Scottish Rite Theater – Page 5

Tales from a Scenic Artist and Scholar. Part 718 – The Scottish Rite in Memphis, Tennessee, 1909

Part 718: The Scottish Rite in Memphis, Tennessee, 1909

In 1909, Thomas G. Moses recorded that Sosman & Landis produced a scenery collection for the Scottish Rite in Memphis, Tennessee. The scenery is stunning, and some of the best that the studio produced during this period.

The first reunion in the Memphis Scottish Rite building was held from November 15-19, 1909. The “Dedicatory Class” purchased a grandfather clock as a commemorative gift for the building; it is still in use today. I learned about the clock while watching a 41-minute video posted to YouTube by the Memphis Scottish Rite. There have been 7,249 views and it certainly depicts local character.

The YouTube video is a pleasant peak inside the building and includes interviews with General Secretary, Glen Pitts; Director of the Work, Jerry Hanson; Organist, Mark Henderson; and Personal Representative, Joe Harrison. The credits note the producer that the producer is Gerald Leek and the host is James McCraw. Here is the link: https://www.youtube.com/watch?v=KNm6G2OsDNA

Unfortunately, the host of the video incorrectly credited the scenery production to local students. Specifically, he explained, “a lot of art students came in and painted every single one of the 128 backdrops.” This is not unusual, as when I visited the Salina Scottish Rite, those in charge suggested a similar scenario, except the students came from a fine art college in the east. In many cases, the manufacture of Scottish Rite scenery is attributed to a group of wunderkind, and not experienced scenic artists associated with a scenic studio, such as Sosman & Landis.

Later, while standing in the Memphis Scottish Rite library, our host explains that he is the Masonic historian for the Valley. This bit of information caused my ears to perk up and reconsider his comments about the history of the scenery. Now, it is obvious that this is a well-meaning individual; one who is really trying to do his best to preserve and share Masonic history. However, this entire scenario is more common than one might think, and once again I contemplate my response.

Do I say anything at all? It is seldom beneficial for me to contact a Valley and explain that their perceived history about the stage and scenery is not reflective of the actual facts. Fortunately, over the years I have fine-tuned my approach, starting most conversations with, “That’s very interesting, however, I have some additional information that might help you tell your story…”

In 1980, Dr. John Rothgeb from the University of Texas (Austin) mailed a letter to the Memphis Scottish Rite, General Secretary G. E. Rothrock, inquiring about the scenery. Rothrock responded, “In searching back thru the minutes of these Bodies, I find that the scenery was purchased from M. C. Lilley, who in 1909 was located in Columbus, Ohio.” That means, M.C. Lilley subcontracted the work to Sosman & Landis. Rothrock further noted that the present building was contracted in 1906 and the scenery was purchased in 1909, adding, “There was a controversy and a lot of correspondence was exchanged between the supplier and the Memphis Bodies.” Previously in the letter, Rothrock explained that only the minutes of the Board Meeting pertaining to the purchase of the scenery were left and that all other correspondence had been “destroyed.” There was no note as to when, or how, the records were destroyed. Fire? So, between 1980 and today knowledge pertaining to the purchase of scenery from M. C. Lilley & Co. was replaced with the scenery being painted by local students.

At what point was the actual history lost? How does the delivery of scenery from a major scenic supplier become attributed to local students? If this major piece of information is wrong, what other aspects of Memphis’ Scottish Rite history have been forgotten?

My research suggests that Scottish Rite history in many Valleys began to disappear after WWII. It started with the elimination of paid Scottish Rite historians and archivists, as the jobs were no longer perceived as necessary or valuable. In addition to the elimination to many of the stewards of Scottish Rite history, the purchase of new acquisitions ceases. Simultaneously, the careful inventory of Masonic libraries and museums are suspended in many areas. Why?

Then consider that as Scottish Rite bodies begin to leave their historic building, the institutional knowledge is lost and discredited, sometimes actively erased. I wonder if the intentional burying of history and cultural significance of artifacts had anything to do with justifying the move? This is still happening across the country today as historic buildings are sold and the membership liquidates the contents of their buildings.

I repeatedly read about Valleys citing declining membership and funds as the sole reasons for the move. What is almost never addressed, however, are the intentions for the future, especially that of their material culture and artifacts. If there is no perceived value, legacy or history attached to the artifacts, it makes their abandonment easier.

It will be easy to walk away from a bunch of backings created by student and harder to walk away from large-scale artworks created by nationally recognized fine artists.

To be continued…

Tales from a Scenic Artist and Scholar. Part 709 – “Installation Shall be Under the Direction of Bestor G. Brown”

Part 709: “Installation Shall be Under the Direction of Bestor G. Brown”

By 1910, the process of manufacturing and installing Scottish Rite scenery collections operated by Brown’s special system was running like a well-oiled machine. M. C. Lilley & Co. landed the work and subcontracted the scenery, stage machinery and lighting portion to Sosman & Landis. M. C. Lilley & Co. provided the costumes, regalia and other necessary paraphernalia.

Up to this point, I have discussed the scenery produced for Little Rock, Oakland, Wichita, Guthrie, Fargo, Salina, Portland and others at the turn of the twentieth century. Let’s jump ahead a decade at the peak production of Scottish Rite scenery in the Sosman & Landis studio, 1909-1910. During that two-year period, Sosman & Landis produced scenery and stage machinery for Kansas City, Kansas; Winona, Minnesota; Dallas, Texas; Atlanta, Georgia; Memphis, Tennessee; Guthrie, Oklahoma (second installation); St. Paul, Minnesota; Denver, Co; and Indianapolis, Indiana. Keep in mind that at this time the studio also refurbished the Wichita scenery from 1898 and delivered it to Yankton, South Dakota. There are other collections from this period that remain unidentified at this time.

I have also looked in detail at the promotion of Brown’s special system, a method of counterweighting the scenery, that was marketed by well known Mason, Bestor G. Brown. For Masonic context, Brown was a Past Grand Mater of the Grand Lodge of Kansas (1903) and a member of numerous Masonic orders, including the Ancient and Accepted Scottish Rite of Freemasonry in both the Northern and Southern Jurisdiction. Brown also belonged to the Odd Fellows, Knights of Pythias and Improved Order of Redmen. His profession was that of western sales manager for M. C. Lilley & Co., a supplier of fraternal, military and band goods. He was also considered the only Masonic Stage carpenter in the United States.

There is an interesting section in the 1910 contract between M. C. Lilley & Co., represented by Brown, and the Guthrie Scottish Rite:

“The installation shall be under the direction of Bestor G. Brown who will take charge of and handle the stage during the first reunion, without compensation or expense of any kind, provided of course, sickness or other preventing circumstances shall not operate and abridgement of any in terms of this contract or the pecuniary liability expressed therein.”

This is big, and I doubt that this is an unusual occurrence. It also explains why Brown was considered the Masonic stage carpenter, ruler of the realm behind the footlights. This single sentence in the contract places Brown on site during the first Scottish Rite Reunion that uses the new stage machinery and scenery. It means that at the completion of each Scottish Rite project there is an individual on site to supervise the initial operation of the system, keeping an eye on Masonic stagehands that are unfamiliar with the backstage aspects of a theatrical production.

There are two significant things to consider:

First of all, after most Sosman & Landis theater installations, the company representative superintending the site work remained on site as the theater opened, or at least operated the system to familiarize the client with the new products. In fact, Sosman & Landis had several employees who traveled from location, to location, installing scenery and stage machinery. The supervisor of each installation worked with a crew of carpenters and then operated the system for the client upon completion. Often after an installation – the superintendent of the work would show how everything worked upon completion. In 1887, newspapers reported that Sosman & Landis would, “complete everything, ready for the rise of the curtain, and will run the stage for the first performance.”

We also know that certain that at least one Sosman & Landis stage carpenter traveled without drawings. In the case of Charles S. King and the Crump Theatre project during the late nineteenth century, he was the only individual who was personally held the knowledge pertaining to the carpentry work and installation of the stage machinery and scenery. to install the stage systems. This was a smart move and may have prevented information from being shared with Sosman & Landis’ competitors, keeping new innovations safeguarded, just as guilds protected trade secrets. The knowledge of a new method for installing counterweight systems placed Sosman & Landis ahead of their competitors to deliver more scenery, as Brown’s special system placed the rigging lines close together.

As the scenery and stage machinery were subcontracted Sosman & Landis, it also makes sense that Brown would be on site, representing M. C. Lilley & Co. and directly communicating with the client. After all, the one installing the scenery may not be a Mason or hold that necessary “charm” when the client became a challenge. Also, keep in mind that it was M. C. Lilley & Co. who directly contracted the entire theatre portion of the project with each Scottish Rite.

The second article of note in this clause is that Brown would “take charge of and handle the stage during the first reunion.” He had to, especially if the Sosman & Landis stage carpenter was not a Mason. Fortunately for M. C. Lilley & Co. Brown was a Scottish Rite member in the Northern and Southern Jurisdiction, as well as a fraternal salesman. An active Scottish Rite Mason had to be the onsite eyes during that first reunion; and that was Brown, ensuring that everything operated as promised.

To be continued…

Travels of a Scenic Artists and Scholar: “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” Wins the 2019 Ralph Emerson Twitchell Award

I met Jo Whaley in 2014 when she contacted me about the Scottish Rite scenery collection in Santa Fe; the building was being placed on the market for sale. Jo, who understood the significance of the 1912 building and the historic theatre, had decided to document the space before it passed to another owner. The building was sold, but the Santa Fe Scottish Rite managed to get it back. That is a story in itself.

Our initial encountered and discussions morphed in a book by 2015. From 2015 to 2018 Jo and I spent countless hours on the phone, working on the design, text, images, and basic correspondence. We were fortunate to have two other contributors, State Historian Rick Hendricks and the International Folk Art Museum Director Khristaan Villela. Most importantly the Santa Fe Scottish Rite gave us full control over the books contents. We are very grateful to Wes Thorton, Deputy of the Supreme Council, and Dan Ilrich, President of the Scottish Rite Building Foundation, for trusting us to tell their story.

Wendy Waszut-Barrett and Wes Thorton at the 2019 Awards banquet

Wendy Waszut-Barrett and Dan Ilrich at the 2019 Awards ceremony.

Although it was an incredible amount of work, Jo and I became close friends, as we creatively fueled one another throughout the entire process.

The book, however, is just the beginning. It has led to other opportunities that will allow Jo and I to work together again. I am delighted about this aspect as I look forward. Part of it is that we see and approach things in a similar way. Jo worked as a scenic artist before turning to photography, so we have the same appreciation for historic scenery, as well as picturesque landscapes, and our shared history.

2019 New Mexico History Conference in Albuquerque, New Mexico.

Last night we had the pleasure of accepting the 2109 Ralph Emerson Twitchell Award from the New Mexico Historical Society. This award is given annually by the Historical Society of New Mexico for an outstanding publication or significant contribution to the creative arts, as related to New Mexico history. An email confirming our award described our book as “absolutely amazing,” and explained, “your book does a wonderful job of presenting the accumulated knowledge of New Mexico’s pioneering Masons, as well as the story behind the building’s unique architecture and its rich theatrical legacy.” The award was presented at the Awards Banquet in Albuquerque as part of the 2019 New Mexico History Conference. Jo and I were invited to attend this event that included a book signing.

The 2019 Ralph Emerson Twitchell Award (front)

The 2019 Ralph Emerson Twitchell Award (back)

The entire project has been about the journey. Working with Jo and the other participants has been such a wonderful experience, but it hasn’t end with the publication of the our book. I can’t wait to see where the road leads us now.

To be continued…

Tales from a Scenic Artist and Scholar. Part 707 – The Second Louisville Scottish Rite

Part 707: The Second Louisville Scottish Rite

The first Scottish Rite Cathedral in Louisville was a the remodeled building during 1895- St. Paul’s Episcopal Church at Sixth and Walnut Streets. From this moment forward, the Masonic membership in Louisville continued to grow at a rapid rate. By 1919, the Scottish Rite candidate class size numbered 200, and the high membership numbers began exceeding the building’s capacity.

During the 67^th annual spring reunion in 1919, the president of the “Victory Class “of Scottish Rite candidates introduced a resolution. Dr. T. H. Tuley urged “the Grand Consistory immediately to make plans for the erection of a Scottish Rite Cathedral in Louisville which will prove a credit to the Rite and to the city.” The Courier-Journal reported, the reading of the resolution was greeted with applause, and from the manner in which the proposition was received it seems possible some steps in this direction will be taken” (26 April 1919, page 4).

Previously, Courier-Journal published, “Largest Class in History of Consistory Attending Scottish Rite Meeting. 200 At First Dinner” (23 April 1919, page 9). The session opened at 10AM on April 22, with conferring the Lodge of Perfection degrees (4-14). The article noted, “For several months the Scottish Rite has been practically overwhelmed with applications for membership, every Masonic lodge in the State reporting unusually large numbers of initiates. The result has been that for the first time in many years it has been necessary to hold two spring Scottish Rite classes, the first one having completed work only about ten days ago.” Capt. John H. Cowles, sovereign grand inspector general of the Supreme Council of the Rite, was interviewed by the Courier-Times. They reported, “He says unusually large classes are being accepted into the rite in all consistories of the southern jurisdiction. He was highly pleased with the showing made by the Louisville lodge, especially in view of the fact that he received his degrees here and is a native of Kentucky, having lived for many years in Louisville.” In 1919, the Louisville Scottish Rite also premiered a four-page publication for attendees title “The Reunion News,” which was published every day during the reunion. This does not surprise me at all, as the Scottish Rite once met in the same building as the local newspaper, the Courier-Journal. What a great idea.

Scottish Rite membership was explosive during the 1920s and the influential power of the Freemasons was substantial. This is a moment in time when the Rite was very vocal about their activities and positions on both the political and social stage. From the late-nineteenth century to early twentieth century, is was not unusual to find detailed information pertaining to daily activities at Scottish Rite reunions, a list of members, and the history of the organization. The views of the Rite pertaining to public education and other social issues were published for all to read. When a potential candidate thought about joining, there was no question in his mind about what the organization was really about and if it was a good fit. This may be why the Scottish Rite continued to gain ground and dominate the fraternal landscape of America.

On May 11, 1923, the Courier-Journal published that “Scottish Rite Masons will begin a three-day campaign May 23, to raise the $300,000 necessary to complete their building fund for the proposed $750,000 cathedral at the southwest corner of Fourth and Breckinridge Streets. Ground for this structure will be broken in September, it was said. The cathedral will have four stories and basement, with an auditorium seating 1,350 persons. Solicitation will be from the 2,286 members in the State of which 1,200 are in Louisville, The campaign will be in charge if Benjamin S. Washer, Richard Priest Dietzman, Edward F. Metzner, Harvey White and Dr. E. L. Henderson” (page 18).

On June 27, 1923, the old Scottish Rite was sold, becoming the R. E. Jones Temple, Methodist Episcopal Church. On September 9, 1923, the Courier-Journal announced, “The contract for the construction at Fourth and Breckinridge Streets will be awarded shortly after bids are opened about October 15” (page 34).

There is one thing to consider about the second Scottish Rite stage. As a church took possession of the old Scottish Rite building, it is unlikely that any Masonic scenery or artifacts would have been left behind. This means that the old scenery would either have been enlarged for their new home, (as such was the case with the 1910 Guthrie scenery) or it would have been replaced with new scenery and sold to another Scottish Rite theater.

I have only encountered two references about a scenery orders delivered to the Louisville Scottish Rite during the twentieth century. The earliest was in 1910, when the Louisville Scottish Rite purchased scenery from Toomey & Volland. However, Toomey and Volland advertisements from 1912 do not list Louisville alongside fifteen other Scottish Rite Cathedral installations by that time, suggesting that they were only adding to a previous collection. Toomey & Volland may have only expanded the original 1895 scenery collection during 1910. It is unclear if E, A. Armstrong Manufacturing Co delivered the original scenery to Louisville either; meaning in was subcontracted to Sosman & Landis. The Louisville Scottish Rite is not included in a 1902 E. A. Armstrong advertisement that notes all the Consistories that they equipped since 1897. Granted, Louisville was two years earlier in 1895, but it leaves a question in my mind concerning who delivered the scenery. One other person comes to mind – E. T. Harvey. Harvey was the scenic artist who produced Scottish Rite scenery collections for Cincinnati in 1886 and Cleveland in 1901. It will be fun to see what I find on site.

Regardless, by the 1950s, Volland studio records a second scenery order from the Louisville Scottish Rite, but they do not specify exactly what was delivered. This means it the order could have ranged from one scene to an entire collection.

To be continued.

Tales from a Scenic Artist and Scholar. Part 706 – Scottish Rite Fire in Louisville, 1924

Part 706: Scottish Rite Fire in Louisville, 1923

Yesterday I explored the Masonic Temple Theatre fire that occurred right after the Louisville Masons moved into a new building; they were fortunate as the majority of their possessions were out of the space at the time. The year was 1903 and the fire started in the theater; a commercial theater intended for touring productions. The losses of the visiting shows and tenants were substantial.

Skip ahead two decades and a similar event happens after the Scottish Rite Masons leave their home at the corner of Sixth and Walnut Street. Fortunately the damage to did not destroy the building.

Postcard of the first Scottish Rite Cathedral in Louisville, Kentucky.

On June 27, 1923, the old Louisville Scottish Rite was sold, becoming the R. E. Jones Temple, Methodist Episcopal Church. This is a fascinating side note about this church and its namesake. During April 1924, the new owners of the building celebrated a significant event: Rev. Dr. Robert Elijah Jones received a memorial tablet commemorating his election as the first African-American general superintendent in the Methodist Episcopal Church at the General Conference, held in Des Moines, Iowa, on May 19, 1920. Prior to his election, African-American bishops often only held missionary posts. As general superintendent, Jones became the resident bishop of the New Orleans area, with an office and residence in New Orleans. His area comprised seven conferences of the Methodist Episcopal Church in Tennessee, Mississippi, Alabama, Louisiana, and Texas. In total, Jones was responsible for 1,905 churches.

The April celebration included an address by the Rev. Dr. John L. Fort, pastor of the Trinity Methodist Church who said, “It is a church wide enough in affection to include both rich and poor, and universal enough to believe that salvation is intended for blacks as well as whites (Courier-Journal 14 April 1924, page 16). Jones (1872-1960) dedicated his career to religion, the racial unification of the Methodist Episcopal Church, racial equality, community development, and education. He is a fascinating figure in the history of the Methodist church, but was also a 33^rd degree Scottish Rite Mason. Jones’ story and papers are now part of the Maistad Research Center. Here is a link that is well worth reading about R. E. Jones: http://amistadresearchcenter.tulane.edu/archon/?p=collections/findingaid&id=51&rootcontentid=31039

Sadly, tragedy struck the mext month. On May 27, 1924, the Courier-Journal reported “Five Firemen and a negro preacher were overcome by smoke last night when flames of undetermined origin ignited debris in the basement of the R. E. Jones Temple, formerly the Scottish Rite Cathedral at Sixth and Walnut Streets. At least a dozen other firemen narrowly escaped being overcome by the dense smoke…slight damage was done, though, on account of the smoke, firemen were an hour putting out the fire” (page 5). No name was given for the preacher who died of smoke inhalation.

To be continued…

Tales from a Scenic Artist and Scholar. Part 705 – Masonic Temple Fire in Louisville, 1903

Part 705: Masonic Temple Fire in Louisville, 1903

In 1903, there was a fire that destroyed the Masonic Temple in Louisville, Kentucky; this was not the Scottish Rite Cathedral, but it had a theater. The Weber Bros. managed Louisville’s Masonic Theatre and the house had a seating capacity of 1,743 (Orchestra, 674, Balcony, 478 and gallery, 571). The width of the proscenium was 36 feet wide by 36 feet high. The depth from the footlights to the back wall as 43 feet and the height to the rigging loft was 72 feet. The depth under the stage was 10 feet and the height to the fly gallery was 25 feet. It was certainly a sizable space for productions, and not some little hole-in-the-wall space.

At the time, a theatre in a Masonic building was not unusual. Many nineteenth-century Masonic buildings relied on the rent collected from retail tenants who leased the first few floors of the building, with lodge rooms in the upper levels. For Masonic opera houses they used the performance space for the income, with lodge rooms tucked away in upper levels. Examples were found all over the country, including in Duluth, Minnesota. The building used by the Duluth Scottish Rite before its current home was also a Masonic Temple with public theatre. The Masons only started to encounter major after the constructed huge edifices that were only used and rented by the Fraternity. If the Masonic orders stopped renting or ceased to exist, it was almost impossible to find a new tenant and recoup the lost income. Furthermore, if the building was only occupied by only one Masonic group, it would only take a decline in membership to start the ball rolling in regard to financial problems pertaining to standard building maintenance costs or repairs.

Now, let’s look at the landscape of Masonic opera houses, theaters and halls that were listed in Julius Cahn’s Official Theatrical Guide for the 1903-1904 Season. Seventeen Masonic stages were listed as an option for touring companies. These were not the only ones, just those listed as an option by Julius Cahn.

Advertisement in Julius Cahn’s Official Theatrical Guide for the 1903-1904 Season.

They included:

Masonic Temple Theatre in Fort Wayne, Indiana

Masonic Temple Theatre in Wallace, Idaho

Masonic Hall in Sumner, Illinois

Masonic Opera House in Oskaloosa, Iowa

New Masonic Opera House in What Cheer, Iowa

Masonic Temple in Louisville, Kentucky

Masonic Opera House in Bel Air, Maryland

Masonic Theatre in Ellenville, New York

Masonic Opera House in Forestport, New York

Masonic Hall in Sag Harbor, New York

Masonic Opera House in New Bern, North Carolina

Masonic Opera House in Chillicothe, Ohio

Masonic Opera House in Ironton, Ohio

Masonic Hall in Jenkintown, Pennsylvania

New Masonic Theatre in Nashville, Tennessee

Masonic Opera House in Orange, Virginia

Masonic Temple Opera House in Charlottetown, Prince Edward Island

The earliest mentions of Masonic stages that I have encountered to date were constructed during the 1820s. When you think about it, the idea was brilliant. Lodge rooms were similar as in other Masonic lodges, but it allowed a larger space for events. It is also not hard to make a leap from lodge room floor to elevated stage, especially if there is already a theater in the building complete with stock scenery. How hard would it be to recognize that an existing cave setting, palatial setting, or seascape would enhance a dramatic presentation during degree work?

Back to the Louisville Masonic Theatre fire. One account was published in the “Statesman Journal” 21 Nov. 1903, page 1. Here is the article:

“Masons Lose By Fire.

Old Temple at Louisville Totally Destroyed – Tenants Lose Heavily.

Louisville, Ky., Nov. 20. – Fire early today destroyed the old Masonic Temple, occupying half a block in the heart of the retail business district. The loss is about a quarter of a million dollars, among the largest losers being the Masonic Temple building, $125,000; Insurance, $65,000; Hopkins Theatre, $20,000; J. W. Fowler Drug, $36,000; Rodgers & Krull, jewelers, $40,000.

The fire is supposed to have started in the scenery o the stage of the theatre. The losses to the tenants will be heavier than ordinarily owning to the high insurance rate due to the construction of the building, and because it contained a theatre. There were seven acts on at the theatre this week, and the people presenting them lost their effects. The theatre is owned by Colonel John D. Hopkins, of St. Louis. The building, which was erected in 1864, is a total loss. At one time it was the principal theatre of Louisville.”

Upon a little more digging, I discovered that the building occupied half the block bounded by Fourth, Fifth, Green and Jefferson Streets. The theatre was located on the third floor. Among the losses listed above were Byck Brothers shoes, $15,000; Boston Shoe Co., $15,000; and Charles H. Smith’s Son, hatter, $15,000. From the touring production standpoint, several trained dogs and monkeys lost their lives in the fire. The estimation of totals losses ranged from $200,000 to $300,000.

The loss of the Masons remained relatively low, as they had recently dedicated a new temple at Fourth and Chestnut Streets and removed all their effects to their new home. Hmm. This article completely intrigues me on several fronts, and I am curious to look for a few answers in the Scottish Rite library next week. But there is one more thing…

The big scandal that surrounded the 1903 Masonic Temple Theatre fire was that at least five members of the Louisville fire department were engaged in looting the stores that were being burned. Among the items stolen were meerschaum pipes, shoes, theatre trunks, opera glasses, and jewelry. The box office was ransacked and the dressing rooms behind the stage were rifled through. In other areas, locked desks were broken into with axes, as firemen searched for cash and other valuable artifacts. The corrupt men belonged to two fire companies. The stolen objects were later discovered in their lockers and under their mattresses in the engine house. The search was made after witnesses who came forward made accusations and five were later charged with the actual crime. Nineteen others were charged with being complicit for refusing to give information and/or assisting the men hide the stolen items. An additional six men were dismissed, totaling eleven firemen that were let go. Unreal.

To be continued…

Tales from a Scenic Artist and Scholar. Part 704 – The Louisville Scottish Rite, 1895

Part 704: The Louisville Scottish Rite, 1895

I am getting ready to visit the Louisville Scottish Rite next week, and was perusing my records and old newspapers to familiarize myself with their history. One particular article from 1895 jumped out at me while searching for Scottish Rite Cathedral dedication ceremonies in newspapers.

Keep in mind that in the historical context of Scottish Rite theaters and degree productions my research has suggested that the first Scottish Rite cathedrals in the Southern Jurisdiction were in Little Rock or Oakland in 1896. That being said, several Scottish Rite Valley’s bordering the geographical demarcation between the Northern and Southern Jurisdiction were experimenting with stages in Masonic Halls well before that, including Winona, Minnesota. However, these spaces were not in buildings solely constructed for Masonic use and termed Scottish Rite cathedrals. Louisville, Kentucky, may have had one of the earliest stages in the Southern Jurisdiction Scottish Rite Cathedral.

Postcard of the Louisville Scottish Rite Cathedral built in 1895

The Wilkes-Barre Times of Pennsylvania, the Arizona Daily Star of Tucson, and the Akron Beacon Journal of Ohio all published the following article in 1895; it was a big deal:

Big Scottish Rite Dedication

Louisville, Ky., Oct. 15 – The Scottish Rite Cathedral of the Ancient and Accepted Scottish Rite for the Southern Jurisdiction of the United States, at Sixth and Walnut street was dedicated today. This dedication surpassed anything ever seen in Masonic ceremonies in this city. It was open to the public, and conducted with all the pomp, which the occasion calls for. The remainder of the inaugural week will be given in reunion, during which all degrees will be conferred. The new cathedral in point of general magnificence is surpassed by only two in the United States, those being cathedrals of the Grand Consistories of Illinois, at Chicago, and of Ohio, at Cincinnati.”

“All degrees will be conferred” at this period in time translated to “all degree will be staged.” This meant that Louisville constructed a Scottish Rite Cathedral before Little Rock and Oakland, California in 1896. Furthermore, the article cited that the Scottish Rite buildings in Chicago and Cincinnati only surpassed the building. Both Chicago and Cincinnati were well known for their Scottish Rite stages, each having started using theaters to stage Scottish Rite degrees around the same time. This is pretty exciting!

The Grand Consistory, Ancient and Accepted Scottish Rite was organized in Louisville, August 21, 1852, with meetings being held on the Southwest corner of Fourth and Jefferson Streets. By August 1876, the Louisville Scottish Rite occupied the Courier-Journal Building, located on Jefferson Street, between Third and Fourth Street. In 1894, the Louisville Scottish Rite Bodies purchased the St. Paul’s Episcopal Church at Sixth and Walnut Streets. The church has been partially destroyed by fire when they acquired the building, and approximately $41,000 was spent on remodeling the facility. In 1895, it was dedicated Scottish Rite Cathedral. This was identical to what Little Rock and Oakland would do in 1896; remodel existing spaces to include a Scottish Rite theatre to fully confer, or stage, the degree work.

This Louisville Scottish Rite was used until 1923, when their new home was constructed at Brook and Gray streets.

As far as the theater, there is no indication of whom, or which studio, delivered the original scenery. However, Toomey and Volland note that they produced scenery for the Louisville Scottish Rite in 1910. Business records also indicate that Volland Studio delivered additional scenery to the Louisville Scottish Rite in 1951.

Postcard of the Louisville Scottish Rite Cathedral built in 1923

To be continued…

Tales from a Scenic Artist and Scholar. Part 702 – Those Who Play Should Pay, 1907

Part 702: Those Who Play Should Pay, 1907

I primarily focus on the Masonic stages hands and scenery. Scottish Rite stages may have rivaled their commercial counterparts, but the performers were primarily amateurs without any professional training. Would a degree team composed of bakers, ranchers, bankers, oil barons, attorneys or clerks understand that a director was really the one in charge? Here is the view of one frustrated thespian who was tired of watching and working with amateur actors. The following excerpt was from the article “Detail and the Drama of the Degree,” written by Epes W. Sargent and published in New Age Magazine (August, 1907, Vol. VII, No. 2, page 181). What was said in 1907 could likely be repeated today:

“… in a recent presentation of the Twenty-third Degree (Northern) we had Moses wearing gold-rimmed eye glasses without a beard that was the pride of every Hebrew of his time. The eyeglasses might have been excused upon the ground of necessity, but there was no excuse for the shaven and shorn appearance of the Patriarch. That the Moses of the moment was an officer who was presently to address the class of candidates in his proper person was no condonation. The costume was slipped off at his exit in character; the removal of the beard would not have required ten second additional delay.

The natural conclusion was that the player feared that by thus masking his identity behind a creation of false hair and wire he might fail to obtain full credit for his work.

It is conceded that few men devote their time to the degree team through some wholly unselfish motives. With some there is hope that efficient work upon the floor may lead to the chairs (as indeed, it often does), others find in their work a gratification of their love of acting, while a score or more of reasons may account for the interest in addition to the proper one of welfare of the rite. It is not to their discredit that they look for reward. That is to be expected.

But those who play should pay. It is not sufficient that they should memorize the speeches, attend some of the rehearsals, and otherwise devote their time to the presentations. They should yield unquestioning obedience to their director and strive with all earnestness to supplement his work by realizing to the fullest the meaning of the part entrusted to their care as well as paying attention to the details of dressing and conduct.

The director cannot be expected to devote his time to the observance of such petty details as personal appearance. Since the exemplar has volunteered for a part, and in someway expects reward, he should give more than passing thought to his work.

In the matter of the beard, the director saw that it was laid out. He could not patiently wait until the exemplar dressed to see that it was worn, nor could he, in this instance, insist that the beard could be put on.

It was the law of Moses that hair whould be worn upon the face. Several passages in Leviticus and elsewhere expressly allude to this, and yet we are asked to regard with due seriousness a Moses who had evidently visited a barber shop on his way to the Tabernacle, and to believe that this was the most majestic figure of Jewish history.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 701 – Wichita Scottish Rite, 1907

Part 701: Wichita Scottish Rite, 1907

In 1907, a remarkable article was published in the “Wichita Daily Eagle” titled “The Scottish Rite New Cathedral” (17 March 1907). Here it is in its entirety, as it is a wonderful snapshot of the times and the growing presence of the Scottish Rite.

Picture of the Wichita Scottish Rite from the “Wichita Daily Eagle,” 17 March, 1907

“The Scottish Rite Cathedral.

Known Round the World for its Excellency.

Best in the World.

Valley of Wichita Leads the World in Beauty.

Under the most trying and adverse circumstances, with but twelve charter members, the Scottish Rite bodies in the Valley of Wichita were organized in the year 1887, when they rented two small rooms in the Hacker & Jackson business block, and where for months, with but little paraphernalia, consisting principally of calico curtains, numberless candles and a few cheap costumes, the beautiful and impressive degrees of the glorious Rite were conferred.

In sharp contrast with this humble beginning will be the glorious manner in which these degrees are now put on in the cathedral at the crone of First Street and Topeka Avenue.

In these short years the consistory has grown in numbers and in importance until today the beauty and excellence of the work as it is exemplified has not made Wichita Consistory No. 2 famous all over the whole United Stats, but wherever there is a cathedral of the Scottish Rite the world around, there also is the Wichita work spoken of an example to be imitated but not excelled.

Nothing daunted, and under the leadership of a few indefatigable for the up building of the Rite, and in a short while found their quarters too small. Then the little Baptist church on the corner of Market and First Streets was purchased, but in a few years, with a rapidly increasing membership, the same conditions confronted the order and they were again obliged to secure a more commodious home.

On May 23, 1898, the magnificent and perfectly equipped temple at First street and Topeka avenue, devoted entirely to Masonry, was dedicated with most impressive ceremonies and a class of one hundred and twenty-five initiated.

During the Jubilee year of 1901, 229 brethren were made Masters of the Royal Secret, and today, thanks to the spirit of harmony prevailing, Wichita Consistory No. 2, with a membership of 1,500, has the distinction of being the largest in the southern jurisdiction.

And again has her walls become so crowded that she had outgrown the temple, commodious and handsome as it was a few years ago, and it has been found necessary to enlarge the cathedral to double its present capacity.

From two little rooms decorated with calico curtains, the consistory will this year have advanced to a stately temple erected at a cost of $250,000, and with costly paraphernalia for the proper setting of the different degrees valued at not less than $25,000.

The temple, which was dedicated in 1901, was 75×100 feet. This proving inadequate an addition has been planned which will add 75×140 feet and will give a magnificent temple facing 100 feet on First street and 150 feet on Topeka avenue.

The cost will be $140,000, and the contract has been let to Brandy & Taylor of this city, and work will begin upon the building at once. It will be gratifying to citizens of Wichita to know that not only has this general contract been let to a home firm, but also that all sub-contracts have been let to Wichita, so that the entire work will be done by home people.

The addition, which will be on Topeka avenue, will include a grand banquet hall, 73 feet wide and 100 feet long, on the ground floor. It will be twenty feet high and will be furnished in the old Dutch style, with dark wainscoting, beautiful draperies in keeping with the prevailing color scheme of the walls, frescoing of the highest art, and the whole surmounted by a magnificent cut and art glass dome over the center.

On the ground floor there will also be a kitchen commensurate with the needs of an order which numbers 1,400 members. It will be 25×73 feet and will be fitted up with every convenience for the preparation of the most elaborate banquets of state.

Above the kitchen will be a dressing room of the same dimensions, 25×73 feet which will be fitted with handsomely carved and stained lockers for each degree in the Scottish Rite.

The second floor will contain an auditorium, candidate’s parlor and the stage. The auditorium will be 73×62 feet, beautifully finished in white and gold, with rich draperies, beautiful frescoing, exhibiting scenes and emblems of the various degrees of the Scottish Rite. On this same floor will be located the candidates’ parlor, 25×73 feet, and a large stage, 371/2 feet deep and 73 feet long giving ample rom to place upon it the work of the various degrees in even a more excellent manner than has been done in the old temple, and which already made Wichita Consistory known the world over. This stage will be the best equipped one in the United States and the consistory will be second to none for the beautiful and impressive manner in which it will confer the degrees.

Above the candidates’’ room will be a balcony with a capacity of 545.

Some of the walls of the new building will be 80 feet high and the front will be finished in keeping with the old building. The sides will be of brick.

The old temple will be entirely remodeled, re-decorated and re-furnished in accordance with the general scheme of the new. Every room in it will be changed. There will be a grand vestibule upon the first floor and the old dining room will be transformed into a reception room and library.

A lofty and massive entrance will be built on the Topeka avenue side and the whole of the reception hall will be finished in exquisite tiling. Upon entrance the first thing which will greet the eye will be a stairway ascending to the second floor, majestic in proportions and finished in colored marble. The part of the temple where the Scottish Rite work has been put on will be given over to the Albert Pike Blue lodge and auditorium, which will be as handsomely finished as the new part of the cathedral.

The corner-stone of the new building will be laid April 24, with impressive ceremonies by the grand master of the grand lodge of the state, accompanied and assisted by his grand lodge officers.

It is expected that the new cathedral will be dedicated in the spring of 1908 and the event will be accompanied with all the gorgeous ceremony for which the Scottish Rite is celebrated. It will be an international affair, as delegates with not only be present from all over the United States, but from Mexico and Canada.

From a small and widely scattered membership two hundred years ago, the Scottish Rite has grown until it now exerts a powerful influence on civilization and its members are a power in the council of nations. The appropriate strength of the Rite throughout the world is as follows: United States and Canada, 50,000; Great Britain, 5,00; Belgium and Northern Europe, 20,000; Spain and Portugal, 15,000; France, 150,000; Austria, 1,500; Hungary, 2,500; Italy, 125,000; Greece, 10,000; Turkey, 1,500; Egypt, 3,500; Mexico, Central and South America, 50,000.

Prior to 1801 the degrees of the Rite form a period starting about 1713, existed in fragmentary form only throughout Europe. The first supreme council, constituting all the degrees form 4^th to 32^nd, was organized in Charleston, S.C. on March 31, 1801.

From this supreme council twenty-nine other councils throughout the world have sprung. The United States was divided into two jurisdictions in 1813.

The Rite in the Valley of Wichita has kept pace with the advancement elsewhere This Valley, that forty years ago was part of the Great American Desert, and which witnessed the organization of the Rite only a score of years ago, now has a membership of 1,500, and are the owners of the most magnificent Scottish Rite temple in the world, furnished with every accessory necessary for the impressive rendition of the sublime degrees of the Rite.

To be continued…

Tales from a Scenic Artist and Scholar. Part 700 – The Topeka Scottish Rite, 1906

Part 700: The Topeka Scottish Rite, 1906

I briefly return to 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.”

One of the stage settings delivered tot he Topeka Scottish Rite by Sosman & Landis

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.

The Topeka Scottish Rite stage pictured in the “Topeka Daily”, 21 Feb, 1906, page 5

The reunion in Topeka either ran like a well-oiled machine, or 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 in 1906. The success of the region was evident as an addition was immediately planned. 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

To be continued…