Yesterday, I examined the drop curtain for the Empire Theatre by Hugh Logan Reid. It was described in the article “Well-known Drop Curtain in Philadelphia Theatres” (The Philadelphia Inquirer, Dec. 18, 1894). While looking for information about Reid, I came across another project that I feel compelled to share.
Reid painted the scenery and drop curtain for the Columbia Theatre in Boston. On September 13, 1891, “The Boston Globe” described the new theater in detail. Located at 978 to 986 Washington Street, the building occupied an entire block. Of the architectural style, the article reported, “In design it follows the Moorish style. Its towers, grand in their proportions, rise far above the surrounding buildings. The front is composed of pressed brick and terra cotta, supported by cast iron columns and arches, while a second circle on the fourth floor level is surmounted with the name of the theatre in bas-relief letters. The upper portion of the lower arch is so constructed as to form a magnificent window of cathedral and stained glass. The architect has taken ‘The Alhambra,’ the perfection of Moorish art, as his ideal for the construction of the Columbia, and both exterior and interior have been worked out of the minutest detail.”
Of the drop curtain painted by Reid, the “Boston Globe” described, “It depicts the Conquest of Granada, and shows the surrender of the city by the Moors to the Spaniards in 1492. On the right of the picture is seen the Moorish generals delivering the keys of the city to King Ferdinand, who is accompanied by Queen Isabella and retinue. There are over 60 figures painted on the canvas, most of them being life size. The work is from the brush of Scenic Art H. L. Reid.” This particular description made me think of the Scottish Rite Cathedral in Santa Fe that was also based on the Alhambra, almost two decades later.
There are numerous nineteenth and twentieth century buildings in American that were inspired by the Alhambra, and were considered Moorish-revival style buildings. Many were Masonic, including various Shrine mosques with massive theaters. Another example was the Santa Fe Scottish Rite Cathedral, completed in 1912. However, the mural above the proscenium arch in Santa Fe depicts the same composition as the drop curtain painted by Reid and described above. Above the proscenium arch is a mural painted by J. G. Vysekel depicting the moment when Boabdil (Mohammad XII of Granada), the last Nasrid king of the Emrirate of Granada in Iberia surrendered the city of Granada to the Catholic monarchs. The mural was installed at the Santa Fe Scottish Rite in 1915; three years after the building opened. Vysekel was a commercial artist who worked for Mandel brothers of Chicago.The painting was almost identical to ”La Rendición de Granada” by Francisco Pradilla y Oritz from 1882.
In regard to the Columbia Theatre’s stage, “The Boston Globe,” reported, “A visit behind the curtain reveals one of the largest, best arranged and most perfectly appointed stages in the United States measuring 75 feet from the floor of the stage to the gridiron. On either side, far above the stage, are two fly galleries, used for working all the overhead rigging, such as border lights, grooves, borders, drop scenes, etc. To the left are the prompter’s quarters, which are indeed worthy of more than casual notice. The gas table for all the gas lighting in the house controls about 800 burners. The gas table is supplied with all the necessary valves and by-passes, and contains the most modern and improved appliances.
Close at hand is the electric switchboard with its elaborate and handsomely finished switches and appurtences for working the 1378 electric lights required to illuminate the theatre. The curtain or proscenium arch is 36 feet in height by 38 feet in width.
The depth of the stage is 50 feet; width from wall to wall, 71 feet; the first fly gallery is 30 feet; the second fly gallery, 71 feet; and the gridiron is 75 feet above the stage.
In fact the stage is large enough to set any production that may be desired. The trap cellar is of unusual size, with an extra pit for trick scenes. A full set of working traps, bridges, etc., are all available when required…
The curtains, drops, scenes, etc., are of the most complete character. First there is the asbestos fireproof curtain, an absolute preventative of fire communicating with the auditorium from the stage, notably so in this theatre, as at either side the curtain runs through a slot in the brick wall, and is held in place by a strong cable.
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To be continued…
