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Part 615: Theatrical Guides – Cahn-Leighton and Julius Cahn-Gus Hill

In 1911, Julius Cahn and R. Victor Leighton created the successor to the Julius Cahn’s Official Theatrical Guide. It was the Cahn-Leighton Official Theatrical Guide. The 1912-1913 season publication noted it was “the first combined effort to give the theatrical public a guide with many radical changes and new ideas.” Cahn & Leighton wrote, “the object of this guide is to assist the producer and theatre manager to reach each other in a practical business-like manner with the least trouble. Among the new features in their guide was several tables of freight rates, party fares and the mileage to next point from each point in the guide.”

It contained, “Authentic Information Regarding all Cities, Towns, and Villages wherein Theatrical Organizations may find a Theatre, Opera House or Hall to exhibit in as well as the Information pertaining to these places of Amusement, the Railroads, Express Companies, Newspapers, Billposters, Transfer Companies, Hotels, &c., throughout the United States, Canada, Mexico, Hawaii and Cuba.” The publication office was New Amsterdam Theatre Building, located at West 42^nd Street, New York, New York.

For the second publication, Cahn & Leighton wrote, “Today we are offering our patrons the best and most complete edition ever published. The past year we made a number of changes in the construction of the guide, toward the betterment of the publication and the present issue offers not alone the oldest, but most reliable publication of its kind ever printed. It is the only recognized book of reference of the theatrical profession as well as those who come in contract or do business with this class of patronage. We bespeak from our friends an appreciation of the merits of the book and a frank and friendly criticism of what they consider its faults.”

The Cahn-Leighton partnership was short lived as Cahn then partnered with Gus Hill and the guide became known as the “Julius Cahn-Gus Hill Official Theatrical Guide and Moving Picture Directory.” Times were changing and many theaters began featuring films for entertainment.

Before partnering with Cahn, Hill published his own guide. His first publication for the 1914-1915 Season was “Gus Hill’s National Theatrical Directory,” published by Hill’s National Theatrical Directory, Inc. in the Columbia Theatre Building, New York. Hill (1858-1937) was a performer turned burlesque and vaudeville entrepreneur, becoming one of the Columbia Amusement Company founders. Once a wrestler and juggler, he later became a manager and producer. One of his popular entertainments was a series of cartoon theatricals. These were musical comedies based on cartoon strips.

According to Hill, his Guide contained “The most complete list of Theatres yet compiled for the United States and Canada, arranged alphabetically according to the States and Cities in which they are located.” It promised, “condensed information as to Towns, Theatres, Billing, Hotels, Newspapers, Railroads, Express Companies, etc.” as well as:

“A complete list of Theatrical Managers, Producers and Booking Agents

A list of plays, Musical and Dramatic.

A list of the Vaudeville Theatre, Agencies, Acts and Performers.

A list of the Moving Picture Houses and Film Exchanges.

A list of Representative Attorneys qualified to handle theatrical business.”

Hill’s book included something new – “The Reporting System.” The publication noted, “In conjunction with this Directory, the publishers will establish a Reporting System, which is intended to be to the theatrical business what Dunn and Bradstreet are to the commercial world.”

From Julius Cahn’s premier issue in 1896 to the Julius Cahn-Gus Hill Theatrical Guide and Moving Picture Directory, one can explore a shift within the entertainment industry. There is an amazing amount of information waiting for someone to see how quickly the popularity of “Moving Pictures” swept the country. Many of the theatrical guides are available as free downloads. What makes this wonderful is that one can complete keyword searches and quickly access information.

 

To be continued…

Part 614: Theatrical Guides – Julius Cahn

While looking for information about the theatre architect J. M. Wood’s first theatre deign in Cedar Rapids, Iowa, I came across a new theatre guide published in the 1880s. This was the fifth late-nineteenth-century theatrical guide that I have encountered over the past five years.

In 2014 I was sitting at Anoka-Ramsey Community College waiting for my daughter to finish her SAT testing. While connected to the college’s guest Wi-Fi, I was searching for information about Sosman & Landis installations. After clicking several newspaper article links, I came across an interesting pdf for an entire book with multiple mentions of Sosman & Landis- “Julius Cahn’s Official Theatrical Guide Containing Information of the Leading Theatres and Attractions in America.”

It was the fifth edition for the 1901-1902 theatre season. Sosman & Landis were listed as the scenic artists for several venues across the country, and I began scanning the publication for the mention of other studios and scenic artists. As I examined each entry, I was flabbergasted to see the technical information for a variety of venues, ranging from small town theaters and opera houses to massive metropolitan theaters. Stage measurements included more than I could take in at first glance – the proscenium opening, width of the stage area, depth of the stage, distance between side walls, the distance from the footlights to the curtain line, height to the rigging loft, number of grooves (and if they could be removed), distance between fly girders, depth under the stage, number of traps, number of sets, and if there was a scene room.

There was also information about the illumination, seating capacity, standard ticket pricing, names of managers, stage carpenters, scenic artists, electricians, orchestra leaders, attorneys, and many other professionals or service providers. And there was more…local hotels, newspapers, program publishers, who provided bill posters, recommended railways, transfer companies, and marketing information. The guide included transportation maps, timetables, recognized holidays, populations and drawing communities. There were advertisements for a variety of theatrical manufacturers, professionals, performers, touring companies, opera houses, theaters, music academies, auditoriums, decorators, architects, lighting suppliers, theatrical lumber companies, costume suppliers, tailors, theatrical fire insurance companies, wig makers, theatrical flower decorating companies, theatrical companies, scenic studios, scenic artists, hotels, railroads, transfer companies, and a variety of other business, too numerous to list. All told, there were 148 advertisers in the first 1896 publication, complete with pictures of painted scenery!

 

There is an amazing wealth of information pertaining to our theatre heritage, painting a very clear picture of the intricate network of performance venues for touring companies in the United States, Canada, Mexico, and Cuba. The first publication by Julius Cahn came out for the 1896 season. He registered a copyright in 1895. In his first theatrical guide, the “Greeting,” Chan stated his desire to present “those associated in a general way with the theatrical business… a compendium of information more thorough in its general details and more accurate in its various topics than any work of the kind that has ever before been issued.”

There were other theatrical guides that predated Cahn’s – Harry Miner’s, W. H. Donaldson’s, and Jno. B. Jeffery’s. Each provides a unique snapshot of theatrical activity in North America, from small rural towns to large metropolitan areas from the 1880s to the 1920s. This is a HUGE resource for theatre historians, technicians, and historic theatre owners.

The entries about scenic artists, however, can be a little confusing as the individual listed for a the theater could mean two things. It may suggest the individual or studio responsible for the stock scenery when the theater was built, or it could also pertain to the current artist responsible for scene painting at the venue. There is no clarification, and in some cases, it could mean both, if the scenic artist created the stock scenery for the venue and also worked on site to add new pieces for touring shows.

The publication office for “Julius Cahn’s Official Theatrical Guide” was located in New York’s Empire Theatre Building. The Guide’s greeting stated, “Mr. Cahn’s long and active experience in the theatrical business as the Manager of Charles Frohman’s Booking Department, impressed upon him the need of a complete and official Theatrical Guide that would give the managers of theatres throughout the country, the managers of traveling attractions, and other closely interested in their affairs, a complete and exhaustive volume pertaining to the various branches of the business, arranged in a concise and clear manner, so as to make it both valuable and available as a book reference.”

So who was Cahn? He the manager of the Charles Frohman’s Booking Department at the Empire Theatre. Advertisements reported, “Representing all the leading Theatre in America, and always on tour from 20 to 30 of the Leading Attractions of America and England.” In 1896, the same year that Cahn’s first theatrical guide came out, Charles Frohman (1856-1915) co-founded the Theatrical Syndicate with Al Hayman, A. L. Erlanger, Marc Klaw, Samuel F. Nirdlinger, and Frederick Zimmerman, all theatrical managers and/or booking agents. The Syndicate was an organization that controlled the booking of the top theatrical attractions in the United States. The six founders had great influence over theatre throughout the country. Frohman’s chain of theaters crossed the entire country. Frohman and Hayman owned theaters in New York and the surrounding areas. Klaw and Erlanger were booking agents for the majority of major theaters in the southern United States, Nirdlinger and Zimmerman controlled most of the theaters in the Ohio region. In order for the Syndicate to succeed, it needed to form a monopoly, and the six men’s theaters were organized into a national chain. You may understand how Julius Cahn’s Theatrical Guide would have greatly benefited the Theatrical Syndicate, as it was controlled by the head of Frohman’s booking department.

 

The first issue admitted to “errors,” explaining “Sources of information are sometimes at fault, for which [Cahn] feels confident that due allowances will be made. In some instances towns have been omitted, due to the fact that managers of the theatres in those places did not feel sufficient interest to send the desired information.” I wonder if any omissions may have occurred on purpose.

 

To be continued…

Part 613: Scenic Artists as Theatre Managers – Sosman, Landis & Hunt and Noxon, Albert & Toomey

Greene’s Opera House opened its 1885-86 season under new management – the well-known scenic trio of “Messrs. Noxon, Albert & Toomey.” When I realized that this St. Louis scenic studio expanded their business to include theatre management, I immediately thought of another scenic studio who did the same thing – Sosman, Landis & Hunt. Sosman & Landis was not only involved with the manufacture of painted scenery and stage machinery, but also the founding of the American Reflector & Lighting Company.

The 1890s were a time of transition for Soman & Landis, as the two men expanded their business and diversified their investments. Although they were primarily involved with the manufacture of theatrical supplies, Sosman & Landis entered the theatre management business when they became involved with the construction and management of two electric scenic theatres atop the Masonic Temple Roof during 1894. When the Columbia Exposition closed during the fall of 1893, Sosman & Landis began plans to convert the Masonic Temple roof top into two electric scenic theatres. The “roof garden” space atop the Masonic Temple was 302 feet from the ground, an incentive to draw any audience to see a show. It was Sosman & Landis who designed and managed the venue, complete with chasing electric lights that ran up the center of the building from the first floor to the top.

Sosman, Landis & Hunt also managed the Pike Opera House in Cincinnati during 1894. They soon added a second venue – the Grand Opera House in Indianapolis and the Grand Opera Stock Company there. By 1900 the theatrical management firm was contemplating a move to Detroit and I wondered if this was yet another connection to theatre architect J. M. Wood, as well as the Detroit Opera House and Temple Theatre. David Hunt, of Sosman, Landis & Hunt, was a manager and theatrical producer who ran this this particular branch of the Sosman & Landis empire.

Hunt first worked in a marketing position as an employee of Sosman & Landis until Sosman, Landis & Hunt was formed in 1894. By 1897, Hunt led the remodeling and redecorating the Pike Theater in Cincinnati, hiring Chicago theatric architect Sidney R. Lovell – J. M. Wood’s business partner of the time (Wood & Lovell, see past installment 610). This is also just prior to Wood’s work on the Temple Theatre in Detroit and the subsequent 1898 roof collapse.

Sosman, Landis & Hunt primarily managed big vaudeville theaters, but also managed touring stock companies, such as the Pike Opera House Company. In addition to large vaudeville houses, and touring shows, the firm also looking after four summer theaters that they controlled in Atlantic City and Asbury Park.

Hunt later moved to New York and founded New York Studios, the eastern affiliate of Sosman & Landis. Similarly, the Sosman & Landis Studio was referred to as the western representative of New York Studios. I have covered Hunt extensively in past posts (see installments #304-307)

For me, discovering a second studio that also entered the theatre management business is significant. Looking at the all the players and the relationships, it was really a small world with a very tight network for such a large country.

To be continued…

Part 612: Noxon, Albert & Toomey, Lesees and Managers of Greene’s Opera House

Yesterday I explored the construction of Greene’s Opera House, built in 1879.

Greene’s Opera House opened its 1885-86 season under the new management – the well-known scenic trio of “Messrs. Noxon, Albert & Toomey.” In 1885, the firm advertised as “Scenic and Decorative Studios” with main offices located in the Olympic Theatre and Grand Opera House in St. Louis, Missouri. Their advertisements stated “Estimates and information for stocking new opera houses a specialty.” Noxon, Albert & Toomey decorated the interior of Greene’s Opera House in 1880 and painted the scenery for Greene’s Opera House in 1883. By 1885 they were managing the venue. Lets look at these three individuals as each man was remarkable in his own right.

Thomas C. Noxon and Patrick J. Toomey established a scenic studio in St. Louis, Missouri, during 1869. Ernest Albert joined the two by 1881 to form Noxon, Albert & Toomey. The firm rapidly expanded to have regional offices in Chicago, Illinois & Cedar Rapids, Iowa. Noxon, Albert & Toomey lasted for almost a decade. This immediately peaked my interest because Sosman & Landis had also entered into the theatre management business during the nineteenth century, creating another company, Sosman, Landis & Hunt.

Thomas C. Noxon (1829-1896) worked as both a scenic artist and a decorative painter, heading four theatrical painting firms during his lifetime: Noxon & Strauss, Noxon, Halley & Toomey, Noxon, Albert & Toomey, and finally Noxon & Toomey. Noxon was always the senior partner and managed the various studios from each ones inception until his illness in 1896.

Noxon was born in Montreal, Canada, and immigrated to the United States as a child. Initially living in Zanesville and in Millerburg, Ohio, Noxon attended public schools there. For a time he lived in Detroit, and that was where he entered the theatrical profession. At the age of sixteen in 1845, he moved to St. Louis and studied art. According to his certificate of membership in the American Dramatic Fund Association, he entered the theatre profession in 1852 at the age of 22. On a side note, Noxon designed the St. Louis production of “The Black Crook” in April 1867. Noxon was married twice. His first wife, Ann Hazzard, and the couple had three daughters. In 1885, Noxon married for a second time to a “Mrs. Selvers.” first name unknown at this time. In 1884, the St. Louis Post-Dispatch reported, “Mr. Noxon stands in front rank of curtain and scene painters, and for special features like Mardi Gras and Veiled Prophet pageants, is recognized throughout the Mississippi Valley as the most competent man in the profession” (St. Louis Post-Dispatch, 21 Jan. 1884, page 8). At the time of his passing in 1898, the “Dramatic Mirror” reported, “His name appears on the corner of theatrical curtains in almost every large city in the country, and is also seen in the theatres of Europe” (2 July 1898, page 6).

Patrick J. Toomey (1851-1922) was born in Limerick, Ireland and immigrated to St. Louis with his parents as an infant. He received his education in the public schools and at Christian Brothers’ College. His first employment was in the retail grocery trade, but he soon found the work untenable and apprenticed himself to Noxon at Deagle’s Varieties. The two continued to work together until Noxon passed away in 1898. Toomey was best known for his electrical floats, excelling in this line of work for 25 years. Three years before he passed, Toomey retired as president of Toomey & Volland, handing the reins to his business partner Hugo R. Volland. Toomey died from a heart attack in 1922. At the time of his death, the “St. Louis Post-Dispatch” reported that Toomey was “considered one of the pioneer scenic painters of St. Louis” (St. Louis Post-Dispatch, 13 March 1922, page 14). Toomey married Miss May Vogt had only one child, a son -Noxon Toomey.

Ernest Albert Brown (1857-1946) was born to Daniel Webster and Harriet Dunn (Smith) Brown in Brooklyn, New York. His father was a member of a clothing merchants firm, Whitman & Brown in New York City and Albert attended public schools. He later entered the Brooklyn Institute of Design, winning an award in 1873. During his time at the Institute, he also worked as a newspaper illustrator and later began painting for the theatre. Albert started working for the famed scenic artist Harley Merry in 1877. By 1881, he was working as a scenic artist and art director at Pope’s Theater in St. Louis with his work attracting much attention. There that he met and partnered with Noxon and Toomey by 1883; the three establishing the firm Noxon, Albert & Toomey.

The firm expanded John Norton, the manager of the Grand Opera House of St. Louis, moved to Chicago, when he accepted a new management position at the Chicago Opera House. There the firm sent Albert to paint there. Noxon, Albert & Toomey used the paint frames at the Chicago Opera House to paint scenery not only for the Chicago opera house, but also scenery for smaller theaters and combination companies. Albert stayed with Noxon, Albert & Toomey until 1889. After his departure, the firm was name Noxon & Toomey.

As for Albert, in 1890 he went on a few sketching trips with Oliver Dennett Grover (1861-1927), Walter Burridge (1857-1913), and Thomas G. Moses (1856-1934). They were all around the same age, each an accomplished artist in his own right. Upon their return, a new scenic studio was established in Chicago – Albert Grover & Burridge. This company built a new type of scenic studio, complete with a full-scale display area, complete with electrical lighting to show completed settings to their clients. It only lasted a few years before each artist went his own way – again.

Tomorrow, I will present the parallel to the theatrical management side of Noxon, Albert & Toomey’s management endeavors – those of Sosman, Landis & Hunt.

 

To be continued…

Part 611: The Union Opera House and Greene’s Opera House in Cedar Rapids, Iowa

Col. J. M. Wood stated that the first theater he designed as a young architect was in Cedar Rapids, Ia.; this was while testifying about the theatre roof collapse in Detroit during 1898.

I was curious to see if I could find Wood’s first theatre project in Cedar Rapids. There were two potential candidates – the Union Opera House and Greene’s Opera House. Both buildings were built by Judge George Greene. The Union Opera House opened in 1870, the same year that some sources list J. M. Wood establishing his first architectural firm in Chicago. Wood was 29 years old in 1870.

The “Cedar Rapids Gazette” commented on performance spaces at he time, reporting “Before 1871, Cedar Rapids concert halls were temporary in nature. They were usually large rooms on upper stories of office buildings and had removable seating and portable stages. But in the year that the Union Opera House was established at First Avenue and Second Street SE, it featured a permanent stage and fixed seats for 600” (Cedar Rapids Gazette, 19 July 1964, page 11). Keep in mind that Cedar Rapids was a stop for traveling troops going between Chicago and Omaha or Minneapolis and Kansas City. The two opera houses were built on land purchased from Osgood Shephard, who was described as “a horse thief” by local historians and the “first Cedar Rapids resident” (Des Moines Register, 19 Jan. 1969, page 31).

As I hunted through old newspaper article and theatrical guides, I encountered some technical information pertaining to the Judge’s second opera house – Greene’s Opera House. This was quite an interesting space – so interesting that I am compelled to explore it over two installments. There was a listing for Greene’s Opera House in the “Jno. B. Jeffery’s Guide and Directory to the Opera Houses, Theatres, Public Halls, Bill Posters, Etc. of the Cities and Towns of America” (1882). Greene’s Opera House was constructed in 1879, located at 113 Second Street NE, between First and A Avenues. The opera house’s façade was made of red brick and trimmed black brick, cut stone and ornamental tiling. The edifice was crowned with an ornate iron cornice. The four-story building had the theater located in the second and third floor and was located across the street from the Roosevelt Hotel. The Greene Opera House was once listed as one the largest theaters between Chicago and Denver.

Judge Greene was one of the Cedar Rapids’ founders and a leading businessman. He was an Iowa legislator, as well as an Iowa Supreme Court justice. Rather late in his career, Judge Green considered building opera houses. In fact, his second opera house was still under construction when Greene passed away in June 1880. It was his son, Calvin H. Greene, who saw to the completion of the theatre and became the venue’s first manager.

 

Greene began construction on his second opera house next door to the Union Opera House. This is similar to the Temple theatre being built next door to the Detroit Opera House, with Col. J. M. Wood being involved with the design of each theater, even though they were constructed years apart. The Union opera house was eventually converted into a hall for meetings and other social events after the immediate success of Greene’s Opera House. The Union Theatre was later renamed Woodward Hall by 1889.

As with many nineteenth-century opera houses, the theater was not completely finished by opening night. Regardless, Greene’s Opera House officially opened to a house of 2000 on Dec. 27, 1880. The first production was the Emma Abbott Grand English Opera Company’s production of “The Bohemian Girl.” Unfortunately, it was winter and the patrons of the theater were bundled up with coats and gloves throughout the performance. The building was not completed until that spring – Aug. 4, 1881. As with many western theaters, Greene’s Opera House advertised as one of the “finest west of Chicago.”

The building’s foot print was 60 feet by 142 feet, rising and four stories high above the street, with the theater on the second and third floors. The size of the proscenium opening was 30 feet by 33 feet with a 40 feet by 60 feet stage. The height from the stage to the grooves was 18 feet with the height from the stage to the rigging loft at 36 feet. The depth under the stage was 9 feet with 4 traps. There were also 21 sets of scenery in 1884.

The theater included a parquet, dress circle and three balconies with seating for 2,000. The “Daily Times,” reported that with chairs placed on stage there was a seating capacity of 2,500 (22 April 1896, page 3). As with may performance spaces of the time, seating primarily consisted of “folding opera chairs, many which were upholstered.” At Greene’s Opera House, the chairs were upholstered in maroon plush, or red Morocco. I immediately thought of the opera chairs purchased by Horace C. Tabor for his opera house in Leadville, Colorado, and the advertisements for opera chairs in “Jno. B. Jeffery’s Guide and Directory to the Opera Houses.”

The building was illuminated with gas. There with a large 92-jet “sun burner” in the center of the theater’s dome that purportedly illuminate the space to be “as bright as day.” There were an additional 850 gas jets throughout the building for general lighting. Interestingly the stage area also included an elegant gas chandelier, that could be raised and lowered as required.

In 1900, the Henderson and Smith Company acquired the building and remodeled the theater.

A 1904 edition of “The Cedar Rapids Gazette” described the “elegant appointments” that included ten large dressing rooms, steam heat, and electric lighting. The theater remained in operation until 1928, although other sources note dates ranging from 1921-1926. When it closed, the theatre was $50,000 in debt and immediately fell into disuse (Des Moines Register, 19 Jan. 1969, page 31). Greene’s Opera House eventually became a storage garage, destined to be demolished by 1969.

Tomorrow I will explore the scenic art trio who decided to manage Greene’s Opera House during the 1880s.

To be continued…

Part 610: Theatre Architects Col. J. W. Wood and Sidney Lovell

For the past five days, I have focused on the “Detroit Free Press” article about the Temple Theatre roof collapse and the that testimony of theater architect Col. J. M. Wood (1841-c. 1907).

Wood was a theatre architect, born in New York City during 1841. Early in his career, he moved to Chicago and soon started working as an architect. Some records indicate that Wood started his own firm in 1870, but I question that particular date. In 1892, Wood was noted as “an enthusiast in this branch of his profession, and has devoted a great deal of time and study to the comfort, convenience, acoustic qualities and effect in the design and arrangements of opera houses, theaters and concert halls” (“The Bay of San Francisco,” Volume 1, 1892). By 1905, the “Indianapolis News” reported that Col. J. M. Wood, had “built ninety-eight theaters, some of them the finest in the country” (24 Oct., 1905, page 2).

I have briefly mentioned Wood in past installments, including # 214 (Wood’s Theatre in Bay City, Michigan) and #532 (Jefferson Theatre in Goshen, Indiana). When Wood was the architect for the Opera House in Goshen, Indiana during 1905, Thomas G. Moses provided the drop curtain and scenery. While researching Wood, I discovered an interesting post about his work with Sidney Lovell. It was posted at Under Every Stone blog spot. This blog primarily focuses on gravestones and cemeteries. Wood’s one-time assistant and later business partner, Sidney Lovell designed several mausoleums for Chicago’s Rosehill Cemetery.

Sidney Lovell was raised in Racine, Wisconsin, one of nine children born to English immigrants, Phillip Lovell and Louisa Maria Knill Lovell. At the age of fifteen, Sidney met James M. Wood. The year was 1882 and Wood was in town to attend the grand opening of the Blake Opera House, for which he had worked as the architect. The “Biographical Dictionary of Architects in Canada, 1800-1950”mentioned that Sidney Lovell became Wood’s architectural assistant in 1883, confirming what was posted in the blog. The publication also notes, “During the period from 1883 until 1892 Wood was described as ‘..having designed and erected more large theatres, opera houses and hotels in the leading cities west of the Ohio River than any other architect’ (biog. of Sidney Lovell in The Bay of San Francisco: The Metropolis of the Pacific Coast and its Suburban Cities, 1892, Vol. ii, 462-3).

When Wood headed to his next theater project in Wausau, Wisconsin, Lovell went with him. After the Wausau project was completed, Wood returned to Chicago with Lovell in tow. The two found worked with a Chicago scenic studio. In Chicago, Lovell transitioned from architectural assistant to architect. An article in the “Racine Daily Journal” announced that Lovell became a “full-fledged architect in Chicago” by 1885 (10 April 1885). That same year, Wood returned to Racine and designed the new opera house. He submitted an article to the “Journal Times” describing the plans for a Moorish style building based on the Alhambra. The stage was to be ten feet deeper than the Blake Opera House, and separated from the auditorium by a brick fire wall and iron drop curtain, “thus effectively shutting off the extra hazardous department from that portion where the major portion of money is invested” (11 Nov. 1885, page 3).

From 1885 to 1888, Wood and Lovell traversed the country, both designing new and remodeling existing opera houses. The well-known architect John Galen Howard also worked as a draftsman for Wood in Chicago during this period, in 1887. Some sources note that Wood worked in close connection with a Chicago scenic studio; the studio was never named. In looking at the theaters and comparing them to Thomas G. Moses’ records, I suspect that the studio could have been Sosman & Landis. Thomas G. Moses worked with Wood during 1885-1886 on Wood’s Theatre in Bay City, Michigan, and in 1889-1890 on the Riverside Opera House. In regard to the Riverside Opera House, “The Daily Courier” mentioned the contributions of “J. M. Wood, the architect of Chicago, considered the finest theatrical architect in the country” as well as “the scenery has been painted by Thomas G. Moses of Chicago, one of the best scenic artists in the United States” (San Bernardino, California, 27 Dec 1889, page 3).

In 1891, Lovell was later added a partner by Wood, forming the architectural firm of Wood & Lovell. Their partnership’s first office was established in San Francisco, turning out a remarkable amount of work between 1888 and 1893. In 1890, the “Journal Times” reported Lovell “has a reputation of being one of the finest draughtsman in the western country” (Racine, Wisconsin, 25 Feb 1890, Page 3). It was in San Francisco that Lovell met and married Jane Winters Bruner, the daughter of noted surgeon William Happersett Bruner. By 1893, Wood and Lovell transferred their business offices to Chicago. The firm was now located in the new Ellsworth Building, located at 537 S. Dearborn Street.

Wood is credited as the principal architect for theaters, opera houses and concert halls throughout the United States. His projects include the New California Theater (Los Angeles), the Grand Opera House (Portland), the Tacoma Theater (Tacoma, Washington), New Broadway Theater (Minneapolis), Blake Opera House (Racine, WI), the Grand Opera House (Warsaw, WI), Rockford Opera House and Grand Opera House (Danville, IL), Academy of Music (East Saginaw),  Academy of Music (Kalamazoo, MI), Redmond’s Opera House (Grand Rapids, MI), Academy of Music (Toronto, Ontario, Canada), Academies of Music in Franklin, Oil City and Altoona (Pennsylvania), and the Academy of Music (Cedar Rapids, IA), just to name a fewWood was noted as “an enthusiast in this branch of his profession, and has devoted a great deal of time and study to the comfort, convenience, acoustic qualities and effect in the design and arrangements of opera houses, theaters and concert halls” (“The Bay of San Francisco,” Volume 1, 1892). In 1905, the “Indianapolis News” reported that Col. J. M. Wood, had built ninety-eight theaters, some of them the finest in the country” (24 Oct., 1905, page 2).

Little is known of Wood beyond 1907. The theaters designed and erected by Wood include the New California Theater [San Francisco, CA]; Grand Opera House, Los Angeles [CA]; Grand Opera House, Portland [OR]; the Tacoma theater  [Tacoma, WA]; New Broadway, Denver [CO]; Hennepin Avenue Theater, Minneapolis [MN]; Blake Opera House, Racine [WI]; and Grand Opera House, Warsaw, Wisconsin; Rockford Opera House [Rockford, IL], and Grand Opera House, Danville, Illinois; Academy of Music, East Saginaw [MI]; Wood’s Opera House, Bay City [MI]; Academy of Music, Kalamazoo; Redmond’s Opera House, Grand Rapids [MI]; Academy of Music, Toronto, Canada; Academy of Music at Franklin, Oil City and Altoona, Pennsylvania; Cedar Rapids, Iowa.

Lovell eventually established the firm of Lovell & Lovell, advertising as “architectural and consulting engineers.” Lovell was also widely known for his mausoleum designs. The first mausoleum he designed was the Community Mausoleum in Chicago’s Rosehill Cemetery. It is noted as being the prototype for the mausoleum at Forest Lawn in Glendale, California. Lovell also designed units 1 and 2 of the Old Mission Mausoleum in Wichita, Kansas.

Lovell worked as an architect for fifty years, passing away in 1938 at the age of 71 years old, decades after Wood.

To be continued…

Part 609: The Wonderland Disaster Investigation in Detroit, 1898, fifth and final section

While researching the Temple Theatre in Detroit, I encountered an interesting article about an 1898 theater roof collapse. It was published in the “Detroit Free Press” (2 Dec. 1898, page 2). Here is the fifth and final section of the article.

Col. Wood’s Book.

When Col. Wood took the stand in the afternoon he produced the book that contained the record of all the trusses he had built in fireproof theaters. The book had the description and amount of the materials used in all theaters H said that he did not figure the carrying capacity of the Detroit Opera House truss, but had it done by Chief Engineer Fowler, of the Youngstown Bridge Co. The Witness then illustrated how the load to be carried by one of the opera house trusses which had a span of 96 feet 8 inches thick was figured. For the weight of the concrete for the roof, which was two inches thick, the concrete when dry was figured at 15 pounds to the square foot, top dressing and slate 13 pounds, snow 25 pounds and the corrugated iron trough 2 1/4 pounds, making for the roof a total of 55 ¼ pounds to the square foot, actual weight.

For safety this weight was figured at 60.4 pounds to the square foot, making a total of 90.493 pounds. To this was added the weight of the roof beams and girders, bringing the total weight to be carried by the truss up to 96,973 pounds, or 48 tons. The truss itself weighed 8 ½ tons and would carry 61 tons as a safe load, according to the figures of the engineer who determined it. The carrying area of the truss is 1,496.23 square feet. This showed that the truss of the opera house is many tons within the factor of safety.

Mr. Frazer, for the sake of comparison then had Col. Wood figure the load carried on the Wonderland truss, which weighed only three and a half tons. Using the same basis of computation, the concrete roof of the Wonderland building, which was four inches thick, was figured at thirty pounds to the square foot, the composition and gravel at 4 ¼ pounds and snow at twenty-five pounds, although only ten pounds was actually allowed by the architects. This made the load fifty-nine and a quarter pounds per square foot, which figured up a total of about forty tons.

The prosecutor then called attention to the fact that the Detroit Opera House the eight and a half ton truss carry forty-eight tons, while in the Wonderland building a truss weighing but three and a half tons carry forty tons.

In explaining the differences in the construction of the structural steel work in the two buildings, Col. Wood said that in the Detroit Opera House the roof beams were six inches wide and weighed twelve and a half pounds. They run longitudinally, four feet apart, with a 15-foot span. In the Wonderland building he said that the girders ran longitudinally, while the beam ran transversely. The latter, he said, were 9-inch “I” beams, spaced twelve feet apart. Asked which was the better, he said in the Detroit Opera House the beams tended more to hold the truss in place and in addition, it had a diagonal braces. Being only four feet apart, each one had a carrying area of sixty feet.

The attention of Col. Wood was called to the fact that Arthur Scott had testified that the 22 feet 2-inch “I” beam running from the front of the Wonderland building to the truss, was partly held by a brace six feet from the truss, and he was asked his opinion of such construction. He said that if he were to indicate the construction, he would have a beam running to the truss heavy enough to carry the intended load.

More Technical Talk

Prosecuting Attorney Frazer brought out the fact that in the Detroit Opera House there were three trusses between the proscenium wall and the dividing wall, a distance of 66 feet and 3 inches, while in Wonderland there were but two trusses in the distance of 63 feet 8 inches. Col. Wood said that the conditions were not the same, the opera house being wider; and therefore, it was necessary to use three trusses, putting them close together, so as to avoid using heavier ones.

Going back to the construction of the “I” beam, and the fact that it was rested partly on a brace, the witness said that different architects had different views of construction. He believed tha the brace helped to carry the load, but did not think that it carried half the distance between itself and the wall for the same load. Col. Wood favored a strong beam, resting on the truss, to using any braces.

In this connection, Col. Wood stated that John Scott had told hi that his brother, Arthur Scott, was an engineer.

When asked his opinion of the roof, Col. Wood said that he had only made an examination since the collapse and that he depended on the judgment of men he knew were authorities regarding roofs. They had told him that the girders and beams were too light.

“Those familiar with cinder-concrete construction,” he said, “know that there is s spring to the beams. When the cinder-concrete is knitting, it must be allowed to remain quiet. If it is pounded, you are simply mashing it up. The beams should be stiff enough so as to not disturb the concrete.

Concerning the rook, he said that he was not competent to say what it should carry, though he could with some difficulty figure out such a problem. He stated that he submitted a quarter-inch drawing of the Wonderland truss to an engineer company and was told that if it had been properly detailed, constructed and erected it would undoubtedly carry the load intended for it. Col. Wood said that he had been unable to furnish the company with any particulars regarding the plates, or distance between the beams. In answer to Mr. Frazer, he said that the company found that the sizes of steel indicted by him could be combined to hold the necessary load.

“Do you know what made this fall down?”

“No; we all have our opinion.”

“What’s yours?”

Why the Roof Fell.

“Well, my opinion is that there was a general weakness in the whole roof and a general lack of attention to details in the construction, not alone in the roof. I do not want to reflect on the steel construction, as I do not know that the engineering company fulfilled its contract, according to the designs submitted to them. The 5-inch roof beams were overloaded.”

Here Mr. Frazer broke in wit another question, and Col. Wood did not get through expressing his opinion.

He was not of the opinion that under the conditions that prevailed at Wonderland the 5-inch beams would have sagged. Witness stated that the DeMan system was not used on the Detroit Opera House, but that the estate did the work, letting it out to Vinton & Co. for 5 percent of the cost. Col. Wood said that cinder and cement had been shown to make fireproof concrete as the cinders were the residue of coal after everything else had burned, and the cement in the process of manufacture had to be subjected to a greater heat than a fire could cause. He was asked why the workmen of the Wonderland building simply had to light a fire on top of the concrete and then shovel it off, and he replied:

“They may only be shoveling what they had disturbed before.”

It was his opinion that the concrete ought to settle hard in two weeks so that the false work could be removed.

Attorney Boynton’s Question.

When questioned by Attorney Boynton regarding his business career, Col. Wood said that before becoming an architect he had been a decorator and before that a builder. He told an interesting story of his first business venture in Chicago, in order to pay this theological college debts, and said that after his first year the money came so fast at that time he continued as a decorator. His first theater, he said, was built at Cedar Rapids, Ia., and the first fire-proof theater he built in Memphis, Tenn. He showed the jury the plans of the truss used in that construction of that theater and said that it was the typed used in the Detroit Opera House, he having never used any other. He did not know the name of the truss, but said that it was a truss suspended from the top cord. Asked why he had always used it, he said that it was the first one given him by the engineer in whose hands he placed the matter, and as the truss had always proved satisfactory he had continued to use it. Before using that truss, he had always used the old Howe truss in the non-fire-proof theaters. Col. Wood showed the plans of some ten trusses he had built upon, on e now in the process of construction at Kansas City and the plan of another he recently drew for a theater he is to build in Denver.

Regarding the first interview in John Scot & Co.’s office, Col. Wood said that Mr. Wiggins left after a short time. There was no one else there and witness continued to talk with John Scott. He told the latter that all the plans should be drawn in one office, to which Mr. Scott was agreeable.

“I think,” said Col. Wood, “that I began some preliminary sketches the next day. Mr. Scott told me that his brother was an engineer., had had a good deal of experience and handled the steel work in their building. I did not tell him that I was engaged to do the steel work. No reference was made to my connection with the Detroit opera house.”

Adjournment was taken, with Col. Wood still on the stand.”

The end of the article.

 

Part 608: The Wonderland Disaster Investigation in Detroit, 1898, fourth section

While researching the Temple Theatre in Detroit, I encountered an interesting article about the theater roof collapse. It was published in the “Detroit Free Press” on Dec. 2, 1898. This fourth section of the article focuses on the testimony of theater architect Col. J. M. Wood.

Wood was born in New York City during 1841. Early in his career, he moved to Chicago and started working as an architect. He completed many designs for theaters, opera houses and concert halls throughout the United States. By 1905, the “Indianapolis News” reported that Col. J. M. Wood, had built ninety-eight theaters, some of them the finest in the country” (24 Oct., 1905, page 2).

Back to the 1898 “Detroit Free Press” article:

Col Wood Takes The Stand.

Col. J. M. Wood followed Mr. Scott. He stated that he was 59 years of age, resided in Chicago, had been an architect since 1879, having been a builder and contractor previous to that time. He disclaimed being an engineer and said that his specialty was theaters and hotels, and had such buildings as come in connection with theaters. He had built over 80 theaters, and Mr. Frazer asked him if any of them had ever tumbled down, which he answered with a very polite “no.” Asked to enumerate some of the theaters he had built in different parts of the country, he mentioned Lafayette Square theater, Washington; Lyceum, Memphis’ Lake theater, Racine; California hotel and Theater, San Francisco, and others at Los Angeles, Denver, Cedar Rapids, Minneapolis, etc. Col. Wood was then asked to give the spans of some of the trusses in these theaters. He said that in all the theaters he had built he had buttresses in the walls two feet thick. He gave the span of the trusses in the Lyceum, at Memphis, which he said was the first fireproof building he had erected since he began the construction of that form of building, five years ago, as 70 feet. The Lafayette theater in Washington has a width of 67 feet, 6 inches. He stated that the trusses in this theater were of skeleton steel construction, with a clear span and carrys [sic.] a roof garden and restaurant above them. The Detroit Opera House he gave as 96 feet 8 inches between walls, and that the span of the Denver Auditorium, which is now being planned, will be 80 feet. “You use the same type of truss always?”

“Yes, sir; one has just been finished at a theater in Kansas City.”

“How does your truss differ from the Wonderland truss?”

“It is inverted. You would probably call it a suspension truss. It differs in many ways.”

Mr. Frazer made a diagram of the truss on the blackboard. He added that he received his knowledge form the strain sheets of two engineers to whom the truss was submitted.

Always Ask an Engineer.

“Do you always submit your trusses to engineers?”

“Where the truss differs in span from those I already have, I submit a sketch to engineers and ask them to furnish a strain sheet and also to designate the members they believe are necessary to carry the load. For the theater at Memphis I submitted the matter – not even a sketch, mind you – to Youngstown Bridge Co., and their chief engineer, Charles E. Fowler, returned to me the type of truss he believed best suited for the theater, together with the strain sheets and necessary members to carry the load. For the Lafayette theater in Washington, I submitted a sketch giving the type of truss I wanted, together with the columns, and gave the load on the chords, leaving the engineers to work out the strains and the members necessary to carry the load.

Col. Wood then started that he was the architect of the Detroit Opera House. With him were associates Mason & Rice and A. W. Chittenden. Asked why they were called associate architects, Col. Wood said that when the Clark estate decided to rebuild they wished to identify the building with local architects. For that reason sketches were asked from different firms for the front elevation and office portion of the building. They were not required to do anything regarding the theater. Continuing the witness said:

“Mr. Wells, the agent of the estate, clearly defined what he expected of each one. Mason & Rice were to design the front elevation and everything as far as the division wall. He left us to determine how we would divide the compensation. The construction of the theater proper was left in my hands.”

“Col. Wood then narrated how he became connected with the Wonderland work, stating that early in April Mr. Wiggins called on him at the Russell House and referred to building a new theater. Mr. Wiggins told him that he had contracted for the upper floors of the Barbour building for the museum, which made it necessary to employ the same architect.

“He asked me,” said Col. Wood, “to act in conjunction with John Scott & Co., and I said that I would, providing it was perfectly satisfactory to them, and Mr. Wiggins told me that they had already agreed. In talking to John Scott, he said that the Scotts would expect to control the construction of the building and act with me as designer of the theatrical arrangements of the building.

Col. Wood’s Duties.

In detailing conversation which took place at John Scott & Co.’s office, when he was introduced to the firm. Col. Wood said that he remembered distinctly Mr. Wiggins saying that he was determined to know the correct lines of vision and be up-to-date in building his theater. As to his part of the work, Col. Wood said that he was employed to design the interior arrangements, boxes, stage, seating, determine the lines of vision and secure proper acoustic conditions.

“What did you have to do with the truss and roof?”

“Nothing at all, sir.”

“Did you undertake to handle the steel work?”

“The only things I undertook to indicate were the lines in which the steel work must be kept to insure my lines of vision. In the rigging loft it was necessary that I should lay the beams, as they controlled the machinery of the stage.”

The witness also said that he laid out the pitch of the first floor, in order to get the proper line of vision for the seats, so that each one would give an equal view of the stage.

“What estimate did you give him a close approximate estimate of the cost of a building of that size – something that I have done for a great many and never charged anything. I told him $67,000. Mr. Wiggins did not try to scale down the price, but said that he would like the cost to be kept down to $65,000, if it could be done without detriment to the building. Mr. Wiggins put no limit on the cost, as far as I know. On the contrary, he wanted a modern theater, perfect in every particular.”

Col. Wood then stated that the first work on Wonderland he did was to lay out the floor plan.

Didn’t Furnish Truss Drawing.

“Did you furnish John Scott & Co. with drawings of the truss?”

“I never furnished them with anything except a sketch of the balcony and gallery, showing lines within which they had to keep.”

“Who made the drawings of the roof?”

“I do not know who made them. I am inclined to think that Arthur Scott made all the drawings.”

“Did you furnish Arthur Scott with the sizes of steel for the truss or roof beams?”

“I did not.”

“Did you give him the load the truss ought to carry?”

“No, sir.”

When asked to figure what the truss of the Detroit opera house would carry, Col. Wood started to figure, but said that he might forget some of the items and offered to bring a book which contained a record of every truss he had ever built in a fire proof theater, and he added:

“You will find that I have always been away below the factor of safety.” He said that for the Detroit opera house he allowed twenty-five pounds for snow and at Memphis fifteen pounds though the latter place was much further south. The Scotts allowed only ten pounds for Wonderland.

Asked to explain regarding the inspection of steel, he said that some architects allowed the company furnishing it to do the inspecting and furnish strain sheets, while others had the inspecting done by outside parties. The steel in the Detroit opera house was inspected by the Pittsburgh Testing Laboratory, at the mill, in Cleveland, in the shop and during the process of the work on the theater.

“Hear of any inspection of steel in the Wonderland building?”

“No. There was no reason I should, as I had nothing to do with it. Mason & Rice consulted me about the inspection of steel on the Detroit opera house, because it was part of my duty to design and construct the theater and control everything about it.”

“Who controlled the construction of the Wonderland building?”

“John Scott & Co.”

Col. Wood said that he never inspected the roof or steel work, but that once he saw that the had one of the trusses together in the back of the building and heard afterwards that in the raising the truss the gin pole broke.

“You furnished John Scott & Co. with the plans of the Detroit Opera House?”

“Only as a matter of friendship. It was a set of plans given me by Mason & Rice. I did not instruct Arthur Scott to use them, for I had no authority to do so, and they did not ask for them.”

“Did you get any plans from John Scott & Co.’s office?”

“I got a set of plans from there November 12, a week after the accident, and that was the first time I ever had a set of plans out of that office. I receipted for them on that date, November 12.”

To be continued…

Part 607: The Wonderland Disaster Investigation in Detroit, 1898, third section

While researching the Temple Theatre in Detroit, I encountered an interesting article about an 1898 theater roof collapse. The testimony in today’s section is from John Scott (1850-1928), a well-known architect in Detroit, Michigan. He practiced there in partnership with his brother Arthur H. Scott from 1889 until after 1914. Born in Ipswich, England, he and his brother were the sons of the Detroit architect William Scott (1821-1889). By 1874 John joined his father in a formal partnership – William Scott & Son, renamed William Scott & Co. by 1875. After the death of their father in 1889, John and Arthur partnered with Louis Kamper, as Scott, Kamper & Scott, Architects. In 1891, the firm was renamed John Scott & Co. in 1891, remaining active until after 1920. John Scott retired in 1926 and passed away in 1928.

Here is the third section of the Wonderland Disaster Investigation published in the “Detroit Free Press” –

The Roof Contract.

Attorney Conely then took up the matter of the roof contract. Mr. Scott said that when the original specifications were being drawn for the roof, he understood that it was to be fireproof. He also understood that the DeMan system had been used to some extent on the Detroit Opera House. Witness then said that when the roof bids were first opened, John Scott and himself were in favor of giving the contract to a Cleveland firm, as Mr. DeMan’s bid was not complete. The later was so told, but wanted the matter reopened so he could fix his bid to meet the requirements. This was done and Col. Wood recommended the adoption of the DeMan bid. Mr. Scott stated that his bid was about $400 lower than the next lowest bid.

Attorney Boynton – “Who sent for Col Wood to consult him about the DeMan roof?”

“I did not, personally. Technically, I do not know who sent for him.”

Mr. Scott was then shown a longitudinal section of the roof beams, in which the brace on which he contended the beam running from the front wall to the truss rested, was missing. He admitted that the size of the roof beams was decided on before the details were worked out. He said that he took them from the opera house plans and standards, as far as possible, and worked the rest out himself.

Prosecuting Attorney Frazer asked the witness who arranged for the inspection of the steel, and the answer was that the inspection was determined on the advice of Col. Wood, which caused the prosecutor to remark that if he was not careful he would get the whole truss over on Col. Wood and break his neck. He then said that he wrote in the clause in the specifications referring to the inspection and said that he got it from the specification of the opera house, which Col. Wood told him to use as far as they applied.

“The clause called for the inspection of the steel at the mill?”

“It was optional.”

“Do you know enough to tell us how you drew them up?”

“I can’t remember the exact wording, but the clause stated that the architects had the right to appoint an inspector at the mill.”

Had No Inspector.

“Did you employ anyone as inspector of the steel put in the Wonderland building?”

The witness first tried to evade a direct answer and then said that no inspector was employed, outside of the one at the mill.

“Who inspected the steel at the mill?”

“The people who made the material had it inspected.”

“You paid the people who made the steel for inspecting it?”

“We did not pay for it.”

“As a protection for the owners of the building you had the steel inspected by the people who made it and did not pay the men they employed? Is not that a fool arrangement?”

Mr. Frazer had first made the question more pointed, but changed the form when Mr. Conely objected. Mr. Scott finally said that in his opinion the steel should be inspected by an inspector not connected with the mill.

“You had the authority to order an inspection of the steel at the mill?”

“Yes.”

“You did not have it inspected in Detroit?”

“Not to my knowledge.”

“There is also an inspection to see that the right sizes of steel are placed in the trusses being built?”

“Yes”

“You did not employ an inspector there?”

“I don’t know. I suppose the man on the building inspected it.”

“Who?”

“John Scott.”

“He had no inspector?”

“No.”

Witness added that he believed John Scott knew enough to see that the steel work conformed with the detail drawings. He said that he could not swear that John Scott had inspected it. Mr. Scott admitted that to have the steel inspected as the work progressed was the only safe way to see that the specifications were carried out by the contractors. Witness said that an engineering company could have skimmed the job in many ways, had it set out to do so. Mr. Scott stated that he had received strain sheets for all the steel made at the mill, showing the results of the tests made on the different pieces. He didn’t know whether Col. Wood saw them.

 

To be continued…

 

Part 606: The Wonderland Disaster Investigation in Detroit, 1898, second section

While researching the Temple Theatre in Detroit, I encountered an interesting article about an 1898 theater roof collapse. It was published in the “Detroit Free Press.” Here is the second section of the article.

Scott Finishes His Story.

The examination of Arthur Scott was concluded at the morning session. He admitted that he had figured on the strains to the members of the truss, using the Carnegie and Pencoyd tables as far as they applied, and then working out the rest with his own knowledge. On Wednesday, Mr. Scott was asked to figure out the strain on a three-inch channel, used in construction of the truss, but admitted that he could not find any table for it. The prosecution will contend that he could not find the table for the reason that there is none for a three-inch channel, such a size not being recommended for such work, on account of being too small for safety.

Attorney Boyton continued his cross-examination. He showed the witness the different plans of the new Wonderland building, which had been introduced in evidence and asked him to designate the work done by Col. Wood. Mr. Scott admitted that nearly all the drawing had been done by himself, but said that some had been made from rough sketches by Col. Wood. It was shown that the lines drawn by Col. Wood referred mostly to the pitch of the floor lines of vision and seating. The witness was unable to produce any other sketch made by Col. Wood, although he insisted that Col. Wood had made a great many small ones that had been destroyed and it was hard to recall what they were.

“In your direct testimony, you sated that in the balcony and gallery you put in the same weight of material as indicated in the Detroit Opera House plans, so that you practically followed them?”

“Yes; I did not follow them literally. The overhang was smaller than in the other house.”

“How did you compute the strains if the truss?”
“Took them from the analysis of the truss.”

“It is a question of mathematical computation and you did the computing?”

“The truss was already analyzed.”

“Where did you get the type of truss used on the Wonderland building?”

“Took it from Carnegie’s book.”

“Did you take the load for all the members from Carnegie?”

“Not all. Took the channels from Pencoyd, the sizes and weights according to the tables.” Mr. Scott then admitted that he used the Pencoyd tables as far as they applied, and that he then worked out the rent from his own knowledge.

“You did not follow the opera house truss at all?”

“Not in form; only in detail.”

“You followed it because certain details in both trusses happen to conform?”

“Yes.”

“Is there any similarity in assembling the details, it lies in the fact that the Carnegie tables indicated such a similarity?”

“Yes.”

Witness was positive that Col. Wood took the plans of the Wonderland structural steel work out of the office, having seen him do so. Regarding the book in which Col. Wood is alleged to have kept all the weights of the iron and steel work, witness said that Col. Wood has told him that he had worked out the details of weights and would have them whenever it was necessary to make out an estimate to pay for work.

“Did he ever make an estimate to pay for work?”

“He did not. He was not here, I think.”

“Where are the specification that you gave him corrected?”

“The original ones were destroyed, after being corrected. He gave me verbal corrections.”

“It is not a matter of fact that the only suggestion Col. Wood made was regarding the corrugated iron, in connection with the balcony and seating?”

“At that time it was all that he made.”

“Did he ever take the general specifications?”

“Not at that time. He took them the day before they were given out to the contractors.”

Mr. Scott said, in reference to the shop drawings made by the Peninsular Engineering Co., that they had never been formally approved, but that he had examined them as to the measurements sufficiently to satisfy himself that they were made in accordance with his designs.

To be continued…

Many thanks to Richard Archer who discovered a DeMan System of Fireproof Construction book published in 1901. Here is the link: https://books.google.com/books?id=c9o0AQAAMAAJ&pg=RA1-PT44&lpg=RA1-PT44&dq=deMan%20truss&source=bl&ots=Qsznjo39tt&sig=N3SlspWsgAbRm160yzPbhAJ43w4&hl=en&sa=X&ved=2ahUKEwiC64i0tdTfAhWEVN8KHUJwCTUQ6AEwC3oECAEQAQ&fbclid=IwAR2GXwH1WhZNzn6ZMyK-tSG4xGPbBTxS9OTPbh7NIKvEG4ARTZRPM0-ZaAM#v=onepage&q&f=false