short film was based on the New York Metropolitan’s Opera that ran for approximately one half hour.

An earlier scenic artist known for his black and white art was William Telbin. In 1902, “The Magazine of Art” commented that Telbin was “a master in black and white art.” The article continued, “We desire now to call to attention to a branch of Mr. Telbin’s work which is not generally known to the public, but which, to our mind, is in its way as important and as beautiful as any of his stage productions. With tempera as his medium he has produced a series of black and white drawings which proclaim him a master in black and white art. For brilliancy of execution, for certainty of effect, sparkle of the touch, and beauty of presentation, these drawings are not easily surpassed. Some of them were reproduced in this magazine in two articles on “Scene Painters and their Work,” published in 1889, and others in a paper on “Iceland,” in 1893. Another series of views in the Mediterranean, more of which are to be published later, are admirable representations of the scenes to be witnessed during the season of the “bora” on the Mediterranean shores. They show Mr. Telbin was a careful and accurate student of nature, with an instinctive feeling for the picturesque allied to an inimitable power and facility of presentation and suggestion.” (Magazine of Art, January 1, 1902, page 371-376).

I have only encountered one black and white backdrop; it was at the St. Louis Scottish Rite. A design for the 10^th degree of the Ancient & Accepted Scottish Rite, it was rendered in ivory black and white dry pigment. The backdrop has the same consistent studio labels and marking as the remainder of the collection. At the time of installation, the 1923 scenery has stencils on both stage right and stage left sides of each drop, noting the degree and the line. For example, the Quarry leg drop shows 10 and 59 for 10^th degree on line 59. The backdrop shows 10 and 87 for 10^th degree on line 87. It was not added later, but with the other Toomey & Volland scenery. There was other scenery installed by Volland Studios over the years, in 1945, 1949 and 1954.

Quarry scene produced by Toomey & Volland for the Scottish Rite in St. Louis, Missouri. The scene was painted with ivory black and white pigment in 1923.

Painted detail of Quarry scene at the Scottish Rte in St. Louis, Missouri, 1923.

Brocken netting detail from Quarry scene at the Scottish Rite in St.. Louis, Missouri.

The original backdrop design is also monochromatic, and is now part of the Volland Studio collection in the St. Louis Scottish Rite library. The collection was gifted to the St. Louis Scottish Rite Valley by Volland Studio some years back. Although I photographically documented the entire Volland collection during my visit, it will take years to fully process and decipher the information that I gathered there.

Design for quarry scene by Toomey & Volland, 1923.

Charcoal markings on the backside of the Quarry leg drop note that the size is 25 feet high by 51 feet wide. Additional masking likely accompanied the scene technical specifications provided by the Valley comment that the proscenium opening is 98 feet wide. There are 164 lines, placed on 2-inch centers. We cold not lower many of the lines during my visit due to tags with warning for specific lines and jammed cables. Sadly, the current drop inventory that the Masons reference also has missing information for many lines.

Quarry scene by Toomey & Volland for the Scottish Rite in St. Louis, Missouri. The charcoal writing notes the project number 4933, the Quarry Leg and size of 25 x 51. 59 is the line number.

Standard Toomey & Volland studio stencil noting degree (10) and line number of 1923 scenery by Toomey & Volland. Leg drop is on line 59 and backdrop is on line 87.

This collection will not last for long and is already a threat to those below. Pipe pockets replaced wooden battens and they are all failing, with many pipes tenuously hanging by shreds of fabric; yes, the stage is rented out for many events. If anyone from the St. Louis area can begin a very detailed documentation of the stage scenery and rigging now is the time. It will take days if not weeks to do. For a stage that boasted to be 4 feet bigger than the Hippodrome stage, this is one that definitely needs to be recorded.

To be continued…

Tales from a Scenic Artist and Scholar. Part 553 – The 1906 Eruption of Mount Vesuvius

Part 553: The 1906 Eruption of Mount Vesuvius

Yesterday’s post was about the White City Amusement Park near Chicago in 1906. Attractions included “The Last Days of Pompeii” and the “Chicago Fire.” It is important to keep in mind that although these two disasters were not recent, two similar ones had just occurred that year. A devastating fire raged throughout San Francisco after an earthquake, and Mount Vesuvius erupted again. They both occurred during April 1906. Disasters fascinated the public and were quickly incorporated into publications and amusements.

Image from “The Chicago Tribune,” 8 Aug 1906, page 3

While researching the San Francisco Fire, I was reminded of a gift I received years ago; it was the 1906 book – “The San Francisco Earthquake and Fire Horror, the complete Story of the Greatest American Disasters, Horrors of the Vesuvius Eruption.” Written by Charles Eugene Banks and Opie Read, there was a poignant passage in the preface: “Strike one section of the world a terrible blow and all other sections have their deepest sympathies immediately centered in that spot. It is this fact that keep’s alive man’s belief in the universal brotherhood of the race.” At few paragraphs later, the authors continue, “Following close upon the eruption of Vesuvius on the other side of world the San Francisco disaster found the country busy raising funds for the homeless Neapolitans. The Golden Gate City was involved in this work when of a sudden it became the subject of the world’s bounty.”

There were many from the entertainment community who dipped into their personal funds or performed at benefit concerts to send funds to those recovering from a disaster. Buffalo Bill donated $5000 to the Neapolitan relief effort. After all, he had performed in front of a smoldering Vesuvius while on his 1889 European Tour. But there were many theatre manufacturers who directly benefited from staging spectacles that depicted these devastating events.

The Volcano setting at the Scottish Rite in Salina, Kansas

The Volcano setting at the Scottish Rite in Salina, Kansas. This section was painted partially translucent to simulate lava spilling down the mountain side.

Stage machinery for the effect. The Volcano setting at the Scottish Rite in Salina, Kansas. This section was painted partially translucent to simulate lava spilling down the mountain side.

The theme of erupting volcanoes became a popular staged spectacle at Scottish Rite theaters after 1906. Instead of Mt. Vesuvius erupting, however, it was a volcano on the isle of Patmos. Patmos (Greek: Πάτμος) is an island in the Aegean Sea, the most well-known of the smaller Dodecanese islands. Patmos was known as the location where a vision was given to the disciple John in the Book of Revelation and where the book was written. The degree production relates to the breaking of the seven seals. Cataclysmic events occur and a variety of painted visions are magically revealed in transparent sections of the composition.

Scottish Rite Vision scene for the 17th degree for Fort Scott, Kansas. The stage right temple collapses and is transparent to reveal a “vision” from the Book of Revelation.

The revelation of a “vision” stage right. Scottish Rite Vision scene for the 17th degree for Fort Scott, Kansas.

This scene had the potential to be one of the most exciting degree productions on a Masonic stage. Lighting flashed, thunder rumbled, the ground trembled, and a volcano exploded. Classical buildings that were painted on a cut drop toppled as a red plume of lava spewed high in the sky. Then red rivulets streamed down the mountainside, soon spilling into a lake and turning it blood red. This scenic illusion was a new popular design option for the seventeenth degree on many Southern Jurisdiction Scottish Rite stages after 1906.

Backside of painted volcano for scenic illusion. The Scottish Rite in Omaha, Nebraska

The first time I staged the action for this setting was in Winona, Minnesota. During the evaluation, volunteers assisted in successfully presenting the collapse of two-dimenional buildings for photographic documentation. The Winona scenery was produced in 1909 by Sosman & Landis. As these drops were sold at auction, it is unlikely that Humpty Dumpty will ever be put back together again. What was really interesting about the Winona Volcano scene was the hardware. Much was formed from cut metal canisters and adapted for a specific task. Very little was pre-manufactured other than the batten holders that secured the bottom of a drop to the stage floor so it would not shift.

Batten hardware to anchor bottom of cut drop to stage floor. This prevented the scene from moving when ropes were lowered painted facades on drop to simulate collapsing classical temples.

Batten hardware to anchor bottom of cut drop to stage floor.

Previously, this seventeenth degree composition depicted ancient ruins were a series of visions were revealed to the audience. This remained the case with Northern Masonic Jurisdiction Scottish Rite scenery. It was only degree work in the Southern Jurisdiction that adopted volcanic explosion on Patmos. Sosman & Landis labeled their design either“17^th degree Vision” or simply, “Volcano.”

Design from the Twin City Scenic Co., in the Performing Arts Archives at the University of Minnesota.

Design from the Twin City Scenic Co., in the Performing Arts Archives at the University of Minnesota. Notice the translucent section for the revelation of “vision” scenes placed behind the drop.

To be continued…

Tales from a Scenic Artist and Scholar. Part 541 – Fifty Years of Freemasonry in Kansas, 1906

Part 541: Fifty Years of Freemasonry in Kansas, 1906

There were a few significant events that occurred during 1906; the same year that Sosman & Landis delivered new scenery and stage machinery to the Scottish Rite in Topeka, Kansas. 1906 marked the fiftieth anniversary of Freemasonry in the state of Kansas.

From the “Topeka Daily Capital,” 12 Feb 1906, page 6

The event was celebrated at the newly constructed Scottish Rite auditorium. The Scottish Rite bodies of Topeka spent over $20,000 furnishing their lodge room and stage. The stage measured thirty-five feet in depth and housed 110 new backdrops produced by Sosman & Landis (Topeka Daily Capital, 21 Feb. 1906, page 5).

“The Topeka Daily Capital” reported, “the fiftieth anniversary of the organization of the Most Worshipful grand lodge of Ancient Free and Accepted Masons of Kansas will be celebrated at the Auditorium February 22 during the session of the grand lodge in Topeka (The Topeka Daily Capital, 12 Feb. 1906, page 6). The article continued, “The semi-centennial celebration of the Masons will bring to the city the largest gathering of Masons that has been held and the Topeka bodies have prepared elaborate entertainment for the visitors. A. K. Wilson, grand secretary of the grand lodge, has secured the history of the first Masonic lodge in the state and relics of historical interest. The relics will be exhibited at the auditorium and will consist, among other things, the first Masonic seal used by the Kansas lodge. John W. Smith, who organized Smithton lodge No. 1 in Doniphan county and was the first master of the lodge in Kansas, made with his own hands the quaint seal, the square and compass and the candlestick, al made by Smith are now in the possession f Secretary Wilson and he also has three of the charters of the first five lodges organized in Kansas.

Smithton lodge No. 1 was organized in Doniphan county and met in six different places in the county and is now the lodge at Highland. When Mr. Smith organized Smithton lodge it met under a burr oak tree, east of Troy, on the Missouri river. A stump was used for the altar and the lodge was tiled by a man on horseback. A photograph of this tree has been secured and a complete history of the lodge from persons who knew about it. The veteran Kansas Mason who is to be present at the semi-centennial meeting is William Yates of Lawrence, the only living charter member of one of the first five lodges organized in Kansas. He belongs to the Lawrence lodge which was the fourth to be organized. The anniversary meeting at the Auditorium is open to the public. The main floor will be reserved for Masons and the gallery will be open to the public. The Art Music club, led by Prof. G. B. Penny, will furnish the music. Grand Master Samuel R. Peters of Newton will speak and Thomas E. Dewey will deliver the address of the evening. The week of February 19, will be devoted to the fiftieth communication of the grand lodge, the fifty-first convocation of the grand chapter and thirty-eighth assembly of the grand council.” The article included a schedule of events and officers for the semi-centennial celebration, school of instruction, chapter work, order of high priests, and council work.

Bestor G. Brown, from the “Topeka Daily Capital,” 14 February 1904, page 6

Bestor G. Brown moved to Kansas City, Missouri, in 1904. He was the western sales manager for M. C. Lilley

Bestor G. Brown (1861-1917) led the special committee on history and museum. Brown was the western representative of M. C. Lilley. Brown worked for M. C. Lilley in Chicago from 1892 to 1898, and then in Topeka, Kansas, starting in 1899. Brown moved to Kansas City by 1904, continuing as the western sales manager of M. C. Lilley Company in their new offices. Brown was instrumental in promoting the staging of degree work and Scottish Rite theaters in Little Rock, Arkansas (1896), Wichita, Kansas (1898), Guthrie (1900), Salina, Kansas (1901), McAlester, Oklahoma (1901), Fort Scott, Kansas (1904), and many others.

By 1903 Brown was credited with the creation and development of “the application of modern scenic properties to the dramatic presentation of all Masonic degrees and in this work is almost invariably consulted everywhere throughout the United States.” He was also the Grand Master of Kansas in 1904, and had been extremely active since his admission to the Fraternity in 1884.

Brown was praised for his devotion of Masonry and the article reported, “Mr. Brown is called the only Masonic stage carpenter in the country” (Portsmouth, New Hampshire, 12 June 1903, page 3). Less than a decade later, the counterweight system installed in Scottish Rite theaters by M. C. Lilley subcontractors (Sosman & Landis) was referred to as “”Brown’s special system.”

The first year after Brown passed away, members of the Wichita Consistory organized an annual pilgrimage to Topeka, Kansas, to honor of his memory (The Kansas City Kansan, 11 July 1918, page 1). The paper reported that Brown was “one of the most scholarly and best loved Kansas Masons. All of the Scottish Rite bodies in the state were invited to join in the placing of a floral tribute on the grave of ‘their best loved brother.’” Brown remained incredibly close to all Masonic activities in Topeka, and in 1906 the Topeka Scottish Rite stage was the crown jewel of the Southern Jurisdiction.

There are two significant moments to consider when examining the construction of any early-twentieth century Scottish Rite stage, as the production of Masonic scenery escalates. The first is that Brown is a fabulous salesman and extremely active member of the Fraternity; many Masons help promote his vision work. The second is that SGIGs have a monetary incentive to help Brown with this vision; starting in 1905, SGIGs personally received a $2 payment per incoming 32^nd degree Scottish Rite Mason. This practice lasted until 1909 when plans for the House of the Temple were implemented. Those lost funds were needed elsewhere. Setting the aesthetics and entertainment, there was already a dual incentive to build massive auditoriums that would accommodate ever-increasing candidate classes at Scottish Rite reunions.

To be continued…

Tales from a Scenic Artist and Scholar. Part 540 – Thomas G. Moses and the Topeka Scottish Rite, 1906

Part 540: Thomas G. Moses and the Topeka Scottish Rite

In 1906, Thomas G. Moses wrote, “The New Year found me at work on some new work for Topeka, Masonic Hall. Very nice work.”

Illustration of the Topeka Scottish Rite stage published in the Topeka Daily, 21 Feb, 1906, page 5

Illustration of the Topeka Scottish Rite audirorium published in the Topeka Daily, 21 Feb, 1906, page 5

The “Topeka Daily Capital” reported, “The Scottish Rite bodies of Topeka purchased the building now occupied by the local Masonic bodies three years ago, and they have spent over $20,000 in the last four months in furnishing a lodge room that will compare favorably with any in the United States. A new stage thirty-five feet in depth has been built, and it is said to have more scenery than any other in the country. There are 110 drops, over one hundred of which are the property of, and will be used by, the Scottish Rite in conferring their degrees, which are peculiarly adapted to stage work. The electrical effects that can be produced are almost without number, and are controlled by a marble switch-board eight feet long.” (21 Feb. 1906, page 5).

Sosman & Landis delivered the scenery to the Masonic building located on Jackson Street in Topeka, Kansas. $15,000 worth of scenery had been sold to the Valley of Topeka, allowing candidates to be conferred in full form during the spring reunion of 1906 (The Topeka Daily, 23 April 1906, page 2). For the event, there were 200 candidates, the largest class ever assembled in the state. The reunion took place over the course of three days (The Topeka Daily, 23 April 1906, page 7). Two of the candidates were Dr. F. O. Hetrick and A. Haggart from Ottawa, Kansas. Their local newspaper, “The Evening Herald” reported that the two men “went to Topeka this morning to attend the twenty-sixth semi-annual reunion of the Ancient and Accepted Scottish Rite Bodies of the Orient of Kansas, Valley of Topeka. Both gentlemen are going to take degree work” (24 April 1906, page 3). This notice is not unusual, and often newspapers would list all of the candidates in a Scottish Rite class. Articles would also describe which degrees were conferred and communicated; conferred often meant that the degree was theatrically staged. Although Freemasonry might be considered a “secret” society, the identity of incoming members was often published in the local newspaper. It says a lot about the size and prominence of the organization at the time. Scottish Rite membership was on the rise and it meant something to be associated with the Fraternity.

Grand Commander James D. Richardson, published in the Topeka State Journal, 27 Oct 1906, page 16

For the Fall Reunion in Topeka, Grand Commander James D. Richardson and his associates in the Grand Commandery were in attendance. They were attending various Scottish Rite Reunions. After Topeka, they would visit Reunions in Denver, Colorado, and Salina, Kansas. Richardson was a well-known national legislator; for twenty years he served in congress from Tennessee, concluding his service on March 4, 1905. The article reported, “He gave up a brilliant political career to devote his time and energies to the interests of Scottish Rite Masonry and is now one of the highest Masons in the land. He is sovereign grand commander of the supreme council for the southern jurisdiction of the Ancient and Accepted Scottish Rite of Freemasonry.” By the end of the fall Reunion, the “Topeka State Journal” published a picture of Richardson and an article titled, “He Likes Topeka. James D. Richardson, ex-Democratic Leader, Visiting Here.” He was quoted saying, “You have a fine city here and there are evidences on every hand that it is in a most flourishing condition.” When questioned about things political, Richardson replied, “Politics and Masonry do not mix, and I will never mix them, so you will have to excuse me from discussing any phase of politics.”

An article in the Topeka State Journal listed the activities at the Fall Reunion in detail,” Sessions yesterday were devoted to the registration of classes and preliminaries and the festivities will close Saturday evening with a reception and banquet in honor of James Daniel Richardson, of Washington. D. C., sovereign grand commander and his associates and the members of the consistory. Arrangements have been made to use the large room on the first floor of the Masonic building formerly occupied by the Topeka Athletic Association, as a banquet room during the reunion. Congressman Richardson of Tennessee is one of the orators. A condensed schedule of the work which will be accomplished during the four days of the reunion is as follows:

WEDNESDAY, OCTOBER 24

Afternoon and evening, registration of class

THURSDAY, OCTOBER 25

9:00 a.m., 4 deg. Secret Master, conferred

9:45 a.m., 5 deg. Perfect Master, conferred

11:00 a.m., 6 deg. Provost and Judge, communicated

1:30 p.m., 8 deg. Intendant of the Building, conferred

2:00 p.m., 9 deg. Elus of the Nine, conferred

3:15 p.m., 10 deg. 11 deg., 12 deg. And 13 deg., communicated

4:00 p.m., 14 deg. Perfect Elu, conferred

7:15 p.m., 15 deg. Knight of the East, conferred

8:30 p.m., 16 deg. Prince of Jerusalem, conferred

FRIDAY. OCTOBER 26

9:00 a.m., 17 deg. Knight of the East and West, conferred

10:00 a.m.,18 deg. Prince Rose Croix, conferred

1:00 p.m., 19 deg. communicated

1:15 p.m., 20 deg. Master of the Symbolic Lodge, conferred

2:00 p.m., 21 deg. Noachite, or Prussian Knight, conferred

3:15 p.m., 22 deg. Knight Royal Axe, Prince of Libanus, conferred

4:00 p.m., 23 deg. And 24 deg., communicated

4:15 p.m., 25 deg. Knight of the Brazen Serpent, conferred

4:45 p.m., 26 deg. 27 deg. And 28 deg., communicated

5:00 p.m., 29 deg. Scottish Knight of Saint Andrew, conferred

7:30 p.m., 30 deg. Knight Kadosh, conferred.

SATURDAY, OCTOBER 27

9:00 a.m., 31 deg. Inspector Inquisitor, conferred

2:00 p.m., 32 deg. Master of the Royal Secret, conferred

6:30 p.m., Reception and banquet

(The Topeka State Journal, 24 Oct. 1906, page 8).

The reunion either ran like a well-oiled machine, or it was one chaotic mess. With 100 drops and 17 of the 29 degrees staged, a lot occurred over the course of three action-packed days. The members and the money just kept rolling into Kansas. They were really the first state to soar in the southern jurisdiction.

Scottish Rite degree team from Siloam Lodge No. 225, Topeka, Kansas, 1920

During November of 1906, the Topeka Scottish Rite again broke ground again for a $100,000 addition to the building. The second floor that contained the stage and auditorium remained unaltered, but the Fraternity needed more space if the membership continued to increase at the same rapid rate (The Wichita Daily Eagle, 13 Nov. 1906, page 6).

To be continued…