Tales from a Scenic Artist and Scholar. Part 299 – Thomas G. Moses’ Float for Chicago Day at the Columbian Exposition

A photograph of activities surrounding Dedication Day for the Columbian Exposition.

There were many parades held in conjunction with the Columbian Exposition. One of the first parades accompanied the dedication ceremonies for the Columbian Exposition World’s Fair in Chicago on October 20-21, 1892. Even though the fairgrounds would not be open to the public until May 1, 1893, approximately 75,000 people participated in the event, representing a variety of groups and organizations. Some of the participants included the Independent Order of Foresters (10,000 men), Italian Democratic Club (500 men), Grecian Brotherhood Association (300 men), Patriotic Order of Sons of America (8,000 men), Chicago Turners Society (2,500 men), Croatian Benevolent Society and Polish Societies (5,000 men), Swedish and Scandinavian Societies (10,000 men), Ancient Order of Hibernians (2,000 men), Catholic Knights of America (1,000 men), and many others.

But there was anther event with a parade that surpassed this – Chicago Day.

Poster for Chicago Day at the Columbian Exposition on October 9, 1893.

Illinois Governor John P. Altgeld asked the state’s citizens to observe Chicago Day on October 9, 1893. The day marked the twenty-second anniversary Chicago’s great fire. Newspapers published Altgeld’s proclamation in its entirety. He wrote, “In the short time which has elapsed since that day the people of the city have not only rebuilt it on a scale of magnificence and grandeur which astonishes the world, but they have carried most of the burden and been moving and directing force in creating that great White City by the lake is attracting the nations of the earth to our gates. It has been decided to make October 9 Chicago day at the World’s Columbian Exposition and to hold the anniversary celebration there” (Chicago Tribune 22 Sept., 1893, page 5).

The Chicago Tribune further reported there would also be a “brilliant pageant” with elaborate floats showing the “ history of a great city from obscurity and ruin to celebrity and affluence” in the article “As Victor Over Fire, Proud Chicago Burns Living Tableaux into the Night” (10 Oct 1893, page 3).

One of the Chicago Day floats for the Night Pageant on October 9, 1893.

Thomas G. Moses recorded his working on the wagons for the Night Pageant, including the Thomas Edison float. He wrote, “I had a number of floats to do for Chicago day. I shall never forget it. We had everything ready to go when the dragon on the Edison float broke and we had to fix it, and by the time we got in line again, the crowd had got in between the floats. A howling mob of 750,000 people – everyone happy and tired, and what a time the trains had to get the mob home.” The parade was interrupted half way through, causing great chaos as the second half frantically attempted to catch up with the first half.

The Edison Float that Thomas G. Moses helped to create for the parade.

Moses was referring to the wagon designed for General Electric Company that contained over 3,500 electric lights. During February of 1892 the Edison Company had merged with General Electric. Sosman & Landis were very aware of ample opportunities provided by the ever-advancing field of lighting technology.  This was highlighted by the fact that the Western Electric Manufacturing Company was across the street from their scenic studio on Clinton Street.

The Western Electric Manufacturing Building on Clinton Street in Chicago.

They developed the electric scenic theatre at the fair and later created two electric scenic theatres for the roof top garden on top of the Masonic Temple. In 1893, Abraham “Perry” Landis was one of the three incorporators for the American Reflector & Lighting Company. His scenic studio partner Joseph S. Sosman was an investor. Sosman and Landis were deeply involved in the use of electric light for applications beyond the mere illumination of theaters. It was natural that their scenic studio would embrace the new technology and create an illuminated pageant wagon for Chicago Day. The Edison Float was a perfect opportunity.

Chicago Day was a massive event, one that the newspapers covered weeks in advance. The committees, participants and designs were presented in detail. Various groups and organizations met and presented their intended floats to the public. They were generating excitement for the big day. When evening rolled around on Chicago Day, buildings along the parade route tuned on their light, illuminated pageant wagons rolled down the streets, and fireworks completed the evening.

Newspapers reported in detail how various companies would show their support on Chicago Day as part of the build up to the event. The Chicago Tribune reported on “cordial expressions of support,” such as that from the Chicago Opera House. David Henderson, manager of the Chicago Opera-House, placed the theater’s wardrobe that was not in use at the disposal of the Chicago Day Committee. Other businesses expressed their support by decorating buildings, giving the employees a holiday, or offering employees free tickets to attend the fair if their doors remained open on October 9.

The admission numbers for the Columbian Exposition reported for Chicago Day reached 713,646 with total attendance for the day at 751,026. Chicago Day was one of four days during the duration of the World’s Fair when attendance exceeded 300,000. In 1893, Benjamin Cummins Truman wrote about the event, reporting “there were parades by military and other organizations during the day and a procession of floats and fire-works at night – the latter surpassing anything ever before attempted in the way of pyrotechnic effects” (History of the World’s Fair Being a Complete and Authentic Description of the Columbian Exposition, 1893, page 597). What an amazing event to not only attend, but also work as a scenic studio employee.

Inside of the Electrical Building at the Columbian Exposition in 1893.

To be continued…

Author: waszut_barrett@me.com

Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.

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