Scottish Rite Masonic Museum & Library

New to the Collection: Tall Cedars of Lebanon Sign

As regular readers of our blog know, we add to the Scottish Rite Masonic Museum & Library collection every year. While we primarily rely on the generosity of donors who have or find an interesting object that fits our collecting parameters, we do have a small acquisitions budget that allows us to purchase a few items each year. This sign is one of our recent purchases. We were the successful bidder at an auction last November.

The plaster sign, cast in the shape of a moon, with facial features, includes a Tall Cedars of Lebanon hat, known as a pyramid because of its shape. The Tall Cedars is part of the Masonic fraternity. The group seeks to promote a stronger bond with all Freemasons and to further the goals of Freemasonry, to help find a cure for Muscular Dystrophy and neuromuscular diseases, and to recognize the need for fun and relaxation.

Since the pyramid on the sign is marked “Baltimore T.C.L.,” it seems likely that the sign was created in 1929 when the Tall Cedars of Lebanon Annual Supreme Forest Convention (their annual meeting) was held in that city. The Tall Cedars of Lebanon was formally established in 1902 in Trenton, New Jersey. Initially, the group existed only in the United States, but in 1971, a Tall Cedars Forest (like a lodge) was instituted in Canada.

If you know of any accounts or photos of the 1929 Supreme Forest Convention in Baltimore, please let us know in a comment below!

Tall Cedars of Lebanon Winking Moon Sign, ca. 1929, unidentified maker, United States. Scottish Rite Masonic Museum & Library Purchase, 2012.056. Photograph by David Bohl.

George Washington Welcomes You!

If you have visited the Scottish Rite Masonic Museum & Library since 1979, you have been greeted by a statue of George Washington (1732-1799) outside the building.  As you may know, Washington was a Freemason.  Initiated in 1753 in Fredericksburg, Virginia, he became the first Master of Alexandria Lodge No. 22, in Alexandria, Virginia, in 1788.  That lodge was later named Alexandria-Washington Lodge No. 22 to honor the first President.  (For more posts related to George Washington, click here.)

The statue that greets our visitors today is pictured at left.  In 1784 the Commonwealth of Virginia commissioned the well-known French artist, Jean-Antoine Houdon (1741-1828), to make a sculpture of George Washington.  Houdon traveled to Mount Vernon in October 1785, where he took measurements of Washington and made plaster casts of the man's face and limbs (check out this link for more on Houdon's process).  In 1791 Houdon completed the work and in 1796 it was installed in the Virginia State House.  The statue, which is 81 inches high, combines elements representing aspects of Washington's life.  In it he holds the cane of a gentleman, wears a soldier's uniform, stands in front of a farmer's plow, and rests his arm on an ancient Roman "fasces" or bundle of thirteen sticks - signifying his authority and the unity of the thirteen original states.  In 1910 the General Assembly of Virginia authorized the Gorman Company to make bronze replicas.  The one on view in front of the Museum is one of twenty-two made in the 1910s and 1920s.

Prior to the installation of the Gorman Company statue in front of the Museum in 2006, a statue of Washington by sculptor Donald DeLue (1897-1988) welcomed visitors.  Recently, that statue has been reinstalled in the reading room of the Museum's Van Gorden-Williams Library & Archives (at right).  This is a half-size replica of the original statue, which the Grand Lodge of Louisiana commissioned from DeLue in 1959.  That nine-foot-tall statue was erected in front of the Public Library in New Orleans.  According to DeLue, the museum's sculpture is the "original model from which the large one was made."  It depicts Washington wearing his Masonic apron and holding a gavel as he stands next to an column-shaped altar.  The statue was a gift of the Stichter family in memory of Wayne E. Stichter, the Grand Lieutenant Commander of the Supreme Council and the Scottish Rite Deputy for Ohio.  Brother Stichter had served as Vice President of the Scottish Rite Masonic Museum & Library prior to his death in 1977.

Top: George Washington, 1924, from original by Jean-Antoine Houdon (1741-1828), Gorman Company, Providence, Rhode Island, loaned by the Scottish Rite Valley of Columbus, Ohio, EL2004.001.  Photograph by David Bohl.

Bottom: George Washington as Master Mason, 1959, Donald DeLue (1897-1988), United States, gift of the Stichter Family, 2010.042.1.

 

New to the Collection: A Masonic Punch Bowl

This colorful punch bowl, which the Scottish Rite Masonic Museum & Library recently acquired at auction, includes Masonic symbols in its decoration. It seems likely that it was used in a lodge, or by a Freemason at home, during the early 1800s. “It was the custom in those days,” one member of Saint Paul Lodge in Groton, Massachusetts, reminisced, “to drink to the health of every candidate who was initiated, crafted or raised.” The pursuit of sociable fellowship has guided Freemasonry since its beginnings in the 1600s and 1700s. The Museum has two more punch bowls from the early 1800s in its collection (which differ in shape and decoration), suggesting that they were popular sellers at the time.

This bowl commemorates the “Cast Iron Bridge over the River Wear,” which opened on August 9, 1796. A scene printed on the outside of the bowl shows the bridge (see above - the scene is repeated inside the bottom of the bowl). Two pitchers in the Museum’s collection (see one example below) also depict the bridge. The pitcher shown here includes Masonic symbols, while the other is decorated with Odd Fellows emblems. The Wearmouth Bridge was located in Sunderland, where this bowl (and the pitchers) were made, providing easily accessible subject matter. Before the bridge was built, the only way to cross the River Wear was by ferry. The 1796 bridge was repaired and reinforced several times until 1927, when construction on a new bridge began around it. In 1929, when the new bridge was completed, the old bridge was demolished. The 1929 bridge is still on the site today.

The bowl also bears several inscriptions. Lines reading “The Flag That’s Braved a Thousand Years / The Battle and the Breeze,” refer to the English flag and come from a poem written by Thomas Campbell (1777-1844) in 1800. The poem, “Ye Mariners of England,” was set to music and appeared in a number of song books during the 1800s. Campbell was inspired to write the poem by an older song called “Ye Gentlemen of England,” which praises the achievements of the English Navy.

Another verse on the bowl reads “When tempest’s mingle sea and sky, And wind’s like lion’s, rage and rend, Ship’s o’er the mountain water’s fly, Or down unfathom’d depth’s descend, Though skill avail not, strength decay, Deliver us good Lord we pray.” These lines come from a hymn written by James Montgomery (1771-1854). Montgomery wrote more than 400 hymns, while also editing the Sheffield Iris newspaper for thirty-one years. Montgomery’s spiritual hymn offers an interesting counterpoint to another verse on the bowl: “Women make men love, Love makes them sad, Sadness makes them drink, And drinking sets them mad.”

Masonic Punch Bowl, 1800-1825, Sunderland, England, Museum Purchase, 2012.019. Photograph by David Bohl.

Details of punch bowl, photographs by David Bohl.

Masonic Pitcher, 1800-1825, Sunderland, England, Gift of Mr. and Mrs. James DeMond in memory of Gertrude and John D. Lombard, 80.49.2. 

Sources consulted:

“Wearmouth Bridge (1796), site of,” www.engineering-timelines.com/scripts/engineeringItem.asp?id=1131.

“Broadside Ballad Entitled ‘Ye Mariners of England,’” http://digital.nls.uk/broadsides/broadside.cfm/id/14758.

“James Montgomery,” www.hymnary.org/person/Mongomery_J.

Civil War Lecture Explores Black Activists in Boston: March 23 at 2 p.m.

Our 2013 Civil War Lecture Series begins this weekend! Join us for the first lecture in the series. The series explores the history of this divisive war and its meaning for our nation today.

Stephen Kantrowitz
A Citizenship of the Heart: Black Activists and Universal Brotherhood in Civil War-Era Boston
Saturday, March 23 at 2 p.m., free

Stephen Kantrowitz, Professor of History at the University of Wisconsin, Madison, will explore how the fight to abolish slavery was part of a broader campaign by Boston’s African American community to claim full citizenship. The talk will trace the activities of Prince Hall Freemason Lewis Hayden, a fugitive slave and Boston anti-slavery activist. Hayden’s Masonic engagement reflects the development of ideas and practices of black citizenship as tool to remake the republic into a place where all men could belong. Kantrowitz will be available after the talk to sign his book, More than Freedom: Fighting for Black Citizenship in a White Republic, 1829-1889.

The lecture is made possible by the generous support of the Ruby W. and LaVon P. Linn Foundation.

For more information on the Civil War Lecture Series, please refer to the Museum's programs page. For information on visiting the Museum please click here, or call 781 861-6559.

Photo credit: Courtesy Stephen Kantrowitz

 

New to the Collection: A Cerneau Consistory Apron

Even in the context of the Scottish Rite Masonic Museum & Library’s collection there is something so tempting about the forbidden. At least, that’s the feeling I had when a prospective donor offered this Masonic apron to us recently. I do have a soft spot for Masonic aprons in general, and then I learned that this one was supposedly worn by a member of the Cerneau Scottish Rite Consistory in Lenox, Massachusetts, during the 1890s. That did it – I was intrigued and immediately agreed that it should be added to our collection.

But, some of you may be wondering who – or what – is Cerneau, while others are grimacing in disgust. For those that don’t know, Joseph Cerneau (1765-1848) was a French Freemason who lived in San Domingo and then Cuba before moving to New York City in 1806. While in Cuba, Cerneau joined a Scottish Rite group and was given the authority of a Deputy Inspector General. This allowed him to confer several degrees on other prospective Scottish Rite members in Cuba, but the jurisdictional restriction does not seem to stopped Cerneau from conferring the degrees once he reached New York. Debate has raged ever since over whether he acted out of confusion or greed (since he would receive a fee from each man who received the degrees).

In 1813, the Scottish Rite Supreme Council in Charleston, South Carolina, sent a member to investigate Cerneau, as well as two additional groups claiming to have jurisdiction in New York. After Cerneau refused the member's request to inspect his records, he was denounced “as an imposter of the first magnitude, and whom we have expelled from Masonic Asylum within our Jurisdiction.” Cerneau was not daunted by the pronouncement and continued to confer degrees.  He oversaw his own Supreme Council until 1827, when he left New York to return to France. Despite Cerneau’s departure from the United States, his name continued to serve as an umbrella term for spurious and irregular Masonic groups, like the one associated with this apron.

Information provided with the apron when it was donated suggests that it was worn by George Washington Ferguson (1865-1936), an ice dealer in Lenox who joined nearby Evening Star Lodge in 1891. At the time, many men who belonged to their local lodge found that they wanted to learn more about Masonic symbolism and philosophy.  Joining additional Masonic groups allowed them to do this, as well as to increase their social circle. The Scottish Rite, with twenty-nine additional degrees, is often called “the University of Freemasonry,” because of the allegorical lessons that its degrees teach. However, in 1891, the nearest recognized Scottish Rite Consistory to Lenox was in Worcester, almost ninety miles away. But, in April 1891, the Cerneau Supreme Council formed Berkshire Consistory No. 56 in Lenox and, according to the information with the apron, Ferguson joined this group. Records of Berkshire Consistory’s founding state that there were thirty-six charter members.

Berkshire Consistory No. 56 continued to meet throughout the 1890s, even hosting the Grand Sovereign Consistory’s “annual rendezvous,” or meeting, in 1895. In response, the Supreme Council of the Northern Masonic Jurisdiction, which had denounced Cerneau and his group back in 1813, established the Onota Lodge of Perfection in nearby Pittsfield, Massachusetts. Relations between the two groups proved to be difficult over the next several years.

Questions remain unanswered about George Ferguson and Berkshire Consistory No. 56. Did he ever switch to the recognized Onota Lodge of Perfection? How long did Berkshire Consistory No. 56 remain functional? Please write a comment below if you know more about the story, or have additional questions.  This year, we celebrate the 200th anniversary of the founding of the Northern Masonic Jurisdiction, saluting its longevity.  This apron is a scarce reminder of the competing Berkshire Consistory No. 56 and its story.

Cerneau Scottish Rite Apron, ca. 1891, American. Gift of Pittsfield Masonic Association, Pittsfield, Massachusetts, 2011.032. Photograph by David Bohl.

Brave the Snow to See our Cozy Masonic Quilts!

Here in New England, it’s the time of year when nothing seems more cozy than curling up in a warm quilt. There is no better time to visit our exhibition, “Threads of Brotherhood: Masonic Quilts and Textiles.” The exhibit is on view through March 23, 2013, so make plans now to see it before it closes. The Scottish Rite Masonic Museum & Library is open Wednesday through Saturday, 10 a.m. to 4:30 p.m., with free admission and free parking.

Among the needlework on view is this quilt from about 1860, which is one of my personal favorites. I have always been drawn to its graphic nature. Unfortunately, it has rarely been exhibited because the red fabric was disintegrating and hanging it in the gallery would have caused more damage. Fortunately, we were able to perform some conservation work on the quilt to better preserve it and to finally show it off. You can see a “before” image below to the right.  As you can see, the blocks along the left-hand side of the quilt suffered the most disintegration. 

This appliqué quilt is comprised of sixteen blocks showing the most common Masonic symbol – the square and compasses, signifying reason and faith. Freemasonry grew out of medieval stonemason trade guilds in England and Scotland, eventually becoming a fraternal society for men encouraging sound moral and social virtues. Freemasonry’s tenets are taught through a series of ritualized lessons using symbols to remind the initiates of important principles. Each block also shows the letter G, which stood for geometry, God, or both. At the corners of each block are four important Masonic symbols: a level symbolizing equality; a plumb signifying uprightness; a gavel reminding Masons to divest the heart of vice; and a trowel that spreads the cement that unites Freemasons in brotherly love.

To get it ready for the exhibition, we worked with textile conservator Marie Schlag from The Studio for Textile Conservation in Scituate, Massachusetts. She painstakingly stabilized 35 different areas of the quilt with polyester organza.  The organza helps to reduce further disintegration and covers the areas where the foundation fabric is showing through.  This treatment allows the quilt’s red and green graphic pattern to come to the front once again. In this detail at left, you can see the muting effect of the organza where the red fabric has been lost. We are very pleased to be able to share this quilt in its newly improved condition with our visitors and look forward to caring for it for years to come.

Masonic Quilt, ca. 1860, American, Museum purchase, 95.043.11. Before photograph by David Bohl.

A Crazy Quilt

As an amateur scholar of historic textiles and museum intern, I was excited when asked to assist the Scottish Rite Masonic Museum’s Collections Manager with transferring rolled textiles to a new, customized storage rack. During the process I was introduced to crazy quilts. Their heavily stylized designs struck me as modern and innovative for their time period. Crazy quilts became popular in the United States during the last quarter of the nineteenth century (1875-1900). Bright colors and embroidered motifs sprawling across a dark ground are characteristics of their Japanese influence. This brief glimpse at the treasures stored away inspired me to take a closer look at the textiles in the Museum’s current exhibition, “Threads of Brotherhood: Masonic Quilts and Textiles,” which includes a crazy quilt.

I asked my friend and colleague, Kate Herron Gendreau, to join me in attending a gallery talk led by Dr. Aimee Newell, the Museum’s Director of Collections (see our previous post). By trade, Kate is a handcrafted artisan specializing in embroidery and hand sewing. We share an interest in the details of female domestic roles throughout American history. When I mentioned my fascination with the crazy quilts in the Museum’s collection, I learned that Kate recently inherited the unjoined blocks of her family’s crazy quilt. I was eager to hear her opinion on the quilt in the exhibition in hopes that she might be able to enlighten me with some uncelebrated details. We never could have imagined that on the day of the gallery talk, family members of J. Bruce Spilman, who donated the crazy quilt to the Museum (in memory of his relation, Charles Hadley Spilman of Illinois, for whom the quilt was made in 1886) would be present!

The size of this quilt tells us that it was a decorative piece - at 76 inches wide and 68 3/4 inches long it is not quite large enough to be used on a bed - likely used as a sofa throw blanket or piano cover. Crazy quilts often functioned as status symbols, demonstrating that their female makers had leisure time and wealth at their disposal. Textiles made in the homes of women belonging to the working class were often simple or purely functional since daily chores and household budgets limited women's time and resources.  Unfortunately, the Spilman family members present at the gallery talk could not add to the quilt’s history, but by sifting through the notes I scribbled down while Kate swooned over “heavy hand stitching” on velvet and silk, I could see the lost story of this quilt come to life.

As Kate began rhythmically rhapsodizing about “isolated daisy chain, turkey trot and fern stitch … or maybe this is a zigzag blanket stitch,” I began to feel as if I was sitting next to the woman who created this masterpiece. While Kate explained that variegated stitching with this many color changes is something that is rarely created or appreciated today, I could envision the quilt in progress spread across the embroiderer’s lap. I was delighted to learn that many of the blocks are composed of clothing scraps. Kate identified several men’s ties and shirts as well as women’s dress and blouse material in the quilt. From these scraps we can perhaps form an impression of the personal style maintained by the household in which the quilt was made. Often quilters of this era repurposed fabric from clothing that had been stained or torn and could no longer be worn. This decorative status symbol may exhibit more frugality than we initially assume.

One feature that distinguishes this particular crazy quilt is the abundant fusion of conventional fabric and Masonic ribbons. Most of the ribbons in this quilt commemorate Knights Templar meetings in Chicago and San Francisco, dating from 1880 and 1883 (similar to the one at right from a Knights Templar meeting in 1892). Twenty-nine of the quilt’s thirty blocks include ribbons, some arranged in geometric shapes to mimic symbols used in Freemasonry. Most of the ribbons are outlined with an embroidered motif in yellowish-gold stitching that resembles the glory rays surrounding the Masonic symbol of the all-seeing eye, signifying watchfulness. As do many of the textiles in this exhibition, this crazy quilt presents a noteworthy example of the way Freemasonry has intersected popular culture throughout American history.

Masonic Quilt, ca. 1886, unidentified maker, United States, gift of J. Bruce Spilman in memory of Charles Hadley Spilman, 89.25.  Photograph by David Bohl.

Masonic Knights Templar Ribbon, 1892, unidentified maker, probably Connecticut, gift of Jacques Noel Jacobsen Jr., 89.46.138.  

 

Counting Down to 2013

2013 marks the 200th anniversary of the founding of the parent organization for the Scottish Rite Masonic Museum & Library.  In 1813, the Scottish Rite Supreme Council for the Northern Masonic Jurisdiction, USA, was formed.  Over the coming months, you will read more about this anniversary and the history of the Northern Masonic Jurisdiction on our blog.  We will also open an exhibition about the NMJ next spring (check our website for details as Spring 2013 approaches!).

The Museum & Library actively collects objects and documents from the Scottish Rite.  Many of the objects already in our collection are gifts from a Scottish Rite member or local group to the governing body, the Supreme Council, which is located in Lexington, Massachusetts, on the same campus as the Museum.

One of the most eyecatching gifts now in the collection is a lectern that was presented to the Supreme Council in 1931 by the DeWitt Clinton Consistory of the Valley of Grand Rapids, Michigan.  Constructed from several different woods, and inlaid with miniature Masonic symbols, the lectern shows an Egyptian Revival style and sports a book holder at top supported by the Scottish Rite's double-headed eagle symbol.  A silver plaque on the lectern credits the design of the piece to Edgar A. Somes, the inlay to T.A. Conti, and the fabrication to Century Furniture Company and Associates.  Grand Rapids, Michigan, was a center of American furnituremaking during the late 1800s and early 1900s; the pride that makers took in their craft is evident from this lectern.

The lectern was presented to Commander Leon M. Abbott at the Northern Masonic Jurisdiction's 1931 annual meeting in Detroit, Michigan.  At the meeting, a representative from Michigan explained that the Egyptian style was chosen because of its connection to Masonic rituals and symbols.

Scottish Rite Lectern, 1931, Century Furniture Company, Grand Rapids, Michigan.  Gift of the Supreme Council, 33^o, Ancient Accepted Scottish Rite, Northern Masonic Jurisdiction, USA, 2010.042.31.  Photographs by David Bohl.

"Threads of Brotherhood" Gallery Talk on Saturday, Sept. 15

Join us at 2 PM on Saturday, September 15 for an intriguing free talk in the “Threads of Brotherhood: Masonic Quilts and Textiles" gallery. Aimee Newell, the Scottish Rite Masonic Museum and Library's Director of Collections, will explore women's contribution to Freemasonry in the 1800s and the 1900s.

How could women play a role in the impact that Freemasonry, an exclusively male organization, has had on American culture? Tangible evidence of women's support for their male relatives' Masonic activities are the skillfully executed textile work on view at the Museum in the "Threads of Brotherhood" exhibition.

Since the 1700s, this work has connected women not only to family and tradition, but also to the larger community. Auxiliary groups of women have contributed to Masonic organizations for centuries, helping them fundraise, sewing their regalia, and providing lodge decoration. By stitching a quilt or hooking a rug, a woman could both demonstrate support of her relations’ Masonic activities, as well as her knowledge of Masonic symbolism and ethics. These cherished family heirlooms that signified family identification with Freemasonry also functioned as educational tools – teaching family members about Masonic symbols and reminding Masons of the lessons they learned in the lodge. And, like the quilts used to fundraise for political or social causes, Masonic quilts and textiles were – and still are – used to raise money for Masonic projects and charities.

One of the objects you will see in the exhibition is this needlework picture, stiched on silk that has been painted with watercolors. The young woman who created it in 1808 copied the design of a Past Master’s certificate to commemorate Benjamin Russell’s (1761-1845) term as Master of Boston’s Rising States Lodge. You can read a previous blog post by Aimee Newell that explores how the detail in the image celebrates Bejamin Russell's tenure as Master of the Rising States Lodge. If you are curious about Benjamin Russell himself, here is a link to J. L. Bell's Boston 1775 posts on this very interesting personality.  

Textiles can teach us about the individuals who them.  Between the end of the 1700s and the 1820s, some young women, and possibly the unknown maker of this object, attending female academies.  These educational institutions catered to daughters of elite and middling families.  At these academies students honed their needlework skills and may have received instruction in making silk and watercolor embroidered pictures like this one. Needlework pictures were often vibrant scenes done in rich - and costly - materials based on Biblical, historical, memorial, and literary sources. Many female academies also offered instruction in academic subjects such as French, geography, and mathematics, in addition to needlework.  An education at a female academy in the early 1800s represented an investment on the part of a young student's family.  In some cases, costs for tuition, board, and materials at a female academy could rival that of sending a young man to college.

Join us for this gallery talk and see what other stories can be told through the Masonic quilts and textiles featured in "Threads of Brotherhood." There will be another staff-led gallery talk about this exhibition on Saturday, October 20. It will be held at 1 PM so that participants can attend the 2 PM lecture by Pamela Weeks on "Quilts for Civil War Soldiers: Stories from the Home Front and the Battlefield."

The gallery talk is free. For further information, call the Museum's front desk at 781-861-6559 or refer to our website.

Photo credit:

Masonic Needlework Picture, 1808. Massachusetts. Scottish Rite Masonic Museum and Library, Special Acquisitions Fund, 76.33.1.  Photograph by John M. Miller

Celebrating a Past Master

This silk needlework picture from the Scottish Rite Masonic Museum & Library collection is one of my favorite pieces.  It shows allegorical figures of Wisdom (Athena wearing a helmet), Strength (Hercules wearing a lion skin and holding crossed keys) and Beauty (Venus trailing a rose vine) and commemorates the service of Benjamin Russell (1761-1845) as Master of Boston's Rising States Lodge in 1808.

The silk background fabric has been painted with watercolors to create the blue sky with white clouds and the grassy ground.  An all-seeing eye at top, symbolizing watchfulness, and the faces of the figures have also been painted onto the fabric, likely by a professional artist.  The unidentified maker of this picture, probably a young woman, then used silk thread to stitch the central monument.  Masonic symbols and an inscription complete the picture.  Pictures like this one were expensive to make and required a stitcher to have skill with the needle.  If the stitcher made mistakes and stitches had to be pulled out, it could cause holes in the fabric, ruining the piece.

The design for the needlework comes from a Masonic Past Master's Certificate, originally engraved by John Hawksworth, active in England between about 1815 and 1845.  The Scottish Rite Masonic Museum & Library holds eight examples of the printed certificate.  One, for Richard Colton of Northfield, Massachusetts' Harmony Lodge is dated 1818, but the other seven were presented during between 1896 and 1954, suggesting that the design remained popular for a long time and was restruck at least once.  The collection of the Grand Lodge of Masons in Massachusetts, on extended loan to the Scottish Rite Masonic Museum & Library, also includes two examples of the certificate, one dated 1821 and one dated 1916.

The inscription on the needlework picture reads: "To all regular Lodges / The Rt. Worshipfull presiding and / past Masters / thereof / The / Members of / Rising States Lodge / situate in th[e] Town of Boston / No. under our jurisdiction / Elected Bror. / Benj. Russell / the bearer Most Worshipfull Master / A.L. 58 In which / station he was a Light to his / Brethren and an ornament to the / Craft / This testimonial of his meritorious / service recommends him to / the hospitality A.L. / and protection due to a faithful overseer / 5808 / by order of the Most Worshipfull Grand Ma[ster] / John Proctor Grand Secretary."

Benjamin Russell, who published Boston's Columbian Centinel newspaper from 1784 until 1829, joined the city's Rising States Lodge in the 1790s, later affiliating with Boston's St. John's Lodge in 1811.  From 1814 through 1816, Russell served as Grand Master of Massachusetts.

The picture is currently (August 2012) on view at the Scottish Rite Masonic Museum & Library in our exhibition, Threads of Brotherhood: Masonic Quilts and Textiles (see our previous post about the exhibition and this post about related gallery talks).  We hope you will plan a visit soon to see this picture in person!

Masonic Needlework Picture, 1808, Unidentified Maker, Massachusetts, Special Acquisitions Fund, 76.33.1.  Photograph by John M. Miller.