Research into Masonic Dance Card Reveals a Vibrant Fraternal Community in late 19th-Century Vermont

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Built along the historic and now-defunct Rutland Railroad line, Todd’s Hotel in Wallingford, Vermont, attracted tourists from Boston and New York who wished to escape the summer heat and desired to experience the rustic scenery or to fish for trout in streams that surrounded the hotel.  Under the proprietorship of Joel Todd, the Hotel enjoyed an enviable reputation, and its dance hall, reputed to be the largest hall connected with a hotel in the state of Vermont, was the site of many elegant balls (including the Masonic ball described in the above dance card) and game suppers, which Todd gave with increasing frequency.

Sadly, Todd’s Hotel was gutted by fire in 1888, but research into this small dance card held in the collection of the Scottish Rite Masonic Museum & Library has revealed the presence of a very active and growing fraternal community in late 19^th century Rutland County, Vermont. In addition to the 12 Masonic Lodges listed in the Proceedings of the Grand Lodge of Vermont for 1882, Rutland County hosted 4 Independent Order of Odd Fellows (I.O.O.F.) Lodges and 6 Grand Army of the Republic Posts.

The proprietor of Todd’s Hotel, Joel Todd, was active in fraternal circles, as well, and in 1871 Todd and his older brother Horace, along with several other men, founded Pico Lodge, No. 32, I.O.O.F, in Wallingford, Vermont. As for Todd’s possible ties to Freemasonry, records held at the Grand Lodge of Vermont reveal that Todd took his first Masonic degree on January 7, 1878, in Anchor Lodge, No. 99, but did not continue any further.

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Captions

Masonic Dance Card: Masonic Ball at Todd's Hotel, 1882. Purchase. Collection of the Scottish Rite Masonic Museum and Library, MA 015.

References

Smith, Henry Perry, and William S. Rann (1886). History of Rutland County, Vermont: With Illustrations and Biographical Sketches of Some of its Prominent Men and Pioneers. (Vol. 2) Syracuse, New York: Heritage Books. https://archive.org/details/historyofrutland00smit 18 August 2015.

Thorpe, Walter (1911). History of Wallingford, Vermont. Rutland, Vermont: Tuttle. https://archive.org/details/historyofwalling00thor 18 August 2015.

New Acquisition: First Masonic Almanac Published in the United States

The Van Gorden-Williams Library & Archives recently acquired The Free Mason's Calendar and Continental Almanac for the Year of Our Lord 1793. It was the first Masonic almanac published in the United States.

According to Kent Walgren's descriptive bibliography Freemasonry, Anti-Masonry, and Illuminism in the United States, 1734-1850 only nine other libraries own a copy of this almanac. The addition of this almanac to the library's collection makes ours the tenth known copy.

Samuel Stearns (1741-1809), the author whose name appears on the cover of The Free Mason's Calendar, was a physician and astronomer. In addition to the Free Mason's Calendar, he issued other almanacs, including the North-American Almanack, published annually from 1771-1784, as well as the first American nautical almanac, The Navigator's Kalendar, or Nautical Almanack, for 1783.

The copy of The Free Mason's Calendar that we acquired has a fairly detailed provenance (i.e. a list of previous owners of the book). Starting with the first owner, Thomas Noyes, there are eight known previous owners of this book. The most recent owner, Edward B. Jackson, who had owned the book since 1997, generously donated it to our Library & Archives this year.

The previous owner that I'm choosing to focus on in this post is Jonas H. Brown (1821-1897), who wrote a presentation inscription opposite the title page. Although the text indicates that Brown was presenting this to someone else, the recepient is not named. Brown's inscription reads:

Presented by Jonas H. Brown, Warren, Mass., No. 1 Carl street, late of 34 regt. Mass. H Company, Vol. Infantry. [Indecipherable] of Post 65 Clara Barton, Department of Mass., G.A.R. 1894.

Brown's inscription provides a lot of biographical information - where he lived, that he was a Civil War veteran, and that he later joined the Grand Army of the Republic. As the inscription notes, Brown served in Company H of the 34th Regiment, Massachusetts Infantry. Following this lead, I was able to discover that Brown served with the 34th Regiment for the for the entirety of its existence. Brown volunteered as a Private on July 23, 1862 (at the age of 41) and was discharged on June 16, 1865. Following the war, Brown was active in his G.A.R. Post - he was named Commander of Clara Barton Post 65 at the end of 1879. Brown died in 1897 at the age of 81.

And although this is a Masonic almanac, it's not clear whether Brown was a Mason. The Grand Lodge of Massachusetts has no record of him being a Massachusetts Mason, and it appears that Brown was a lifelong Massachusetts resident. The 1850 Census names his place of birth as Massachusetts and all subsequent censuses place him in that state. If you know more about Jonas H. Brown, feel free to drop us a line in the comments section below.

The Free Mason's Calendar and Continental Almanac for the Year of Our Lord 1793. New York: Printed and sold, wholesale and retail, by Samuel Campbell, no 37 Hanover Square, [1792].
Call number: RARE 01 .S799 1792
Gift of Edward B. Jackson

The "John Brown Bell" in Marlborough, MA

On Saturday, March 10 at 2 PM the Scottish Rite Masonic Museum & Library Inc. (National Heritage Museum) will be offering a free lecture with Tony Horwitz, author of Midnight Rising: John Brown and the Raid that Sparked the Civil War. To learn more about the talk, read our previous blog post about this public program.

The history and story of John Brown abolitionist and militant has captivated audiences for over 150 years. Not only is it a Virginia story but it has a Massachusetts connection. Perhaps the speaker or members of the audience already know about the “John Brown Bell” of Marlborough, Massachusetts.

In the summer of 1861, members of Company I, 13th Massachusetts Volunteers were camped by the Potomac River, near Harpers Ferry. Some of these enlisted men were members of the Marlborough Volunteer Fire Department.  The militia was ordered to cross the river and seize anything of value for the US Government, and diligently searched the arsenal for items that might be of use or profitable. Others had had already been there before and taken anything worth confiscating.

Not wishing to return completely empty-handed, the men entered the engine house at Harpers Ferry that had served as Brown’s headquarters during the raid.  The militia spotted the bell in the engine-house and decided to take it home to Marlborough.  The bell, it was reasoned, could be presented to the city’s Hook and Ladder Company, who found themselves bell-less at the time. 

Was the bell Federal property that should be handed over to the government or was it a war souvenir?

In 1862 the company  did not have sufficient funds to send it home and the on-going military conflicts also  prevented them from getting the bell to Marlborough.

From 1862 to 1892 the bell resided in Williamsport, Maryland. Mrs. George Snyder, a local resident, had kept the bell for the company. In 1892, former members of Company I, now organized in a Grand Army of the Republic chapter, returned to Williamsport and, after finding the bell still in Mrs. Snyder’s possession, raised the necessary money to have the bell shipped to Marlborough.

Over thirty years after its removal in 1861 from the engine-house in Harpers Ferry, the bell was eventually  placed in the “John Brown Bell Tower” in Union Common at the intersection of Main and Bolton Street in Marlborough, Massachusetts, where it resides to this day. To learn more, visit the Marlborough Historical Society website.

Should a bell of such historic importance be located in Harpers Ferry, Marlborough or elsewhere?  We look forward to hearing if Tony Horwitz has something to add on this subject.

Photo credits:

Courtesy of Claudia Roche

 

A Tale of Two Trivets

While living in Philadelphia in the mid-1990s, my future husband and I were browsing through an antiques store and saw a cast-iron trivet that we liked. Neither of us had ever owned an iron trivet, or had a particular use for one, but this one had at least three qualities to recommend it. First, since we were both studying history and historic preservation, we liked old things. Second, since we were new to the state of Pennsylvania, its Pennsylvania German folk art style charmed us. And third, as starving graduate students, it was pretty much the only thing in the store that was cheap enough for us to buy. Manufactured in the mid-1900s, it was a commonly reproduced design and it didn’t have a high value.

Over the years, I continued to buy iron trivets at the occasional yard sale or antiques store, and also purchased a reference book that described their history and the companies that made them. I even bought a few on eBay. I ended up with a couple of dozen trivets that wouldn’t impress a serious collector, but they still charm me quite a bit. I love the folk art patterns, the stars and whirls and geometric designs, the flowers and birds, the solid heft of the cast iron. Some of the trivets are painted with bright colors, and evoke the vibrancy of Pennsylvania German art forms such as hex signs and fraktur.  (The photo below shows my collection.)

When I began volunteering at the National Heritage Museum, I was happy to discover that the museum’s collection includes some wonderful trivets. Many trivets made in the 1800s and 1900s were not only decorative, but also featured commemorative designs that honored famous people (such as George Washington and Jenny Lind) or organizations such as the Freemasons and Odd Fellows. Several of the Museum’s trivets feature a combination of Masonic symbols with traditional shapes and forms. The example above, manufactured by the John Wright Company of Wrightsville, Pennsylvania, includes the Masonic square, compasses, and “G,” perhaps the most common Masonic symbol, representing reason and faith. On this trivet, the symbols appear within a horseshoe shape, a common trivet motif that signifies good luck. Manufacturers of cast-iron trivets would often reuse popular shapes and patterns – such as the horseshoe – while changing a small part of the design to meet a new need, such as to create a commemorative piece for a particular group or audience. These mid-1900s trivets were often more popular as decoration rather than as functional pieces and were made with short legs to facilitate being hung on a wall. My grandparents had several trivets that I remember hanging in their summer cottage.

Another cast-iron trivet in the Museum’s collection (seen at right) also features a square, compasses, and “G,” along with an archway and a five-pointed star. This one most likely dates to the late 1800s, based on the length and shape of its legs, its cast mark, and its weight. Older trivets often had longer legs (more than one inch), depending on their intended use, and although often ornamental, were made primarily to hold hot objects such as pots and clothes irons. Some, like this example, were shaped specifically for a clothes iron: wide at one end and tapering to a point at the other.

The fact that foundries regularly produced and marketed Masonic trivets suggests the popularity and influence of Freemasonry in American culture over many decades. Trivets can also be found bearing the symbols of other fraternal and social organizations including the Independent Order of Odd Fellows, the Grand Army of the Republic, and the Daughters of Union Veterans of the Civil War.

I still have my own two dozen iron trivets in a box in the garage. I stopped collecting years ago because I didn’t have a place to display them.  I also began to realize the folly of collecting something that weighs as much as … um … a box full of cast iron. But I still find them to be a fascinating bit of Americana.

Reference:

Rob Roy Kelly and James Elwood, A Collector’s Guide to Trivets & Stands. Lima, OH: Golden Era Publications, 1990.

 

Top: Masonic Trivet, ca. 1950, John Wright Company, Wrightsville, Pennsylvania, National Heritage Museum collection, Special Acquisitions Fund, 75.24. 

Middle: Cathy Breitkreutz's collection of trivets.  Photograph by Cathy Breitkreutz.

Bottom: Masonic Trivet, 1880-1900, American, National Heritage Museum collection, gift of Harriet G. Ward, 88.5.