National Heritage Museum

"We Have Met the Enemy and They Are Ours": Perry's Victory on Lake Erie

This print depicts a signal moment in the career of Oliver Hazard Perry (1785–1819), the commander of the U.S. naval fleet on Lake Erie during the War of 1812, a conflict which ended in 1815. On the morning of September 10, 1813, British Naval Commander Robert Barclay fired the first shots of what would become one of the most important naval battles in the war. The confrontation took place on the western end of Lake Erie, near what is now Sandusky, Ohio. You can see a map of its location here. After hours of fighting, Perry abandoned his badly damaged flagship, the USS Lawrence, and took command of a relatively unscathed vessel, the Niagara, from her less-experienced commander, Lieutenant Jesse Elliott. The battle began anew, and the British ships—whose senior officers had been wounded or killed—soon surrendered. Perry informed U.S. General William Henry Harrison (1773–1841) of the victory with the now-famous words, “We have met the enemy and they are ours.” This strategic triumph ensured American control of the Great Lakes and secured Perry the name, “The Hero of Lake Erie.”

Although publishers Kurz and Allison did not identify the original painting that inspired this print, two monumental paintings by William Henry Powell (1823–1879) clearly served as a jumping-off point for the engraver. The legislature in Ohio, Powell’s home state, commissioned one in 1857. Completed in 1865, it now hangs in rotunda of the State House. The U.S. Senate's Joint Committee on the Library commissioned the other, larger version in the months after the first painting went on view. It has hung in the Senate wing of the U.S. Capitol since 1873.

Like many historic prints, this image reflects the era in which it was made as much as the event it depicts. For example, both Perry’s heroic stance in the boat and the flag behind him recall Emanuel Leutze's iconic 1851 painting George Washington Crossing the Delaware, an image that a far-reaching audience found familiar, thanks to a widely available 1853 print. In addition, although a number of the sailors in Perry’s fleet were African American, Powell may have included the black sailor in his 1857 painting to highlight the issues of slavery and race during the years leading up to the Civil War. Several decades later, during the post-Civil War Reconstruction era, Kurz and Allison followed suit when making their copy of the image.

You can see both Perry’s Victory on Lake Erie and Washington Crossing the Delaware in the exhibition, “The Art of American History: Prints from the Collection,” now on view in the Museum’s newly renovated lobby area.

Photos:

Perry’s Victory on Lake Erie, late 1800s. Kurz and Allison (1880–1903), publishers, Chicago, Illinois. Special Acquisitions Fund, 74.3.2.

Washington Crossing the Delaware, 1853. Emanuel Leutze (1816–1868), artist; Paul Girardet (1821–1893), engraver; M. Knoedler (1823–1878), publisher, New York, New York. Special Acquisitions Fund, 74.2.13.

The Conflagration of the Pennsylvania Masonic Hall in 1819

The Grand Lodge of Pennsylvania secured its first building in 1802. Located on Filbert Street in Philadelphia, members dedicated it on St. John’s Day (December 27) in 1802. However, membership in Freemasonry grew at such a rate over the succeeding years that the building soon was too small.  By 1807, the search was on for new quarters. Later that year, the Grand Lodge purchased a vacant lot on Chestnut Street and began building according to a plan that architect William Strickland (1787-1854) submitted to their design competition. The new Masonic Hall was completed in 1809.

Unfortunately, the Grand Lodge would experience a relatively short tenure in this building. On March 9, 1819, a chimney fire spread rapidly, consuming the building. An engraving from the National Heritage Museum's collection, entitled The Conflagration of the Masonic Hall, Chestnut Street, Philadelphia, and created by John Lewis Krimmel (1786-1821) and John Hill (1770-1850), depicts the scene. The Grand Lodge history explains that “so great was the interest taken by the general public in this great calamity which overtook the Brethren,” that a painting was done “for the purpose of having an engraving made of the conflagration.”

According to the Franklin Gazette, the fire could be seen from New Castle, Delaware, thirty-two miles away. Washington Lodge No. 59 was meeting in the building at the time, but all the men in attendance were able to get out without any deaths or injuries. The print provides an accurate depiction of the fire companies.  It also shows the Secretary of Washington Lodge No. 59 carrying some of the Lodge’s property to safety – its Bible and the key to the hall.

The Conflagration of the Masonic Hall, Chestnut Street, Philadelphia, 1819, John Hill, engraver, S. Kennedy and S.S. West, publishers, Philadelphia, Pennsylvania, National Heritage Museum collection, Special Acquisitions Fund, 79.42.2. Photograph by David Bohl.

Is This a Masonic Painting?

Can you tell what makes this ship painting a “Masonic painting”? Look very closely at the flags it is flying and you’ll be able to make out the square and compasses symbol on the blue one atop the ship’s mizzenmast (third from the left - if you click on the picture, you can see a larger version of the image). One of the most well-known Masonic symbols, the square and compasses signify reason and faith.

The painting depicts the bark Isaac Rich as it entered the port of Leghorn, Italy, in 1876. The artist, Luigi Renault (1845-ca. 1910), was active in Leghorn from 1858 to 1880 and was appointed marine painter to King Victor Emanuel.

Ships might fly a Masonic flag if the owner or the captain were Freemasons. In the case of the Isaac Rich, the ship’s captain, William Bartlett Sheldon (d. 1903), joined New Jersey’s Burlington Lodge No. 32 in 1863. Sheldon served in the U.S. Navy during the Civil War. While Acting Master of the gunboat steamer U.S.S. Flambeau in South Carolina, he was captured in May 1863, but was exchanged in June 1863 and continued serving until October 1865. See our previous post about the preferential treatment that some Masonic prisoners received during that conflict.

If you would like to see the painting in person, please visit our current exhibition, Curators’ Choice: Favorites from the Collection.

The Bark Isaac Rich, 1876, Luigi Renault (1845-ca. 1910), Leghorn, Italy, National Heritage Museum collection, Special Acquisitions Fund, 90.14. 

"The Initiated Eye" Extended Until February 26, 2011

Have you visited the Museum’s exhibition, "The Initiated Eye: Secrets, Symbols, Freemasonry, and the Architecture of Washington, D.C."? Worried that you’ll miss it? Well, fear not – we are extending it for one more month. "The Initiated Eye" will now be open until Saturday, February 26, 2011. We hope you will make plans to see it before it disappears!

"The Initiated Eye" presents 21 paintings by artist Peter Waddell, based on the architecture of Washington, D.C., and the role that our founding fathers and prominent citizens (many of whom were Freemasons) played in establishing the city. The depictions of historical events, activities, and ceremonies carefully explain and demystify Freemasonry for the public. In addition to the paintings, approximately 40 objects from the National Heritage Museum collection enrich the exhibition.  The Museum is open Wednesday through Saturday from 10 a.m. to 4:30 p.m. We are located at 33 Marrett Road (Route 2A) in Lexington, Massachusetts. Please visit our website for more information.

This painting, The Age of Reason Made Manifest, shows the working plan for the city of Washington, D.C., laid out on a desk at Monticello. The creative dialogue between Thomas Jefferson (1743-1826), George Washington (1732-1799), and Pierre L’Enfant (1754-1825) resulted in a classically-inspired vision and plan for Washington, D.C. Although the vast majority of the design was realized, a few key landmarks seen here were not built. The Supreme Court building was to have taken the form of a Roman temple at the site of Judiciary Square; the Washington Monument would have been an equestrian statue of George Washington; a rostral column would lie south of it; and a cascade flowing from a pyramid would grace the base of Capitol Hill. 

The paintings in the exhibition were commissioned by, and are the property of, the Grand Lodge of Free and Accepted Masons of Washington, D.C., with all rights reserved. This exhibition is supported by the Scottish Rite Masons of the Northern Masonic Jurisdiction, U.S.A.

The Age of Reason Made Manifest, 2005, Peter Waddell, Washington, D.C., Courtesy of the Grand Lodge of Free and Accepted Masons of Washington, D.C.  Photograph by Carol Highsmith.

How Many Presidents were Freemasons?

It never ceases to amaze me how much inaccurate information is out there concerning Freemasonry. One of the most common questions circles around how many U.S. presidents were Freemasons – and from there, many people wonder about how many Freemasons signed the Declaration of Independence and the Constitution. The answers to these questions range from well-established – how many U.S. presidents were Freemasons – to less clear-cut – how many signers of the Constitution were Freemasons. When searching the internet for more information about this topic, be warned!  There are many websites with inaccurate information. So, allow me to offer an accurate, clear answer.

Fourteen U.S. presidents have been Freemasons, meaning that there is conclusive evidence that these men received the Master Mason degree: George Washington; James Monroe; Andrew Jackson; James Polk; James Buchanan; Andrew Johnson; James Garfield; William McKinley; Theodore Roosevelt; William Taft; Warren Harding; Franklin Delano Roosevelt; Harry S. Truman; and Gerald Ford.

Nine of the 56 signers of the Declaration of Independence were Freemasons during their lifetime, though not necessarily in 1776: William Ellery; Benjamin Franklin; John Hancock; Joseph Hewes; William Hooper; Robert Treat Paine; Richard Stockton; George Walton; and William Whipple.

Things get a little less clear when it comes to the Constitution. It seems that at least nine of the signers can be conclusively documented as Freemasons: Gunning Bedford Jr.; John Blair; David Brearly; Jacob Broom; Daniel Carrol; John Dickinson; Benjamin Franklin; Rufus King; and George Washington. Some sources suggest that an additional four men were Masons, while other sources make the total number even higher. Additional research – and debate – is welcome. It is also important to be clear about how you are defining a Freemason: Is it men who have received the Master Mason degree? Or is it any man who took the Entered Apprentice degree? Do “Masonic signers” have to be Freemasons when they signed the document, or at some point in their life? Let me know what you think in a comment below!

For more information about Freemasonry, please visit the National Heritage Museum website. Also, you may want to check out an excellent Masonic website that is the brainchild of Paul Bessel: www.bessel.org.  It includes much useful information about American Freemasonry.

Top: Presidents of the United States, ca. 1861, A. Feusier, lithographer, and F. Bouclet, publisher, Philadelphia, Pennsylvania, collection of the National Heritage Museum, Special Acquisitions Fund, 79.34.1.  Photograph by David Bohl. 

Bottom: The Declaration of Independence, 1840-1880, John Francis Eugene Prud’homme (1800-1892), New York or Washington, D.C., collection of the National Heritage Museum, gift of J. Robert Merrill, 77.75.6.

The Talented Charles Buckles Falls

For many years, I have wanted to know more about a group of graphically charged and boldly colored paintings in the museum’s collection by the artist Charles Buckles Falls (1874-1960). In making selections for “Curators' Choice: Favorites from the Collection,” I had the perfect opportunity to explore them further.

The talented Falls illustrated books and designed posters, advertisements, invitations, book bindings, stage sets, fabric and furniture in a career that spanned from the late 1890s through 1960. He produced some of his best-known work for the Division of Pictorial Publicity during World War I. You can see several examples here. Falls executed much of his work for paying clients, including Masonic publications such as The Shrine Magazine and The New York Masonic Outlook. In 1927 editors at The New York Masonic Outlook described Falls as “one of the distinguished artists of the day.”

Based on the topic, size, style and information from the donor, we believe Falls made nine paintings in   the museum’s collection (7 oils and 2 watercolors) for The Shrine Magazine. At least five of the paintings eventually graced the cover of the publication, all in 1927. This February cover and Falls’ related painting offer an opportunity to compare the artist’s original artwork against the magazine that arrived in subscribers’ mailboxes.

Editors shaped “The Shrine Magazine,” published from May 1926 to December 1928, to appeal to not only to male Shrine members, but also to their families with attractive covers, short fiction, a women’s department and general interest articles. To capture readers' attention, editors hired several popular illustrators, such as Falls, to create artistic covers for the magazine. Their cover art did not often relate to stories or articles in the magazine, nor were these artists necessarily associated with Freemasonry. Falls, for example, does not appear to have been a member.

Commercial artwork is ephemeral--sold to a client, who may use it as he likes, for a fee. The end product, a magazine or advertisement, might be read once and then thrown away. However, in this case, as suggested by information from the donor, Falls’ wife, Bedelia, preserved these examples of her husband's work.  Eventually, they came to the museum for visitors to enjoy.

If you have any questions or information about Falls and his association with “The Shrine Magazine,” please get in touch or leave a comment, we'd love to hear from you. 

Photo credits:

Rider on a White Horse, ca. 1927. Charles Buckles Falls (1874-1960). New York, New York. Gift of Dorothy H. Trower, in memory of Ralph E. Trower, 76.59.2.

Cover, The Shrine Magazine, February 1927. Charles Buckles Falls (1874-1960). New York, New York. Gift of Dorothy H. Trower, in memory of Ralph E. Trower, 76.59.10.  Photograph by David Bohl.

References:

Wayne G. Hammond, The Graphic Art of C. B. Falls: An Introduction, Chapin Library, Williams College, 1982.

Norman Kent, “C. B. Falls, 1874- 1960: A Career in Retrospect,” American Artist, Februrary, 1962.

Thanks to Wayne Hammond, Assistant Librarian, Chapin Library, Williams College and Thomas M. Savini, Director, Chancellor Robert R. Livingston Masonic Library of Grand Lodge for their help in providing information about C. B. Falls to the museum.

Sharing Comments on The Initiated Eye

Here at the National Heritage Museum, we always include a way for visitors to leave their comments after viewing our exhibitions.  Since our show, The Initiated Eye: Secrets, Symbols, Freemasonry and the Architecture of Washington, D.C., opened almost six months ago, we have received a variety of feedback in the comment book at the end of the exhibit. 

The book offers visitors a chance to make any kind of comment they wish.  Sometimes they include their names and where they are from.  While most list an American town or state, we were excited to see some foreign visitors – including those from England, Scotland, Switzerland, and even India!

We are interested in all kinds of comments, whether positive or negative.  For example, one visitor helped us catch a typographical error by pointing out that the birth year for the artist was incorrect on one of the painting labels – it read “b. 1855” instead of “b. 1955”!  We appreciate this attention to detail and have fixed the errant label.

Still other visitors shared their favorite object in the show.  Nora Jane wrote “I especially loved the statue of George [Washington].”  Anja and Ashley, who signed the same page in the book, both liked the 38-star flag (don’t miss an upcoming June blog about this fascinating artifact).  And, Mike H. noted that he liked “the parade at the Capitol photo.”

Some visitors leave their questions in the comment book.  Thirteen-year-old Christina from New Hampshire wrote “I noticed in the painting to the left [Building the Temple Within, shown here at top] that the 2 columns were in the order of JB but here it is BJ [a pair of actual Masonic columns from the collection, shown at right].”  Undoubtedly, Christina has not been the only one to notice this discrepancy.  In fact, the exhibition includes two paintings – by the same artist – that contradict the order of the columns.  In the painting, An Auspicious Day, which depicts George Washington (shown below at left), the stair posts are labeled like columns and read “BJ.”  So, why the discrepancy?

In Freemasonry, the columns marked B and J represent Boaz and Jachin, the columns that were erected at the entrance to King Solomon’s Temple.  They are described in the Bible, in 2 Chronicles 3:15-17, “And he reared up the pillars before the temple…and called the name of that on the right hand Jachin, and the name of that on the left Boaz.”  From this description, the B column should stand on the left, while the J column should be on the right.  This description is used in Masonic ritual, which is based on the story of the building of Solomon’s Temple. 

So, why do the columns appear in the opposite position in the painting Building the Temple Within – and, indeed, in a number of printed and published sources?  It may be that the artist was following the way the names of the columns are listed in the Bible – with Jachin coming before Boaz.  Or, it may relate to the fact that text is reversed when converted from Hebrew, which is read right to left, to English, which is read left to right.  When we set up our columns in the exhibition, we chose to follow the biblical description – and the Masonic ritual.  Unfortunately, we do not know why the artist of the paintings placed the columns in one order in one painting and in the opposite order in another.

We appreciate all of the feedback we receive on our exhibitions.  It’s gratifying to know that this exhibition provided “new insights into our US history,” as one visitor wrote.  Or, as another commented, “New view of how history was made!”  So, let us know how you think we’re doing – on site or online.  We can’t wait to hear from you.

The Initiated Eye will be on view through January 9, 2011.  The paintings in the exhibition are the work of Peter Waddell, and were commissioned by, and are the property of, the Grand Lodge of Free and Accepted Masons of Washington, D.C., with all rights reserved.  This exhibition is supported by the Scottish Rite Masons of the Northern Masonic Jurisdiction, U.S.A.

Top: Building the Temple Within, 2005, Peter Waddell (b. 1955), Washington, D.C.  Courtesy of the Grand Lodge of Free and Accepted Masons of Washington, D.C. 

Middle: Masonic Columns, ca. 1840, Ohio.  Collection of the National Heritage Museum, Special Acquisitions Fund, 89.47a-d.  Photograph by John Miller.

Bottom: An Auspicious Day, 2005, Peter Waddell (b. 1955), Washington, D.C.  Courtesy of the Grand Lodge of Free and Accepted Masons of Washington, D.C.

What do we collect?

Established in 1975 by Scottish Rite Freemasons of the Northern Masonic Jurisdiction of the United States, the National Heritage Museum tells America’s story. For over thirty years, the museum has collected, by gift and by purchase, objects that help tell that story. Today, the collection numbers over 16,000 objects. 

The collection’s primary strength is its American Masonic and fraternal items.  As the largest group of objects of its kind in the United States, the Museum’s holdings include over 400 fraternal aprons, over 2,500 fraternal badges and pieces of jewelry, and more than 1,000 items of fraternal regalia, as well as household and lodge furnishings, glass, ceramics and works of art, all decorated with Masonic and fraternal symbols.  The Museum manages an additional 12,000 objects and documents from the collection of the Grand Lodge of Masons in Massachusetts under a long-term loan agreement.  The Van Gorden-Williams Library & Archives comprise 60,000 books, 1,600 serial titles and 2,000 cubic feet of archival materials related to American history and fraternalism.  Selected treasures from our collection can be seen on our website.  The Library’s catalog of printed books is also accessible online.

The Museum also collects material related to American history.  These items offer different perspectives for the interpretation of important events, people, themes and issues in American history.  For example, the Willis R. Michael collection of American and European clocks comprises an encyclopedic diversity of over 140 time-keeping mechanisms.  Many of these clocks are currently featured in the National Heritage Museum exhibition, "For All Time," on view through February 21, 2010.  The Dr. William L. and Mary B. Guyton Collection of more than 600 George Washington prints and related ephemera showcases the way that the memory of our first president has developed over the past 200 years.

The objects in the museum collection are highlighted in interpretive exhibitions, presented in educational programs and used as the focus of scholarly research.  All enrich our understanding of the past.  The National Heritage Museum actively seeks to add items to its collection that tell an engaging story, do not duplicate existing holdings and are in good condition.

If you have questions about the National Heritage Museum’s collection, or would like to make a gift to the collection or a financial donation to support future object purchases and conservation, we would like to hear from you. For more information, please contact Aimee E. Newell, Director of Collections, at (781) 457-4144 and anewell[at]monh.org.

Top: Masonic tracing board, ca. 1820, attributed to John Ritto Penniman (1782-1841), probably Boston, Massachusetts, National Heritage Museum, Special Acquisitions Fund, 89.76.  Photograph by David Bohl.  Bottom: G. Washington, 1856, A. Chappel, artist, G.R. Hall, engraver, New York City, National Heritage Museum, Dr. William L. and Mary B. Guyton Collection, 86.61.115.

Franklin Opening the Lodge

While George Washington (1732-1799) is arguably the best-known American Freemason, Benjamin Franklin (1706-1790) may be a close second.  The National Heritage Museum collection includes a number of objects depicting Franklin, which recognize his Masonic membership. 

This print, Franklin Opening the Lodge, was published by Kurz and Allison of Chicago and dates to 1896.  The partnership, which extended from 1880 to at least 1899, produced a wide range of decorative prints, including a series depicting Revolutionary War battles.

Benjamin Franklin became a Freemason when he was initiated in St. John’s Lodge in Philadelphia in 1731.  His involvement with the fraternity extended over the next fifty years, during which time he held several leadership roles.  He served as Grand Master of Pennsylvania in 1734 and Provincial Grand Master of Pennsylvania in 1749.  While in Paris during the American Revolution, Franklin became a member of the Lodge of Nine Sisters (La Loge des Neuf Soeurs), serving as its Venerable Master from 1779 to 1781.  (For more on Franklin's Masonic activities, see this previous post on our blog.)

In this print, Franklin wears a Masonic apron and a Master’s jewel around his neck.  He stands in a lodge room, surrounded by a number of Masonic symbols.  Presumably, this print appealed to Freemasons around the country and was considered appropriate as decoration in the lodge and in the home.

This print is pictured in the Treasures section of our website, which includes information on approximately 100 objects from our collection.

Franklin Opening the Lodge, 1896, Kurz and Allison (partnership 1880-1899), Chicago, Illinois, National Heritage Museum, Special Acquisitions Fund, 81.56.  Photograph by David Bohl.

A Masonic Print: The Iron Worker and King Solomon

Masonic prints can often be confusing to the uninitiated.  Sometimes, it can even be hard to tell whether a print is Masonic or not.  Upon first glance, the print pictured here (from the National Heritage Museum collection) may not appear to relate to Freemasonry, but if you dig deeper, it does have a connection.  Titled The Iron Worker and King Solomon, it depicts the celebration of the completion of King Solomon’s Temple, a Biblical structure that figures prominently in Masonic ritual and symbolism.

As illustrated by the print (and explained in printed text below the image), Jewish legend tells that King Solomon invited all of the people who worked on the Temple to the celebration, but when the throne was unveiled, a blacksmith was sitting in the place of honor.  Threatened by the crowd, the smith said, “Thou hast, O King, invited all craftsmen but me.  Yet how could these builders raise the Temple without the tools I fashioned.”  “True,” agreed Solomon, “The seat is his right.  All honor to the Iron Worker.”  In addition to connecting with Masonic symbolism, the print reflects its Gilded Age date of publication, when steel was a pre-eminent American industry.

Bradley and Bro. of Philadelphia published this steel engraving in 1889.  The artist, John Sartain (1808-1897), emigrated to Philadelphia from London in 1830.  Sartain enjoyed a prolific career as an engraver.  He also published magazines.  In 1876, he headed the art department for the Centennial Exposition, which was held in Philadelphia.

The Iron Worker and King Solomon, 1889, John Sartain (1808-1897), artist, Bradley and Bro., publisher, Philadelphia, Pennsylvania, National Heritage Museum, gift of Clement M. Silvestro, 95.028.1.   Photograph by David Bohl.