Author: waszut_barrett@me.com

Copyright © 2020 by Wendy Waszut-Barrett

Theaters closed across the country as the Spanish Flu raged through communities in 1918. Some theatre managers used the shut down as an opportunity for various renovation projects.

On October 21, 1918, the “South Bend Tribune” reported, “Many theater managers throughout the country are taking advantage of the closed period to renovate their houses. It is not necessary to do this at the La Salle for the house was just recently gone over with fresh coats of paint and with the painted cement floors, leather seats and exhaust fan ventilation it is inviting and sanitary” (page 7).

Moses’ records note a shift in the theater industry, an increased demand for fabric draperies in lieu of painted curtains.

Regardless of those who used the shut down as an opportunity for building and stage improvements, the industry was hit hard. The stream of orders for painted scenery slowed to a trickle in many shops. In October, Thomas G. Moses wrote, “We did some work for a Mr. Lynch at Greely, Colorado, a pair of sateen curtains.” Moses was referring to Greeley’s Sterling Theater. This was an extremely small order but was better than nothing. No longer at Sosman & Landis, Moses’ work for New York Studios was dwindling. Moses was currently painting at the  20^th Street Studio, a month-to month rental He recorded, “It is pretty cold there but we can manage to keep going.”

The “Des Moines Tribune” reported, “Theaters Hardest Hit By Quarantine” (October 10, 1918, page 1). The article continued, “Aside from those who actually have the Spanish influenza, theatrical folks are hardest hit by this epidemic.

“Ordering all theaters closed means that practically all managers and employees are left without employment and without wages. Several members of the Princess players will go to their homes for two weeks’ vacation. A few of them will remain in Des Moines without salaries indefinitely.

“Orpheum circuit players will remain in the city for the rest of the week and then go on their regular tour. If they are billed for a city which is under quarantine, they will rest during the engagement.

“Most of the Orpheum actors have private arrangements for their expense money to go on automatically. Salaries in local theaters stop when the theaters close.

“Harold Cavanaugh, manager of the Berchel, said he had cancelled all engagements for the next two weeks and tentatively cancelled several beyond that time.

“The cast of ‘Miss Springtime,’ which played here Wednesday night and was scheduled for Thursday, leaves this afternoon for northern Iowa cities. The company will continue the tour.

“The Behman burlesque show, which was at the Berchel earlier in the week, left today for Omaha. That city is now under quarantine, but the quarantine is expected to be lifted early next week.

“Moving picture houses have necessarily cancelled all picture contracts.

“Building rent because the theaters are closed by government order will possibly not have to be paid. A decision upon this point will be arrived at today.” It was this last sentence that really caught my attention.

The shutdown of theaters varied from region to region, but in Phoenix, Arizona, it was nine weeks. On Dec. 6, the “Arizona Republic” announced that Phoenix theaters were again opening after being “dark” for 9 weeks (6 Dec. 1918, page 10). The article reported, “The theater managers yesterday all expressed themselves as positive that from the opening of the theaters Sunday for weeks to come they will do unusual large business. In other cities where the theaters were closed on account of Spanish influenza the theaters when they re-opened did such a business that every seat was filled at every performance for weeks, according to advices from theatrical managers in these cities.”

We can only hope.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1918. Thomas G. Moses wrote, “Went to Detroit to see Ingersoll about a lot of work he wants done.”  Moses was referring to Manager Frederick Ingersoll, manager of Detroit’s Coliseum of amusement and many other entertainment venues.

Fred Ingersoll (1876 – 1927) was an American inventor, designer, builder and entrepreneur, credited as “the father of the American roller coaster, responsible for more ups and downs in American merrymaking than any other man” (“Des Moines Register” 24 October 1927, the page 1). Starting out as a designer, Ingersoll Construction Company initially focused on the “figure eight” coaster, scenic railways and Shoot-the-Chutes.

Ingersoll also created a chain of amusement parks, and during his lifetime owned and operated 44 amusement parks. Moses first mentioned Fred Ingersoll, of Ingersoll Construction Company in 1915 when Sosman & Landis delivered painted scenery for the attractions at Pittsburgh’s and Cleveland’s Luna Parks; the first two parks in his chain. Ingersoll’s Luna parks are not to be confused with Frederick C. Thompson’s Luna Park on Coney Island. Moses also designed and delivered amusement park attractions to Thompson’s Luna Park.

On May 5, 1918, the “Detroit Free Press” announced, “Thousand’s Attend Coliseum Opening” (page 16). The accompanying article reported, “Boardwalk bigger and better than ever, is verdict. Better than ever and giving promise of maintaining its reputation as one of Detroit’s most popular places of recreation, the Boardwalk at Jefferson avenue and Belle Isle bridge, with the Coliseum of 25 amusements, opened for the season Saturday night. Responding to the announcement of the opening, thousands took advantage of the balmy spring evening and journeyed down to the breezes and take part in the hilarious fun that occupies every minute of one’s stay in the coliseum. Manager Frederick Ingersoll had taken particular pains to have everything in the best working order and to provide in all possible ways for the comfort and convenience of his patrons. The slides, the numerous ingenious contrivances that give thrills alike to those who venture upon them and onlookers, the mirth-provoking ‘theater’ and all the other stunts that have been devised to give clean, healthful pleasure alike to men, women and children were in full blast. Several new fun devices have been installed in the coliseum in addition to those of past seasons. The boardwalk will be open every evening and all-day Sundays, beginning today. Its variety of amusement, the modest price of admission, which entitles one to enjoy all the features, and its easy accessibility to all parts of the city and to Belle Isle bid fair to render of the mecca of merrymakers throughout the summer.” Ingersoll’s Coliseum of Amusements was located on Jefferson Avenue and was under the management of C. S. Rose.

I have written quite a bit about Moses’ work for Ingersoll in past posts. In 1915, Moses recorded, “A short trip to Detroit to see Fred Ingersoll.  Closed a picture set for $1,500.00. He had a fine theatre.” Again, Ingersoll was the manager of Detroit’s Coliseum Theatre, a 450-seat venue at 4321 Hamilton Street that opened in 1916. In 1920, Moses still received work for Ingersoll, writing, “A good order from Ingersoll for a lot of park work was very welcome.  I started it at once so as to be ready on him.”

Unfortunately, Ingersoll’s life came to an abrupt end in 1927.  Newspapers across the country reported that he was found dead in a concession stand at Krug Park, Omaha.  Articles reported that the doors and windows were tightly closed, and an open gas jet filled the room with its fumes. The county coroner convinced that death was self-inflicted, held no inquest and Ingersoll’s suicidal act was attributed to ill health.

In Des Moines papers, Ingersoll’s obituary remembered him as “the amusement park magnate who installed the roller coaster and other amusement devices at Ingersoll park, the vanished center of gayety once operated at Forty-eighth street and Ingersoll avenue. At that time, he was regarded as the foremost amusement park magnate in the country, with important financial interests in parks in Pittsburgh, Cleveland and Philadelphia, as well as Des Moines. At one time he operated five Luna parks in five eastern cities. Besides his interest in the Omaha amusement park, Ingersoll was associated with similar enterprises in Lincoln, Neb. and Detroit. At the time of his death, he has lived for the last eight years in Omaha. Among amusement men, Omer Kenyon of the Garrick Theater said last night; Ingersoll was regarded as the foremost amusement park promoter in the country. To Ingersoll is given credit for the discovery, long before the airplane became a more practical imitation of a bird’s flight, that American’s like the thrill of bird-like soars and dips and glidings. His inspiration led to the rapid blossoming of gaunt white roller coaster structures on the outskirts of most American cities of any size. Later he extended his idea to other thrillers, such as whirling chairs, crack-the-whip rides, and swift revolving swings, on which zestful men and women spent three or four exhilarated minutes for 10 to 15 cents.”

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1918, Thomas G. Moses wrote, “October 10^th, I was knocked down by a boy on a bicycle in Oak Park.  It was dark and I did not see the wheel.  It was thought by the doctor that I had fractured my skull.  It was a couple of months before I recovered.  Only a few days after this I was forced to go to Cleveland to look after a big Masonic order and I hope we will be able to get the contract.” He was referring to the new Masonic Temple and massive 2500-seat auditorium being planned for Cleveland.

This should have been an easy sale for Sosman & Landis, as the Cleveland Masons were a previous client. Sosman & Landis already delivered Masonic scenery to Cleveland in 1909. That temple theater was located on Superior Avenue and Sixth Street. Unfortunately, the contract for the new Cleveland Masonic Temple Theatre was awarded to Toomey & Volland. In 1918 Toomey & Volland also delivered scenery to Scottish Rite theaters in Watertown, New York and Peoria, Illinois.

Scottish Rite prospects were diminishing for Sosman & Landis by 1918. That year, they only delivered scenery to the El Paso Scottish Rite. It would be another five years before Moses listed another Scottish Rite scenery project on his resume. 1915 was the last fruitful year for Masonic scenery projects at Sosman & Landis. This was also the last year that Joseph S. Sosman was alive.  Upon Sosman’s death, there was no longer that essential Masonic connection for the Sosman & Landis studio.

There were major Masonic players at both Toomey & Volland Studio in St. Louis and John C. Becker & Bro. Chicago. Moses would not complete his Scottish Rite degrees until February 1925. He then joined the Ancient and Accepted Nobles of the Mystic Shrine in March 1925. Not being a Mason until the mid-1920s cost Moses potential work at a time when the demand for other painted scenery was declining. Whether he was working at Sosman & Landis or New York Studios, there needed to be someone intimately connected with the Fraternity to secure the work.

In regard to Cleveland in 1919, however, Moses received a contract for a Shrine scene.  In January he wrote about completing a “big Mecca scene for Cleveland.” Of the project, he commented, “I painted the top of the wall in strong sun-light and the bottom in shadow with a number of awnings and tables of fruit and water jars, which gave a touch of the true Oriental atmosphere.”

This one scene was not enough to get Moses back into Masonic scenery game. Scottish Rite work would not pick up again for him until 1923, and then it would continue in spits and spurts throughout the decade.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In honor of those that we have lost in past wars, it seems an appropriate post for today.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

On April 28, 2020, I decided to take a few hours for myself to paint. We were in the midst of “sheltering in place” and I needed to do something to make me feel truly happy. As with most people, much of my work had vanished overnight and was I was becoming increasingly depressed. As each day dragged on, there was no end in sight and I wondered if we would ever meet all of the bills. Although I write a daily blog, even that was not helping draw me out of my depression.

What became one painting, became one painting every day. All of my paintings were done in Golden liquid acrylics and ranged in size from 8″ x 10″ to 16″ x 20″.

I call them my “Quarantine Travels.” They are my daily escape from the reality of COVID-19. Each day I revisit one of the favorite locations that I have photographed over the years.

I am not done with the series, but decided to share my progress. Each day I post a final painting with process photos to my Facebook Page “Wendy Rae Waszut-Barrett.” This post is then shared to my Facebook Group “Dry Pigment.” I will periodically update this post to add new compositions.

Here is what has helps me weather the Coronavirus Storm:

I conclude the series with the painting “In the Weeds” on June 19, 2020. Some of my happiest memories of my childhood were swimming at my parents’ cabin on Lower Sylvan Lake near Pillager, Minnesota. At the time, it was one of the clearest lakes in the state, spring fed. Because of the water clarity, I could swim without goggles and look at fish and the aquatic jungle below the surface. Weeds never bothered me as they were so beautiful underwater. The sunlight that filters through water has always been magical for me.

This concludes my painting series of “Quarantine Travels.” I will still keep painting, but start a new series. While snatching a few hours each day to paint, my companions were Minnesota Public Radio Classical and Gov. Cuomo’s daily press briefing. It seemed an appropriate conclusion to my series as today signals the end to many things.

Stay safe!

I ended up starting two other series after this one. Here is the link to “Colors of Colorado” and “Mountains of Rock.”

Copyright © 2020 by Wendy Waszut-Barrett

I reach a milestone today – post 1000. When I first starting writing “Tales of a Scenic Artist and Scholar,” I never thought that it would go beyond 100 installments, and I would return to writing posts about painting techniques and materials.

Over a year ago I explained the reason why I write daily about the life and times of Thomas G. Moses. I am reposting it today.

Part 600: Why Do I Write?”

There is so much more information to discover online than a decade ago. I can quickly scan thousands of newspapers with keyword searches, gathering information about a late-nineteenth century scenery installations and Scottish Rite degree productions. My trips to the rare books room are almost non-existent, as I am able to access a ridiculous amount of information in a relatively short period of time. While preparing for my posts, I dig through old photos, slides and research files from my predecessors, digital collections, online archives, historical newspapers, and other public databases. It takes time though.

Why do I take time every day to blog about the life and times of Thomas G. Moses? I made a commitment to myself in September 2016 to share my discoveries, while providing me with both incentive and inspiration to continue.  When my position as Curatorial Director at the Minnesota Masonic Heritage Center was eliminated, I encountered a unique form of character assassination. It was an extremely difficult time as I went through the varying stages of grief. Much of the passion that I had for Minnesota Masonry simply died, and I had to shift my focus elsewhere.

In the middle of a particularly low point, I made a decision about my future. I decided to take the high road, ignore the continued attacks, and make a positive contribution.  I decided to share all of the information that I had gathered over the years in a public forum, one that would benefit both theatre and fraternal communities; to increase the awareness of historic scenery as cultural artifact; to change the perception of historic scenery from old stage backings to large-scale artworks created by nationally recognized artists; and to broadcast the need for proper handling and preservation of extant scenery collections. I decided to start writing – a lot.

Writing one or two pages for a daily blog makes me re-evaluate preconceived notions and accepted theories, ranging from painting techniques to basic theater history.  I try to catch things that I may have missed in the past. Hopefully, my journey will never be about being right, but about getting it right. I also gather more information than I need, as I never know if a historic scenery collection will still be hanging upon my return. Scenery and stage machinery hold telltale signs for the common practices associated with early-twentieth century scenic studios and artists. Each scenic studio had something akin to a signature. They all had a specific way of doing things, whether in the sewing room, carpentry shop, paint studio, or during an installation.  The width of cotton sheeting, the direction of seams on a backdrop, the shape of a wooden batten, the type of stage hardware, the color used to ink a composition, and the preferred fabric manufacturer are only a few examples.

It may be the next generation who pieces together my research; a primary reason that I am digitizing and posting as much as possible. Ideally, some artist, historian or scholar may be able to see the connections that I cannot at this time. I may simply be planting seeds for those that come after me. If I am able to help another along the way, that would be the best feeling of all, because then I become part of something much bigger than myself.

Theses posts and many others appear on my FaceBook Group “Dry Pigment.” Here is the link: https://www.facebook.com/groups/1281238915233859/

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In the life and times of Thomas G. Moses, it’s September of 1918. Moses is now working for New York Studios, having resigned as president of Sosman & Landis on September 1, 1918. On October 10, he will be injured when a boy riding a bicycle accidentally knocks him down in the street. Of this incident, he wrote, “October 10^th, I was knocked down by a boy on a bicycle in Oak Park.  It was dark and I did not see the wheel.  It was thought by the doctor that I had fractured my skull.  It was a couple of months before I recovered.  Only a few days after this I was forced to go to Cleveland to look after a big Masonic order and I hope we will be able to get the contract.”

Keep in mind that this is all in the midst of 1918 Spanish Flu pandemic. The first wave of the Spanish Flu hit that spring and the second wave was already in play fall. The second wave would become recognized as the one with the worst death toll. By the end of December 1918, there was the reopening of schools, theaters, churches and business, believing that the worst behind them. A third wave hit during the spring of 1919, a full year after the first wave.

Early in October, the “Chicago Tribune” published illustrations on how to make a “germ screen,” a mask (6 Oct. 1918, page 17). Next to the instructions was another article entitled, “Influenza Cases Here Estimated 40,000 to 60,000. Majority Declared Light Attacks; No Cause for Alarm” (page 17). The article continued, “Anxious to avoid unduly alarming the public, the officials hesitate to make the big figures known generally, but they did so in order to impress upon every individual the necessity of his protecting himself against infection. As a whole the public is said to have headed the warnings issued, but thousands of Chicagoans, it was said, are still exposing themselves carelessly.” Six days later, the “Rock Island Argus” announced “Begin Manufacture of Face Masks for Rock Islanders to Wear as Preventative Measure” (12 Oct. 1918 page 12).

By Dec. 1, 1918, the “Decatur Daily Review” reported, “Flu Death Toll in Illinois 22,566.” The article continued, “Springfield, Ill., Nov. 20 – Spanish influenza during the recent episode took a death toll of 22,566 in Illinois, according to figures announced today by Dr. C. St. Clair Drake, director of the state department of health. The disease is still prevalent in southern Illinois, and Dr. Drake estimates that the number of fatalities due to it will reach 25,000 by January 1. A total of 350,000 cases of the disease have been reported to the health department. This is only about one-fourth of the number believed to have existed in the state. The death rate was given by Dr. Drake as about 2 per cent of the cases.”

Moses does not make any mention of the Spanish Flu at all. In perspective, he only mentions WWI starting and ending, so his diary entries are not really a barometer to indicate historical significance of worldwide events. Overall, Moses’ memoirs don’t really highlight, or describe in detail, many things beyond theatrical projects and personalities. After all, his memoirs were to be published as “Sixty Years Behind the Curtain Line.”

We here about the constant comparison between the Spanish flu and COVID-19.  For many, this is such a distant event that one might as well compare it to the Black Death.  For my family it is a little more relevant. My grandmother was 25 years old when she survived the Spanish Flu; it was the year before she married my grandfather. This may have been why I was raised in a household where you stayed home when you were sick, taking caution to not infect others. I grew up making sure that I would not spread germs, especially around young kids and the elderly, almost to an extreme. It made sense to me even as a young kid; sometimes you alter your activities for the betterment of others – no big deal. It makes me think of those who now explain that they don’t wear a mask for themselves, but for others. In my opinion individual rites does not mean that you get to endanger others.

There are a lot of similarities between how people acted then and now, those who care and those who justify their actions of non-compliance.  Masks were recommended and public activities restricted. Certain people rebelled, citing individual liberties and freedoms. I often think that these are not people who have lost loved ones or friends to the virus – yet.

And as far as masks go, there are two kinds: those that protect you from your environment and those that protect the environment from you.  I was astounded one year when I returned to my alma mater and found surgical masks in the place of particle masks.  It was the first time I had to explain that surgical masks do not protect the wearer; they protect the environment from the wearer.  We wanted masks that protected the worker from their environment. Again, I thought that this was common knowledge, but I was wrong. When considering the big picture about the mask debate now, the general public may not understand how masks work; after all, some theatre professionals didn’t.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In the life and times of Those G. Moses, it’s September 1918. Moses is now working for New York Studios, having resigned as president of Sosman & Landis on September 1, 1918. On October 10, he will be injured when a boy riding a bicycle accidentally knocks him down in the street.

By mid-September Moses was looking for a studio to paint in He wrote, “We got the 20^th Street Studio for a month to month rental.  It is pretty cold there but we can manage to keep going.  We made Models and received the picture set order for the Hamlin Theatre.  $1,000.00 is not much for the set.”

Chicago’s Hamlin Theatre was constructed in 1914 and located at 3826 West Madison Street, it was a 298-set venue that would close by 1929. According to cinematreasures.org, the space was later converted into an AmVets Hall (http://cinematreasures.org/theaters/45100). I have only identified a few advertisements for the movie house to date. The Hamlin Theater is a hard one to track down because over the years there were a few Hamlin Theaters that operated in Chicago during the late nineteenth and early twentieth century.

In addition to the 1914 Hamlin Theatre, there were two other Hamlin Theatres built in Chicago during 1926; one was on W. Madison and the other on W. Belmont. The one that Moses delivered the picture set to was for the one on W. Madison.

Over the past few years, the most difficult part in tracking down Moses’ theater projects is locating the correct venue. Many theaters across the country used the same name because they were part of a circuit. Think of the names like Orpheum, Lyceum, Fox, Majestic, and so on.  There were also some cities that had multiple theaters with the same name; I just don’t understand this at all. In a few cases, two theaters with the same name would open with the same name in the same year.  Why anyone ever thought this was a good idea is astounding, as it never ended well as simply confused people.

When Moses received the picture set order for the Hamlin Theatre in 1918, it was primarily a movie house.  By 1917, the Hamlin featured the same films as the Kimbark Theatre, Milford Theatre, Oakland Sq. Theatre, Lane Ct. Theatre, Ziegfeld Theatre and Halfield Theatre.

The actual project that Moses was referring to included the painted surround for a projection screen. Unlike today’s use of a simply white screen, elaborate compositions filled the area between the projection surface and the proscenium arch.  What makes this confusing, however, is the use of the term “picture set.”  In 1918, “picture set” was used to identify the painted surround manufactured by scenic studios for movie theaters. It also identified the actual settings used for films, such as the picture set for “Tarzan of the Apes.”

On Oct. 27, 1918, the “Boston Globe” also introduced a new definition for “pictures sets” (page 36).  An article reported, “There are four stages used in “Chin Chin Chow” at the Schubert Theatre – the regular stage, and three small miniature stages on rollers, which show what are known as the “picture sets” being like small scenes viewed through a window. This stage device is new and somewhat resembles the closeups of the movies, only on a bigger scale.” This last use of “picture sets” has me a little baffled. For a little context about the production, “Chu Chin Chow” was a massive spectacle set in ancient Bagdad. The show included fourteen scenes with eighteen musical numbers and a company of three hundred.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

There is one last person in the Buell Family that I have not covered yet, Horace Cyrus Buell. tHorace C. Buell was the he son of Nina Giles and Horace H. Buell.

[I was recently emailed by Mark Trainor who offered the following correction: Horace Cyrus Giles Buell’s grandfather was Cyrus Augustus Buell (1824-1904). His great grandfather was Horace Buell (1791-1837) of Troy, New York. I have no research showing Horace’s middle name was Cyrus].

Named after his great grandfather, Horace Cyrus Buell (1793-1870) of New York, he came from a theatrical family. His father was a portrait and landscape artist who also worked as a scenic artist. Buell & Son scenic studio was established in 1908, and the two painted many productions at the New Auditorium in Wichita, Kansas.

Horace C. Buell was born on April 29, 1891, in Santa Monica, California. He followed in his father’s footsteps as a scenic artist, but very little is known about him. The younger Horace remained relatively absent from print, other that a few brief mentions in Kansas newspaper; the polar opposite of his younger sister. Horace C. only appears in a 1900 US Federal Census, a 1905 Kansas state census, and a few Wichita City directories and newspaper clippings. 

In 1908 Horace C. Buell was enrolled at the Wichita School of Music, the same institution where his father Horace H Buell briefly taught art classes (Wichita Daily Eagle, 6 Sept. 1908, page 12). In 1911, Horace C. Buell was listed as a student in Wichita, Kansas, residing at 1012 Lawrence Av. This was his parents home at the time.

While looking for artworks by his father Horace H. Buell, I stumbled across one painting by Horace C. G. Buell. The “G” was for his mother’s maiden name of Giles. Like the rest of his family, he was quite an accomplished artist. Unfortunately his career was snuffed out the early age of 24. Horace Jr. died on Sept 3, 1916, in Cleveland, Ohio, and was buried at the Brooklyn Heights Cemetery there.

In 1915, Horace C. G. Buell enlisted in the New Work Guard, becoming a private in Co. F, 71st Inf. A year later he was dead, gone without any obituary or published memorial.  I have no idea what happened, but the family had already splintered the year that he passed. Mother and daughter were working as scenic artists and Rapid City, Iowa, and his father was working elsewhere.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

While looking for information about the Buell family I came across an article with both Mr. and Mrs. H. Harry Buell credited as the “Designers and Builders of Floats.”  I have previously missed this article because the newspaper credits Mr. H. “Harry” and not H. “Hervey” Buell. This is the scenic artist Horace Hervey Buell, his wife Nina Giles Buell and children Mabel and Horace C. Here is the article from the “Wichita Daily Eagle” on Oct. 12 1911.  This is simply a wonderful description of a community event and the artistic abilities of the Buell family.

“Work of Art is Electrical Street Parade.

Ten Floats Representing Historical Events, Seasons, ima and Civilization Prepared at Great Expense.

Parade Begins at 7:30 Thursday Night.

Line of March is Announced and Persons are Selected to Participate in Realistic Representations.

The Great Electrical Float parade which has been heralded far and near as the biggest conceived and built is now only a few days off, and the public is soon to be allowed to see the floats in all their glory and beauty. Months have been spent in the preparation of these floats but the tie has been well and skillfully used, and they are now completed and await only the word of the marshall of the parade to reveal their glories to the gaze of an admiring throng. Citizens of communities hundreds of miles from the Peerless Princess have signified their intention of attending the celebration of her Prophets and they will be well repaid for their trip.

There will be a slight change from the usual program and line of march. The parade will start promptly at 7:30 p. m. Thursday, October 12th, from the corner of Central and Main where it will be formed.

The parade will take its course south on Main to Lewis street, two blocks below Douglas; will double back on Main and Douglas; thence it will proceed east on Douglas to the Santa Fe tracks doubling back on Douglas to Market street, turning north on Market it will continue to First street where the parade will disband. Those having children in the parade will meet then in the second block on Market street after the conclusion of the parade.

As has been advertised so extensively, the parade will have in addition to the wonderful and unusual beauty, and educational value in their sequence, historically speaking. The first float representing the seasons covers all time, in that it represents the completed year and the completed cycle of existence, Following this, will come in detail the nine great characteristic period of human history as typified in the characteristic thought or country, or idea which dominated that period. In order that one seeing the trade may get his full value, it is suggested by committee that this article be clipped from the Eagle and taken to the parade.

The order and significance of the parade, together with a complete description of the floats and those privileged to occupy positions of hone upon them, follow. At the head of the parade will come Chief of Police, George T. Cubbon, with a pantoon [sic.] of mounted police. Following the pantoon [sic.] of policemen will be a pantoon [sic.] of cowboys from the stockyards and packing houses led my Marshall Fredericks. Following this body of Wichita Boosters, who represents one of Wichita’s greatest industries, will come the band of Oxford, Kansas, and immediately following this will be the first float, that of ‘the Seasons.’ This float is an entirely new conception of Mr, Buell, the official designer, and is one that will long be remembered. It is built in the form of a monument with four compartments in the base, representing Spring, Sumer, Fall and Winter. Those representing Spring will be Wilna Armstrong and Charles B. Payne, Harriet and Josephine Booth with be in the compartment of Summer. Raymond and Margaret Casey will represent Autumn and Elizabeth and Alfred Campbell impersonate the spirits of Winer. Surmounting these compartments will be characters representing the four seasons of human life. Anna C. Brown will represent childhood; Genevieve Saunders, Youth; Mrs. Gray and her baby will picture Motherhood; and Mrs. L. S. Carter will represent maturity of life.

Float Number 2 represents the ancient Oriental civilization, of which there were several, and all of which flourished before the Grecian era. History reveals the fact that the primal characteristics of the early days of any race was Religion, and this is portrayed in a striking manner. The Oriental idea is given by two immense pyramids, standing alone amid stretches of glittering sand. The sphinxes of Egypt and the winged bulls of Persia are the embellishments if the four corners of the floats. In a beautiful oasis in the midst of the desert appear the characters of the ancient religions. In a temple which will slowly revolve, spear Moses, represented by James Lawrence; Zoroaster by Dan Thurston; the priest of Buddha by Randall Cline; and the worshipper of Isis by Victory Mead. As an escort to this float will come the patrol of Midian Temple, under captainship of C. A. Baker, and accompanied by their inimitable band from the deserts of Arabia.

Float number 3 will take up the next era of human development and will represent the power and glory of Rome. This float has been skillfully designed and embodied a thrilling and lifelike picture if the Eternal City, as it burned in the time of Nero. The float is very gorgeous , and is one upon which the most action will take place. Nero, impersonated by Edwin Johnson, will sit high above the tumult upon his throne, enjoying the terrible sight. The Roman soldiers impenetrable in their reserve and steadfast in their discipline, will be represented by Jim Davidson, Fred Dold, Walter Innes, Theodore Johnston, Robert Campbell and Paul Johnston. Among the terrified populace, rushing in horror from the conflagration, will appear Marshall Mueller, Lloyd Taylor, Arthur Wolf, Gladys Wallace and Elizabeth Avey. A guard of Roman soldiers will be furnished by the Y.M.C.A.

Following the development of Rome, the world fell into a period of desuetude and decay. Learning in and the arts of civilization seemed to have disappeared, and savagery and superstition were rampant. The fourth float represents a scene in the forests of Germany among the old Saxon ancestors, before they assumed the habits and habiliments of civilization. Amid the forests, peopled by wild beasts of various sorts, will appear the Druids in their fire worship, before their rough stone altars. The Druids will be represented by Howard Anderson, and Nellie Hewey, Hortense Thompson and Milton Hutchinson. The Modern Woodmen of America will furnish and escort, i uniform, for this float.

Next in order is the Wichita Union band.

Float Number 5 will represent the Middle Ages and will represent a scene from King Arthur’s court. Irwin Bleckley will impersonate King Arthur and will be attended by two princes, Jack Stewart and Walter Taylor, and two guards, Neal Kirkwood and Rolle Thorpe. At the opposite end of the float will be the representation of knighthood rescuing womanhood from oppression. Orio Thorpe will be the Knight, and Ruth Mueller the fair damsel to be rescued. The dragon is pictured as a terrible creature, Harold Clark will see that the dragon does his duty.

Float Number 6 is a most beautiful allegorical representation of that period of awakening and development commonly called the Renaissance. This float of a beautiful galley, or ship. The oarsmen being represented by Gertrude McCullough, Ida Wilson, Ruth Heppe, Katherine Lewis, Genilee Gregg, Marion Dunn, Nannie Brubacher and Koa McComb. The pilot will be Gladys Warren. The spirit of the Renaissance, Katherine Stewart, while Hazel Johnson will impersonate the Herald which proclaims the coming of an enlightened age.

The seventh float will represent the landing of the Pilgrims. This float is certainly a work of art. A beautiful picture of the rugged, rock-ribbed coast, upon which are gathered a band of Pilgrims, while in the distance, in beautiful perspective rides a little bark, tempest-tossed upon the turbulent waves. the pilgrims will be Homer Hutchinson, Lawrence Rorabaugh, Grosvenor Charles, Aldrich Lasen, Robert Johnson, Marian Hutchinson, Nora Woods, Lillian Bailey, Helen Moore, Marie Gilbert, Lawrence McComb. The Indian will  be impersonated by M. W. Longnecker.

Following this float will come the Moose band of this city.

The eight float will represent  the United States, and will be one of the most beautiful and unique floats every seen anywhere. The idea of this float is ‘Zangwell’s idea of the ‘Melting to.; Columbus will be seated upon and immense throne and will be attended by four soldiers, Upon the front of the float are Liberty, Justice and Equality, represented by Helen Charles, Edith Saunders and Stella Armstrong. In the center fo the float is the Melting Pot from which arises the American flag as a result of the blending and amalgamation of all races.

The Ninth float will represent Kansas, and the spirit of the commonwealth is to be Miss Edith Gilbert, She, as queen, will be attended by her maids of honor, Anel Saunders, Francis A. Brown, Henrietta Allen, Helen Johnston, Cecil Gilbert, Dorothy Booth and Francis Williard. The center of this the float will be an immense cornucopia filled with overflowing products of the state. The best fruit in all lines has been contributed and will make a memorable show, presiding in all this display will be Pauline Ayers and Leon Cain.

The last float will of course be the climax of all ages and will represent Wichita, the Peerless Princess. The form of the float will be a monument to the greatness of the city. An immense granite monument has been built, surmounting which will be Miss Mabel Buell, representing Wichita. Upon the four wings of the base stand an Indian by the Buffalo he has killed, represented by Horace C. Buell, and the cowboy with his trappings, represented by David Jackman. These two representing the pioneers of the valley. Upon two other wings appear the mechanic and the traveling man represented by Phi Patterson and Harry Schuler. These representing two of the factors of the present financial greatness, Upon the front and rear of the float appear Bessie Applegate, May Weiss, Evelyn Rorabaugh and Helen Booth. representing Fairmount, Mr. Carmel, Friends and the High School, while Katherine and Margaret Ayres appear as pages to the queen.

In addition to these, the following gentlemen will be the marshals of the parade: J. A. Hopkins will be chief marshall of the floats, hill Messrs, Jay Gill, R. B. Campbell, Paul Wall, J. N. Chappie, R. E. Bird, C. L. DeLong, M. E. Garrison, Walter Parrott, James Crossfield and others will assist by being marshals with each float.

The committee consisting of G. M. Booth, H. W. Stanley, Lyman Woodruff and C. L. DeLong have worked tirelessly at the making a success of this parade, as of the other features of the carnival, and they feel that the result has justified the efforts put forth. They believe that no better float parade was every put on by any city. While this committee, however, has had supervision of the entire carnival, the particular task of designing building and decorating these floats has been delegated to H. Harry Buell. Mr. Buell is an artist of much ability and has in times past, as in this present instance done some exceedingly creditable work along artistic lines. Mr. Buell has been most ably assisted in the painting and decorative work by his daughter Mabel Buell and his son Horace Buell, who, seem to inherit a wonderful talent along this line. The detail work outside of the painting and construction, and of costuming has been left almost whole to Mrs. Buell, and she has made a great success of her work as Mr. Buell has at his. Wichita is to be congratulated upon having artists with the ability of the Buells.”

To be continued…