Scottish Rite Masonic Museum & Library

A Distinctive Style of Past Master’s Jewel

Past Master’s Jewel Made for Henry Fowle, 1825. Boston, Massachusetts. Grand Lodge of Masons in Massachusetts, GL2004.5241. Photograph by David Bohl.

From the late 1700s through the present day, many American Masonic lodges have followed the tradition of acknowledging the contributions of a lodge master by presenting him with a personalized jewel to mark the conclusion of his term.  Over time and place these jewels, called Past Master’s jewels, have been made of different metals and have come in many sizes and shapes, depending on the jurisdiction, local taste and the issuing lodge’s budget.  Historically, the lodge commissioned an engraver to inscribe Past Master’s jewels with the recipient’s name, lodge and the dates of his term. 

Past Master jewels presented in America in the early 1800s often featured the Masonic symbols of a sun within compasses with a quadrant connecting the legs of the compasses. These jewels, usually made of silver, were often cut from a flat sheet of metal. We have previously we posted about an example crafted in this manner in 1812 that was owned by a Boston Mason.  Other Past Master jewels were cast or included cast parts, sometimes the central symbol of the sun.  Researchers have observed that this style of Past Master jewel design was likely inspired by jewels used by Scottish Freemasons in the 1700s.

In the 1820s some Boston lodges occasionally issued a different—and distinctive—style of Past Master jewel.  This design (illustrated at left and below) featured the symbols of a compasses and a quadrant at the center and was made as a plaque.  Leafy curves in relief decorate the edges of the plaque.  The plaque was cast, then its surface was textured with different tools. An engraver noted the recipient’s name and other information on cartouche at the center of the jewel.  The contrast between the polished, shiny surface at the center and the darker, mostly matte background and borders of the plaque add to this style of jewel’s visual appeal. St. Andrew’s Lodge presented Henry Fowle (1766-1837)—an active Mason in Boston in the early 1800s—this Past Master's jewel in 1825 (above at left).  Fowle served as Master of the lodge in 1793, from 1810 to 1817 and again from 1818 to 1820.  His brethren honored him with this jewel in 1825. Two years before members of St. Andrews presented a Past Master jewel of the same style as Fowle’s to Henry Purkitt (1755-1846), who held the role of Master from 1804-1805. This jewel is now in the collection of the Bostonian Society.

Past Master’s Jewel Made for George Girdler Smith, 1828. Boston, Massachusetts. Grand Lodge of Masons in Massachusetts, GL2004.3781. Photograph by David Bohl.

Brethren at Columbian Lodge in Boston honored George Girdler Smith (1795-1878) with a similar Past Master’s jewel in 1828 (at right). Later, after he had served several more terms, the lodge had the back of the 1828 jewel engraved with a message (below) thanking Smith for “the faithful and distinguished services he has rendered the Lodge as Master, during the Years 1828, and 1841 to 1844…..”  The brothers of Union Lodge in Dorchester, Massachusetts, gave Past Master Isaac W. Follansbee (d. 1882) a jewel like Fowle’s and Smith’s, more than a decade later, in 1858.  It is now part of the collection of the Scottish Rite Masonic Museum & Library.  Although many examples of these distinct-to-Boston style jewels survive, there is a lot more to learn about them, such as who made them and what originally inspired their shape and decoration. If you know of more examples of this kind of Past Master jewel or have other observations about them, please let us know in the comments section below.

 

References:

John Hamilton, Material Culture of the American Freemason (Lexington, Massachusetts: Museum of Our National Heritage), 1994, 124-125, 137-138.

Aimee E. Newell, Hilary Anderson Stelling and Catherine Compton Swanson, Curiosities of the Craft: Treasures from the Grand Lodge of Massachusetts Collection (Boston and Lexington, Massachusetts: Grand Lodge of Masons in Massachusetts and the Scottish Rite Masonic Museum and Library), 2013, 47, 244-5, 151, 195.

Back of Past Master’s Jewel Made for George Girdler Smith, 1828, engraving added 1844. Boston, Massachusetts. Grand Lodge of Masons in Massachusetts, GL2004.3781. Photograph by David Bohl.

"Bogus Mason Was Locked Up": Masonic Impostor Duncan C. Turner

Long-time readers of our blog will know that every May we return to the topic of our very first blog post: Masonic impostors. This year we focus on a man named Duncan C. Turner (born ca. 1847), who was featured in the 1903 booklet, Album of Masonic Impostors. He was previously published in the Masonic Relief Association's Official Warning Circular No. 147. The Album of Masonic Impostors' description of Turner is brief and to the point:

"Alias McNeill. Acacian Lodge No. 705, Ogdensburg, N.Y. Served time in prison."

An article published in the Buffalo Courier newspaper on November 14, 1897 makes it clear that the circulars published by the Masonic Relief Association worked. The newspaper recounts how Turner's profile was published in recent issues of the monthly Official Warning Circular - first showing up in the July 1897 issue. The article continues, noting that a "more recent letter announced that he [i.e. Turner] had been arrested in Cleveland and sentenced to the workhouse for sixty days, for working his swindle in that city. He recently regained his liberty and a still later [note in the Association's] circular stated that he was on his way East, all Relief Boards being instructed to keep a sharp lookout for him."

The article also reports how it was that Turner was apprehended in Buffalo by a Mason who had, indeed, kept a sharp lookout for him. After having met a local Mason, Henry Cutting, in town, Turner claimed that he had just arrived in Buffalo and had "fallen into a little ill luck." Cutting gave him the business address of Charles F. Sturm, who ran a furniture store in Buffalo and was the secretary of Buffalo's Masonic Board of Relief, which coordinated Masonic charity in the city. Turner made his way to Sturm's furniture store and "told Mr. Sturm a pitiful tale, which he concluded with an appeal for enough money to take him to New York." The article continues, noting Sturm's reaction to having a known impostor present himself to him: "On hearing the man's name, Mr. Sturm almost leaped from his seat in surprise." The article notes that Sturm called the police, who arrested Turner, "who was charged with being a tramp."

The Buffalo Courier reported about Turner's appearance in court on November 14. At that hearing, it was revealed that Turner had defrauded Masons in Briar Hill, NJ, Toronto, and Cleveland. The judge noted that Turner had already served sixty days in the Cleveland Workhouse for "obtaining money from Masons in that city by fraudulent pretense. The judge in the Buffalo courtroom sentenced Turner to sixty days in the penitentiary. At the sentencing, the judge declared that Turner "was the greatest liar with whom he had come in contact during his career as a dispenser of justice."

Want to read more about Masonic impostors? Be sure to check out all of our previous posts on the topic.

 

Emil Cruz: From the Philippines to Michigan

Emil Cruz, 1965-1980. Probably Michigan. Gift of Patricia Fé Andrews, 2016.070.19.

Emil Cruz (1904-1983), born in Camilng, Tarlac, Philippines, as Emiliano Cruz Quindiaga, emigrated to the United States in 1924 at the age of 19. He settled in San Francisco in 1925 before moving to the Detroit, Michigan, area sometime in the 1930s. It was in Michigan that Cruz started a family and begin his Masonic career. Cruz was a member of Schiller Lodge No. 263 and Damascus Commandery No. 42, both located in Detroit. 

In 1912, twelve years before Cruz set off for the United States, representatives of the three American lodges in the Philippines—Manila 342, Cavite 350 and Corregidor 386—met to organize a Grand Lodge of the Philippine Islands. Today there are more than 300 lodges in the Philppine Islands. It is presently unclear if Cruz had any familial relationship with Freemasonry before becoming a Mason in Michigan.

Cruz's daughter recently donated a group of items to the Museum & Library that relate to Cruz's Masonic affiliations. The objects date from the mid 1950s to the late 1970s and include photographs, aprons, ribbons, and certificates. One object in particular, a wooden gavel made in the Philippines, and pictured to the right, illustrated Cruz's pride in both his Filipino heritage and Masonic accomplishments. On the gavel, it reads "Emil Cruz / Schiller Lodge No. 263-F & A.M. 1970 / Made in the Philippines /

Gavel, 1970. Phillipines. Gift of Patricia Fé Andrews, 2016.070.11.

"Philippines Acacia."

Philippine acacia, also known as Formosa acacia, is a perennial tree native to Southeast Asia and is commonly used in boats, furniture, carvings, and jewelry.

Do you have any information or items related to Filipino Americans and Freemasonry? Let us know in the comments section below.

 

References:

Philippine Center for Masonic Studies, "History of Masonry in the Philippines," http://www.philippinemasonry.org/, Accessed April 2019.

Emil Cruz,1940 United States Federal Census [database on-line]. Provo, UT, USA Year: 1940; Census Place: Detroit, Wayne, Michigan; Roll: m-t0627-01881; Page: 6B; Enumeration District: 84-1384. Ancestry.com, Accessed April 2019.

 

New to the Collection: Native American Shriner Blankets

Blanket with Shrine Symbol, 1921. Pendleton Woolen Mills, Pendleton, Oregon. Museum Purchase, 2018.001. Photograph by David Bohl.

In 2018, the Scottish Rite Masonic Museum & Library added to its collection two 1920s wool blankets with Native American-inspired patterns and Shriner emblems as their featured central design. One of these, pictured at left (and the reverse, below), was manufactured by Oregon’s Pendleton Woolen Mills. It bears a label reading “Copyright 1921.” At that time, in fact, blankets of this style enjoyed popularity in American culture.

From the late 1800s to the early 1900s—ending right around the Great Crash of 1929—a vogue for Native American goods held sway in the U.S., for art collectors and fashionable types all the way down to Americans of more modest means. Popular magazines touted domestic displays that ranged from just a few items, to entire rooms arrayed with Native American baskets, bowls, and blankets. Known as "Indian corners," these displays became a common feature in home design, with many of the goods used in them created specifically for the market by Native artists. Merchants and makers sold these goods in department stores, “Indian stores,” and other commercial outlets.

Blankets like this one—called trade blankets, since they were originally exchanged between Native Americans and European settlers—were among the most popular collectors’ items. Pendleton Woolen Mills was the first American company established solely for their manufacture. Although there were other mills that also produced this kind of blanket, Pendleton took the craft to a new level. This was thanks in part to its employment of loom artisan Joe Rawnsley (d. 1929). Rawnsley toured the West to work with Native populations in creating specific designs and color schemes inspired by different tribes’ traditions. He used the Jacquard process in which punched cards guided automatic looms to produce blankets of much greater variety and detail than previously possible.

But what about that Shriner emblem, with its familiar crescent and scimitar? Around the time of this blanket’s design copyright, the Shriners—and Freemasons in general—were growing in strength and number throughout the country. National membership in the Shrine had grown to approximately 500,000 by 1921. Possibly this blanket was created to attract the purchasing dollars of this Masonic group. Regardless of what prompted its creation, this blanket reflects the popular interest in both Native American objects and Freemasonry in the 1920s.

Reverse, Blanket with Shrine Symbol, 1921. Pendleton Woolen Mills, Pendleton, Oregon. Museum Purchase, 2018.001. Photograph by David Bohl.

 

 

References:

Crazy Crow Trading Post, “American Indian Trade Blankets: The Rise of Pendleton Woolen Mills as the Primary Trade Blanket of Contemporary Native Americans,” https://www.crazycrow.com/site/rise-of-pendleton-native-american-trade-blankets/, (accessed Feb. 14, 2019).

The Henry Ford, “Sparking Innovation: The Jacquard Loom,” https://www.thehenryford.org/explore/blog/sparking-innovation-the-jacquard-loom/, (accessed Apr. 16, 2019).

Elizabeth Hutchinson, The Indian Craze: Primitivism, Modernism, and Transculturation in American Art, 1890-1915 (Durham and London: Duke University Press, 2009). 3, 11-13.

William D. Moore, Masonic Temples: Freemasonry, Ritual Architecture, and Masculine Archetypes (Knoxville: University of Tennessee Press, 2006). 106-7.

Pendleton, “Indian Trading Blanket History,” https://www.pendleton-usa.com/indian-trading-blanket-history.html, (accessed Feb. 14, 2019).

 

Rare Temperance Letter Provides Insights into the Lives of Women

Research into this unsigned letter attributed to Mary E. Elliot (1851-1942) in the collection of the Scottish Rite Masonic Museum & Library provides an intimate look into the life of this nineteenth-century reformer and sheds light into the personal motives that led many American women to champion the crusade against alcohol. In the letter, which may be read in full by clicking the image below, Elliot, the Grand Worthy Secretary for the Grand Lodge Massachusetts of the Independent Order of Good Templars, offers her support and praise to an anonymous female Temperance reformer whose relative suffered from alcoholism.

Temperance letter attributed to Mary E. Elliot, August 3, 1876.

"I wish I could fly to you – if only for a moment—to tell you how deeply I sympathize with you and how I would gladly lighten your burden of sorrow if I could. It seems cruel that one who has saved so many as you have and caused so much happiness should be permitted to see one so dear to her suffer from temptation. If you succeed in this same period in saving him what a glorious triumph it will be, I have for him feelings of the tenderest sympathy and trust that the prospect now looks brighter, knowing as I do your fidelity and devotion I feel confident that the victory will be yours. You have my earnest prayers that this may be the result; that he who is so kind and generous and capable of accomplishing so much good in the world may yet conquer his appetite."

While more research needs to be conducted to verify the identity of Elliot’s female recipient, readers may conclude from Elliot’s letter that she was most likely a leader or potential leader in the Temperance movement, a charismatic speaker and advocate of the cause who inspired both men and women alike through her lectures throughout the state of Massachusetts.

In addition to being an advocate for Temperance reform, Mary E. Elliot was a passionate supporter of the Grand Army of the Republic, a Civil War veterans association. In 1878, Elliot helped form an auxiliary relief corps to Willard C. Kinsley Post, No. 139, G.A.R., in Somerville, Massachusetts, and for fifty years, served as the Secretary for the Department of Massachusetts Women’s Relief Corps, the state’s auxiliary to the G.A.R.  Elliot also served as a regular contributor to the military department of the Boston Globe for nearly 20 years, where she wrote extensively upon the efforts of women to support the Relief Corps.

Do you have any information regarding the history of this document or the people behind its creation? Or would you like to learn more about the Temperance movement in America? Feel free to contact us or to comment about this topic in the comments section below.

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Captions

Temperance letter attributed to Mary E. Elliot to unknown recipient, August 3, 1876. Collection of the Scottish Rite Masonic Museum and Library, MA 300.010.

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References

Anonymous. 1901. Charles Darwin Elliot, Mary Elvira Elliot, from the Massachusetts Edition of the American Series of Popular Biographies. [Boston?]: [publisher not identified]. Accessed: 25 March 2019. https://archive.org/stream/charlesdarwinell00np/charlesdarwinell00np_djvu.txt

Cambridge Chronicle. 1879. “Temperance Reminiscences. Some Recollections of Twenty Years.” August 23, 1879. Accessed: 25 March 2019. https://cambridge.dlconsulting.com/?a=d&d=Chronicle18790823-01.2.2

Daily Boston Globe. 1942. “Mary E. Elliot is Dead at 91.” November 8, 1942.

Digital Public Library of America. n.d. “Women and the Temperance Movement.” Accessed 25 March 2019. https://dp.la/primary-source-sets/women-and-the-temperance-movement

Howe, Julia Ward, ed. “Mary Elvira Elliot” In Representative Women of New England, 305-307. Boston: New England Historical Publishing Company. Accessed: 25 March 2019. https://books.google.com/books/about/Representative_Women_of_New_England.html?id=BY0EAAAAYAAJ

IOGT International. n.d. “The History.” Accessed 25 March 2019. https://iogt.org/about-iogt/the-iogt-way/who-we-are/the-history/

Library of Congress. n.d. “The Grand Army of the Republic and Kindred Societies.” Accessed 25 March 2019. https://www.loc.gov/rr/main/gar/garintro.html

National Woman’s Relief Corps. n.d. “Women’s Relief Corps.” Accessed 25 March 2019. http://womansreliefcorps.org/

Woman's Relief Corps (U.S.), Department of Massachusetts. 1895. History of the Department of Massachusetts, Woman’s Relief Corps, Auxiliary to the Grand Army of the Republic. Boston: E. B. Stillings & Co. Accessed 25 March 2019. https://archive.org/details/historyofdepartm01woma/page/n7

"Paul Revere’s Ride Revisited": A Conversation with Fred Lynch

Fred Lynch. Photograph by Troy Paff.

The exhibition "Paul Revere’s Ride Revisited: Drawings by Fred Lynch" is on view at the Scottish Rite Masonic Museum & Library through March 7, 2020.

What inspired you to select Paul Revere’s route as the subject of this project?

FL: An interest in American history started at a young age. Growing up, my family would walk the Freedom Trail, visit the Mayflower and wander through old cemeteries. My father was a high school history teacher. Now I’m an educator in the illustration department at Rhode Island School of Design and among the courses I teach is Visual Journalism—the creation of non-fiction artwork of investigation and research. With my own work, I practice what I preach. Preceding this project, I created a large series of drawings from and about faraway Central Italy, where I teach each July. I drew in a state of wonder, like we all experience when we travel. Following that experience, I wanted to turn my attention to a subject closer to my home and heart. I live in Winchester, only five miles from where Paul Revere's route passes by. I wanted to draw attention to the rich history and specific character of the place I live and where so much has happened.

How do you make your drawings?

FL: Drawing on site is an experience as well as an art. It’s extra-sensory. As I sit and draw for hours on the streets, I soak up every inch of the scene, along with its sounds, smells, and local characters. It is quite different from the monastic life of the studio. My goal is to translate and communicate that rich experience through my drawings. Each drawing is the result of hours spent driving along Paul Revere’s route, followed by walking around, and then finally drawing from observation. When I leave in the morning, I rarely know what I’ll draw that day. Something has to catch my interest or catch my eye. I guess I’m seeking serendipity. Much depends upon being at the right place at the right time. There are lots of obstacles to working onsite—such as traffic, weather, lighting, or even pests.

I start with a light interpretive pencil drawing, followed by many washes of ink. Drawing with exaggeration and character is welcome as long as the drawing is still faithful to the subject. After all, drawings are personal translations. My use of monochrome not only reduces the number of pictorial elements I need to worry about in the time I have, it also makes a historic link to documentary drawings and illustrations of the past. I want my pictures to be seen as informative as well as decorative, and timeless as well as contemporary.
After the work on location, comes the work in the studio. There I examine photographs I’ve taken to be sure I did not miss essential details. Often at this stage, I will add more contrast to the drawing and detail to some of the more precise elements. Research and writing is done last.

What did you learn over the course of this project?

FL: My stated goal at the start of the project was "to draw landmarks of the past and present, in order to form a visual essay that explores, documents, and reveals history, preservation, and change in America." In doing so, I soon found that it would take a lifetime to draw everything I found interesting. Between Boston and Concord, the landscape forms an extraordinary quilt of historic places and periods, rich with visual interest and stories. This route holds the story of America in many ways. For example, I’ve drawn everything from Colonial era slave quarters to Barack Obama’s apartment building when he attended Harvard Law School. Revolution, industry, religion, immigration, culture, entertainment—all can be examined in one short ride. In the short time since I’ve created these works, some places have changed, thus making my drawings…history themselves.

 

 

 

New Exhibition: “Paul Revere’s Ride Revisited: Drawings by Fred Lynch"

Royal Pizza & Subs, Somerville, 2012. Fred Lynch. Ink on paper. Loaned by the artist.

“Paul Revere’s Ride Revisited: Drawings by Fred Lynch," a new exhibition now on view at the Scottish Rite Masonic Museum & Library, provides a fresh perspective on Paul Revere’s famous ride. This exhibition features 19 drawings by artist Fred Lynch, accompanied by his written impressions. Fred Lynch’s drawings of landmarks—both celebrated and lesser known—show how much has changed since Revere’s time, even as echoes of his era remain. The exhibition is currently on view through March 7, 2020.

Americans recognize Revere’s now-famous warnings: “The British are coming” or “The Regulars are out.” The story of Revere’s ride is over 200 years old, and its place in the early days of the American Revolution is well understood. For many, however, the details of Revere’s ride are left to their imagination. Fred Lynch’s drawings fill some of the gaps. His visual and written impressions provide viewers with an opportunity to consider how the scenes and buildings along Revere’s path have changed. Fred Lynch resides in the Boston area and is an artist, illustrator, and professor of Illustration at the Rhode Island School of Design.

“Paul Revere’s Ride Revisited” illustrates this evolution within a modernizing metropolis. In one of the more harrowing experiences of his journey, Revere was forced to divert course to narrowly avoid capture by British officers. Today, the location sits across from a pizza shop, represented in Lynch’s drawing “Royal Pizza & Subs” in Somerville, MA. The site of a perilous moment in Revere’s story is now shown as a peaceful suburb, far removed from the urgency of Revere’s ride. 

While time has changed much along Revere’s route, some landmarks have been preserved. The drawing, “Munroe Tavern,” shows a well-maintained building in snowy Lexington, MA. The building has long been seen as an important landmark and a reminder of the events that took place on April 19, 1775. The tavern currently operates as a museum, on the day of the battles in Lexington and Concord it served as a makeshift field hospital and, in 1789, hosted George Washington when he came to pay visit to the battlefield.

The starting point of Revere’s ride was, of course, his own home. In his drawing, “The Paul Revere House,” Lynch captures the oldest house in downtown Boston—constructed in 1680—behind a modern car, representing the past and present. The building changed hands for years until 1902, when Paul Revere’s great-grandson purchased it. The house was restored with the purpose of turning it into a museum, as it is today.

The Paul Revere House, Boston, 2017. Fred Lynch. Ink on paper. Loaned by the artist.

“Paul Revere’s Ride Revisited” traverses Paul Revere’s famous route, underscoring some of what has been preserved, as well as a lot that would be unrecognizable to colonists. Lynch explores this dynamic in a visual essay that talks about Revere’s journey from Boston to Lincoln in a new way.

A DeMolay Certificate Signed by Two Presidents

On October 14, 1922, a special ceremony took place in Washington, D.C. at the Scottish Rite’s Southern Jurisdiction’s headquarters building, known as the House of the Temple. Although Scottish Rite members attended, the gathering was, in fact, a DeMolay event. A uniformed degree team of twenty-eight boys from Kansas City Chapter—the original DeMolay chapter—had traveled from Missouri in order to institute Robert LeBruce Chapter of DeMolay, Washington D.C.’s second DeMolay chapter. The Kansas City contingent also included a number of adults, among them DeMolay’s founder Frank S. Land (1890-1959). Those present in the room included 107 boys chosen to receive the degrees, as well as the boys’ fathers. Members of the Southern Jurisdiction’s Supreme Council, who were already in town for their own meeting, also attended.

Among those receiving the two DeMolay degrees that evening was nineteen-year-old Robert Emmet Doyle, Jr. (1903-1988). His DeMolay certificate is pictured here. In anticipation of the institution of the chapter, members had unanimously elected Doyle as the first Master Councilor of the Robert LeBruce Chapter. The founding of the Robert LeBruce Chapter in 1921 was part of a larger trend. DeMolay experienced tremendous growth in its first few years. Although originally located only in Missouri, where it began, by 1922, after only three years in existence, DeMolay boasted chapters in nearly every U.S. state.

Doyle followed the tradition of many Masons, by having his certificate autographed by nearly thirty Masons hailing from California, Connecticut, Florida, Kentucky, Maryland, Michigan, Mississippi, Montana, Texas, Wyoming, and Washington, D.C. Among these signatures, those of two U.S. presidents, Warren G. Harding (1865-1923) and William H. Taft (1857-1930), stand out. Harding autographed and dated the certificate on April 24, 1922, while he was president. Because he was a Scottish Rite Mason, he added a “32°” after his name. Taft did not date his signature, but did include the name of his lodge, Kilwinning Lodge No. 356. All of the dated autographs are from 1922 and 1923, so it seems likely that Taft’s is also from around this time. In the early 1920s, the former president served as Chief Justice on the U.S. Supreme Court. Based in Washington, D.C., Doyle also collected signatures from various Scottish Rite Masons from the Southern Jurisdiction, including the long-serving Sovereign Grand Commander, John Cowles (1863-1954).

Just a few years after joining DeMolay, Doyle was raised a Master Mason in his father’s lodge, Lafayette Lodge No. 19. Doyle became a Scottish Rite Mason in the Southern Jurisdiction as part of a fifty-five member class upon which the 14th degree was conferred on October 28, 1924, at the Washington D.C.-based Mithras Lodge of Perfection No. 1. By the 1940s, Doyle had moved from Washington D.C. to California, where he lived until his death in 1988. His certificate, now in our collection, helps illustrate the deep connection between DeMolay and Scottish Rite Freemasonry.

Caption:
DeMolay certificate issued to Robert Emmet Doyle, Jr., 1922. Scottish Rite Masonic Museum & Library, Lexington, Massachusetts, Museum Purchase, A2017/024/001.

New to the Collection: Watercolor Mark Degree Record Made for Joseph Fish

Watercolor Mark Degree Record Made for Joseph Fish, 1818. William Murray (1756-1828), probably Montgomery County, New York. Museum Purchase, 2018.019.  Photograph by David Bohl.

In 1818 painter William Murray (1756-1828) created this watercolor for Joseph Fish, Sr., likely as a commemoration of Fish receiving the Mark Degree. A veteran of the Revolutionary War and a schoolteacher, Murray also painted colorful and charming family records and other works for friends and family in New York State. When he painted this work, Murray lived in Montgomery County, New York.  In the 1980s, collectors and researchers Arthur and Sybil Kern identified fourteen paintings signed by Murray over the course of his career. The Scottish Rite Masonic Museum & Library recently purchased this one, formerly part of the Kern collection. It joins a family record signed by Murray that has been in the Museum’s collection for many years.

The Mark Degree commemoration that Murray painted for Joseph Fish shares decorative and stylistic elements with other works done by the artist.  Among these elements are borders of simple round flowers and of heart-shaped tulip-like flowers, different colored wavy lines, a field divided by lines and circular elements. In creating this work for Joseph Fish, Murray employed a palette of light brown, blue, red and yellow. He also, as befit the purpose of the work, included many Masonic symbols. At the top center of the drawing, Murray added an all-seeing eye. In the upper portion of the composition, at each corner, he drew a ladder, an ark, an urn and an anchor—all symbols used in Freemasonry.  Within the circle at the center, Murray included several Masonic symbols, such as an arch with a keystone, a letter G, stars, a plumb, a mallet, the moon and a coffin with a scythe on top of it. Beneath the large circle at the center, between “Joseph” and “Fish,” Murray drew a circle that surrouned Fish’s own mark—a symbol that Fish selected to represent himself—within a border of the letters HTWSSTKS. This group of letters are a mnemonic associated with the Mark Degree.  As his emblem, Fish chose a level. In Freemasonry this symbol represents equality and the lodge office of Senior Warden. Two other symbols in the watercolor related to lodge offices.  Crossed keys indicate the lodge treasurer.  A square and compasses with the sun at the center is an emblem found on many jewels given to lodge members who have served the lodge as Master.

In spite of these clues, little is known of Joseph Fish. The Kerns identified him as “a member of a Masonic lodge in Hoosick, NY.”  The owner of this painting may have been the Joseph Fish noted, in 1795, as the Junior Deacon of Patriot Lodge No. 39 of Pittstown, New York, a town neighboring Hoosick.  Masons established this lodge in 1794.  Short-lived, the lodge closed by 1818. Though its establishment is not noted in the Proceedings of the Grand Chapter of New York, a mark lodge associated with Patriot Lodge No. 39--Patriot Mark Lodge--had two members representing it at a meeting of the Grand Chapter in 1806. Both Federal Mark Lodge No. 37 in Hoosick and Patriot Mark Lodge in Pittstown were recorded as delinquent for at least two years’ worth of dues in 1815, suggesting that neither lodge thrived.  However, they may have been working long enough for Joseph Fish to have received the Mark Degree at one of them before 1818. Hopefully, further research will uncover more about Joseph Fish and about his connection to the artist William Murray. In the meantime, Murray's painting offers colorful evidence of Fish's participation in Freemasonry.

 

References:

George Baker Anderson, Landmarks of Rensselaer County, New York, (Syracuse, NY: D. Mason & Company, 1897) 194.

Arthur B. and Sybil B. Kern, “Painters of Record:  William Murray and His School,” The Clarion: America’s Folk Art Magazine (New York, NY: The Museum of American Folk Art, Winter, 1987) 28-35.

Arthur B. and Sybil B. Kern, “William Murray: Early New York State Painter,” and “New York State Painters of Family Records: The School of William Murray,” typescripts, 1985. Van Gorden-Williams Library & Archives, Scottish Rite Masonic Museum & Library, Lexington, MA.

Proceedings of the Grand Chapter of Royal Arch Masons of the State of New York, Vol. 1, 1798-1858, (Buffalo, NY: the Grand Chapter, 1871) 54, 63, 124.

A. J. Weise, History of the Seventeen Towns of Rensselaer County, (Troy, NY: J. M. Francis & Tucker, 1880), 87.

Freemasonry and the Growth of Nursing during the Civil War

Research into this recent acquisition to the collection of the Scottish Rite Masonic Museum & Library highlights the Fraternity’s efforts to support the Union through the creation of the Masonic Mission, an agency created and “managed wholly by Masons.”

Circular letter from W. H. Hadley of the Masonic Mission to Mosaic Lodge, September 20, 1864.

As many readers may know, the support and care of sick and wounded soldiers throughout the war was carried out by private relief agencies and not by the federal government. The most well-known of these private agencies was the United States Sanitary Commission, which was created by an act of federal legislation in 1861 and was responsible for the set-up, staffing, and management of almost all Union hospitals during the war. However, as Union losses mounted in the early years of the Civil War, the Sanitary Commission found it more and more difficult to drum up the necessary support to meet the demand for female nurses by late 1862. As William Hobart Hadley, the author of this circular letter, a Mason, and an agent for the Sanitary Commission in the New England states, reported, anti-Republican sentiment permeated the areas he had canvassed for help. The hearts of people throughout the North had hardened to the fate of the Union by April 1863.

During this same period, another member of the Masonic family tree, Sarah P. Edson, a volunteer nurse, and possibly a holder of all the Adoptive Degrees, sought to address the growing need for nurses on the front lines. After her first effort to create a training school for women nurses met with opposition from the Sanitary Commission and the Surgeon General of the United States in a Senate committee, Edson sought the help of New York’s Freemasons. In response to Edson’s pleas, the “Army Nurses’ Association was formed . . . and commenced work under the auspices of the Masons” in the winter of 1862.

By the time of the Battle of the Wilderness (May 5-7, 1864), Union surgeons on the front lines requested that Edson, who had rushed to help at the front, send ten of her “nurses then receiving instruction as part of her class at Clinton Hall, New York.” The Masonic Mission was formed shortly after, and by the time of the Battle of the Crater (July 30, 1864), the agency worked in partnership with the Sanitary Commission, the Christian Commission, and other state and local agencies to help the Army create a “hospital tent city, which could care for twelve thousand patients.”

After a brief period of success, political clashes with the Sanitary Commission and the failure of its managers to pay its female nurses led to the demise of the Masonic Mission as a school for Army nurses. The Mission would refocus its efforts on aiding the North’s poor who were hit especially hard by the rising cost of coal for heating and flour. Sarah P. Edson’s ambitious plan to create an Army-based school for nursing would have to wait until Congress established the United States Army Nurse Corps in 1901, and the Navy followed suit in 1908.

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Captions

Circular letter from W. H. Hadley of the Masonic Mission to Mosaic Lodge, September 20, 1864. Collection of the Scottish Rite Masonic Museum and Library, MA 260.006.

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References

Attie, Jeanie. 1998. Patriotic Toil: Northern Women and the American Civil War. Ithaca, N.Y.: Cornell University Press.

Brockett, L. P. and Mary C. Vaughan. 1867. “Mrs. Sarah P. Edson.” In Woman’s Work in the Civil War: A Record of Heroism, Patriotism and Patience, 440-447. Philadelphia: Zeigler, McCurdy & Co. Accessed: 5 February 2019. https://books.google.com/books?id=0aDhAAAAMAAJ

Carpenter, C. C. 1903. “William Hobart Hadley, 21, Waterford Vt.” In Biographical Catalogue of the Trustees, Teachers and Students of Phillips Academy, Andover, 1778-1830, 143. Andover, Mass.: Andover Press. Accessed: 5 February 2019.https://books.google.com/books?id=HbNBAAAAYAAJ&pg=PA143

Edson, Sarah P. 1865. “The Masonic Mission and the Five Points Mission.” New York Herald, January 9 1865. https://chroniclingamerica.loc.gov/lccn/sn83030313/1865-01-09/ed-1/seq-2/#date1=1865&index=0&date2=1865

Frank, Linda C. 2012. “Our Famous Women, Part 1.” Auburnpub.com, March 11, 2012. Accessed: 5 February 2019. https://auburnpub.com/lifestyles/our-famous-women-part-i/article_33d1b54c-6b05-11e1-a597-0019bb2963f4.html

Mitchell, E. L. “Masonic Charities.” Masonic Monthly 2, no. 3 (January): 118-120. Accessed: 5 February 2019. https://archive.org/details/MasonicMonthlyVolII1864/page/n129

Morris, Rob. 1864. “The Masonic Mission.” The Voice of Masonry and Tidings from the Craft 2, no. 6 (June): 276-277. Accessed: 5 February 2019. https://books.google.com/books?id=zd0cAQAAMAAJ&dq="masonic%20mission" 1864&pg=PA276   

Oates, Stephen B. 1994. Woman of Valor: Clara Barton and the Civil War. New York: The Free Press.

Sarnecky, Mary T. 1999. A History of the U.S. Army Nurse Corps. Philadelphia: University of Pennsylvania Press.

Slotkin, Richard. 2009. No Quarter: The Battle of the Crater, 1864. New York: Random House.