A Daughters of Rebekah Quilt

Temple Hill Quilt, 1924-40. Members of the Temple Hill Daughters of Rebekah. Temple Hill, Illinois. Museum Purchase, 94.007.

Continuing our celebration of the centennial of women’s suffrage in the United States, here we feature another object from the collection of the Scottish Rite Masonic Museum and Library representing women’s involvement in fraternalism: a quilt made by members of the Daughters of Rebekah in the Temple Hill, Illinois, area.

The Daughters of Rebekah is a women’s group associated with the Independent Order of Odd Fellows (I.O.O.F.). Commonly known as the Rebekahs (and officially as the International Association of Rebekah Assemblies), this group was founded in 1851, making it the first women’s auxiliary connected to any American fraternal order. Its name honors the biblical character who offered hospitality to a humble stranger. When it was established, the group’s stated objectives were to “aid in the establishment and maintenance of Homes for aged and indigent Odd Fellows and their wives… [and the] care, education, and support of orphans of deceased Odd Fellows and deceased sisters of the Rebekah degree” as well as to cultivate social relations among these groups.

The quilt shown here, possibly made as a fundraiser by Rebekahs living in the Temple Hill, Illinois, area, was pieced by hand and machine. Measuring 85 by 64 inches, it is rendered in the symbolic colors of the Rebekahs, pink and light green. Like many quilts associated with fraternal groups, this one is replete with symbols. Many of these—such as the sword and scales, open bible, and coffin and scythe—are used in both Odd Fellowship and Freemasonry. At the quilt’s lower center, under a 48-star American flag and a panel bearing the I.O.O.F. three-link chain emblem, is a pink square dedicated to symbols used by the Rebekahs. It features the four main emblems of that order: the beehive, to remind members of the sweet rewards of industry and coordinated effort; the dove, to teach them to promote “peace on earth and good will to men”; the lily, to nudge members toward purity of thought and action; and finally, the moon and seven stars, to represent order in the universe and thus in one’s duties, as well as to evoke the idea of reflecting the glory of the Supreme Being as the moon and stars reflect the sun’s light in the darkness.

This quilt was likely made between 1924 and 1940, a period when the Odd Fellows and Rebekahs enjoyed popularity. Over the prior seven or so decades, Rebekahs had flourished, counting numerous first ladies and pioneering female civic leaders among their membership. These included Arizona state representative Vernettie O. Ivy (1876-1967); Warrenton, Oregon, mayor Clara C. Munson (1861-1938); and first lady Eleanor Roosevelt (1884-1962). Possibly due in part to the increased social buttresses of the New Deal, membership in such mutual aid societies began to decline precipitously by the mid-twentieth century. Today, Rebekah lodges continue to be active in community and charitable projects, with a creed to "live peaceably, do good unto all" and obey the Golden Rule.

Do you have a question or observation related to women's involvement in fraternal groups? Let us know in the comments section below! We also invite you to join us on Facebook and check out our online exhibitions and online collections. 

References:

Lynne Adele and Bruce Lee Webb. As Above, So Below: Art of the American Fraternal Society, 1850-1930. Austin, TX: University of Texas Press, 2015.

Max Binheim, ed. Women of the West: A Series of Biographical Sketches of Living Eminent Women in the Eleven Western States of the United States of America. Los Angeles, CA: Publishers Press, 1928 edition, https://archive.org/details/womenofwestserie00binh (accessed Aug 25, 2020).

George and J.C. Herbert Emery. A Young Man's Benefit: The Independent Order of Odd Fellows and Sickness Insurance in the United States and Canada, 1860-1929. Montreal and Kingston, Canada: McGill-Queen's University Press, 1999.

Alvin J. Schmidt. Fraternal Organizations (The Greenwood Encyclopedia of American Institutions). Westport, CT: Greenwood Press, 1980.

Membership manual of the Sovereign Grand Lodge Office and Grand Lodge of Rebekah Assembly of CA, http://www.ioofmembership.org/Membership%20Manual.htm (accessed August 12, 2020).

 

Who were the Independent Odd Ladies?

Quilt, ca. 1915. Probably Massachusetts. Gift of Jean Burditt. 2016.066. Photograph by David Bohl.

Perhaps you have heard of the Independent Order of Odd Fellows or the Daughters of Rebekah, but are you familiar with the United Order of Independent Odd Ladies?

In 1845, a group of women in Boston, Massachusetts, founded the United Order of Independent Odd Ladies, a mutual aid and benefit society.  The women were interested in the laws and principles of the Independent Order of Odd Fellows but were unable to join as equals. They created their own order, six years before the Odd Fellows female auxiliary group, the Daughters of Rebekah, was formed. The Museum recently acquired a "redwork”  cotton album quilt embroidered with emblems and names related to the Independent Odd Ladies. "Redwork" describes a a quilting style with red embroidery on a white back ground, popular in the 1910s.The quilt includes over fifty lodge names from throughout the state of Massachusetts. Some of the symbols on the quilt squares, including a cross and crown, scales, a hand and heart, and sheaves of wheat, are similar to emblems in Freemasonry and the Odd Fellows. Several of the lodge names feature establishment dates and the years 1914 or 1915, helping to date the quilt to about 1915.

According to a 1922 Boston directory, the Independent Odd ladies held their annual and semi-annual meetings at the local Elks and Odd Fellows lodges in town. Officer titles and roles included Supreme Lady, Supreme Secretary, Lady Governess, and Vice Lady Governess. 

It is currently unclear when the order stopped meeting, when the lodges closed, or if the IOL spread beyond Massachusetts and New Hampshire.The IOL is mentioned in local newspaper articles and directories through the 1950s. Read our previous blog post about Independent Odd Ladies ritual guides and minute books in the Library & Archives collection.

Do you have any items or information related to this intriguing but relatively unknown group? Let us know in the comments section below.

Quilt, ca. 1915. Probably Massachusetts.Gift of Jean Burditt. 2016.066. Photograph by David Bohl.

 

Quilted Celebrations of Masonic and Fraternal Activity

The Scottish Rite Masonic Museum & Library received the Masonic quilt at left as a recent gift.  It was made in 1981 and helps us bring our fraternal quilt collection closer to the present, allowing us to compare and contrast this quilt with others from the 1800s and early 1900s (see these previous blog posts!).  Anyone who quilted or sewed during the late 1970s and early 1980s may recognize some of the fabrics if you look at them closely.  We loved the story that the donor told about this quilt's history.  His aunt, a lieutenant commander and nurse in the U.S. Navy, made this bed covering for him on the occasion of his installation as Master of Crescent Lodge in Pittsfield, Massachusetts, for the second time.  Edith Bowen, the quilt's maker, bought a book about Masonic symbols here at the Scottish Rite Masonic Museum & Library to help her design the quilt, which includes appliqued squares and compasses, cornucopias, a lyre and other recognizable symbols.

Shortly after we received this Masonic quilt, we were also given the fraternal quilt at right.  Made in 1989, it shows the symbol of the Pythian Sisters, a female auxiliary of the Knights of Pythias (for more on this group, see our posts), which was formed after the Civil War.  This quilt was a gift, honoring the accomplishments and volunteer efforts of one Pythian Sisters member, on the occasion of the group's centennial.

Have you made any Masonic or fraternal quilts?  Have you received one?  If so, we'd love to hear about it in a comment below.

Masonic quilt, 1981, Edith M. Bowen, United States.  Gift of Stephen J. Twining, 2011.059.  Photograph by David Bohl.

Pythian Sisters quilt, 1989, unidentified maker, United States.  Gift of the Estate of Geraldine M. Worley, 2011.066.4.  Photograph by David Bohl.

 

Brave the Snow to See our Cozy Masonic Quilts!

Here in New England, it’s the time of year when nothing seems more cozy than curling up in a warm quilt. There is no better time to visit our exhibition, “Threads of Brotherhood: Masonic Quilts and Textiles.” The exhibit is on view through March 23, 2013, so make plans now to see it before it closes. The Scottish Rite Masonic Museum & Library is open Wednesday through Saturday, 10 a.m. to 4:30 p.m., with free admission and free parking.

Among the needlework on view is this quilt from about 1860, which is one of my personal favorites. I have always been drawn to its graphic nature. Unfortunately, it has rarely been exhibited because the red fabric was disintegrating and hanging it in the gallery would have caused more damage. Fortunately, we were able to perform some conservation work on the quilt to better preserve it and to finally show it off. You can see a “before” image below to the right.  As you can see, the blocks along the left-hand side of the quilt suffered the most disintegration. 

This appliqué quilt is comprised of sixteen blocks showing the most common Masonic symbol – the square and compasses, signifying reason and faith. Freemasonry grew out of medieval stonemason trade guilds in England and Scotland, eventually becoming a fraternal society for men encouraging sound moral and social virtues. Freemasonry’s tenets are taught through a series of ritualized lessons using symbols to remind the initiates of important principles. Each block also shows the letter G, which stood for geometry, God, or both. At the corners of each block are four important Masonic symbols: a level symbolizing equality; a plumb signifying uprightness; a gavel reminding Masons to divest the heart of vice; and a trowel that spreads the cement that unites Freemasons in brotherly love.

To get it ready for the exhibition, we worked with textile conservator Marie Schlag from The Studio for Textile Conservation in Scituate, Massachusetts. She painstakingly stabilized 35 different areas of the quilt with polyester organza.  The organza helps to reduce further disintegration and covers the areas where the foundation fabric is showing through.  This treatment allows the quilt’s red and green graphic pattern to come to the front once again. In this detail at left, you can see the muting effect of the organza where the red fabric has been lost. We are very pleased to be able to share this quilt in its newly improved condition with our visitors and look forward to caring for it for years to come.

Masonic Quilt, ca. 1860, American, Museum purchase, 95.043.11. Before photograph by David Bohl.

Rethinking Zoeth Knowles

A sharp-eyed and knowledgeable blog reader recently got in touch with us to suggest that a previous post about a Civil War era photograph in our collection was due for re-examination.

Based on the information provided to the museum by the Cloues family, who donated the photograph in 1996, staff had identified the subject of this and the previously posted photograph as Zoeth Knowles (b. 1843).  Research undertaken for our 2007 exhibition, “Remember Me:  Highlights from the National Heritage Museum”, told us that Boston resident Knowles served in the Civil War as a member of the Signal Corps.  A late 1800s history of this group included an interesting reminiscence that at their instruction camp in 1862, “Members were collected from all points of the compass….Those who were present at the camp will recollect the varied uniforms, Zouave and others, worn by the various members.”  The case for Zoeth Knowles as the subject of the photograph seemed strong, until a new opinion came our way.

Our blog reader told us that, based on the portrait subject’s particular uniform, this soldier could not have been a member of the Signal Corps but was, in fact, part of Company K of the 19th Massachusetts Regiment of the Infantry, known as the “Boston Tiger Fire Zouaves.”  A history of the regiment noted that members of this company wore light blue baggy trousers, dark blue jackets with buttons and dark blue fez caps.  This may be the uniform depicted in the photographs.

These photographs came to the museum with a quilt made for Mary Eliza Knowles (b. ca. 1844) in recognition for her service as president of the Massachusetts Women’s Relief Corps.  The Women's Relief Corps was an auxiliary of the Grand Army of the Republic, an organization for Union veterans of the Civil War.  It also carved out its own areas of interest and action. In the 1890s the WRC promoted "patriotic instruction for our public schools" and the related project of displaying flags in schools and other public places. Each of the 64 blocks in this quilt bears the identification number of a Women's Relief Corps' local chapter and, in some cases, the chapter's name and location.

Mary Eliza Knowles married former Signal Corp member and cabinetmaker Zoeth Knowles in 1866.  Prompted by our reader’s suggestion, I looked into the connections between the Knowles and Cloues families.  Soon, a feasible explanation for the donors’  probably incorrect identification of Zoeth Knowles as the subject of the photograph emerged.  In making the gift of the quilt and photographs to the museum, the donor related that Mary Eliza Knowles was her great aunt (she was actually her great-great aunt). As generations passed, it appears the Cloues family lost sight of which uncle the images that accompanied the quilt portrayed.  Both the husband and the brother of the quilt-recipient served in the Civil War, so it would be easy to mistake one for the other!  Like his brother-in-law, Mary Knowles’ brother, Theodore Cloues (ca. 1832-1919), fought in the Civil War.  He served in Company K of the 19th Massachusetts Regiment of the Infantry--the “Boston Tiger Fire Zouaves.” Before the war and after he earned his living as a sail maker in the Boston area.  Based on the question and information posed by our reader, Theodore Cloues is likely the subject of this photograph and the other view posted earlier. 

Regardless of this mix-up, we are grateful to the Cloues family's gift to the museum as well as to our knowledgeable blog readers.  Please keep your comments coming!

References:

J. Willard Brown, The Signal Corps, U. S. A. in the War of the Rebellion, Boston, Massachusetts:  U. S. Veteran Signal Corps Association, 1896, pages 59 and 812.

Ernest Linden Wiatt, History of the Nineteenth Regiment Massachusetts Volunteer Infantry, 1861-1865, Salem, Massachusetts: The Salem Press, 1906, pages 2-3.

Photo credits:

Theodore Cloues, ca. 1864. Unidentified Photographer, Probably Boston. Gift of the Cloues Family, 96.045.3.  Photograph by David Bohl.

Quilt, 1890-1891. Various Makers, Massachusetts.  Gift of the Cloues Family, 96.045.1.  Photograph by David Bohl.

 

Related articles

A Crazy Quilt

A Crazy Quilt

As an amateur scholar of historic textiles and museum intern, I was excited when asked to assist the Scottish Rite Masonic Museum’s Collections Manager with transferring rolled textiles to a new, customized storage rack. During the process I was introduced to crazy quilts. Their heavily stylized designs struck me as modern and innovative for their time period. Crazy quilts became popular in the United States during the last quarter of the nineteenth century (1875-1900). Bright colors and embroidered motifs sprawling across a dark ground are characteristics of their Japanese influence. This brief glimpse at the treasures stored away inspired me to take a closer look at the textiles in the Museum’s current exhibition, “Threads of Brotherhood: Masonic Quilts and Textiles,” which includes a crazy quilt.

I asked my friend and colleague, Kate Herron Gendreau, to join me in attending a gallery talk led by Dr. Aimee Newell, the Museum’s Director of Collections (see our previous post). By trade, Kate is a handcrafted artisan specializing in embroidery and hand sewing. We share an interest in the details of female domestic roles throughout American history. When I mentioned my fascination with the crazy quilts in the Museum’s collection, I learned that Kate recently inherited the unjoined blocks of her family’s crazy quilt. I was eager to hear her opinion on the quilt in the exhibition in hopes that she might be able to enlighten me with some uncelebrated details. We never could have imagined that on the day of the gallery talk, family members of J. Bruce Spilman, who donated the crazy quilt to the Museum (in memory of his relation, Charles Hadley Spilman of Illinois, for whom the quilt was made in 1886) would be present!

The size of this quilt tells us that it was a decorative piece - at 76 inches wide and 68 3/4 inches long it is not quite large enough to be used on a bed - likely used as a sofa throw blanket or piano cover. Crazy quilts often functioned as status symbols, demonstrating that their female makers had leisure time and wealth at their disposal. Textiles made in the homes of women belonging to the working class were often simple or purely functional since daily chores and household budgets limited women's time and resources.  Unfortunately, the Spilman family members present at the gallery talk could not add to the quilt’s history, but by sifting through the notes I scribbled down while Kate swooned over “heavy hand stitching” on velvet and silk, I could see the lost story of this quilt come to life.

As Kate began rhythmically rhapsodizing about “isolated daisy chain, turkey trot and fern stitch … or maybe this is a zigzag blanket stitch,” I began to feel as if I was sitting next to the woman who created this masterpiece. While Kate explained that variegated stitching with this many color changes is something that is rarely created or appreciated today, I could envision the quilt in progress spread across the embroiderer’s lap. I was delighted to learn that many of the blocks are composed of clothing scraps. Kate identified several men’s ties and shirts as well as women’s dress and blouse material in the quilt. From these scraps we can perhaps form an impression of the personal style maintained by the household in which the quilt was made. Often quilters of this era repurposed fabric from clothing that had been stained or torn and could no longer be worn. This decorative status symbol may exhibit more frugality than we initially assume.

One feature that distinguishes this particular crazy quilt is the abundant fusion of conventional fabric and Masonic ribbons. Most of the ribbons in this quilt commemorate Knights Templar meetings in Chicago and San Francisco, dating from 1880 and 1883 (similar to the one at right from a Knights Templar meeting in 1892). Twenty-nine of the quilt’s thirty blocks include ribbons, some arranged in geometric shapes to mimic symbols used in Freemasonry. Most of the ribbons are outlined with an embroidered motif in yellowish-gold stitching that resembles the glory rays surrounding the Masonic symbol of the all-seeing eye, signifying watchfulness. As do many of the textiles in this exhibition, this crazy quilt presents a noteworthy example of the way Freemasonry has intersected popular culture throughout American history.

Masonic Quilt, ca. 1886, unidentified maker, United States, gift of J. Bruce Spilman in memory of Charles Hadley Spilman, 89.25.  Photograph by David Bohl.

Masonic Knights Templar Ribbon, 1892, unidentified maker, probably Connecticut, gift of Jacques Noel Jacobsen Jr., 89.46.138.  

 

Lecture and Gallery Talk: Women, Quilting, and the Civil War

Be sure to join us at the Museum on Saturday, October 20. We are offering two free programs about women's contributions to 19th century American public life.

At 2 pm, Pamela Weeks, Curator of the New England Quilt Museum, will present "Quilts for Civil War Soldiers: Stories from the Home Front and the Battlefield." Weeks is a quilt historian, appraiser, and artist well-known in the region for her expertise. She will share the stories behind three rare surviving Civil War quilts made by caring hands for soldiers fighting for North and South. At her talk, you can learn about the quilts, their makers, life on the home front during the war, and about how civilians organized to get desperately needed aid and supplies to the battlefield.

After the talk, Weeks will sign copies of her 2012 publication, Civil War Quilts, co-authored with Don Beld, which will be available for purchase. Weeks also curated the 2011 New England Quilt Museum exhibition "One Foot Square, Quilted & Bound." The quilts and objects she assembled for it explored a quilting method developed in New England in the nineteenth century. These "potholder quilts" were made from fabric blocks individually layered, quilted and finish-bound, and only then whip-stitched together — "one foot square, quilted and bound." Known in the pre-war period, the technique became a popular way for groups of seamstresses to work together to make quilts for injured and recuperating Civil War soldiers.

This is the final lecture in our 2012 Civil War series of programs. Look for a new Civil War series for 2013 - more information is coming soon! The series explores the history of this divisive conflict, and its meaning for our nation today. It also relates to Museum’s mission of fostering an appreciation of American history, patriotism and Freemasonry, and reflects both current research and exciting themes relevant to our world. The generous sponsorship of Ruby W. Linn permits us to offer the program in both series at no charge to the public. 

For further insights into how women used their needlework to help shape public life in 19th century America, join Director of Collections, Aimee Newell, for a 1 PM talk in the "Threads of Brotherhood: Masonic Quilts and Textiles" gallery on the same day, Saturday, October 20. See our previous blog post for more information on the talk.

For more information about visiting the Museum, call 781-861-6559 or see our website, www.nationalheritagemuseum.org.

Photo Credits:

Pamela Weeks. Courtesy of Pamela Weeks

Masonic Quilt, ca. 1860, American. Museum purchase, 95.043.11. Photograph by David Bohl.

Gallery Talks: "Threads of Brotherhood: Masonic Quilts and Textiles"

What contribution did women’s textiles make to Freemasonry’s vibrant shaping of American families and communities in the 1800s and the 1900s?

To find out, join Director of Collections Aimee E. Newell on Saturday, July 28, 2:00 p.m. in the "Threads of Brotherhood: Masonic Quilts and Textiles" exhibition. This free gallery talk will offer visitors insights into how women demonstrated knowledge of Masonic values with their needles and created lasting reminders of their skills. This new exhibition features more than 25 quilts, coverlets, needlework pictures, and hooked rugs drawn from the Museum's collection. It tells a compelling story of connected lives and shared values.

We will offer two "Threads of Brotherhood" gallery talks in the fall:

Saturday, September 15, 2:00 p.m. and Saturday, October 20, 1:00 p.m.

The October gallery talk is scheduled prior to Pamela Week's 2 p.m. lecture on Civil War quilts for soldiers.  Combined, the two programs provide an ideal opportunity to explore how women used their needlework to help shape public life in 19th century America.

Save the dates! We'll see you at the Museum!

Photo Credits:

Lady Liberty Lights the Way, 1985, Nancy M. Crasco, Massachusetts. Gift of Nancy Crasco, 2010.006.  Photograph by David Bohl.

Masonic Quilt, 1880-1920, unidentified maker, probably Ohio.  Musuem purchase, 2002.008. Photograph by David Bohl.

Threads of Brotherhood: Masonic Quilts and Textiles

Make plans now to come see our newest exhibition, "Threads of Brotherhood: Masonic Quilts and Textiles," which opens June 16, 2012, and runs through late 2012.  The exhibition includes over 25 objects from the Scottish Rite Masonic Museum & Library collection.

Textiles incorporating Masonic symbols, both home-made and commercially manufactured, have served many functions since the 1700s.  They have transmitted family memories and history, becoming cherished heirlooms.  They signified family identification with Freemasonry.  Creating these objects offered an opportunity for the maker to display their skills.  These textiles also functioned as educational tools - teaching family members about Masonic symbols and reminding Masons of the lessons they learned in the lodge.  Like the quilts used to fundraise for political or social causes, Masonic quilts and textiles were - and still are - used to raise money for Masonic projects and charities.

The quilt above employs several Masonic symbols, appliqued in red, green and gold, a popular color combination during the late 1800s.  The central motif in each block is a square and compasses symbol (representing reason and faith) with a stylized G in the middle (symbolizing God, geometry, or both).  Trowels, mauls, plumbs and levels decorate the borders.  The quilt offered its maker a way to learn about the values represented by the symbols.  It may have been a gift to a Freemason and could have reminded the recipient of Masonic lessons.

The exhibition also includes other forms of needlework, such as embroidery and rug hooking.  The needlework picture at right was stitched in Massachusetts in 1808.  Using skills learned at a local academy, the female maker copied the design of a Past Master's certificate to commemorate Benjamin Russell's (1761-1845) term as Master of Boston's Rising States Lodge.

Textiles teach us about the individuals who made and enjoyed them, but also about the place of Freemasonry in American society.  Please enjoy these "threads of brotherhood" as they tell a story of connected lives and shared values.  Visit our website for more information.  And, after you visit, come back and leave us a comment below about your favorite object!

Masonic Quilt, 1880-1920, unidentified maker, probably Ohio, Museum Purchase, 2002.008.  Photograph by David Bohl.

Needlework Picture, 1808, unidentified maker, Massachusetts, Special Acquisitions Fund, 76.33.1.  Photograph by John M. Miller.

 

A Quilted Footnote

At first glance, the quilted scraps seen at left seem rather mundane. But, if you read the handwritten note attached to them, you may start to see them in a different light. It reads “The corners cut out of Mother’s quilt she had when married May 16th 1820.” T-shaped quilts experienced great popularity in New England in the early 1800s. I speak from personal experience when I say that having those two bottom corners cut out makes it much easier to put the quilt onto a four-poster bed. (See our previous post on a T-shaped quilt in the National Heritage Museum’s collection; I’ve included the image of that quilt here to help refresh your memory.)

Have you ever wondered what happened to those cut-out corners? I’ve come across some quilts where the cutouts were well thought out in advance and the corners must have been cut and discarded (or put into the scrap basket) as the quilter worked. But, other quilts clearly show that the maker stitched the entire piece and then cut out the quilted corners before binding the quilt's edges, as these scraps demonstrate. The wholecloth fabric of the top – a red-and-white printed fruit basket design, which would have been quite fashionable in 1820 – is sandwiched with batting and a muslin backing fabric and then quilted in a scallop pattern. One edge of each piece is finished with a knife-edge binding, while the other three sides are raw.

This is the only example I’ve seen where the cut out pieces were saved and passed down through the family. Sadly, the quilt itself has been lost. A family descendant donated these pieces to the Museum in 1983. The “Mother” in the note was Hannah Morgan Russell (1799-1879), who married Stephen William Little (b. 1795) of Newbury, Massachusetts, on May 16, 1820. Stephen was a farmer. The couple had ten children, but five died in childhood and their daughter, Susan, passed away in 1859 at the young age of 29.

To see more quilts from our collection, please visit our website and do an online collection search. If you know of other cut-out corners that were saved, do tell us about them in a comment below!

Pair of Quilt Fragments, 1820, Newbury, Massachusetts, National Heritage Museum Collection, gift of Mrs. Joseph E. Belcher, 83.44.3a-b. Photograph by David Bohl.

T-Shaped Quilt with Masonic Handkerchief, ca. 1817, probably New England, National Heritage Museum Collection, Special Projects Fund, Supreme Council, 33º, Ancient Accepted Scottish Rite, Northern Masonic Jurisdiction, U.S.A., 2008.002.1. Photograph by David Bohl.

Reference: George Thomas Little, The Descendants of George Little, who came to Newbury, Massachusetts, in 1640. Auburn, Maine: The Author, 1882.