Tales from a Scenic Artist and Scholar. Part 553 – The 1906 Eruption of Mount Vesuvius

Part 553: The 1906 Eruption of Mount Vesuvius

Yesterday’s post was about the White City Amusement Park near Chicago in 1906. Attractions included “The Last Days of Pompeii” and the “Chicago Fire.” It is important to keep in mind that although these two disasters were not recent, two similar ones had just occurred that year. A devastating fire raged throughout San Francisco after an earthquake, and Mount Vesuvius erupted again. They both occurred during April 1906. Disasters fascinated the public and were quickly incorporated into publications and amusements.

Image from “The Chicago Tribune,” 8 Aug 1906, page 3

While researching the San Francisco Fire, I was reminded of a gift I received years ago; it was the 1906 book – “The San Francisco Earthquake and Fire Horror, the complete Story of the Greatest American Disasters, Horrors of the Vesuvius Eruption.” Written by Charles Eugene Banks and Opie Read, there was a poignant passage in the preface: “Strike one section of the world a terrible blow and all other sections have their deepest sympathies immediately centered in that spot. It is this fact that keep’s alive man’s belief in the universal brotherhood of the race.” At few paragraphs later, the authors continue, “Following close upon the eruption of Vesuvius on the other side of world the San Francisco disaster found the country busy raising funds for the homeless Neapolitans. The Golden Gate City was involved in this work when of a sudden it became the subject of the world’s bounty.”

Mount Vesuvius erupting in 1906.

There were many from the entertainment community who dipped into their personal funds or performed at benefit concerts to send funds to those recovering from a disaster. Buffalo Bill donated $5000 to the Neapolitan relief effort. After all, he had performed in front of a smoldering Vesuvius while on his 1889 European Tour. But there were many theatre manufacturers who directly benefited from staging spectacles that depicted these devastating events.

The Volcano setting at the Scottish Rite in Salina, Kansas
The Volcano setting at the Scottish Rite in Salina, Kansas. This section was painted partially translucent to simulate lava spilling down the mountain side.
Stage machinery for the effect. The Volcano setting at the Scottish Rite in Salina, Kansas. This section was painted partially translucent to simulate lava spilling down the mountain side.

The theme of erupting volcanoes became a popular staged spectacle at Scottish Rite theaters after 1906. Instead of Mt. Vesuvius erupting, however, it was a volcano on the isle of Patmos. Patmos (Greek: Πάτμος) is an island in the Aegean Sea, the most well-known of the smaller Dodecanese islands. Patmos was known as the location where a vision was given to the disciple John in the Book of Revelation and where the book was written. The degree production relates to the breaking of the seven seals. Cataclysmic events occur and a variety of painted visions are magically revealed in transparent sections of the composition.

Scottish Rite Vision scene for the 17th degree for Fort Scott, Kansas. The stage right temple collapses and is transparent to reveal a “vision” from the Book of Revelation.
The revelation of a “vision” stage right. Scottish Rite Vision scene for the 17th degree for Fort Scott, Kansas.

This scene had the potential to be one of the most exciting degree productions on a Masonic stage. Lighting flashed, thunder rumbled, the ground trembled, and a volcano exploded. Classical buildings that were painted on a cut drop toppled as a red plume of lava spewed high in the sky. Then red rivulets streamed down the mountainside, soon spilling into a lake and turning it blood red. This scenic illusion was a new popular design option for the seventeenth degree on many Southern Jurisdiction Scottish Rite stages after 1906.

The Scottish Rite in Omaha, Nebraska
The Scottish Rite in Omaha, Nebraska
Backside of painted volcano for scenic illusion. The Scottish Rite in Omaha, Nebraska

The first time I staged the action for this setting was in Winona, Minnesota. During the evaluation, volunteers assisted in successfully presenting the collapse of two-dimenional buildings for photographic documentation. The Winona scenery was produced in 1909 by Sosman & Landis. As these drops were sold at auction, it is unlikely that Humpty Dumpty will ever be put back together again. What was really interesting about the Winona Volcano scene was the hardware. Much was formed from cut metal canisters and adapted for a specific task. Very little was pre-manufactured other than the batten holders that secured the bottom of a drop to the stage floor so it would not shift.

Batten hardware to anchor bottom of cut drop to stage floor. This prevented the scene from moving when ropes were lowered painted facades on drop to simulate collapsing classical temples.
Batten hardware to anchor bottom of cut drop to stage floor.

Previously, this seventeenth degree composition depicted ancient ruins were a series of visions were revealed to the audience. This remained the case with Northern Masonic Jurisdiction Scottish Rite scenery. It was only degree work in the Southern Jurisdiction that adopted volcanic explosion on Patmos. Sosman & Landis labeled their design either“17th degree Vision” or simply, “Volcano.”

Design from the Twin City Scenic Co., in the Performing Arts Archives at the University of Minnesota.
Design from the Twin City Scenic Co., in the Performing Arts Archives at the University of Minnesota. Notice the translucent section for the revelation of “vision” scenes placed behind the drop.

 

 

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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