Scottish Rite Scenery – Page 20

Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 6.

While Wendy Waszut-Barrett is traveling for research and art acquisitions (October 14-29, 2017) she is reposting the first fifteen installments from “Tales from a Scenic Artist and Scholar Acquiring: The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center.” Here is her sixth post from February 20, 2017.

Part 6: Scenery Storage

Prior to my departure for Kansas, I had difficulty in locating an appropriate storage space for the incoming Fort Scott scenery acquisition. I needed a climate-controlled space for eighty drops, measuring 28’ long by 12’ wide. Furthermore, we needed to be able to back up a 30’ truck directly to the loading door. Transferring each 100-pound tube from the truck to the storage unit would be impossible if we had to navigate narrow corridors. The rolled backdrops and other scenic elements would be temporarily stored in this facility prior to their restoration and final installation in the new Minnesota Masonic Heritage Center for the grand opening on June 24, 2016.

All of my initial research suggested that finding a space to accommodate the Fort Scott scenery collection would be difficult at best. Not because these units were non-existent, but because of the logistics necessary to navigate the long rolls into any of the available storage bays that were climate-controlled. I also had come to the conclusion that we would need a minimum of two storage units – each holding a 6’-0” x 8’-0” custom-constructed system with 12” x 12” slots to accommodate each scenery tube. This design was similar to the one that I had used for the Winona Scottish Rite scenery project in 2014.

Historical scenery shelving unit to temporarily store the historical scenery collection in the City of Winona’s Masonic Theatre. Photograph by Wendy Waszut-Barrett, August 2014.

In September of 2015, I provided technical drawings to the CEO for the construction of two historical scenery storage units. He contracted Outhouse Exhibit Services, the same company that was hired to build all MMHC museum displays and who would eventually restore the Fort Scott scenery. Although the company had never handled any historic scenery before, the owner’s husband felt confident about building and installing the two storage racks based on my specifications. They would be placed prior to my arrival with the drops.

One of my greatest challenges as Curatorial Director for the Minnesota Masonic Heritage Center was the lack of any supportive staff during the planning and construction of the complex. Since starting in my position as Curatorial Director on June 1, 2015, I was consistently working 50 hours or more each week. My job was only a part-time position, however, for 30 hours each week. My expertise in various areas meant that I was constantly called upon to weigh in on many of the projects pertaining to both the design and construction of the complex. There were too many tasks for one part-time person to complete, especially the time-consuming one of locating two scenery storage units. This job should have been able to be competed by anyone with time, something that I did not have while planning and preparing for my departure to Kansas. It was the only task pertaining to the scenery acquisition that I did not directly oversee. I would later regret having delegated it to anyone else. During late August of 2015, I handed off this one responsibility to the general director at the Minnesota Masonic Heritage Center.

On October 8, the general director confirmed that he had finally located a climate-controlled storage unit in Bloomington, Minnesota. It was a secure space, measuring 10’ x 30’, with drive up access for a reasonable fee. I immediately reminded him that we would need at least two of these units as the entire collection could not fit into a single space, again mentioning that I was concerned with navigating the 25’ tubes into the storage rack. I specified the need to back a 30’ vehicle adjacent to the door of the storage unit and directly unload the drops into each storage system.

BellaTEX requested information pertaining to the space where they would be delivering the scenery collection in late October. After arriving in Fort Scott, I engaged in a daily ritual of asking the general director for pictures of the storage unit to pass along to the BellaTEX team. The general director’s standard response was “Don’t worry about it.” I did worry, as I could not provide any specific information or images as requested by the owner of BellaTEX. Out of growing concern at being able to provide the necessary information to the transportation crew, I ended up reaching out to the Outhouse Exhibit carpenter who would have to measure the storage units prior to effectively proceeding with the construction and installation of the storage racks.

On November 12, the Outhouse Exhibit Services’ carpenter sent the following email:

“Hello all, The length of the drops while rolled up is 25 feet. It will be difficult to turn them into the space as things are configured at that location because you would need to turn them in a 22 foot wide space…”

This news was a harbinger of doom, as we now had no space to store the scenery collection once it reached Minnesota. The project was nearing completion. We had removed the majority of the scenes and were starting to roll the drops for transportation. The scenery would arrive in Minnesota on Monday, November 24. It was a terrible situation for all involved and there was no solution in sight.

To be continued…

Tales from a Scenic Artist and Scholar. Part 201 – Henry C. Tryon at the Pork House

The converted “Pork House” for the Indianapolis Scottish Rite.

A description of the Indianapolis Scottish Rite building was published in the Salt Lake City Herald on August 17, 1883 (page 1). The scenery, stage machinery and effects were traced back to Scottish Rite member. Henry C. Tryon. Consistories from neighboring states attended the dedication ceremony to examine his skills. These grand opening events were great exposure for degree productions, drawing members from across the country and providing glimpses into the potential of Scottish Rite degree work.

Excitement continued to spread for Masonic theaters. These Masonic events caused word to spread fast among Scottish Rite Valleys in the United States. Elaborate stage mechanisms and ornate auditoriums were described in detail. Scottish Rite Valleys sought the best theatrical manufacturers available and went far beyond local options. What I find fascinating is that many articles highlight the scenic artist or studio and not always the architects.

The public’s praise of Tryon was a selling feature for the entire endeavor. He was noted as “a man of unquestioned artistic genius, and endowed with all that is necessary to success in the highest art walks.” Tryon’s popularity would truly be an asset at the Sosman & Landis Studio. No wonder why the hired him by 1884!

Here is one of the articles about the Indiana Consistory that I discovered a few weeks ago. I was thrilled with the amount of detail provided about the stage and auditorium spaces.

Indiana Consistory, Thirty-second Degree, S.P.R.S.

“We have been favored with a detailed description of the new home of the Scottish Rite bodies in Indiana, which will soon be dedicated to its Masonic uses, upon which occasion all consistories from adjoining States will participate. This will probably be the largest and grandest gathering of Thirty-second degree Masons ever convened in the United States. Of the members of Raper Commandery [York Rite] now on their tour to the triennial conclave at San Francisco all but four are Thirty-second Degree Masons and members of Indiana Consistory, S.P.R.S., and consequently are filled with enthusiasm at the approaching important Masonic event.

Event discussed in the newspaper article about the Indianapolis Scottish Rite. Image from the photo galleries of St. Bernard Commandery No. 35. Here is the link to their website as it full of fun images and very well done: http://www.chicagoyorkrite.org/commandery/CommanderyPhotoGalleries1870.html

The building measures 66×80 feet and each of its six stories is built especially for, and will be used exclusively by Indiana Consistory. The main audience room is built like a theatre, with this exception, that the stage is elevated but two or three feet from the floor with steps leading to it. The floor and the stage will be used simultaneously for the working of the degrees while the visiting members occupy the circles or galleries above. The auditorium measures 66×69 feet with a height of 35 feet. The proscenium opening is 23 feet by 22 feet and the height from stage to “rigging loft” is sufficient to carry the drops entirely out of sight. As these “drops” are 26 feet high, it can readily be seen that the height is as great as is needed in even the largest theatres. Besides the principle room just spoken of, is another of less dimensions and with a smaller stage. The banquet and reception rooms are arranged with folding doors, in such a manner that all can be removed so that the entire width and depth of the building in this story can be made one grand room. The balance of the building and every possible out of the way corner is filled with mechanical contrivances necessary.

Each of the two stages is equipped with scenery, the subjects being the grandest and the most charming and beautiful possible. It is all purely artwork. Mr. Henry C. Tryon, the scenic artist of the Salt Lake Theatre, who is a member of this consistory, has been engaged to paint the scenery and to direct the construction and arrangement of the theatrical appliances. The members of Raper Commandery were therefore naturally eager to meet Mr. Tryon, who has not been in Indianapolis since he did similar work for their present building several years ago – and a genuine “love feast” was the result of the meeting.

From the foregoing brief description one can also readily understand the magnitude, grandeur and expense of the undertaking, and can also readily understand the satisfaction which the members of the consistory feel at having secured the services of so capable an artist as Mr. Henry C. Tryon. We cannot resist the temptation of “hitting” Mr. Tryon another blow. Of course, his reputation is as enviable in Indianapolis as it is here; but here we have the benefit of the artist’s greater experience, longer study and maturely developed talent, and naturally has given evidence of that more matured artistic feeling. Here he is recognized as being a man of unquestioned artistic genius, and endowed with all that is necessary to success in the highest art walks. He is also a man of a great deal more than average intelligence, is well read and is possessed of that peculiar temperament and tact, which, turned in any direction, would ensure him marked for success. But he possesses the artist’s soul, and in painting subjects of such human interest as those to be dealt with at the fitting up of this consistory, his highest sentiment must have the fullest play and produce the most delightful results. The subject is equal to the man; the man adequate to every demand of the subject. The consistory and Mr. Tryon may shake and exchange mutual congratulations.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 200 – The Scottish Rite’s Welcome to the New Age

Part 200: Welcome to the New Age

“I’m waking up,

I feel it in my bones

(enough) to make my systems blow

Welcome to the new age, to the new age

Welcome to the new age, to the new age”

My mind keeps playing “Radioactive” by Imagine Dragons every time I think of when Scottish Rite degree work was first staged. It established a new expectation and standard for the Fraternity during the mid-nineteenth century. I also think of the Merriam-Webster definition of Radioactive – “having or producing a powerful and dangerous form of energy (called radiation).” Albert Pike probably viewed the theatrical staging of degree works in the Northern Jurisdiction as radioactive.

By 1904, the Scottish Rite would even publish “New Age Magazine,” a publication that would later morph into Scottish Rite Journal. However, today’s publication is a far cry from the original “The New Age Magazine.” The excitement and vibrancy of the Scottish Rite early-nineteenth-century membership was apparent throughout the articles. Topics included the history of freemasonry, interpretations of early fraternal documents, the opening of new Masonic buildings, notable individuals, poetry and other artistic, historical or interesting topics and events. The first year included an in-depth examination of the Albert Pike Consistory in Little Rock, Arkansas. It was written by Charles Rosenbaum and signaled a rallying cry for degree productions in the Southern Jurisdiction.

Remember that at this time degree work had been theatrically interpreted in one form or another for quite a while in the Northern Jurisdiction – at least 40 years. Scottish Rite Bodies in the Northern Masonic Jurisdiction had renovated many spaces to include elaborate theater stages. The purchase of regalia, scenery and other properties necessitated the organization to seek extensive funding from an anticipated and an ever-increasing membership base.

In 1863, seven Masons met in Indianapolis, elected another sixteen petitioners to receive the degrees, and established an initiation fee of $50. They met in a rented space for $300 a year where Killian Van Rensselaer attended some of the meetings. By 1864, 45 men had received their 14th degree in the Adoniram Lodge of Perfection. In 1867, the Lodge appointed a committee to secure “larger and more suitable” rooms for their meetings and degree work.

Rental space for the Scottish Rite Bodies in Indianapolis before their purchase of the old pork house.

There were more than 400 members by 1881. Their second rental space included a 40×36 feet main hall with a height of 29 feet. A gallery was constructed on all three sides of this and a subscription campaign was initiated to raise $2000 to cover the expenses. Placing a gallery on three sides would certainly accommodate more members and provide a space for the audience during other performances conducted by the Scottish Rite Dramatic Association (founded in 1878). In 1882, a new venue for the Scottish Rite was sought and an existing building selected. The Indianapolis Scottish Rite “Special Committee on Buildings” favored the Townsley and Wiggins “Pork House.” Yes, a slaughterhouse and processing plant for pork.

Photo of the charred remains. Indianapolis Scottish Rite – converted pork house.

To be continued…

Tales from a Scenic Artist and Scholar. Part 199 – Henry C. Tryon and the Indiana Scottish Rite Consistory

While looking for other Salt Lake City newspaper articles about Henry C. Tryon I uncovered one about the Indiana Consistory. Tryon was not only a Scottish Rite member in Indianapolis, but also responsible for some of their earliest scenery. I could barely hold my excitement as I read through the article in its entirety. This was the proverbial smoking gun, a particular bit of evidence that I had been searching for since the mid-1990s.

Article that I discovered, linkingHenry C. Tryon with the Indianapolis Scottish Rite, 1883.

Exterior of the Indianapolis Scottish Rite described in the article and pictured in my dissertation.

For years, I sought to establish any concrete connection between the initial construction of scenery produced for degree productions in Indianapolis, Cincinnati, and Chicago. You see, there was a wave of “new and improved” Scottish Rite theaters that appeared during the early 1880s and here was the final puzzle piece – Indianapolis (Henry C. Tryon), Cincinnati (E.T. Harvey) and Chicago (David A. Strong with Sosman & Landis). I finally was able to make the connection between Tryon as the scenic artist for the Indianapolis Scottish Rite just before he began at Sosman & Landis Scenic Studio. The connection was that Tryon would begin working for Sosman & Landis in Chicago during 1884 after finishing the scenery for Indianapolis. For me, this was especially significant as Tryon, Sosman and Strong were all Scottish Rite Masons.

In my doctoral dissertation “Scenic Shifts Upon the Scottish Rite Stage: Designing for Masonic Theatre, 1859-1929,” I included a partial history concerning some early Scottish Rite theaters. I argued that the renovated Pork House in Indianapolis marked a significant moment in the evolution of degree productions as Scottish Rite Bodies (Lodge, Council, Chapter and Consistory). In 1883 the Indianapolis Scottish Rite purchased an existing building and converted it to include TWO theaters. While researching and writing my dissertation, I had longed for a detailed description of who designed and painted the scenery for Indianapolis. Now I had it –Tryon!

For those unfamiliar with the Ancient and Accepted Scottish Rite of Freemasonry in Indianapolis, here is a brief recap and remember that the Northern Masonic Jurisdiction is always full of change and surprise. The Indiana Consistory was organized in March 1865 and chartered on May 19, 1865. The four Scottish Rite Bodies in Indianapolis were the Adoniram Lodge of Perfection Saraiah Council of Princes of Jerusalem, Indianapolis Chapter of Rose Croix, and the Indiana Consistory S.P.R.S. In May of 1863, Masons in Indianapolis sought to bring the Ineffable Degrees (Lodge of Perfection, 4^th – 14^th) to Indianapolis. They petitioned the Boston Supreme Council for dispensation to organize a Lodge of Perfection and Council of Princes of Jerusalem. Now remember that there are rival Supreme Councils (governing body) for the Scottish Rite in the Northern Masonic Jurisdiction. I will not go into the basis of the differences at this time, but it is important to understand that if you belonged to one Scottish Rite, you were booted out of the other.

The two opposing parties at the time were the Van Rensselaer Council of Boston and the Raymond Council of New York. Keep in mind that two years after the Indianapolis Consistory is approved as part of the Boston group, the two merge in the Union Council. By 1867, the two councils ended their separate existences and merged their memberships in a Grand Union on May 17, 1867.

In my dissertation I connected much of the early propagation of Scottish Rite degree productions with Killian Van Rensselaer.

He reminded me of the proverbial “Johnny Appleseed,” sowing the seeds of Scottish Rite Freemasonry throughout the Northern Jurisdiction. In an Appendix, I listed the Scottish Rite Bodies chartered by Van Rensselaer from 1848 to 1863. They included New Haven, Connecticut (Lodge and Council, 1848), New York City (Lodge, Council, Chapter, 1848), New Port Rhode Island (Lodge and Council 1850), Columbus, Ohio (Lodge and Council, 1851), Pittsburg, Pennsylvania (Lodge and Council, 1852), Cincinnati, Ohio (Lodge, Council, Chapter and Consistory, 1953), Cambridge, Ohio (Lodge and Council, 1856), Chicago, Illinois (Lodge, Council, Chapter and Consistory, 1856), Philadelphia, Pennsylvania (Lodge, Council, Chapter and Consistory, 1856-1857), Cleveland, Ohio (Lodge, Council and Chapter, 1859), Detroit, Michigan (Lodge, Council, Chapter, and Consistory, 1861-1862), and Harrisburg, Pennsylvania (Lodge, Council, Chapter, and Consistory, 1863).

Van Rensselaer’s support of degree productions was quite brilliant and promoted the theatrical interpretation of degrees. He marketed staged degree work as a superior ceremonial experiences – and an incentive to join the Boston group over the Raymond group. Van Rensselaer was instrumental in not only establishing Scottish Rite Bodies and promoting degree productions, but also checking back in on the progress of “his” Scottish Rite Valleys.

It is important to understand his influence on late-nineteenth and early-twentieth century degree productions too. Van Rensselaer brought an overtly Christian interpretation to the 18^th degree that would later weed its way into some of the Southern Jurisdiction degree productions. This was the degree that discussed a spiritual redeemer in various religions. Van Rensselaer used Jesus’ life as an example. His Valley’s staged the crucifixion and ascension, initially appearing as scenic tableaux in the east end lodge rooms. Often in roll drop form, they were situated in small recessed areas behind the Master’s chair. It was an inspirational scenic illusion in the degree – if you were Christian. For more information about the staging of this particular degree, I covered it in my dissertation

To be continued…

Historical note: Killian Henry Van Rensselaer (1800-1881) Sovereign Grand Commander of the Supreme Council AASR (NJ), 1862-67, was born on Sept. 9, 1800 in Greenbush (now known as Rensselaer), New York. He was a member of the Knickerbocker family. Van Rensselaer was made a Master Mason in Mount Moriah Lodge No. 245, Otisco, New York on April 4, 1822. He was active in the York Rite and Scottish Rite in several states. He became an Active Member of the Supreme Council in the Northern Jurisdiction (Boston) on June 17, 1845. He resigned as Grand Commander when the “Union” took place in 1867. He attended all but the first meeting of present Supreme Council, New Jersey until his death. He was a member of Cambridge Lodge No. 66, Cambridge, Ohio, serving as Master twice. He died on Jan. 29, 1881.

Tales from a Scenic Artist and Scholar. Part 126 – Scenic Mechanics for Masonic Stages

When I look at the key figures, such as David Austin Strong, in the development of Masonic theaters, I always return to the same thought: the system worked extremely well for the unskilled – the Masons. Did the development of the design also take this factor into consideration, or was it all a happy coincidence? Handling scenery in commercial houses was complicated and needed a specific skill set. Installing rigging systems for fraternal theaters required extensive knowledge in the stage machinery, painted illusion, and stage work. Once properly installed, the raising and lowering of dedicated lines, did not.

Being able to sell and install more scenery due to closely spaced lines also contributed to the evolution of Masonic stages as lines were often spaced 2” to 4” apart. However, the lines would still be handled by unskilled labor. The Masonic stagehands would be businessmen, farmers, ranchers, and others who had never stepped foot on the stage, let alone examined the rigging that raised and lowered painted scenery.

Scottish Rite counterweight system in Santa Fe, New Mexico. Photograph by Wendy Waszut-Barrett, 2016.

Santa Fe, New Mexico, Scottish Rite. Photograph by Wendt Waszut-Barrett, 2016.

Looking up into the flies and seeing the bottom battens of drops and the counterweight system. Scottish Rite in Pasadena, California.

Suddenly, there was a group of unskilled stagehands handling the scenes for Masonic degree productions. This was a secret society and a unique situation where trained individuals could not simply be hired to run the show. Therefore, the system of scenic mechanics for degree production needed to accommodate the unskilled. Again, the installation of a counterweight system is complicated, but the running of dedicated line sets is easy. Some lines that I have handled were weighted so well that I could lift a line no effort whatsoever.

Arbor cage with counterweights at the Scottish Rite in Austin, Texas.

Arbor cage at the Scottish Rite in Grand Forks, North Dakota.

Thomas Moses credits David A. Strong as being the “Daddy” of Masonic design. Up until recently, I had believed that his comment primarily indicated the design and painting of compositions for the earliest fraternal stages. I now wonder if he wasn’t referring to the new scenic mechanics for the stage that Rick Boychuk covers in his book “Nobody Looks Up.” Strong was intimately familiar with the transition scenes used in east coast theatre, especially New York City. He brought this knowledge to the theatre and scenic studio in Chicago. He was in New York when the Theatrical Mechanics Association was formed and there when it arrived in Chicago. He was at Sosman & Landis, one of the earliest studios to create Scottish Rite scenery.

Instead of Strong being solely a scenic artist, what if he was really a stage machinist who could paint extremely well? Is it possible that he developed the Scottish Rite installations with the stage machinist Charles S. King, another Sosman & Landis employee? Think of those unique individuals who can create new technology and skillfully communicate their ideas to others, and then create art? Maybe Strong was equally equipped to design both the stage mechanics for Scottish Rite theatres as well as the painted compositions, but was best used in the studio as a scenic artist.

Then there is another factor to consider: Strong’s familiarity with the Fraternity. He had been a Mason since 1852, living in both the fraternal and theatrical worlds.

To be continued…

Tales from a Scenic Artist and Scholar. Part 112 – Documenting the Fort Scott Scottish Rite

There are some things that are not considered “picture worthy.” I think it simply depends on who is taking the photo. A close friend of mine took a picture of the boiler in the basement of a Scottish Rite and it is a haunting image. She captured the rust and decay that had settled in over the decades and the image is a work of art.

Fort Scott Scottish Rite elevator. Photograph by Wendy Waszut-Barrett, 2015.

I took a photograph of the old elevator at the Fort Scott Scottish Rite. It might not be considered art, but it to recorded a detail from this deceased Scottish Rite facility. The new building owners might not save this aged machine as current safety regulations could prohibit its continued use. I both loved and feared that elevator, becoming intimately familiar with it as I transported supplies up to the second floor theatre. The entire crew knew exactly how fast it could ascend to the second floor. After pushing the button, we could race up the thirty-seven-step curved staircase and arrive before the doors would even open. It was extremely slow and every trip became a gamble. Every time the door closed I wondered if we would get stuck between floors. As in McAlester, the metal gate had to be completely shut before the contraption would move and inch. Regardless of my fears, there was something nostalgic about that elevator. I was transported back in time whenever the door shut and the motor began to whirr, jarring the elevator into motion.

Stairs leads from Fort Scott Scottish Rite to second floor theater. Photograph by Wendy Waszut-Barrett, 2015.

The entire building was a treasure trove of memories, filled with forgotten bits and pieces from the past. When I arrived on site during November 2015, the stage area was quite unkempt. The building had been vacant for over a year and there were piles of unwanted items scattered throughout the building.

Piles of unwanted items left behind after the Fort Scott Scottish Rite 2014 auction. Photograph by Wendy Waszut-Barrett, 2015.

Piles of trash scattered in stage left area of stage at the Fort Scott Scottish Rite. Photograph by Wendy Waszut-Barrett, 2015.

These were all remnants from the previous year’s auction that liquidated almost all of the building’s contents. However, this rubbish did not detract from the former beauty of the stage and shadows of its former glory were still apparent. I could look beyond the grime, imagining the space with new wooden arbors and the shiny cable.

Stage right side of the stage and arbor cage filled with weights. Photograph by Wendy Waszut-Barrett, 2015.

Fort Scott Scottish Rite arbor cage with weights. Photograph by Wendy Waszut-Barrett, 2015.

As I glanced at old stage equipment, it was difficult not to imagine standing under brand new scenery and border lights; the smell of fresh mortar, the scent of cut wood, and the acrid tang from new metal filling the space. An historic stage fills me with a yearning to experience the era of its creation.

As the weights were pulled from each arbor to remove a drop from the corresponding line, I was reminded of skeletal remains in a crypt. This rigging system had once been something quite special; effortlessly raising or lowering painted settings at a moments notice. The stage machinery had transformed the stage and once transported generations of men to far away lands. Now that the scenery was gone, leaving the counterweight system useless and out of date. It would eventually become disposed of as scrap metal.

Arbor cages devoid of weights at the Fort Scott Scottish Rite. Photograph by Wendy Waszut-Barrett, 2015.

Empty arbor cages in Fort Scott, Kansas, at the Scottish Rite theater. Photograph by Wendy Waszut-Barrett, 2015.

Cut cable and empty arbor cages after removing the scenery collection at the Fort Scott Scottish Rite for the Minnesota Masonic Heritage Center. Photograph by Wendy Waszut-Barrett, 2015.

Perhaps that is why both Rick Boychuk and I salvaged complete rigging sets from the Fort Scott theater. Not as simple souvenirs or personal mementos, but to save a theatrical landmark in the evolution of stage design and machinery. The intricacy of an arbor could provoke a conversation so this technology could be remembered in the future.

It is now difficult for me to separate the painted scenery from the rigging as they are both so entwined in my mind, two halves of a whole. For me, the landscape above the stage is almost as exciting as those painted scenes below.

To be continued…

Here is a link to Rick Boychuk’s work http://www.counterweightrigging.com/

Tales from a Scenic Artist and Scholar. Part 107 – The Moline Scottish Rite Cathedral

One subdivision of the Moline Scottish Rite collection was very distinct and possibly the work of a single artist. It was identifiable due to its unique style and predominance of overtly bright colors.

Moline Scottish Rite Cathedral scene. Photograph by Wendy Waszut-Barrett, 2017.

Painted detail from Moline Scottish Rite Cathedral scene. Photograph by Wendy Waszut-Barrett, 2017.

There were several scenes that stood apart from the remainder of the Moline collection, especially those that were refurbished for the new stage. The colorful 1930s additions included the Road to Jerusalem, the Cave, the 13th degree Ruins, a Mountain backdrop, the 16th degree Ruins, the Crucifixion, the Ascension, a City in Chaos, and the Cedars of Lebanon. As previously discussed, the abundance of primary colors could have been the result of the aesthetic shift that occurred on stage in the field of scenic art during the 1920s and into the 1930s. But these drops were all just a bit too bright and the style a bit too loose. As I evaluated the scenes, something seemed “off” and was not consistent with other Becker drops that I had encountered over the years. I wondered if this was a temporary hire at the studio in 1930.

Moline Scottish Rite Cathedral scene, 1930. Photograph by Wendy Waszut-Barrett, 2017.

Detail from 1930 Moline Scottish Rite Cathedral Cave scene for 9th degree. Photograph by Wendy Waszut-Barrett, 2017.

This particular scenic artist’s technique and lining were very rough in appearance. Although the composition read fairly well from the house, the paint application remained extremely unrefined. The pictorial illusion was also slightly shattered due the flat appearance of each shape and oddly colored spatter. I wondered if this was the work of an apprentice or young artist at Becker’s studio if not the work of a temporary employee during a busy time.
As with the other scenes painted in 1930 there was a lot of glazing used to build up each shape. I understand that glazing is the preferred method in some studios and could also be tracked back to a specific regional tendency. However, this was something that I had not encountered with Becker scenery before.

Again, there was an excessive amount of spatter throughout each composition. But the coloration of the spatter made no sense at all. Often warm is spattered on cool areas of the composition. This helps with the scene read well under a variety of lighting effects. Similarly, cool colors are spattered on the warm areas. This helps the painting “glow” regardless of the lighting design. In Moline, there were just oddly colored paints spattered on top of random areas. There seemed to be no rhyme or reason.

Burnt Sienna spatter on warm background. Moline Scottish Rite Cathedral paint detail. Photograph by Wendy Waszut-Barrett, 2017

Again, this could be suggestive of the work by a young artist. The artist could know that spatter was part of the current painting process, but not understand what color was appropriate for each scene or area of the drop. I thought back to the third generation of Cincinnati scenery produced by Bob Moody. He recalled his lack of experience and struggle, being told to “just paint the drops” at Volland Studio. He spattered everything – again without any formulaic application.

The thin paint of these select scenes at the Moline Scottish Rite Cathedral also intrigued me. I have encountered examples where the paint is so thin that the entire drop could have been a transparency. I have also evaluated dye drops at Scottish Rite theaters. For commercial touring shows, the extremely thin application of paint, or use of dye, made sense to me. If the drops were constantly shifted or transported to a new venue, the painted compositions would hold up over time. For example, in Madison, Wisconsin, there are more Scottish Rite drops than lines to hang them from. Almost all of their drops are dye drops and the majority are kept off stage in a nearby storage room. Now kept in plastic tubs, each drop is easily accessible to immediately hang for a degree.

Madison, Wisconsin Scottish Rite backdrop created with dye. Photograph by Wendy Waszut-Barrett.

Stage crew that helped during the scenery evaluation at the Madison, Wisconsin Scottish Rite. Hell scene created with dye and folded for storage. Photograph by Wendy Waszut-Barrett.

I recalled Jesse Cox’s drops on display at the theater museum in Mount Pleasant, Iowa too. His diamond dye process came to mind for tent shows. I even double-checked the Moline drops to verify that it was dry pigment and not dye. Sure enough, the colors were beginning to dust and I could see a thin layer of paint sitting on the surface. Not dye, just thin dry pigment.

The last thing that fascinated me was the predominance of warm pinks and reds throughout the composition of each scene. I wondered if this was the result of poisonous or fugitive colors. These terms mean that the appearance of some colors have altered over time or affected the appearance of neighboring colors. For example, the blue coloration in a purple paint can disappear over time– leaving only a faded bright pink or red area. An easy way to understand this shift is to think of old letters on parchment. A shift in the coloration of ink can occur over time. The original black ink can shift to a faded blue, purple or brown. This also happens with many children’s markers. I have watched black marker drawings turn to red in just a few years. Certain aspects of each color simply disappear over time as they are exposed to various forms of light.

It is possible that this appearance of each Moline drop remained unaltered. However, everything seemed slightly “off” for these few Scottish Rite scenes. So whether it was a young artist’s inexperience or faded coloration of pigments, some of the Moline scenes were stylistically unlike anything that I had ever encountered before. This was just one more mystery that may remain unsolved.

To be continued…

Tales from a Scenic Artist and Scholar. Part 106 – The Moline Scottish Rite and the Holak Collection

It is exciting to identify the work of individual scenic artists. Looking for specific colors, brush strokes and other identifying marks is similar to a treasure hunt. Charcoal lines, pounce marks, and lining work can all provide clues.

Unlike the Fort Scott collection, most Scottish Rite installations were the work of multiple artists. However, all of the drops still needed to blend together as a unified whole once the collection were assembled on site. This is similar to choral singing when you don’t want any one voice to stand out too much. However, even when a single studio solely produced a collection there could be variations. Sometimes the work of an individual artist will become apparent upon close inspection. Even if the identities of these artists are unknown, we can still identify their artworks in a collective whole.

One discovery at the Moline Scottish Rite would bring my back to my first days as a scenic artistic and scholar while processing the Holak collection for the Performing Arts Archives at he University of Minnesota Libraries. Primary made up of Sosman & Landis designs, the Holak collection was the third of four scenery design collections acquired by Professor Emeritus C. Lance Brockman. Again, here is the link to the scenery collection database: https://umedia.lib.umn.edu/scenicsearch. My work at the archives as a student, research assistant, employee, and returning scholar would prove invaluable throughout the course of my career.

In 2000-2001, I assigned every word of metadata for each artifact in the scenery collection database containing the three collections: Twin City Scenic Company, Holak (Sosman & Landis and New York Studios), and the Great Western Stage Equipment Company. My duties involved determining five key words that best identified each of the 3000+ images in the online collection. At the same time, I was also assigning the subject, media, stage term and masonic degree for each image. Crosschecking my entries provided an opportunity to compare and contrast all three collections over and over again. At the time, I also requested the addition of another category that would identify the specific artist, or “creator,” of many designs. Only a few of the artworks were signed or linked to a specific scenic artist. This meant that I had to do a final inspection of all three collections to look for stylistic similarities that could link unsigned works with signed works. Remember, many of the artists worked at multiple studios, so all three collections had to be examined simultaneously.

In 2012, I returned to the archives as a volunteer and did metadata entry for a new acquisition -the Northwestern Studio collection. This work was completed over one term while I taught scene painting class at the Department of Theatre Arts and Dance. For me, it was another way to give back to my alma mater, but there was also a personal reason that I wanted to help process this collection; it was to familiarize myself with this new acquisition. There is something to be said about individually handling each artwork or document as you become intimately familiar with not only each artifact, but also the scope of the entire collection.

In addition to working with incoming acquisitions, I also completed a series of technical studies over the years to fully understand the compositional layout, color palettes, and painting techniques. Whether as an undergraduate student, graduate student, or professional, it was always a form of practice to improve my own painting skills. It also allowed me an intimate familiarity with some of the works – such as the gates of the city for the 15th degree.

University of Minnesota Performing Arts Archives, PA49, box 2, MSSCH027.

Twenty-eight years after first replicating this small design from the Holak collection, I encountered a similar painting style at the Moline Scottish Rite Cathedral during March 2017. I was photographing various painting techniques and noticed the unique painting of blocks for the Gothic Cathedral setting. The painting technique was almost identical to those rendered by the designer for the city gates. I copied this design as a nineteen-year-old because I was enthralled with the pink stonework.

University of Minnesota Performing Arts Archives, PA49, box 2, MSSCH026.

Moline Scottish Rite Cathedral scenery, 1930. Photograph by Wendy Waszut-Barrett, 2017.

It was very different from everything else that I had encountered in either the Holak or Great Western Stage Equipment Company collections at the time. Portions of the light base coat remained visible in the final composition, providing a texture for each stone. This base also forms some of the grouting before the addition of sparse lining.

As I photographed the painted details during the Moline evaluation, I finally understood what I had missed when originally replicating the pink stones. My own brush strokes were too formulaic. It made me think of the approach to painting foliage. There needed to be an organic feel when painting each stone – like the placement of leaves on a vine. I tucked this bit of information away for future painting projects. There is always something to learn from these historical collections.

Replica of Holak Sketch from Performing Arts Archives by Wendy Waszut-Barrett, 1990.

To be continued…

Tales from a Scenic Artist and Scholar. Part 105 – The Camp Scene for Scottish Rite Degree Productions

The camp backdrop is a standard setting for the thirty-second degree in many Scottish Rite theaters across the country. This scene uses either a backdrop or a floor cloth, each painted with a nonagon.

Scottish Rite backdrop from Wichita, Kansas. 32nd Degree Camp Scene detail. Sosman & Landis Studio. Photograph by Wendy Waszut-Barrett, 2010.

University of Minnesota Performing Arts Archives, Great Western Stage Equipment Company, PA44, supplemental box 5.

The most common design in the Southern Jurisdiction places the nonagon in a valley surrounded by a deciduous landscape. Tents, letters and specific objects are placed throughout the scene in designated locations. Wooden leg drops are often used to accompany the scene and mask the side stages, providing the standard illusion of depth.

Grand Forks, North Dakota, Camp Scene with wood leg drops. Photograph by Wendy Waszut-Barrett, 2014.

Occasionally, Scottish Rite theaters will add corresponding leg drops with camp tents, such was the case for Fort Scott and Winona. This signified that the Valley had the funding to add this particular extravagance.

Scottish Rite leg drops with tents while hanging in Fort Scott, Kansas. Photograph by Wendy Waszut-Barrett, 2017.

Interestingly in St. Louis, however, the nonagon appears as a translucent shape in the cloudy sky. This is truly unique and a Volland Studio interpretation. It does double duty for the first and second sections of the stage degree. In the first section, the nonagon remains invisible for the scene. During the second section the nonagon translucency is illuminated at the appropriate moment.

Scottish Rite Camp Scene in St. Louis, Missouri, with translucent nonagon. Photograph by Wendy Waszut-Barrett, 2017.

In terms of theatrical interpretation, this staged degree frequently breaks the proscenium line to do the necessary “floor work.” In some cases, the scenic studio painted the nonagon on a floor cloth that was either placed on the stage or on the floor of the auditorium. For this type of theatrical interpretation, practical tents could be positioned along the specific sides. A few Scottish Rite Valleys used both a backdrop and floor cloth, each with a painted nonagon. This is the case in Grand Forks, North Dakota, where there is a detailed backdrop and detailed floor cloth for the thirty-second degree.

Grand Forks, North Dakota, floor cloth for Camp Scene. Photograph by Wendy Waszut-Barrett, 2014.

The Moline 32nd Degree Camp scene is unique for its design as there is simply a red nonagon without the standard inclusion of painted tents, objects, flags or letters. This scene appears to be unique to John C. Becker & Bro. Studio of Chicago.

Camp scene in Moline, Illinois. Photograph by Wendy Waszut-Barrett, 2017.

Painted detail from camp scene in Moline, Illinois. Photograph by Wendy Waszut-Barrett, 2017.

For some Valleys, such as St. Louis, Missouri, the foreground of the scene depicts the Commander’s tent, with the military camp in the distance. The use of a practical tent in the foreground is common for the first section of the degree. There is either a cut opening for the Commander’s tent in the backdrop or an actual set piece. Winona, Minnesota, used a reversible set piece for the Commander’s tent. When not used as a military tent, it could be transformed into a rustic hut for the Hermitage setting in the York Rite.

Commander’s tent for camp scene. Winona, Minnesota. Photograph by Wendy Waszut-Barrett, 2010.

Commander’s tent for camp scene transformed into rustic hut for York Rite scene. Winona, Minnesota. Photograph by Wendy Waszut-Barrett, 2010.

Many of these same camp settings were also used for York Rite degrees. The York Rite staged portions of their degrees too, occasionally constructing theaters within Scottish Rite Cathedrals or Masonic complexes. They often used roll drops placed in the east end of a lodge room. Their theatrical interpretation of degree work was equally successful, but much smaller due to fewer degrees. The shared use of specific scenes for both Scottish and York Rites also explains many of the unique variations for camp designs. Depending on the possibility of shared use by multiple organizations – such as Grotto, Shrine, York or Scottish Rites – the Masonic designs could be slightly altered to accommodate a variety of degree interpretations.

To be continued…

Tales from a Scenic Artist and Scholar. Part 104 – The Moline Scottish Rite and Metallic Gold Paint

There is something magical about the glitter of gold on a flat surface. Metallic gold will shift from a deep unreflective bronze in the shadows to a brilliant sparkling gold in the light. Looking at a gold highlight from different angles makes the overall surface come to life. It adds a little magic, or life, into the painted scene. The use of metallic glazing on theatre scenery, however, is not as effective as one has to be very select in the placement. The application must be sparse and effectively lit for the areas of the scene to glisten. The painting or the audience needs to also move for it to become visible. Imagine the hell scene and the metallic paper strips previously discussed. They only work very well if the backdrop slightly moves.

As a side note, one needs to understand the difference between a flat color and metallic color. Over the years I have repeatedly explained the difference between the opaque color gold and the metallic color gold. An example is my suggestion to use of gold metallic paint for the stars on the Minnesota Masonic Heritage Center Lodge room ceiling. Early discussions included my painting metallic accents on each gold colored star. These samples were used to explain that gold metallic will reflect and move, the flat opaque color gold would not. Metallic stars on curved ceilings give the room movement– especially during Masonic ceremonials. In low lighting situations, the painted metallic stars would twinkle without the need for LED or other lights placed within each star. Unfortunately, the celestial skies ended up including white stars as the CEO could not comprehend the reflective quality and movement of a metallic paint.

Seldom have I encountered a lot of metallic glazing in Scottish Rite scenery. Typical metallic additions include metallic paper strips that are glued onto the painted surface to simulate the fiery blazes of hell or the rays from heaven. Most metallic paint appears after the 1920s. Here is my theory: prior to that time the scenic artist successfully painted golden treasure with flat colors, allowing sections of the composition to sparkle without the use of any metallic paint. During the 1920s, some of the scenic artists create compositions that were less dimensional – more flat. This means that the painted perspective was less effective. It is possible that the application of metallic paint was an attempt by 1920s scenic artists (and those generations after) to reintroduce life and dimension into a relatively flat painting.

There are two scenes in the Moline scenery collection that have an abundance of metallic glazing, almost too much to make it effective. In each scene, the composition takes on the 1920s characteristic of a foreground that appears much larger than life. These two scenes are reminiscent of the previously discussed tree trunks in St. Louis and the ruins in Fort Scott. In Moline, we again see massive columns in the foreground of each scene. There is an excessive amount of metallic glazing applied throughout the composition, from foreground to background. The excessive use destroys some of the painted perspective and illusory effect.

Moline Scottish Rite Cathedral, 1930. Photograph by Wendy Waszut-Barrett, 2017.

Note the large scale of the column bases compared to the standing individual. Moline Scottish Rite Cathedral, 1930. Photograph by Wendy Waszut-Barrett, 2017.

This application of gold paint is very visual within a few feet. The effect would have worked well up close upon initial inspection by a client. I have to wonder if that was the primary purpose – to impress representatives from the Valley of Moline. It really doesn’t read well from the auditorium as there is too much metallic painting within an overly complex composition. Metallic stars in the ceiling of lodges are sparse in deep blue settings. That is something entirely different – and effective. The metallic stars visually “pop” from the deep blue. In Moline, the metallic accents occur on lighter backgrounds and therefore compete with the surrounding composition, reading simply as dark gold.

Moline Scottish Rite Cathedral, 1930. Gold accent on column. Photograph by Wendy Waszut-Barrett.

Moline Scottish Rite Cathedral, 1930. Gold accent on Egyptian column. Photograph by Wendy Waszut-Barrett, 2017.

Note that entire wall uses metallic gold, yet primarily remains invisible from the audience. Moline Scottish Rite Cathedral, 1930. Photograph by Wendy Waszut-Barrett, 2017.

This is why metallic foil paper works better than metallic paint in the dark areas of the hell scene. The dimensionality of the metallic strips – the crinkles – selectively placed along the edges of figures or rocky outcrops add a little magic. The crinkles of the metallic paper allow the highlight to appear “natural.” It is similar to painting a broken line instead of a solid line in any composition. The broken line is more effective as the viewer’s eye fills in the line and it appears more natural. Furthermore, there needs to be a deep color from where the gold glistens – catching the light in a darkened chamber.

Metallic paper strips glued onto hell scenes. The placement is often in dark areas. Photograph by Wendy Waszut-Barrett, 2015.

I have also encountered backdrops where Masonic stagehands added a metallic sparkle decades after the fact. This was the case with the Fort Scott scenery. Some well-meaning individual decided to add metallic puff paint to Jacque DeMolay’s tomb. The dimension of the puff paint actually worked quite well, like the metallic paper strips due to the dimensional quality. When I first encountered the painted tomb during November 2015, I laughed out loud. Puff paint to spruce up a Knight Templar Tomb? But the dimensional paint was against a dark surface and selectively placed.

I have also come across sequins, metallic wrapping paper, and other shiny objects glued onto backdrops, especially on metal vessels in treasure scenes. If not lit properly, the painted golden vessels on a treasure chamber backdrop will appear flat. This causes stagehands to glue on shiny items to catch the light and allow the artifacts to glitter. Good idea? It’s debatable, but often hard to detect. Most of the lights need to be turned off, darkening the entire painted composition and allowing the metal objects to appear.

To be continued…