Masonic Apron Mystery: Are These From the Same Hand?

As we have explained in previous posts, we have a wonderful collection of Masonic aprons at the Scottish Rite Masonic Museum & Library. This striking painted apron, which is among my favorites, recently received some conservation treatment prior to being shown in our current exhibition, Inspired by Fashion: American Masonic Regalia. Prior to the treatment, the apron was in poor condition with severe splits to the silk ground fabric, as well as discoloration and staining. Conservator Deirdre Windsor of Windsor Conservation in Dover, Massachusetts, carefully surface-cleaned the apron as part of a treatment to stabilize it for exhibition and research, and to aid its long-term preservation. She humidified the apron to flatten out the creases and ripples. And, in order to employ best practices in preserving and exhibiting the apron, it was put into a pressure mount that provides full support of the fragile silk and protects the apron from airborne pollutants and soils.

The apron was donated to the Scottish Rite Masonic Museum & Library in 1976 by a descendant of its original owner, Conrad Edick (1763-1845). Edick was born in German Flats, Herkimer County, New York, and lived there until the town was burned by the British in 1779, when he and his stepfather, Nicholas Weaver, moved to Stone Arabia, Montgomery County, New York. Shortly after the move, in 1780, Edick volunteered as a ranger in the Revolutionary War and saw several subsequent service assignments until his regiment disbanded in 1784. In 1787, Edick settled in Deposit, New York, where he married Margaret Whitaker (1770-1798) and became a merchant. Shortly after Margaret died in 1798, Edick married his second wife, Elizabeth Sneeden (1778-1858). With his two wives, Edick had nine children.

Records at the Grand Lodge of New York show that Conrad Edick was a member of Charity Lodge No. 170 in Deposit between 1814 and 1819. Other details about his Masonic membership require further research. The materials used to make the apron, along with the style of clothing worn by the Masons depicted on it help us date the apron to the early 1800s. This evidence supports the idea that Edick wore this apron to lodge meetings in Deposit.

The distinctive decoration of the apron suggests that it may have been made by the same person who created a second apron in the Museum’s collection (at right). The Museum acquired this second apron at auction in 1984, so unfortunately, we do not know its provenance – where it originally came from, or who owned it. But, the striking similarities in the colors and motifs strongly suggest that both aprons were made in the same shop.

Adding intrigue to the story about these aprons is the recent discovery of two more aprons showing a very similar style – in the collection of the Henry W. Coil Library and Museum of Freemasonry at the Grand Lodge of California in San Francisco. Collections Manager Adam Kendall takes it from here to tell us about those aprons:

The first example (at left) is almost identical to the Edick apron, although in this case, there was no provenance documented in the original museum records and, unlike the Edick apron, there is no name inscribed within the ovals on the upper flap; they are left blank. However, its resemblance is uncanny and its possible relationship was brought to my attention by first seeing the Edick apron in Bespangled, Painted and Embroidered by Barbara Franco. The layout, the materials, the colors, the Germanic fraktur-style lettering, and the overall artistic style all point to a possibility that the aprons are from the same artist, or at least a close copy from a similar time period.

The second apron (below at right) is also similar to the Edick apron and gives much more detail: an inscription under the flap states that it was "used to raise Brother Ralph Hankins, Tammany Lodge No. 83, November 16, 1807." St. Tammany Lodge was founded in 1800 near what is now Milanville, Pennsylvania—a 45 mile distance from Deposit, New York (the latter location being the origin of Edick’s apron).

Like the two other aprons, it is hand painted and inked on silk with various Masonic symbols - most prominently the personification of Hope standing beside her anchor. On the rounded flap is an all-seeing eye flanked by two cherubim holding cloth banners that spell out Sanctum and Sanctorum. The entire scene is stylistically reminiscent of the aforementioned aprons, the common design of other Masonic aprons of that era notwithstanding.

While there are many stylistic similarities—particularly the cherubim and the calligraphy (Sanctum and Sanctorum) upon the festoons in their tiny hands, it is my belief, due to slight artistic differences, that this apron may not have originated from the same maker as Edick’s. However, it is most certainly from the same general location, and resembles the Palatine German decorative art motifs common in Edick’s birthplace of German Flats, Herkimer County, NY. As observed by Franco, “Edick’s apron is a Germanic interpretation of a popular Masonic design which appeared in English and American engravings between 1790 and 1815.” I do believe the two aprons within the possession of the Henry W. Coil Museum and Library can be classified in this same category.

Have you ever seen another apron decorated like this? Please let us know in a comment below. And, to see the Edick apron in person, visit the Inspired by Fashion exhibition before March 24, 2012.

Top Left: Masonic Apron, 1800-1820, New York. Collection of the Scottish Rite Masonic Museum & Library, gift of J. Earl Edick, 76.22. Photograph by Windsor Conservation.

Top Right: Masonic Apron, 1800-1820, probably New York. Collection of the Scottish Rite Masonic Museum & Library, Special Acquisitions Fund, 84.15. Photograph by David Bohl.

Bottom photos: Courtesy of Adam Kendall, Collections Manager at the Henry W. Coil Library & Museum of Freemasonry, www.masonicheritage.org.

Reference: Barbara Franco, Bespangled, Painted & Embroidered: Decorated Masonic Aprons in America, 1790-1850, Lexington, MA: Museum of Our National Heritage, 1980.

Miss Rose Lipp: Masonic Authority

In March 1912, the New England Craftsman, a monthly Masonic magazine published in Boston, Massachusetts, noted that one of the city’s regalia makers had recently changed storefronts and reminded readers that the owner “is recognized as an authority on correctness of design for the costumes of every period.” Rather than a brother Freemason, this notice referred to Miss Rose Lipp, a female manufacturer and dealer in “Masonic Supplies,” who maintained her business over at least thirty years, providing the aprons, jewels and uniforms essential to Masonic meetings and rituals.

The 44 items with Rose Lipp’s label in the collection of the National Heritage Museum attest to the variety available from her shop, as well as to her facility with regalia from all Masonic groups. We have 28 aprons, most for local lodges, but a few were sewn for Royal Arch chapters. For example, in 1924, she made a set of officer’s aprons for the newly-constituted Russell Lodge in Arlington, Massachusetts. The 14-apron set is now in the Museum’s collection and the Master’s apron is seen here. These aprons were a gift to the lodge from the other lodges in the district.

In addition to the aprons, we have two turbans, two robes, one sword, one sword belt, one hat, one fez, one badge, one collar, two miniature souvenir aprons, and four Scottish Rite sashes with Lipp’s label. One of those sashes is shown here; it was originally presented to Josiah T. Dyer when he received his 33rd degree from the Scottish Rite, Northern Masonic Jurisdiction, U.S.A.  All of these objects help us to better understand the role that a female entrepreneur like Rose Lipp played in Boston Freemasonry.

Label Detail from Scottish Rite 33rd-degree sash (see below).

Masonic Apron, 1924, Rose Lipp Regalia Co., Boston, Massachusetts, collection of the National Heritage Museum, gift of Russell Lodge, A.F. & A.M., Arlington, Massachusetts, 94.012.5a.

Scottish Rite 33° Sash, 1910-1930, Miss Rose Lipp, Boston, Massachusetts, collection of the National Heritage Museum, gift of the Supreme Council, 33°, Ancient Accepted Scottish Rite, Northern Masonic Jurisdiction, U.S.A., SC79.12.6a. Photograph by David Bohl.

An Update on a Connection Between Masonic Aprons

Back in December 2010, I wrote a blog post about an exciting new addition to our apron collection – one that came with a note linking it to President Grover Cleveland.  In the post I explained why it seems unlikely that Cleveland ever actually wore the apron and I compared the Cleveland apron with one in our collection that was printed with a design by Lewis Roberson and Oliver T. Eddy of Vermont, probably between 1814 and 1822. I am including the images of those two aprons here again, so you can see the similarities between the two designs.

Around the same time that the Cleveland apron post went live, I received an inquiry from the library at the Grand Lodge of Conneticut. They asked me about an apron with a design that is signed by Abner Reed of East Windsor, Connecticut. In the course of answering the inquiry, I realized that the Cleveland apron shows virtually the exact Reed design! We are fortunate to have a signed example of Abner Reed’s apron in the National Heritage Museum collection, which you can see below.

Reed was born in 1771 and began working as an engraver in the 1790s, despite having served an apprenticeship with a local saddler. He pursued a successful engraving business through the 1820s and then worked more sporadically through the 1840s. In 1851, he moved to Toledo, Ohio, to live with his daughter and remained there until his death in 1866.

The signature on the apron reads “Eng’d by A. Reed for Br. S. Dewey.” Sherman Dewey was a charter member of Eastern Star Lodge No. 44 in Willimantic, Connecticut. There is no record that Reed was a Freemason in Connecticut. In addition to the Cleveland apron, two other aprons in the Museum’s collection show a strong similarity to Reed’s design but are not marked with the printed signature. One of the three is a painted version of the printed design. All three, including the Cleveland apron, probably date later than 1800 when Reed created the signed apron.

References:

Barbara Franco, Bespangled, Painted & Embroidered: Decorated Masonic Aprons in America, 1790-1850, Lexington, MA: Museum of Our National Heritage, 1980.

Donald C. O’Brien, “Abner Reed: A Connecticut Engraver,” The Connecticut Historical Society Bulletin 44 (January 1979): 1-16.

Top: Masonic apron, 1825-1850, American, National Heritage Museum collection, gift of the Grand Lodge of AF & AM of Illinois, 2009.080. Photograph by David Bohl.

Middle: Masonic apron, 1814-1822, Lewis Roberson and Oliver T. Eddy, Wethersfield, Vermont, National Heritage Museum collection, gift of Paul D. Fisher, 83.46.1. 

Bottom: Masonic apron, circa 1800, Abner Reed (1771-1866), East Windsor, Connecticut, National Heritage Museum collection, Museum Purchase, 80.14.

New to the Collection: An Apron with a Story

Recently, the Grand Lodge of AF & AM of Illinois generously donated a Masonic apron to the National Heritage Museum.  Regular readers of our blog will know that the Museum is fortunate to have a top-notch apron collection – and that we are always looking to add aprons with interesting stories.  This one does not disappoint!

Although this apron is in only fair condition, it came with a typewritten note that explained, “Apron taken from casket [of President Grover Cleveland] by Mrs. Emily Hurlburt, a first cousin, of Hammond, Ind.  Mrs. Hurlburt gave apron to her son, Mr. Chas. W. Hurlburt.  Mr. Hurlburt died recently and his son, Mr. Wm. Hurlburt not being a member of the craft, wished some one interested to have it, and gave it to Jack Mundinger.”  While it is not unusual for us to receive objects with notes like this, it was exciting to get an apron associated with a U.S. president.  And, we are always wishing we had more history about the objects in our collection – who owned them and when, for example – so this note just added to the interest.

At the same time, even though we love this kind of note attached to an object, we have cultivated a strong sense of skepticism every time we read one – presidential association or not!  So, I did some research and turned up a number of facts that seem to contradict the information in the note.  First of all, Grover Cleveland was not a Freemason, although he seems to have been “sympathetically disposed to the Craft” according to numerous websites.  This assessment seems to stem, in part, from a remark Cleveland made at a banquet following the dedication by the Grand Lodge of Virginia of the monument erected to Washington’s mother, Mary.  Cleveland stated that he “regarded it as his misfortune that he had never been made a Mason.”  There was talk at one time in the Grand Lodge of New Jersey of making him a Mason “at sight,” but it never happened.  So, the odds that Cleveland ever wore or owned this apron seem pretty slim.

So, then I tried to investigate the family connection that is outlined in the note.  Another dead end because, as far as I can tell, Cleveland did not have any first cousins named Emily.  And, then, I found an account of Cleveland’s funeral in the New York Times from June 26, 1908, where it notes that the only relatives expected at the funeral were Cleveland’s sister, Rose, and his nephew, Cleveland F. Bacon.  I suppose that this cousin, Emily Hurlburt, could have taken the apron from the casket at some kind of private family viewing, but it seems unlikely that she wouldn’t have attended the funeral as well.  That leaves aside the question of why Cleveland would have had a Masonic apron in his casket to begin with, since he was never a Mason.

The apron itself probably dates to the 1825 to 1850 period and is printed with a design that seems to resemble one on an apron by Lewis Roberson and Oliver T. Eddy of Vermont (at right), already in the Museum's collection.  If you compare the two, you will notice a number of similar motifs and a similar layout.

Despite the contradictions in the accompanying note and the very slim possibility that this apron ever belonged to President Cleveland, we are pleased to add the apron to our collection.  It represents yet another early 1800s apron design, which will allow us to compare and contrast many other aprons in our collection.  Although the apron's story of presidential associations is probably not true, it still tells a tale that captures our interest!

Top: Masonic apron, 1825-1850, American, National Heritage Museum collection, gift of the Grand Lodge of AF & AM of Illinois, 2009.080.  Photograph by David Bohl.

Bottom: Masonic apron, 1814-1822, Lewis Roberson and Oliver T. Eddy, Wethersfield, Vermont, National Heritage Museum Collection, gift of Paul D. Fisher, 83.46.1.  Photograph by John M. Miller.

 

Masonic Fun Down on the Boardwalk!

While the National Heritage Museum collects and appreciates formal photographs of Masonic and fraternal groups – see last week’s post on a photograph of the officers of Boston’s St. John’s Lodge – we have a soft spot for less formal images too.  So, when Carole Collins Slattery brought us this photograph of her father and some of his Masonic brothers walking along the boardwalk in Atlantic City, we were very excited.  If you look closely, the men are carrying their Masonic apron cases!  This is just the kind of object that helps us explore Freemasonry for our visitors – not just the rituals and formal activities, but the brotherhood that members feel for each other. 

Mrs. Slattery could also identify one of her father’s friends in this photo and passed along the information that the men were attending a Masonic meeting in Atlantic City when the photo was taken.  The photo was taken in 1952 when Mrs. Slattery’s father, Cecil L. Collins (1900-1979), was Master of Azure Lodge No. 129 in Cranford, New Jersey.  Collins is depicted second from the left in the photo.  The man to his right, with his coat open, is Harold “Pappy” Hansen.

Do you have any photographs showing more informal lodge events?  If so, let us know in a comment below!

Azure Lodge Members in Atlantic City, ca. 1952, Central Studios, Atlantic City, New Jersey, National Heritage Museum collection, gift of Carole Collins Slattery, 2009.034.2.  Photograph by David Bohl.

An Unfinished Apron

As we may have mentioned in previous blog posts, we are very proud of our fraternal apron collection here at the National Heritage Museum.  We have over 400 aprons, which span the centuries and the world.  And, while we can afford to be selective about adding to this collection, we often get excited by many aprons that enter the market.  The apron shown here, which is a recent acquisition, provoked enthusiasm – it was never finished, so it offers fascinating insight into the apron-making process.

This silk apron is printed with an engraving by Thomas Kensett (1786-1829).  Kensett was born in England and emigrated to America, settling in New Haven, Connecticut, by 1806.  In 1812, he entered into a partnership in the map and print publishing firm, Shelton and Kensett, in Cheshire, Connecticut.  Indeed, we have an engraving in the collection printed by Shelton and Kensett titled American Star that depicts George Washington, Thomas Jefferson, James Madison and John Adams (see below).  Around the time that Kensett partnered with Shelton, he joined Temple Lodge No. 16 in Cheshire.  His apron design seems to have been popular – we have another example of it in our collection – as well as a third that uses Kensett’s design but was engraved by Samuel D. Bettle (d. 1833) of Wilkes-Barre, Pennsylvania (shown at bottom).

We know that aprons were generally printed before they were hemmed and finished, but this example has the flap basted along the top.  One of our initial questions, then, was whether it was printed before the flap was basted onto the body or after.  Careful examination tells us that the flap was attached before it was printed.  The edges of the engraving plate are visible on the flap and line up with the portion of the design on the apron’s body.  In addition, some of the detail of the tops of the clouds printed on the body extend onto the flap. 

The apron has one selvage edge – along the left side – where the threads were woven more tightly together.  The other three edges remain raw.  They would have been folded under and hemmed, then finished with ribbon trimming.  The selvage edge, too, would have been turned under and hemmed.  And, of course, ties (probably made from ribbon) would have been added to the top corners. 

If you have a Kensett apron – or any Masonic apron in some state of partial construction - we’d love to hear about it in a comment here.

Top: Unfinished Masonic apron, ca. 1812, Thomas Kensett (1786-1829), Cheshire, Connecticut, National Heritage Museum collection, Museum Purchase, 2008.058.  Photograph by David Bohl.

Middle: American Star, 1812, Thomas Gimbrede, engraver, Shelton and Kensett, printers, Cheshire, Connecticut, National Heritage Museum collection, Dr. William L. and Mary B. Guyton Collection, 83.50.14. 

Bottom: Masonic apron, 1823, Samuel D. Bettle (d. 1833), Wilkes-Barre, Pennsylvania, National Heritage Museum collection, Special Acquisitions Fund, 77.24.

From Insurance Executive to Masonic Apron Designer?

Edward Horsman (1775-1819), a Boston engraver, created a particularly popular Masonic apron design around 1814.  The Grand Lodge of Massachusetts recommended Horsman’s design “as a judicious selection of the emblems of the Order, arranged with taste and propriety.”  Horsman became a Mason in 1802 in Boston’s Mount Lebanon Lodge.  He can be documented as Grand Secretary of the Grand Royal Arch Chapter of Massachusetts from 1804 to 1806.  Newspaper advertisements and Boston directories from 1807 through 1813 list him as the secretary of the Massachusetts Fire and Marine Insurance Company.  But his prominent signature on the plate that he engraved around 1814, which reads “Master Masons apron or flooring Copy Right Secured E. Horsman Pinx,” suggests that he might have changed careers at that time.  An 1817 newspaper ad “respectfully informs the fraternity that a fresh supply of Masonic aprons and sashes for the several degrees, are for sale at the Picture and Looking Glass Store…He likewise informs the public, that he Paints 'Coats of Arms,' plain, and in superb style…”  The ad closes with a mention of “his store” and his house located on Carver Street in Boston.  Horsman’s apron design was apparently still in demand after his death in 1819, as newspaper advertisements directed prospective customers to “the shop of Mr. Wm. Bittle” in the early 1820s for aprons “from the plate of the late Edward Horsman.”

That copper plate is now in the collection of the Grand Lodge of Masons in Massachusetts, at the National Heritage Museum.  In addition, the Grand Lodge and the Museum hold a combined total of fifteen Horsman aprons.

Engraving Plate, ca. 1814, Edward Horsman (1775-1819), Boston, Massachusetts, Loaned by the Grand Lodge of Masons in Massachusetts, GL2004.0139, photograph by David Bohl.

Masonic Apron, ca. 1814, Boston, Massachusetts, National Heritage Museum, Special Acquisitions Fund, 89.66.

Masonic Officer Aprons

Just as Freemasons use symbols during their rituals and degree ceremonies to teach initiates and members about Masonic traditions and values, they also use symbols to identify the officers of the lodge.  Thirteen officers oversee the business of each local lodge.  The head is the Master, followed by Senior and Junior Wardens, Secretary, Treasurer, Senior and Junior Deacons, Senior and Junior Stewards, Marshal, Inner Guard, Tyler, and Chaplain.  By the mid-1800s, a number of retail companies specialized in producing Masonic and fraternal aprons and regalia.  Lodges could buy complete sets of matching aprons for their officers.  As the men changed offices, they passed their aprons to their successors.

One of the aprons pictured here bears the symbol of crossed keys, signifying that it was worn by a lodge Treasurer.  It is one of six matching lodge aprons rescued from a southern Masonic lodge during the Civil War.  All six descended in the family of George William Dupre (1881-1936), a member of Franklin Lodge in Grafton, Massachusetts.

After a man completes his service as Master of his lodge, he becomes a Past Master.  The second apron shown here includes the Past Master symbol of a square and quadrant with a sun in the center.  By wearing this apron to lodge meetings, the Past Master is reminded of his experience as head of the lodge, as well as of the respect and appreciation of his fraternal brothers.  This particular apron has a label documenting that Wollaston Lodge of Quincy, Massachusetts presented it to Albert D. Healey (1888-1984) in 1923.

Want to learn more about the Masonic aprons in the National Heritage Museum collection?  Check out the Treasures section of our website and look for past and future blog entries highlighting additional aprons.

Above: Masonic Treasurer’s Apron, 1850-1860, National Heritage Museum, gift of Trinity Lodge, A.F. & A.M., Clinton, Massachusetts, 98.015.2.

Right: Masonic Past Master’s Apron, 1923, Harding Uniform & Regalia Company, Boston, Massachusetts, National Heritage Museum, 98.039.23a-b.

Masonic Aprons - Made with Love

While Freemasonry is an exclusive society, limiting its membership to men, female relatives of Masons were familiar with many of the fraternity’s activities and symbols.  Wives and daughters of Freemasons made aprons that the men wore at lodge rituals and meetings.  From the aprons, as well as from household objects decorated with Masonic symbols, women could recognize and understand Masonic motifs.

During the late 1700s and early 1800s, three techniques were used to decorate Masonic aprons: printing, painting and embroidery.  Using skills they learned at the local academy, girls and women painted or embroidered some of the aprons in the National Heritage Museum’s collection, while professional artists painted others.  Local engravers and printers often provided designs printed on silk, which could be stitched into the familiar apron shape.

John Tarbell (1774-1852) of Massachusetts originally owned the apron shown at top.  He was raised a Master Mason in Cambridge’s Amicable Lodge in 1814 and held several Masonic offices between 1816 and 1820, becoming Worshipful Master in 1821.  The apron is embroidered and hand-painted with many familiar Masonic symbols including: the all-seeing eye, signifying watchfulness; a trowel, the symbolic tool that spreads the cement that unites Masons in brotherly love; and the square and compasses, symbolizing reason and faith.  Family history suggests that one of Tarbell’s nieces made this apron for him.

The second apron shown here is also embroidered.  It bears the phrase “Cemented with Love.”  Masons are taught that the cement of brotherly love binds men together and that the lodge is cemented with love and friendship.  This apron was brought to Pittsburgh, Pennsylvania when the Alexander Stuart McKee family emigrated from Ireland.  Under the flap is the name, “Wm. Leigh,” probably the apron’s original owner, and the date “1796.”

Above: Masonic apron, 1815-1820, Massachusetts, National Heritage Museum, Museum Purchase, 96.014, photograph by David Bohl.

Right: Masonic apron, 1796, County Down, Ireland, National Heritage Museum, gift of Mr. and Mrs. Robert C. Streeter Jr., 79.70.

Why Do Freemasons Wear Aprons?

Aprons may be the best-known symbol of Freemasons.  When the fraternity was established in the 1700s in England and America, its founders looked to the traditions and tools of actual stonemasons to develop their rituals and philosophy.  Masonic aprons evolved from the protective work aprons that stonemasons wore during the 1600s and 1700s.  When he joins the lodge, each Freemason receives a white lambskin apron, to symbolize innocence.  James Russell wore the one shown here during the 1810s.  As the candidate moves through the degrees of Freemasonry, he wears aprons with different symbols and colors to signify rank and responsibilities.

Initially, working men's aprons were made from animal skin, so early Freemasons shaped their symbolic aprons the same way.  Over time, Masonic and fraternal aprons developed standard shapes: square or rounded bodies with triangular or rounded flaps.  The decorated apron seen here was made around 1791 and worn by John Rowe (d. 1812).  Rowe joined Gloucester, Massachusetts' Tyrian Lodge in 1789.  His apron retains the animal shape, but employs a colorful painted design.  The motto that appears, “Time Deum et Patriam Amor,” translates to “Fear God and Love Your Country.”  The apron also shows a Masonic date, “5791,” suggesting that it was made in 1791.  Known as "Anno Lucis" (or A.L.), which is Latin for "In the Year of Light," this date expresses a year that is 4,000 beyond "Anno Domini," and is assumed to be the date for the creation of the world.  Embraced by Freemasons as the beginning of Light, Anno Lucis dates are often seen on Masonic documents and objects. 

Above: Masonic apron, 1810-1820, Massachusetts, National Heritage Museum, gift of Russell Lodge, 94.041.

Right: Masonic apron, ca. 1791, Massachusetts, Loaned by the Grand Lodge of Masons in Massachusetts, GL2004.0137, photograph by David Bohl.