Copyright © 2021 by Wendy Waszut-Barrett
In 1923, Thomas G. Moses painted the scenery for the Scottish Rite Theatre in Binghamton, NY. He was assisted by Edward Loitz, earning $2,500 to paint forty drops for the stage. Moses and Loitz were subcontracted by New York Studios for the work.
On October 17, 1923, the “Binghamton Press and Leader” reported, “Thomas G. Moses of Chicago. Representing New York Studios, who is painting scenery, curtains and drops for the stage in the auditorium of the Masonic Temple under construction at Main and Murray streets.” On Nov. 21, 1923, the “Binghamton Press and Leader” reported, “The scenery for the auditorium was painted by the Sosman & Landis Co. of Chicago at a cost of $12,000. Much of this scenery was painted in the temple by Thomas G. Moses, scenic artist of this concern” (page 17). So why did the newspaper change from crediting associating Moses with New York Studios to Sosman & Landis over the course of a month?
Well, between Oct. 17 and Nov. 21, Moses realized that Hunt of New York studios had royally screwed him over. My guess is that Moses walked to the newspapers office and said, “When you mention my name again, make sure to add that I am representing Sosman & Landis.”
To briefly recap…Moses and Megan were in the process of purchasing the Sosman & Landis name, but could not until the company was liquidated (which would be in December). By the summer of 1923, Chicago Studios began using the Sosman & Landis address before just after negotiations with Moses stipulated that he could not use the company name until after the firm was completely. Moses’ negotiations were with Hunt of New York Studios, who was also running Sosman & Landis at the time. Chicago Studios started using the address, they sent out letters to Sosman & Landis clients announcing that they the successors to Sosman & Landis, just under a new name. Furthermore,
Moses & Megan immediately disputed the information circulated by Chicago Studios once they became aware of the deceit, sending out letters of their own and explaining that firm had not closed, just moved to a new location. On November 13, 1923, Moses and Megan sent a letter to the Scottish Rite in Salina, Kansas, writing “Dear Sir: It has recently some to our attention that a certain studio is advertising our old customers that they have bought the Sosman & Landis Company and are now operating same, combining it with their original company. We wish to assure you this is not a fact and that our original organization is intact, but our studio has been moved to better quarters.”
So, in the midst of the massive Binghamton Scottish Rite project, where Moses was painting on site for Hunt, Moses realized that Hunt had betrayed him. This is likely the reason that the second article about the scenery stated Sosman & Landis as the firm, and not New York Studios. Moses knew what Hunt was trying to do; Hunt was trying to discredit the new iteration of Sosman & Landis, the one that Moses and Megan would run. In the end, the scenery was credited to New York Studios. Moses never listed the Binghamton Scottish Rite in his resumé.
The Binghamton Scottish Rite was a massive undertaking and significant job, a credit to any studio. The Temple boasted 1,000,000 cubic feet, built at an expense of $400,000 The architects of the endeavor were Walter H. Whitlock and Charles H. Conrad of Binghamton, with the general work being done by the Mitchell Construction Co. On Nov. 21, 1923, the “Binghamton Press and Leader,” described, “Upon entering the main portal on Main street, one finds a large hall, or foyer. From this foyer one may enter the auditorium, the secretary’s rooms, a stairway and the elevator which reaches all floors. The auditorium, which is in the form of an amphitheater, occupies the greater part of the ground floor, first floor and first floor mezzanine. It has 4,700 square feet of floor space, in 28 feet in height and will seat 800 persons. It is connected with the stage by an opening 32 feet wide by 22 feet high. The stage, 1,720 square feet in area, is 30 feet deep, 57 feet wide and 58 feet high. There are 50 complete sets of scenery. At the sides of the stage, on three levels, are robing rooms representing 2,400 square feet of space” (page 17).
The fifty-seventh annual reunion of Otseningo Bodies, Ancient Accepted Scottish Rite, in the Valley of Binghamton, Northern Masonic Jurisdiction, United States of America, was held from Nov. 20-22. It was held in the new Masonic temple at Main and Murray streets. The Reunion was held in conjunction with the dedication of the new Temple.
The Scottish Rite class for the reunion was composed of 350 candidates from the six counties in the jurisdiction. Present membership at the time was approximately 1,800 members.
On Nov. 21, 1923, the “Binghamton Press and Leader” reported, “This is the largest class of the Scottish Rite in the history of Masonry in Binghamton.” The class was named the Longley-Wear class in honor of the Rt. Rev. Harry S. Longley of Des Moines, Iowa, suffragan bishop of Iowa, a former rector of Christ church in Binghamton, and D. Walker Wear, one of the most prominent Masonic in Binghamton who had a large part in the erection of the new temple.
The ceremony of consecrating the new consistory was followed by several speeches, including Bishop Langley. On Nov. 23, 1923, the “Binghamton Press and Leader” reported, “Bishop Longley told the members that those who have in the present week taken the degrees that teach the ideals of Scottish Rite Masonry must have come to realize what a tremendous force and power masonry can wield in a world crying out for leadership. These masonic ideals must sway any movement for the reconstruction of the destruction that was started nine years ago in Europe, He declared that it is becoming more and more realized that any solution of world unrest must have as a foundation the spiritual truths taught in masonry. Civilization is at stake and he urged all to do their part by standing up for their ideals and maintaining and abiding faith in the omnipotence and goodness of God.”
The structure opened to great fanfare, with numerous articles about the endeavor, announcing “Masonic Temple is in First Rank of State Fraternal Buildings” (Binghamton Press and Leader, 17 Nov 1923 page 17). Unfortunately, this was Moses’ last painting for the Northern Masonic Jurisdiction. The rest of his fraternal work would shift to solely the Scottish Rite’s Southern Jurisdiction.
To be continued…
