Former Masonic Hall Meeting House in Saint Louis
Lambskin Temple, St. Louis Missouri
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- Missouri
- Meeting Hall

When constructed in 1927, the building was in the vanguard of the new Modernistic architecture, just then beginning to appear in the Midwest, and later to be more fully developed in high rise and commercial buildings in major St. Louis business districts. Designed by St. Louis architect Edward F. Nolte, the Lambskin Temple is a monumental three-story brick structure; the massive planes of its facade are overlaid with a flat geometric pattern of varied materials. The abstract quality of its ornamentation serves to emphasize the synthetic and graphic qualities of its design. The Lambskin Temple was the first fraternal building in St. Louis, and one of the first in the country, which relinquished historical references in favor of the new modernism. The Lambskin Temple is a master work of its designer, Edward F. Nolte, architect of many important residential and commercial structures throughout St. Louis and its environs during the first half of the twentieth century.
The Order of Ancient, Free and Accepted Masons is the largest and oldest fraternal organization in existence. Its origins are obscure, though it is thought that it is descended from the craftsman guilds of the Middle Ages. Authentic records of the society go back over two hundred and fifty years. Masonic organizations in America were created as early as 1717. The first Missouri lodge was begun in 1807 in Ste. Genevieve, and the first St. Louis group in 1821, although an earlier short-lived attempt had been made in 1816, of which Meriwether Lewis was a founder. It met on the second floor of a commercial building at 213-15 Elm Street. The Grand Lodge of Missouri, central governing body for the state, met there as well. On May 11th, 1872, twelve Masons organized the first Masonic lodge on St. Louis's south side. The first hall for the new society was a school house located at Sarpy and Hawke Avenues. In July of that year, the Grand Lodge of Missouri granted a letter of dispensation to "Lambskin Lodge" and in October, it was formally chartered as Lambskin Lodge No. 460, with a total membership of 115. The Lodge took its name from the white lambskin or leather apron, which is the insignia of every Master Mason.
By 1913, the Lodge had nearly 800 members and a larger, more impressive building was required. That year the membership formed a building fund and issued stock, but the advent of World War I postponed any action. The building fund was reactivated in 1921, and property acquired on the present site. A building committee was formed, consisting of seven member masons of "suitable qualifications and experience." Edward F. Nolte was selected as architect and, a usual practice in Masonic building, without the rigors of a design competition. The cornerstone of the building was laid on April 9th, 1927 by Grand Master of Masons of Missouri, John Pickard of the University of Missouri. Dedication of the Lambskin Temple took place on December 1st, 1927, and was attended by an audience of nearly 1,000.
By 1984, a dwindling membership, a deteriorating neighborhood fabric, and the isolation occasioned by the construction of Interstate 40 at the Lambskin's front door forced the membership to sell the Temple and lease quarters from another lodge. The Lambskin Temple's current location has contributed to its unusual design character being overlooked and nearly forgotten. However, with the Rankin neighborhood currently undergoing revitalization, the Temple will be the focus of residential rehabilitation as the major architectural element in the area.
Building Description
The Lambskin Temple, 1054 South Kings highway, St. Louis, Missouri, has served since its construction in 1927 as the Masonic home for Lambskin Lodge No. 460, A.F. and A.M. The design of the building remains intact from this date and features three stories, a rectangular plan, a steel frame and concrete roof support system and twelve-inch common bond brick cladding. The setting for this large building contrasts sharply with the residential nature of the adjacent neighborhood; this quality sets the building apart from its surroundings, which it dominates, and lends it a distinctly monumental quality. The materials and workmanship exhibited on the building, including polychromatic brick, marble and stone detail, low relief ornamentation, vertically stripped window bays and spandrels, tall narrow windows, and a projecting center bay flanked by pilasters create a verticality that intentionally counteracts the building's massive block appearance. The building references a stylistic affinity to the Art Deco, or Modernistic tradition, and evidenced, in its tightly-controlled two dimensionality, the articulate and decorative skills of its designer, noted St. Louis architect, Edward F. Nolte. The physical characteristics of the building embody significant and associative qualities connected with the diffusion of Modern architecture into the St. Louis cityscape during the first quarter of the 20th century.
The western (primary) elevation is a stepped facade with heavy stone coping delineating the parapet of its flat roof. A polychromatic effect is achieved through the use of various types of brick, marble and stone detailing; textural contrast is created through a variety of decorative brickwork. Dominating the facade is the central bay which projects in steps from the plane of the main block, and contains the primary entrance to the building, an arrangement of three double leaf glass-paneled doors. The entry is further highlighted by an expanse of marble veneer, and is crowned by a projecting brick cornice with dentiled frieze. The cornice supports a row of glazed brick pilasters with stylized bases and capitals of marble interspersed with fenestration and decorative panels. Access to the primary entrance is gained from a stone stairway with stone-capped brick railing.
Ornamentation on the building is confined to the primary elevation, the only facade visible from the street. Secondary and rear facades are virtually unarticulated except for an irregular fenestration pattern. The Temple front is carefully and strictly decorated; its polychromy, the studied emphasis on geometric forms, hard-edged, low-relief ornament - concentrated particularly around door openings - and vertical strips of windows and spandrels all point to the Temple's stylistic affinity to the Art Deco or Modernistic tradition.
Fenestration on the primary facade is of a single type: a deeply-set, casement window of leaded glass. Windows are arranged in strips, with spandrels composed of vertically-laid stretchers providing textural definition with the common bond treatment of the wall surface. Multi-colored terra cotta panels are set within decorative courses of brick, the largest positioned at the apex of the central bay, and containing the insignia of the Order of Ancient, Free and Accepted Masons.
Flanking bays of the primary facade are virtually identical. The bay on the south contains a secondary, double leaf entrance which provides access to a stair tower. This entrance is balanced on the northern bay by a triple window of the dominant type. Both window and door are positioned within a narrow recess, surmounted by a decorative terra cotta panel, and highlighted by stepped courses of brickwork. Windows of the second and third stories of both bays are deeply-set and joined by spandrels of vertical stretchers which carry the line of the window area up to the parapet.
Secondary facades are unornamented; parapet walls are edged with metal coping.
A vernacular window type is prevalent on these elevations, paired or triple double hung sash set under a flat arch of headers with a brick header sill. Windows of the first story are six-over-six light; those on the second and third, one-over-one, or in a few instances, two-over-two, placed in an irregular, but basically horizontal, ribbon arrangement. The rear (east) facade displays small, fixed-light leaded glass windows and an emergency exit at the second story level.
The primary entrance to the building enters into a small lobby which is flanked by cloak and utility rooms. The first floor contains an auditorium or ballroom with a stage running the length of the eastern wall. Significant architectural details on the first floor include a decorative iron staircase and leaded glass entry door, transom and sidelights. Access to the second floor is gained via the staircase from the secondary entrance. The western portion of the floor is a configuration of offices and meeting rooms; the remainder is filled with a large assembly hall for Masonic rites with balcony seating above. Edging the balcony is a geometrically-patterned rail, flanked by plaster paneling. The third floor of the building also contains offices and utility rooms. Walls throughout are metal lath and plaster and major rooms have paneled or cove ceilings.
There have been few alterations to the Lambskin Temple since its dedication. Some of the original leaded glass windows on the primary facade have been replaced with metal jalousie windows; a few of the rooms have undergone minor renovation. At present, the building is vacant since the removal of Lambskin Lodge No. 460. The Temple has recently been acquired by a private developer who will restore the exterior of the building to its original condition. Adaptive reuse plans for the structure will convert it into several apartments while retaining all significant interior details.

Streetscape view toward northeast (1985)

Primary facade (1985)

Primary facade (1985)

View from the southeast (1985)

Primary facade (1985)

Stairway (1985)

Paneling in assembly room (1985)

Auditorium (1985)

(1985)
