A Shrine Beach Parade

In this photograph from the collection of the Scottish Rite Masonic Museum & Library, a line of men in bathing costumes and swim caps march across the beach in Atlantic City, New Jersey. This unusual sight was photographed on the morning of July 13, 1904, when the Ancient Arabic Order of Nobles of the Mystic Shrine hosted their annual meeting in the resort city.

This two-day event was the thirtieth annual gathering since the founding of the order in 1873. Thousands of Shriners and their families traveled to the Jersey shore and participated in a variety of activities and programs. According to the Annual Proceedings of the AAONMS, this session hosted 276 representatives from eighty-nine temples throughout the United States. During the meeting, the secretary of the group, called the Imperial Recorder, reported a net membership gain of 8,545 in 1904, and a total national membership of 87,727.

In addition to business meetings and evening parties, members of the AAONMS took part in an activity for which their group later became renowned–parades. The 1904 Annual Session, or meeting, opened with a parade that differed from the norm. A Shrine unit called the Arab Patrol, hailing from Moslem Temple in Detroit, Michigan, took part in a beach parade at 10:00 AM on Wednesday, July 13.

Accompanied by the first regiment band of Michigan and a bugle corps of twenty-nine men, they “marched from the Grand Atlantic Hotel in bathing suits to the beach between Young's Pier and the Steel Pier, and plunged into the ocean,” according to the Camden, New Jersey Morning Post. The front page of the local paper, the Atlantic City Daily Press, clarified that the men were dressed in “bathing suits, specially prepared for the occasion” and called the whole affair “one of the most unique and picturesque incidents of the gathering of the Shriners here.”

Camera operators of various sorts took advantage of the picturesque quality of the plunge. Alfred Camille Abadie (1878-1950) of Thomas Edison’s company Edison Films captured this beach parade on a 35mm motion picture camera. Per Edison’s September 1904 advertising circular, the 2.5-minute film showed “the entire body drilling on the beach and entering the surf” and could be purchased for $21.75.

This photo is one of two of this parade in the museum’s collection. Both are marked on the back: “Fred Hess, Photographer, 2506 Arctic Avenue, Atlantic City, NJ.” Hess (1858-1932) was a commercial photographer in Atlantic City from around 1893 until his death. Hess’ home studio was located about a mile from the spot where he took the beach parade photos.

This beach parade photograph–in addition to being a surprising and captivating image–depicts the details of a unique and intriguing event. It also provides information about Atlantic City, the AAONMS, and commercial photography and cinematography in the early 1900s.

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Further Reading:

• 1900 map of Atlantic City

The Blog Turns 15! (And Yet Another Masonic Impostor)

The Scottish Rite Masonic Museum & Library's blog started fifteen years ago this month, with a post about Masonic impostors. Nearly every May since then, we have returned to the topic of Masonic impostors. This year is no exception. Pictured here is a detail from the June 1924 issue of the Official Warning Circular of The Masonic Relief Association of the United States and Canada.

The Masonic Relief Association of the United States and Canada began publishing the Official Warning Circular in 1886. The primary function of the circular was to try to prevent non-Masons from imposing on the charity of Masonic organizations and defrauding them out of their money. This was accomplished by a type of crowdsourcing: local Masonic organizations would share information about known imposters with the Masonic Relief Association who then, in turn, would share that information in their circulars throughout the U.S. and Canada, in an attempt to stay one step ahead of those who would travel from state to state, presenting themselves as Masons in need.

In some cases, these Masonic impostors appear to have fallen on hard times and were defrauding Masons out of desperation. In other cases, the impostors appear to be well-practiced con artists who presented themselves as Masons and told a convincing story in each new town and city.

This is quite evident with case number 7413, John J. McGettigan, pictured above. The description of McGettigan notes that he had used at least three different aliases and had been published in the circular before under different case numbers which cast light on earlier successful swindles. The description also contains details of some of McGettigan's previous brushes with the law, and that he was, at the time that the circular was published, wanted by the Solicitor General of Atlanta, Georgia.

McGettigan, it turns out, may have been part of a larger confidence game - that is, an attempt to defraud people after first gaining their trust. In 1925, McGettigan's capture was front page news in the June 4, 1925 edition of the Sioux City Journal. In the article, pictured above, McGettigan is described as having been one of five "leaders in confidence games of national scope" who was captured as part of a coordinated effort in Chicago, Illinois.

If you want to learn more about Masonic impostors, be sure to check out all of our previous posts on the topic.

School Medals Earned by Cornelius M. Vinson in 1835

In August of 1835, the School Committee of Boston, Massachusetts, attended a gathering of city students demonstrating their skills and scholarship. The Columbian Centinel noted that those observing the display of students’ abilities were persuaded that the schools “never appeared in better order and condition, than at this time.” To this the writer added context, relating, “This is certainly a very high compliment, for our public schools have long been the glory of our city.”

Among those called upon to showcase his learning was eighteen-year-old Cornelius Marchant Vinson (1817-1893), a student at Boston Latin School. Vinson opened the day with a “Salutatory Oration,” or welcome, in Latin. Vinson, along with five of his schoolmates, also received a Franklin Medal earlier in the month. This prize, established by a bequest left to the Boston public schools by Benjamin Franklin, a former student of the free schools in the city, was awarded to students at eight schools in 1835. Vinson’s award took the shape of a silver medal struck with a portrait of Franklin on one side (at right). On the other side, raised letters outlined the purpose of the prize--a “Reward of Merit" bestowed by the School Committee. Below this message, an engraver incised Vinson’s name and the year. A local newspaper described this honor as one earned by “scholars of distinguished merit in the respective schools.” 

Vinson was an accomplished student—the Franklin medal was just one of the awards he received. In both 1835 and 1834 Vinson earned an award for “the best specimens of Penmanship.” These prizes, like the Franklin medal, took the form of a silver token (at left). Both of Vinson’s penmanship medals were plain discs, decorated with a simple border, that an engraver personalized with Vinson’s name, his school, and the years he earned the recognition. A 1834 newspaper listing noted that Vinson also received a prize that year for “Industry and Good Conduct.”

Building on what Vinson learned at Boston Latin School, he continued his studies at Harvard. Upon graduating in 1839, he embarked on a career as a teacher. In the mid-1840s, Vinson ran a school for “Misses as well as Young Ladies” which offered girls and teenagers instruction in drawing, English, Latin, and French in downtown Boston. In 1849 he leased a “family boarding school for lads” in Jamaica Plain, where he prepared students for college or “Mercantile Life” in a “healthful and pleasant location” using an approach grounded on “The harmonious development of the Physical, Intellectual, and Moral powers.” Though Vinson went on to work in different fields—as a farmer and as a real estate dealer—his early achievement as a scholar and in penmanship doubtless served him well throughout his life.

References:

“Public Schools,” Columbian Centinel (Boston, Massachusetts), August 22, 1835, page 1.

“Public Schools,” Boston Daily Advertiser (Boston, Massachusetts), August 20, 1835, page 2.

“General Intelligence,” Christian Register (Boston, Massachusetts), August 9, 1834, page 3.

“Advertisements,” Boston Recorder (Boston, Massachusetts), July 18, 1844, page 3.

John Sallay, "American School Medals," Medal Collectors of America, presentation, July 28, 2005.

Malcolm Storer, "The Franklin Boston School Medals," Proceedings of the Massachusetts Historical Society, vol. 55 (October 1921-June 1922), 189-198.

 

Photo credits:

Penmanship Award, 1835. Boston, Massachusetts. Gift of Marjorie Sumner Guiler and Eleanor B. Litchfield, 82.30.3. Photograph by David Bohl.

Benjamin Franklin Boston School Medal, 1835. Charles Cushing Wright (1796 – 1854) and James Bale, New York, New York, and George Stimpson (1793-ca. 1867), Charlestown, Massachusetts. Gift of Marjorie Sumner Guiler and Eleanor B. Litchfield, 82.30.1. 

New to the Collection: A Desk with Secrets

The Scottish Rite Masonic Museum & Library recently received this handsome nineteenth-century desk decorated with inlaid Masonic symbols as a generous gift to the collection. Masons are oath bound to keep specific information about Freemasonry, such as ritual, passwords, and recognition signs, to themselves, causing many observers to describe the organization as a secret society or as a society with secrets. This desk fits right in—it has secrets of its own.

Constructed, in part, of southern beech, this desk came to the museum with a history of having been used in Arkansas and, later, in Utica, New York. Who owned and used it is not known. With several drawers, multiple shelves, and a writing surface, this form of desk falls into the category of secretary or desk-secretary—a piece of furniture that meant business. Only people with a serious amount of papers, objects, and books to organize would need a desk like this one.

Six and a half feet tall at its highest point, the largest portion of this desk is a glass-fronted cabinet with shelves, enough to contain—and  display—a small library of books. A cornice with an elaborate pediment tops the section with a glass door. The design of the cornice offers a nod to the Renaissance Revival style popular in the United States in the 1860s and 1870s. At the very center of the pediment is an inlaid square, compasses, and letter G—a combination of Masonic symbols found on lodge buildings, in lodge rooms, and on many objects related  to the fraternity. The smaller connected cabinet has a solid door.  When opened, it reveals pigeonholes, vertical shelves with curved dividers designed to house and organize tall ledgers, and small horizontal shelves with shaped dividers likely used to store correspondence, along with two small drawers, and several cubbies. The drawers could accommodate pocket-sized articles, such as pens, coins, currency, or valuable trinkets best kept under lock and key. 

At the lower inside corner of the cabinet is a cubbyhole with an arch-shaped opening decorated with Masonic symbols—a checkered pavement, a keystone, stars, and a panoply formed of a square, plumb, and level.  In Freemasonry, the square, plumb, and level together are the working tools of the second degree. They served to remind Masons of the value of equality and to act morally and fairly. Though it looks like integrated part of the desk, this decorated cubbyhole is actually a box that can be removed from the cabinet. Behind it, hidden to anyone who does not know the secret of how to access them, are two small drawers with ring pulls (the drawers are visible just behind the removed section). These tiny drawers are not protected by a lock, but their secret location in the desk would have helped keep their contents secure.

The upper portions of the desk rest on a slightly sloped writing surface. Now stained black, this surface may have, at one time, covered with felt or leather. Supporting the surface on one side is a column of four drawers, on the other side are two turned legs. The long single knee-hole drawer is fit with two levels of compartments divided to accommodate writing implements and small objects. At first glance, the lockable drawers with white knobs appear to be run-of-the-mill. They, in fact, offer several secret hiding places to stow documents and objects. Each of the four drawers at the side are shorter than the overall length of the desk. Behind each of them is a second drawer with a leather pull that lays flat. The bottom of the lower-most drawer in the column conceals a drawer accessible by pulling the back of the drawer up to reveal a wooden knob and a shallow hidden compartment perfect for concealing documents. Altogether, six different keys are needed to access the drawers and cabinets in this desk.

With so many secret compartments incorporated into its design, this beguiling desk offers more questions than answers.  The most  compelling of these questions may be, what important objects and papers did the original owner of the this desk want to keep secure or hidden? Though we may never know the answer to this question, the decoration, form, and function of this desk are clues that it was a tool used by someone who valued his association with Freemasonry who engaged in work that required he retain and organize different kinds of records and objects. This desk suggests that he had intriguing secrets to keep.

 

Photography credit:

Details, Desk, 1860-1880. United States. Gift of Peter J. Samiec, 2022.037. Photograph by Michael Cardinali.

 

 

 

 

The Lexington Alarm letter - on view and online in 2023!

Each year during the celebration of Patriots’ Day, a Massachusetts state holiday, the Scottish Rite Masonic Museum & Library proudly displays an original copy of the Lexington Alarm letter—one of several letters created by the colonists to inform other colonies about the Battle of Lexington and the outbreak of war with England. It gives contemporary viewers a close-up look at the beginning of the American Revolution.

The original alarm letter was written by Joseph Palmer just hours after the Battle of Lexington, which took place around daybreak on April 19, 1775. Palmer, a member of the Committee of Safety in Watertown, Massachusetts, near Lexington, had his letter copied by recipients along the Committee of Safety's network. Using this system, the message was distributed far and wide. While the original alarm letter written by Palmer is thought to be lost, the Museum & Library has in its collection this version of his famous description of what happened, which was copied the day after the Battle of Lexington by Daniel Tyler, Jr., of Connecticut.

The letter will be on view at the Museum from April 10 - 21, 2023. (Check the museum's website for specific days and times that we're open.)

In addition to seeing the letter in person, you can also view our online exhibition, “'To all the Friends of American Liberty': The 1775 Lexington Alarm Letter,” which is available on the Van Gorden-Williams Library & Archives Digital Collections website. This exhibition takes a close look at the Lexington Alarm letter that is in the Museum & Library's collection.

Caption:
Lexington Alarm Letter, [April 20, 1775], Daniel Tyler, Jr. (about 1750–1832), copyist, Brooklyn, Connecticut, Museum purchase, A1995/011/1. 

Heavy Impact: British Cannonball Fired in Lexington on April 19, 1775

Cannonball (fired in retreat from Lexington), ca. 1775. Gift of Harvey B. Leggee, 75.34a.

Its surface is pitted and its usefulness long gone, but this six-pound iron ball tells an intriguing story of the first military battle of the Revolutionary War and its effect on the town of Lexington, Massachusetts.

According to an accompanying plaque, this cannonball was “fired in 1775 by ‘British regulars’ under command of Captain Earl Perry [sic] during their retreat from Lexington Green.” On April 19th of that year, the first battle of the Revolutionary War was fought in Lexington, now the home of the Scottish Rite Masonic Museum & Library.

Tensions had been high between Massachusetts citizens and the British government–represented by its royal troops–since the soldiers had landed in Boston in 1769. This friction had already led to such events as the 1769 Lexington Spinning Protest, the 1770 Boston Massacre, and the 1773 Lexington Tea Burning and Boston Tea Party.

These tensions and other events led to an armed conflict between Lexington’s Training Band and British troops on April 19, 1775. A contingent of British soldiers headquartered in Boston were deployed on an overnight mission to retrieve stolen cannon and ammunition hidden in Concord. After a short engagement at dawn in which eight Lexington men were killed and ten wounded, the British troops continued to Concord where they found themselves in a pitched battle at the Old North Bridge with militia members from Concord and surrounding towns. Eventually, the order to retreat was given and the British soldiers began a long and harrowing march back to Boston.

Local militias reengaged British troops many times along the route back–now called “Battle Road–but the fighting took a different tone as the troops marched back through Lexington. By this time, relief troops from Boston had positioned two six-pound cannon at a rise east of the town center to provide covering fire for the soldiers on foot.

This bombardment led to cannonballs smashing through both the Lexington meetinghouse on the Green and one of the houses west of the Green on Harrington Road. According to SRMML’s records, the museum's cannonball was excavated in 1956–181 years after the battle–by local Mason Harold L. Worth (1909-1993) from the “south side of Merriam Hill.” This ball was found within the range of the British cannon that day. The location of the find supports the message on the cannonball’s plaque–that it was fired by British soldiers.

Cannonball (fired in retreat from Lexington), ca. 1775. Gift of Harvey B. Leggee, 75.34a.

To confirm this information, SRMML staff measured the cannonball. The British were using six-pound field pieces that day and a six-pound cannonball is usually around 3.58 inches in diameter. As you can see on the right, this cannonball is 3.52 inches, which is within the expected range for historical examples. Using historical accounts, maps, and munitions specifications, we feel confident that this cannonball was fired during the conflict between Massachusetts citizens and British soldiers.

The cannon and troops are long gone, but the town of Lexington is still deeply tied to the events of April 19, 1775. Its landscape and people were profoundly marked by the attack. Evidence of that impact remains in the military detritus left behind. It is also on display in the reenactments and commemorations of the battle held annually in Lexington. See the links below for more Revolutionary War items in the museum’s collection!

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More Revolutionary War items at SRMML:

• “In Provincial Congress, Concord, April 15, 1775”
• "To all the Friends of American Liberty": The 1775 Lexington Alarm Letter
• Muster Roll, 1775 September 12
• Report from Fort No. 2 (Dorchester Heights), 1776 November 19
• Officer's commission issued to Abel Chapin, 1781 July 1
• Discharge certificate, 1783 June 8

A United Order True Sisters Anniversary Medal

United Order True Sisters Medal, ca. 1946. Gift of Clara W. Gnerre on behalf of Noemi No. 11. 91.032.1

The face of this round medal bears an embossed wreath which curves around the black enamel letters U, O, T, and S. These initials represent Unabhängiger Orden Treue Schwestern or United Order True Sisters, a German Jewish fraternal group which was the first independent national women’s organization in the United States. The group – sometimes known as the United Order of True Sisters - was founded in New York City in 1846 and became known for their charitable fundraising for cancer patients and children’s hospitals after World War II. The Scottish Rite Masonic Museum & Library cares for a small collection of UOTS items, including this medal, which is connected to a fascinating Massachusetts woman.

The items in this collection were donated by Clara Cecile Wagner Gnerre (1920 - 2005) on behalf of her UOTS chapter, Noemi No. 11. This chapter was founded in 1878 in Boston, Massachusetts – the eleventh UOTS lodge in the country - and like its sister chapters in other states, sought to provide Jewish women with a sense of identity, purpose, and community. Due to anti-German sentiment during World Wars I and II and American antisemitism throughout the nineteenth and twentieth centuries, women who joined UOTS may not have felt welcome in other fraternal orders. As past museum Assistant Director Barbara Franco has written of Jewish fraternal orders, “The rites, regalia, and mottoes of these organizations, based on Freemasonry and Odd Fellowship, offered an American aura that might be denied Jews elsewhere.”

United Order True Sisters Medal, ca. 1946. Gift of Clara W. Gnerre on behalf of Noemi No. 11. 91.032.1.

The reverse of the medal reads “PRESENTED AT THE CENTENNIAL ANNIVERSARY 1846-1946”. To commemorate their one-hundredth anniversary, UOTS chapters produced souvenir medals like these, as well as centennial calendars and other ephemera. A February 1946 article from the Daily Argus (Westchester, New York) shows the kind of activities UOTS chapters were involved in that year. Activities included mahjong games, luncheons, educational lectures, and Red Cross sewing drives. The United States Treasury Department awarded a citation to Westchester No. 34 for raising nearly a quarter of a million dollars in war loan drives. After the war, in 1947, the UOTS formed a National Cancer Service initiative. This program funneled members’ fundraising skills and largesse towards medical charities.

Clara Wagner – later Clara Gnerre - was a member of Noemi No. 11 for forty years. She graduated from Girl’s Latin School in 1937 and attended Radcliffe College, where she graduated cum laude with a degree in chemistry in 1941. If she was a member of Noemi in 1946, she may have received this souvenir UOTS medal when it was first issued, when she was 26 years old.

She worked first for Carbon Black Co. as a rubber chemist and was employed there in 1950 when she married her husband C. Gerald “Jerry” Gnerre. A January 1954 Boston Globe article described her as a “research chemist and rubber technologist” at Godfrey L. Cabot, Inc. Research Laboratories on Cambridge’s “Research Row.” Gnerre was, at the time, one of few women working in industrial materials research and development, a growing field post-World War II in Cambridge.

In the 1980s, Gnerre became more active in Noemi No. 11, serving as its Recording Secretary in 1986 and President from 1987 to 1988. At this time, the chapter focused on fundraising for cancer services and children’s care at Boston’s Children’s and Massachusetts General Hospitals. At Noemi’s 110th Annual Luncheon, Gnerre was praised for her “warmth, encouragement, and good humor.”

After 111 years as a United Order True Sisters chapter, Noemi No. 11 dissolved in 1989. Perhaps inspired by a 1983 chapter visit to the then-eight-year-old Scottish Rite Masonic Museum & Library, Gnerre first donated a collection of material from the chapter to the museum in 1991. This medal was the first item that she donated. Over the next five years, Gnerre and other women from Noemi No. 11 donated UOTS material to the Scottish Rite Masonic Museum & Library, as well as to other historic repositories (see link below).

Clara Cecile Wagner Gnerre died in August 2005. Her Boston Globe obituary reads: “In lieu of flowers, donations may be made to The United Order of True Sisters, Inc. . . . where she was a member for 40 years and past President of a local chapter (Noemi Chapter 11) or to a cancer organization of your choice.” Gnerre ably represented the United Order True Sisters and their philanthropic goals to the last.

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Further Reading:

• United Order True Sisters Noemi #1 Records at Wyner Family Jewish Heritage Center, New England Historic Genealogical Society

New to the Collection: Mark Medal Owned by William C. Rudman

Mark Medal Made for William C. Rudman, 1829. Philadelphia, Pennsylvania. Special Acquisitions Fund, 2022.068.2. Photo courtesy of Stack's Bowers Galleries, Inc.

The Scottish Rite Masonic Museum & Library recently added this silver mark medal once owned by Philadelphian William C. Rudman (1799-1856) to its collection. In choosing a personal emblem for himself Rudman, like many Masons taking the Mark degree, selected symbols related to his profession as his own personal emblem. An engraver delineated Rudman’s choice of symbolic tools and implements related to his occupation on this keystone-shaped silver badge within the circle surrounded by the letters HTWSSTKS (at left).

The artist John Neagle (1796-1865) painted portraits of Rudman and members of his family. A publication about Neagle's work noted that William Crook Rudman, born in England, moved to Philadelphia and became a naturalized American citizen who was “noted for his philanthropy.” Records at the Grand Lodge of Pennsylvania show that Rudman, at age 27, took the first three degrees of Freemasonry at Kensington Lodge No. 211 in Philadelphia. These records note that Rudman earned his living as a brewer.

An enthusiastic marketer, Rudman took out many advertisements that described his brewery at 121 Green Street. There, he stated, “Tavern keepers and families” could “be supplied with first rate Beer at the shortest notice.” One October, in 1841, Rudman announced that “he has commenced BREWING for the season, [and] is now prepared to deliver, and will have constantly on hand, fine PALE ALE, PORTER, STRONG and TABLE BEER.” A few years before, Rudman commissioned a lithograph that noted he sold “Philadelphia PALE ALE on Draught, Warranted free from all pernicious DRUGS and ALCOHOLIC admixture” along with an image depicting workers, an office, and other structures at Rudman’s brewery.

In selecting a personal emblem as part of the Mark degree, Rudman chose Masonic symbols: an all-seeing eye, the sun and the moon, and a level, plumb, and square, combined with three objects that were part of his work as a brewer: a barrel, a sheaf of grain, and what appears to be a cooper’s ax. Taken together these symbols underscored two aspects of Rudman’s identity, his association with Freemasonry and his profession.

Rudman received the Mark degree in January of 1829, the month and year inscribed on the front of this jewel. Soon after, he took an extended break from Freemasonry--he withdrew from his lodge in February 1830. What prompted Rudman to leave his lodge is unknown. Members demitted from lodges for many reasons, some personal, such as uncertain finances, ill health, or the press of business. Alternately we can speculate that Rudman may have decided to turn away from his lodge because of the rise of public sentiment against Freemasonry during the late 1820s and the 1830s, an era when many men left their lodges. Regardless of why Rudman stepped away from the lodge, his choice may have shaped the engraving on this jewel. The side of the  badge bearing his name and mark is complete. The reverse side is unfinished (below). The engraver never filled in the banner at the top of the badge, and the line that would have defined the top edge of the arch is missing.

After a time, in 1844 Rudman rejoined Kensington Lodge. He soon left to become a member of Columbia Lodge No. 91, also in Philadelphia, in 1847. When he died, after a “long and painful illness,” he was still involved in Freemasonry. An announcement of his death in 1856 invited members of Columbia Lodge and of the “Sons of St. George” (a charitable group that assisted English immigrants) to attend his funeral. Years later this engraved medal recalls Rudman’s time as a Freemason and his work as a brewer.

Mark Medal Made for William C. Rudman, 1829. Philadelphia, Pennsylvania. Special Acquisitions Fund, 2022.068.2. Photo courtesy of Stack's Bowers Galleries, Inc.

References:

“Deaths,” North American (Philadelphia, PA), April 19, 1856, page 2.

Exhibition of Portraits by John Neagle (Philadelphia: The Pennsylvania Academy of the Fine Arts, 1925), catalog number 37.

John Neagle, William Crook Rudman, Sr., 1845.  Philadelphia Academy of Fine Arts .

“Notice…” United States’ Gazette for the Country (Philadelphia, PA), October 9, 1827, page 3.

“Notice…” Daily Chronicle (Philadelphia, PA), October 9, 1841, page 3.

William Breton, “Wm. C. Rudman’s Philadelphia Pale Ale….” (Philadelphia, Lehman & Duval, lith.), ca. 1835, Free Library of Philadelphia.

New to the Collection: Sparkling Fraternal Style

Menelik Court No. 53 Fez. Cincinnati Regalia Company, Cincinnati, Ohio. Museum Purchase, 2022.067.

On the last day of Black History Month, we’re taking a look at a fascinating fez from an African American women’s order with an intriguing history.

The group, known as the Imperial Court, is an auxiliary to the Ancient Egyptian Arabic Members of the Nobles of the Mystic Shrine. The A.E.A.O.N.M.S., founded in 1893, is dedicated to the welfare and extension of Prince Hall Freemasonry. Its women’s auxiliary was founded in 1910 in Detroit, Michigan. The Imperial Court boasts more than nine thousand members in more than two hundred courts throughout the United States, as well as Canada, Bahamas, U.S. Virgin Islands, Korea, and Western Europe. According to the Imperial Court website, the group “recognizes and celebrates the historic and current achievement of African American women . . .”

Members are known as Daughters and their regalia includes ceremonial collars worn with white dresses, shoes, and gloves, along with white fezzes or crowns. A Daughter serving as the Court’s current Imperial Commandress, its highest office, wears a crown in lieu of a fez. Members’ fezzes bear the name and number of the owner’s court and a stylized profile view of the Egyptian goddess Isis. If the Daughter served as an Illustrious Commandress, her fez will bear the title Past Illustrious Commandress.

This fez was once owned by a member of Menelik Court No. 53, in Oakland, California. This court was founded in 1922, only a dozen years after the national organization was established. The court celebrated its centennial last year. According to the desert-inspired terminology used by Shrine groups, Menelik Court is in the “Oasis of Oakland” in the “Desert of California.”

The fez is made of white wool decorated with embroidery, multi-colored rhinestones, and a tassel. Many fezzes from the Imperial Court were similarly ornamented. In addition to the designs on the front, this fez has rhinestone-studded tassel holders on the side to keep its long black tassel in place. With this volume of rhinestones, ceremonial parades featuring Imperial Court Daughters had a certain sparkle to them. You can visit the links below for images of the group, including a photograph from the 1950s where five Menelik Court Daughters in their fezzes are shown being driven in a parade in Oakland. Their driver wears the fez of Menelik Temple No. 36, Menelik Court’s corresponding A.E.A.O.N.M.S chapter.

The fezzes worn by Imperial Court Daughters, A.E.A.O.N.M.S. Nobles, and other fraternal members came from regalia supply companies located all over the United States. The Menelik Court fez in our collection bears a tag on the inside that reads: "Styled By Cincinnati Regalia, 113 W. Fourth St. 4th FL, Cincinnati, OH 45202.” The Cincinnati Regalia Company (1895 - 1998) supplied costumes, accessories, and ritual items to Masonic and other fraternal groups, as well as uniforms and equipment to municipal and voluntary organizations.

This regalia maker was located at a number of different addresses along Fourth Street during its century of operations. The January 5, 1986 Cincinnati Enquirer ran an ad for an auction of “odds & ends from Cincinnati Regalia Co. relocating from 139 W. 4^th Street to 113 W. 4^th Street.” When the company folded in 1998, its final address was 113 W. 4^th Street, so it appears the company was located at that address from 1986-1998. This information from the tag helps date our fez to within those dozen years.

This stylish item helps the Scottish Rite Masonic Museum & Library tell a story of local African American organizations and national regalia supply companies. If you’d like to learn more about the Imperial Court, visit a post we published about a photograph of Daughters from Philadelphia. For more on this fez and the Scottish Rite Masonic Museum & Library’s African American fraternal material, you can dig into a recent article in The Northern Light.

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Further Reading:

• Fezzes from other Prince Hall Affiliated women's groups

• Menelik Court Daughters photos from Royal E. Towns Collection at Oakland Public Library:
  • Women wearing Menelik fez caps riding in convertible past Famous Coffee Shop
  • Four women wearing Menelik fez caps standing next to Oakland Mayor Clifford Rishell (1949–1961)

New to the Collection: Mark Medal Engraved by John Bower

Mark Medal Made for Conrad Poshardt, 1812. John Bower, Philadelphia, Pennsylvania. Special Acquisitions Fund, 2022.068.3. Photo courtesy of Stack's Bowers Galleries, Inc.

Recently the Scottish Rite Masonic Museum & Library added an intriguing mark medal from Pennsylvania to its collection. Along with the name of its owner, Conrad Poshardt, this keystone-shaped badge is inscribed with the name of the craftsman who engraved it, John Bower.

In April 1810 Bower advertised his services in the Democratic Press of Philadelphia, noting that he undertook his business as an engraver “in all its various branches, with neatness and dispatch” at “No. 80 North Fourth, near Race street.” A few months later, in November, he informed the paper’s readers that he had changed the location of his business with this announcement: “John Bower, engraver, has removed to No. 1, Sterling Alley, where the above business is carried on….” Sterling Alley was just a block or so from his previous address. City directories list John Bower as an engraver at these and other addresses in the same neighborhood from 1810 through 1819. In 1810 census takers recorded a Philadelphia resident named John Bower working as an engraver with a family of 3 at two locations in August and again in October, likely reflecting Bower’s change of address during the year.

In the 1830s critic William Dunlap noted that John Bower “made plates of inferior execution in Philadelphia about 1810.” Dunlap’s tepid assessment of his skills notwithstanding, Bower worked a number of projects. Examples of Bower’s work that have survived to this day include illustrations for several books, prints, a trade card for his neighbor, a plaque for a lockable chest, and this mark medal (at left) made for Conrad Poshardt, a member of Herman’s Lodge No. 125.

Bower signed Poshardt’s mark medal “Br. J. Bower, Sculp.” on the side of the jewel decorated with an arch (below). In adding “Br.,” an abbreviation of the word brother, to his signature on this medal, Bower identified himself as a Freemason. Membership records at the Grand Lodge of Pennsylvania note that a man named John Bower took his degrees at Lodge No. 72 in Philadelphia in the first half of 1811. He withdrew from the lodge in the fall. The lodge readmitted Bower as a Master Mason in 1814. Bower’s profession is not noted in the Grand Lodge records, but the J. Bower who signed this medal is a strong candidate for being the man who belonged to Lodge No. 72.

The medal that Bower created for Conrad Poshardt is in the keystone shape favored by many Pennsylvania Mark Masons in the early 1800s.

Mark Medal Made for Conrad Poshardt, 1812. John Bower, Philadelphia, Pennsylvania. Special Acquisitions Fund, 2022.068.3. Photo courtesy of Stack's Bowers Galleries, Inc.

You can see another example here; a mark medal made for Samuel A. Van Deursen in 1812. In addition to the owner’s name and Poshardt’s personally chosen mark—a group of seven Masonic symbols contained within the letters HTWSSTKS--Bower engraved the name of the owner’s lodge—Herman’s Lodge N[o]. 125—and a date expressed as "Feby 5812", indicating February 1812, on this medal. Two years before, in 1810, a group of Freemasons, who described themselves “all Germans by Birth” who did “not possess a perfect knowledge of the English Language” petitioned the Grand Lodge of Pennsylvania to form “a Lodge whose Labours are carried on in the German Language.” The Grand Lodge granted this request and issued a warrant for Lodge No. 125, called Herman’s Lodge. As the petitioners had planned, this lodge undertook its business and ritual in German. Hopefully further research will uncover more about Conrad Poshardt, his lodge, and other work undertaken by his brother Freemason, engraver John Bower.

References:

William Dunlap, A History of the Rise and Progress of the Arts of Design in the United States, vol. 3 (Boston: C. E. Goodspeed, 1918), 284.

Mantle Fielding, American Engravers Upon Copper and Steel (Philadelphia, 1917), 70-71.

Reprint of the Minutes of the Grand Lodge of Free and Accepted Masons of Pennsylvania, vol. II 1801-1810, vol. III 1811-1816 (Philadelphia: The Grand Lodge, 1897), 497-498, 13.

 

Many thanks to Cathy Giaimo of The Masonic Library and Museum of Pennsylvania.