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The Bloomington Scottish Rite membership dramatically increased during the second decade of the twentieth century. Within less than a decade, a larger facility and grander stage were need for degree work. Sosman & Landis first delivered scenery to the Bloomington Scottish Rite in 1911 and 1912.   They would not deliver any scenery for the 1921 stage. The Director of Works, Delmar D. Darrah ordered a second set of scenery from his good friend John Becker of J. C. Becker & Bro. in Chicago. Darrah, an active member of the Supreme Council, was the author and director of the Passion Play. He also was the Director of Works and managed many of the production that won fame in the local Scottish Rite Consistory.

In 1917, a new building was proposed and land purchased at East and Mulberry taking place by May 1918. Necessary building contracts were authorized during November 1919, with the building being completed by 1921. The new Scottish Rite Temple was located at the north edge of the Bloomington’s business district, at 110 E. Mulberry Street.  The first Fall Reunion in 1922 included 353 candidates. Owned by the Bloomington Scottish Rite Consistory, the building soon became host to a public theatrical event – “The American Passion Play.”

I first learned of Bloomington’s Passion Play while cataloguing the Great Western Stage Equipment Co. collection as part of an Undergraduate Research Opportunities Program (UROP) grant in 1989. The collection included a 1928 Bloomington Passion Play program. Beginning in 1923, the Bloomington Scottish Rite Masons presented “The American Passion Play,” an elaborate annual production that was over three hours in length, with fifty-six scenes and up to two hundred and thirty actors.

The success and popularity of the production was immediate for both the Fraternity and local community. On April 18, 1927, “The Panatgraph” reported, “Leon M. Abbott, Sovereign Grand Commander of the Supreme Council, Praises the Passion Play” (Bloomington, Illinoi, page 3). Abbott traveled 1500 miles expressly for the purpose of attending the Passion Play.  He also explained to the audience that about five years ago it had been his privilege to see the original Passion Play as portrayed by the inhabitants of the little Bavarian city known as Oberammergau. The Oberammergau Passion Play had been performed since 1634. A staging of Jesus’ passion, covering the short period of his life from his first visit to Jerusalem and leading to the crucifixion, the play was the result of town residents vowing in 1633 that if God spared them from the Bubonic plague they would produce the play thereafter for all time. Of Bloomington’s American Passion Play, Abbot stated, “Today, [Darrah] took me back to that place in the little Bavarian village with a population of 19,000, some 5000 of which take part in the Passion Play. It was a wonderful experience.”

The article continued, “Highest officials in Masonry with other active members of the Supreme Council from Eastern States and from Illinois, witnessed Bloomington’s gigantic production Sunday evening when more than one thousand Consistory men and their wives assembled to honor the distinguished guests – Honor guests lauded work of Delmar D. Darrah, active member of the Supreme Council and Director of Work in Bloomington Consistory and also the Consistory Players.” Abbot as quoted complimenting Darrah, saying, “It almost staggers belief that one man can be responsible for the intricate preparation of all that necessary to present the work which we witnessed this afternoon.” A photograph was included with the article, picturing (left to right) Delmar D. Darrah of Bloomington, C. R. Spillman of Chicago, Leon M. Abbott of Boston, S. O. Spring of Chicago, and Leroy Goddard of Chicago.

For Bloomington’s Scottish Rite stage and for Darrah’s Passion Play, J. C. Becker & Bro. provided all of the scenery instead of Sosman & Landis.

Why Becker and not Sosman & Landis? 

The switch is because John Becker cultivated a close friendship with Darrah.  This connection would give Becker an advantage for many 1920s Scottish Rite projects throughout the Northern Masonic Jurisdiction, especially those in Illinois.  After becoming a Mason in 1912 (Maywood Lodge 869 F&AM), Becker also became a 33^rd degree Scottish Rite Mason [the final and honorary degree of the AASR]. He was a life member in the Valley of Bloomington and also active in Chicago. Becker joined Chicago’s Medinah Temple Shrine and was a past watchman of White Shrine of Jerusalem. These Masonic connections were a necessity when bidding on Masonic scenery contracts for both the Northern and Southern Jurisdiction of the Ancient and Accepted Scottish Rite of Freemasonry.

Becker’s approach is exactly the same of Joseph S. Sosman. Sosman’s connections were how Sosman & Landis secured the majority of scenery contracts for the Southern Jurisdiction. Sosman enjoyed close friendships with key Southern Jurisdiction representatives, especially Bestor G. Brown of Kansas.  Brown was the Past Grand Master of Kansas who became head of many other Masonic Orders, as well as being the western representative of M. C. Lilley in Kansas City. M. C. Lilley was a massive fraternal regalia and paraphernalia manufacturer who supplied many fraternal organizations with necessary products that ranged from paper documents and ritual books to lodge room furniture and costumes. M. C. Lilley, represented by Brown, also outfitted Scottish Rite theaters. Although M. C. Lilley did not manufacture any stage scenery, lighting systems or stage machinery, they subcontracted the work to firms such as Sosman & Landis. Both Brown and Sosman were prominent Freemasons, the key to their success within the Fraternity and theatre industry.

From the mid-1890s until the passing of Sosman in 1915 and Brown in 1917, M. C. Lilley had a close relationship with Sosman & Landis, almost solely using their services for Masonic theater contracts. This rapidly changed after the passing of both Sosman & Brown, leaving Sosman & Landis without a close fraternal connection. Furthermore, the company’s second president, Thomas G. Moses, did not become a Mason until the mid-1920s. By this point it was too late. Moses was well known and his work well respected, but he could not compete with other scenic studios represented by a Mason, such as J. C. Becke & Bro. 

So…by 1915, Sosman & Landis does not have a Mason representing the firm, however, both of their major competitors do – J. C. Becker & Bros. and Toomey & Volland.  Therefore, Becker Bros. and Toomey & Volland rapidly gain ground during the second decade of the twentieth century, eventually eclipsing Sosman & Landis by 1920.  J. C. Becker & Bro. began to secure many of the contracts for Illinois, Indiana and Iowa. With the backing of key Scottish Rite figures, such as Darrah, they began to increase their contacts across the country. 

The strength of the Bloomington Scottish Rite could not survive declining membership and aging buildings.  In 20, the old Bloomington Scottish Rite became the Bloomington Center for the Performing Arts. In an amazing turn of fate, the Bloomington Scottish Rite moved back to their first home. The original Bloomington Masonic Temple is once again the home and meeting place for the Valley of Bloomington. They went full circle, but lost so much along the way. The 1912 Bloomington Masonic Temple continues to be the meeting place not only for the Scottish Rite, but also other Blue Lodges, the York Rite, Order of DeMolay and Rainbow Girls.

To be continued…

Delmar D. Darrah was a Masonic Johnny Appleseed, sowing the seeds of Freemasonry throughout the State of Illinois during the early twentieth century. Like Bestor G. Brown in the Southern Jurisdiction, Darrah contributed to the rapid membership growth in the Northern Masonic Jurisdiction. He was responsible for organizing and participating in all four Scottish Rite bodies in the Bloomington, Illinois. Darrah was made a 33° Mason in 1909, and an Active Member of the Supreme Council in 1911 and became the Supreme Council Deputy for Illinois by 1932. Like Brown, Darrah was also a mover and shaker in the York Rite, becoming Grand Recorder of the Grand Commandery by the early 1920’s.

Both Darrah and Brown were also Grand Masters of their respective states, using their positions of power to actively promote the growth of the Scottish Rite. Being Grand Master for a year provides an incredible opportunity for individuals to push forward any personal agenda. In the case of both Brown and Darrah, these men zeroed in on building up the Scottish Rite. Keep in mind that the expansion of the Scottish Rite is solely dependent upon their success of recruiting Master Masons from Blue Lodges. Darrah became the Grand Master of the Grand Lodge of Illinois from 1910-1911, right before the new Masonic Temple was completed in Bloomington, a structure that included a Scottish Rite stage.

Here is a little background regarding the history of the Scottish Rite in Bloomington, Illinois. In response to the petition of Darrah, the Supreme Council of the Ancient Accepted Scottish Rite of Freemasonry for the Northern Masonic jurisdiction issued dispensation to institute a Lodge of Perfection in the Valley of Bloomington on December 19, 1907. On January 4, 1908, Ill. Amos Pettibone, Deputy for Illinois, instituted the Lodge in Bloomington. The Valley of Bloomington’s first reunion was held in March 1908, with a class that consisted of ninety-two candidates. During the early years, the Scottish Rite met in a fourth-floor lodge room. The Bloomington Scottish Rite grew quickly, and received their charter by September 17, 1908. That same year, dispensations and subsequent charters were also issued for Zerubbabel Council, Princes of Jerusalem, and for Mt. Calvary Chapter of Rose Croix. The Consistory soon followed suite. Darrah became the Scottish Rite Secretary and Director of Work by 1915. He served as the Secretary until 1922, and Director of the Works until 1945. He shaped degree productions and stage work at the Bloomington Scottish Rite.

The cornerstone of the Bloomington Masonic Temple at 302 E. Jefferson Street took place on April 26, 1911. In 1912, the new building opened, complete with stage and scenery. It was such a big deal that a statewide Scottish Rite event was hosted in the new facility. On June 24, 1912,”The Times” reported, “Bloomington, June 24 – Every thirty-third degree Mason in Illinois, it is thought, will attend the state assembly of Scottish Rite bodies, known as the Council of Deliberation, which will be held in Bloomington June 28. This council is the highest degree of Scottish Rite in Illinois. There will be representatives from the lodges in Chicago, East St. Louis, Springfield, Quincy, Peoria, Danville and Freeport. The supreme council is composed of James B. McFatrick, Amos Pettibone and Leroy S. Goddard, all of Chicago; S. O. Spring of Peoria and D. D. Darrah of Bloomington. This will be the first meeting of the council outside of Chicago and is in recognition of Bloomington’s new Masonic temple which was recently dedicated” (Streator, Illinois, page 6). The scenery for the Masonic stage in the building was delivered by Sosman & Landis. Keep in mind that Joseph S. Sosman was extremely active in the Chicago Scottish Rite and the firm was responsible for delivering all of the early scenery to the Chicago Scottish Rite bodies over the years.

The key to the Bloomington’s Scottish Rite success was their elaborate degree productions. On 18 October 1915, “The Pantagraph” reported, “Bloomington Scottish Rite Masons to the number of 200 are to swoop down on Springfield on November 24 in response to an invitation received by Commander-in-Chief Darrah requesting that the local staff confer the Twenty-seventh degree on a class of candidates at that time. A special train is to be chartered for this trip, and it is expected that at least 300 members of the fraternity will make the journey to the Capital City. This degree is one of historic origin and calls for the most elaborate costuming and scenic effects. It requires 110 men for the cast. The consistory purchased special costumes and scenery for this degree some time ago and since then have held numerous rehearsals to perfect the staging of the production” (page 7).

Bloomington’s Masonic Temple on Jefferson Street was the location for the first degree productions in 1912. According to a 1913 annual report, 144 candidates joined 1912. As Scottish Rite membership skyrocketed, the need for a new temple was proposed. In 1917, a new building was proposed, with the purchase of land at East and Mulberry taking place by May 1918. Necessary building contracts were authorized during November 1919, with the building being completed by 1921. The new Scottish Rite Temple was located at the north edge of the Bloomington’s business district, at 110 E. Mulberry Street.  The first Fall Reunion in 1922 included 353 candidates.

To be continued…

In 1912, Thomas G. Moses recorded that Sosman & Landis delivered Scottish Rite scenery to Santa Fe, New Mexico. Santa Fe Masons purchased the original McAlester scenery; this is the first collection, as the second McAlester scenery collection is now in Salina, Kansas. The purchase of a used scenery collection was to get the membership used to degree productions. Once the building was dedicated, the “practice” scenery was sent to the Scottish Rite Charleston, South Carolina.

Two weeks before the Santa Fe Cathedral’s dedication, ”The Deming Headlight” reported, “On the evening of the 17^th of November, the Scottish Rite Masons of New Mexico will dedicate their magnificent cathedral in the city of Santa Fe. On the 18^th, 19^th and 20^th, of November the dedication class of aspirants for Scottish Rite honors will see the beautiful degrees of the Ancient and Accepted Scottish Rite of Freemasonry conferred from a great auditorium 58×72 feet which has a seating capacity of 600. The dedication on the evening of the 17^th will be a memorable occasion to all Masons in New Mexico since it will formally open the most beautiful home consecrated to Masonry in the southwest. The cost of the cathedral, when finally completes with the equipment, will be about quarter of a million dollars” (Deming, New Mexico, November 1, 1912, page 6).

I am not going into the entire history of the Santa Fe Scottish Rite for this post. After restoring the scenery collection in phases from 2002 to 2005, I was asked to write about the theatre in an upcoming publication. In 2014, I began a project that resulted in “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018). The story of the Santa Fe Scottish Rite is neatly compiled with both historic images and stunning photographs by Jo Whaley. Here is the link to the book on Amazon: https://www.amazon.com/Santa-Scottish-Rite-Temple-Architecture/dp/0890136335/ref=sr_1_1?keywords=waszut-barrett&qid=1570201389&sr=8-1

My fascination with the Santa Fe Scottish Rite Theatre began early in 2002. I was sitting in Lance Brockman’s office at the University of Minnesota when he received a call from the Santa Fe Scottish Rite. They were looking for someone to assess and repair their scenery collection; he recommended me.  At the time, I was still in graduate school, a perpetual student stuck in ABD (all but dissertation) mode. My husband and I were both in school and raising a five-year old daughter. Fortunately, my folks were both retired and helped us out a lot. When I explained the Santa Fe opportunity, they planned their next vacation near Santa Fe, New Mexico. They frequently traveled south in their RV, camping all over the United States.

I made the long drive with Isabelle from Minnesota to New Mexico that February. In my little red Ford Escort, we ventured from the snowy plains of Minnesota to the arid mesas of New Mexico. Isabelle and I stayed with my folks in an RV campground, just west of Albuquerque, for over a week. During the day, Isabelle and my parents found exciting things to do, while I drove the north on the Turquoise Trail to Santa Fe. In Santa Fe, I spent full days evaluating both the scenery and costume collections. A few times, my father came with me, helping raise and lower scenery, or just sitting and enjoying the art.

Four months later, I was leading a large group of locals during the first phase of the scenery restoration. That summer, I also began the Scottish Rite scenery restoration in St. Paul, Minnesota.  The two collections were created within two years of each other and were almost identical. The only major difference was that the St. Paul collection had moved once to a new location, so it shared much more wear and tear.  

For each phase of restoration in Santa Fe, my husband and daughter joined me. Nothing was better than staying in the dormitory of the beautiful pink building, a stone’s throw from Santa Fe’s central plaza and dozens of trails. We experienced the various summer markets, Canyon Art Road, the Palace of the Governors, opera season, the children’s museum, and many nearby hikes.  It did not matter that I was working 10 to 12 hour days, as the crews were fun, the project interesting, and we had two days off each week to play. 

There is something beyond Santa Fe’s beautiful scenery collection, ornate architectural décor, and stunning central courtyard. There is an irrepressible energy, not only inside the building, but also within in the city.  I travel a lot. I love experiencing different people, cultures and food, easily making friends along the way. When I first arrived at the top of the Santa Fe Scottish Rite steps during February 2002, however, it was different; it was like returning home after a long absence. I experienced a wide array of emotions that ranged from gratitude and relief to excitement and sheer joy. I would give anything to go back and relive those few summers.

I have felt at home in many Scottish Rite temples. There is a specific smell that all of these places share in common, regardless of climate or regional characteristics.  While working, I frequently encounter a cool air that carries a slight musty smell. The scent is a combination stale musk and the metallic ting of dry pigment.

Historic theaters, whether they are opera houses or Scottish Rite theaters have a residual energy that lingers about the stage machinery and scenery. You just have to pay attention. I have encountered this in other performance spaces too, not just Masonic ones. It is connected to the original installation. Although hard to explain, it is as if everything is just silently waiting for another performance. Once these elements are removed or altered, the dynamic of the stage changes; it is as if the soul has left the space.

To be continued…

In 1912, Thomas G. Moses wrote, “Went to Elgin to see Father McCann about a show for their Coliseum – a big street effect.” 

Moses was referring to the Elgin Coliseum and Father John J. McCann of St. Mary’s Roman Catholic Church in Elgin, Illinois. The Elgin Coliseum had a seating capacity of 4,000 people, large enough to host a sizeable church event. It is likely that the big street effect was for the State Sunday School convention that summer.

On May 24, 1912, the “Joliet Evening Herald-News” advertised the upcoming State Sunday School Convention at the Elgin Coliseum, drawing in thousands of church people over Memorial Day weekend (page 17). The three-day event included celebrity appearances and special programming pertaining to the instruction of children. The “Joliet Evening Herald-News” reported, “Special effort will be made to bring out features interesting to men and women both. The instruction of children of both sexes in matters that pertain to their future will be one feature of the convention.”  The convention closed with a parade of Sunday School Workers on Memorial Day night. There were several bass bands and a chorus of several thousand children in attendance. For the parade, 5,000 Sunday school workers from all parts of the state took part in the march.

Father McCann was quite an interesting individual and somewhat of a controversial character by 1918. Much of the later drama surrounding Father McCann had to do with Bishop Muldoon.

In 1909 the “Joliet Evening – Herald News” included an article about Bishop Muldoon’s visit to Elgin, reporting, “Bishop Peter J. Muldoon of the Roman Catholic diocese of Rockford, was given an elaborate reception on his first official visit to the city. A parade of 1,000 persons, headed by a band, met the bishop at the station and escorted him to St. Joseph’s church where an informal reception was held, and then to St. Mary’s parish, where he was the guest of Father J. McCann until evening. At 8 p.m., the bishop addressed a public gathering at the Coliseum at which Mayor Fehrman, Representative Price, and others spoke” (9 May 1909, page 3). Quite the reception.

In 1918, however, Father McCann would make the news in regard to his defiance to the Bishop. It all started when newly appointed church trustees were refused access to the financial records. These same Trustees later called on Father McCann and demand that he relinquish all church records and property. They were driven off when shots were fired from the second story of his residence. Two days later, and injunction was announced, but Father McCann could not be found, as he and his brother were in Chicago. Bishop Muldoon then suspended Father McCann and announced that Rev. T. Gilbert Flynn would succeed him immediately, conducting the St. Patrick Day Service. A guard was even posted in the church on Saturday night to prevent Father McCann from conducting the service the next day.  Father McCann’s response was to chase away the guard and barricade himself and his brother in the church.

The “Chicago Tribune” headline read. “Ram Door In, Seize Priest After Battle.” (Chicago Tribune, 18 March 1918, page 1 and 10).

The twenty-four hour siege of St. Mary’ Catholic Church ended when a dozen policemen and deputies forced the church doors open with a crowbar. Nine bullets, fired by the McCanns at the police, were later found embedded in the church door. When the police finally entered the church, Father McCann was in his vestments, kneeling in prayer while his brother stood guard. In the article, Father McCann claimed that he was a victim of personal spite on the part of a high church official, saying, ‘Muldoon will lose his purple before I lose my position” and he promised to sue for false arrest and trespass.

On March 19, 1918, the “Philadelphia Inquirer” reported:

“PRIEST DEFIES BISHOP

Elgin, Ill., Minister Refuses to Give Up Catholic Parish.

ELGIN, Ill., March 18 – “This Parish is worth $100,000 to me. It pays me $4,000 a year, or at a rate of 4 percent on $100,000. I won’t give that up without a fight. I am fighting for my life and shall defend myself to the finish.”

Defiance sparkled in Father John J. McCann, pastor of St. Mary’s Roman Catholic Church, as he announced his ultimatum to Bishop J. Muldoon, of the Rockford diocese today. The archbishop has been trying to oust Father McCann for some time as incompetent.

“I have been pastor at St. Mary’s for twenty years and up to two years ago was considered a friend to Bishop Muldoon,” continued Father McCann. “Envy is back of this.”

It is alleged that when officers appeared with a summons for Father McCann yesterday the former were driven away with shots. Father McCann said:
“I had no revolver and did not see one.”

The priest is to appear be in the police court here Wednesday on a warrant charging assaults and threats of bodily injury obtained by Rev. T. Gilbert Flynn, appointed as temporary pastor of the parish.”

The story and trial caused quite a sensation, with Chicago priests firmly on the side of McCann. Father McCann was charged with many things, from embezzlement to kidnapping and a secret marriage. One thing for sure, Father McCann was a poet who published under the pen name of Leo Gregory. In the volume, “The Kaiser and Other Poems,” issued in 1902, the following verses were from McCann’s “Not Hypocrite, but Human.”

“I have done wrong. Who has not?

But I have done some good;

And more of good than ill, I trust;

I did the best I could.

Was good I did the less sincere,

Because I failed in part?

Not hyprocrite, but human, friend,

Described the erring heart.

To be continued…

In 1912, Thomas G. Moses recorded that Sosman & Landis delivered Scottish Rite scenery collections to Santa Fe, New Mexico, Portland, Maine, and Bloomington, Illinois. In addition to Scottish Rite theaters, Sosman & Landis secured the Shrine scenery contract for the Medinah Temple in Chicago. Of the work, Moses wrote, “Sketches for the Medinah Temple were accepted and work awarded us.  The drops are 26 x 65 – some size.” The Medinah Temple faced Cass Street and extended from Ohio Street to Ontario Street.

I have often been asked to explain the Ancient Arabic Order of the Nobles of the Mystic Shrine.  I typically respond that after a Mason is introduced to Freemasonry in a Blue Lodge (first three degrees), he continues his education as a Master Mason in either the Scottish Rite or York Rite, thus making him eligible to join the Shrine.  The “Shrine” was a place to “relax” after all of the “hard labor” of learning the “Craft.” Today, Masons can skip the step of extending their Masonic education in the Scottish Rite/York Rite, and immediately jettison into the Shrine.

On October 30, 1912, newspapers advertised, “Masonic Temple in Chicago Dedicated” (“Decatur Herald, 31 October 1912, page 4).  The article reported, “The new Medinah temple was dedicated here tonight by the Order of the Nobles of the Mystic Shrine. More than 9000 Masons headed by Imperial Potentate William J. Cunningham of Baltimore, took part in the ceremonies which were elaborate. The building, which cost $650,000 is the finest of its class in the world. It has a seating capacity of 6000. The stage can accommodate another thousand persons.” The seating capacity was actually 4500, not 6000.The building was designed by architect Harris W. Huell of Huell and Schmidt, in the Moorish Revival style, with scenery and stage machinery by Sosman & Landis of Chicago. The Medinah Temple auditorium was also well known for its superior acoustics and 92-rank pipe organ.

Over time, the building fell into a state of repair and the sale of the property was presented to the membership. In preparation for a future move, the Masons liquidated many if the building’s contents, including the 80’-0” Gustav Brand painting of a pilgrimage to Mecca, oriental tapestries, vintage furniture, regalia, stage costumes, circus ephemera, and the list goes on. I have repeatedly discussed the liquidation of Masonic contents in historic buildings. In many cases, there is a lack of understanding in regard to the cultural significance of many fraternal artifacts, especially their historic importance. Masonic artifacts are being sold and thrown out quicker than they could ever be documented. In about a decade, after a new generation of Masons has joined the Fraternity, they will question the actions of the current generation. These future members will realize what was squandered for the benefit of a relatively few.  

By the turn of the twenty-first century, there was an attempt to save the city of Chicago attempted to save this historical landmark while repurposing the structure. $14,000,000 in state and federal money assisted Federated and Bloomingdales. Medinah Temple reopened as Bloomingdale’s Home Store in 2003. The space was renovated with retail in mind. The interior coffered plaster dome, proscenium opening and stained glass windows were preserved. The original first floor, once six feet above street level, was dropped to grade. Local newspaper articles boasted of the building’s renovation and the project even won awards. Meanwhile, the Shriners had relocated to another venue in the western Chicago suburb of Addison.

I visited the renovated structure in 2014 while attending a League of Historic American Theatres regional conference. I was fortunate to have a few free hours during the event as it provided me an opportunity to go on a walking tour with a Masonic friend in town. As we searched for original ornamentation and discussed the Medinah Temple’s history, I could not help but grieve for the overall loss.  The building’s exterior may have been saved, but the soul of the space was gone.

Last fall, the Medinah building was placed on the market again, appearing in newspapers articles during August 2018. The 130,000 sq. ft. building was a mere victim of Bloomingdale’s nationwide downsizing. Using public money to restore a historic building for retail may not be the solution and I have to wonder if the $14,000,000 in state and federal money merely prolonged the inevitable. Here is a link to an online article about the Medinah building with some lovely architectural details: https://www.wbez.org/shows/morning-shift/whats-that-building-medinah-temple/3e8d9257-2f34-4126-953b-f4aee23d31a4

To be continued…

Today’s post continues with the story of New York Studios for one more post.  In 1912, the firm brought suit against the owners of the Colonial Theatre. In court they tried to recovered money that was due from F. & H. Schweppe for a “Moonlight Olio.”

I have read many tales of honest and hard-working people who were not paid for their work. They all seem to share a similar story. Only twice, have I had the misfortune of being “stiffed;” pretty good for being in the business more than thirty years.  However, for me that was twice too many.  I think that the first time was the hardest as I didn’t see it coming. It concerned painted ceremonial settings for the Ancient & Arabic Order of the Nobles of the Mystic Shrine – go figure.

While researching the life and times of Thomas G. Moses, I have repeatedly read the letters of correspondence between scenic studios and various Masonic organizations, begging for money owed from scenery that was already designed or installed. In many ways, I feel quite fortunate with only suffering from two dishonest clients.

Not being paid from a Masonic organization is similar to not being paid from a religious institution; they know better.  I always think back to Thomas G. Moses quote, “My experience with Church Committees, of all denominations was such that I almost promised myself never to enter another Church.  I found a lot of dishonest men that were pillars of the church and naturally I looked upon them as good Christians, and their word should have been as good as their bond.”  

There is an interesting dance that often occurs with a client, or organization, owes money for completed work and has no intention of paying. After a series of delays, a lame excuse is often presented as justifying nonpayment.  It really doesn’t matter to the client at this point, as the vendor has already delivered everything promised; they are simply waiting for compensation. So the client just sits, gambling in a way, and hoping that no legal action will ensue.  The person owed the money contemplates whether the amount is large enough to incur additional legal fees. In 1912, New York Studios decided the amount was worth it.  Their particular story had to do with a client paying for scenery that was not returned in 1911.

On March 18, 1912, the “Star-Gazette” reported “The New York Studio, painters of stage scenery of all sorts has begun action against Schweppe Brothers, owners of the Colonial Theatre on Main Street to recover $90, claimed to be due on a “moonlight olio drop” which was furnished that theater. It is alleged that settlement made with Schweppes at a certain figure providing the local firm would return the drop. The studio says the drop has not been returned” (Elmira, New York, page 3). In other words they rented a drop and decided to keep it. The first time round they lost the case in city court.

On September 4, 1912, the “Star-Gazette” reported “The New York Studios Company, through their attorneys, Baldwin & Allison, have appealed from a jury’s verdict in city court which was rendered in favor of Fred and Henry Schweppe, owners of the Colonial Theatre block. The action has been tried in a city court to recover $90, which the New York Studios Company alleged was due them for a ‘Moonlight Olio.’ The jury held that the Schweppe Brothers were justified in their position. The jury rendered that verdict on July 25” (Elmira, New York, page 11).

Now there is the basic question here: “What is a Moonlight Olio?” There is an ongoing discussion about “olio, the machine” versus “olio, the scene.”  In this particular case it is painted scenery, more specifically a backdrop that depicts a moonlight scene or has a moonlight effect. Olio likely refers to the studio design label. Examples of “olio” drop compositions can be found in the Performing Arts archives at the University of Minnesota. The Twin City Scenic Co. collection has an entire box of olio designs, with each label using an “O” for olio, for example, O-89. Olio drops were musical numbers placed between the scenes of a play/melodrama and were independent of the main storyline. Back to the court case…

By 1915, The “Star-Gazette” published the ongoing 4-year saga of the moonlight olio, reporting, “The action grows out of the furnishing scenery for the Colonial. The original claims were settled at 75 cents on the dollar and in the settlement the Messrs. Schweppe were to return a moonlight drop, which is one of the canvas painted drops which make the background of the stage setting. The studios had furnished two olios and it is claimed that the wrong one was returned. From this incident, four years ago, grows the present action for $90. It was tried once in City Court and Messrs. Schweppe were successful. The studios appealed” (1 June 1915, page 7). On June 2, 1915, the verdict was published – $90 was awarded to the New York Studios. The “Star-Gazette” commented, “The $90 is the full amount of the claim but it is not so much the money as a vindication of lawyers that was being fought for” (1, June 1915, page 7).

The $90 fee for the Moonlight Olio is the equivalent of $2,380.44 today. Although this was not a great amount of money for a scenic studio to lose in product, they had to fight this battle in a very visible arena. Their legal actions sent a signal to other theaters and clients that New York Studios would not back down; they would collect money owed, regardless of the amount. 

To be continued…

In 1912, Thomas G. Moses wrote, “Did a number of garden wings for Proctors, N.Y. for the New York Studios, and some drops for Washington, D.C.”

What is fascinating about Moses’ entry is his mention of painted garden wings for a New York Studios project. There is an extant wood wing attributed to New York Studios at the Thalian Hall in Wilmington, NC, also by New York Studios.

Last spring, I visited Thalian Hall and gave a presentation on historic stage scenery. Russell Smith painted a drop curtain for Thalian Hall in 1858; they still have it. Like many theaters, additional scenic pieces were added over the years, including some pieces from New York Studios. During my visit, executive director Tony Rivenbark pointed out a small painted wing that was tucked away. The wood wing at Thalian Hall was the last remnant of a pair, once part of a set that masked the side stages for exterior scenes. On the back of the folding wing was a New York Studios Stencil, the first I had ever encountered.  Again, New York Studios was the eastern affiliate of Sosman & Landis of Chicago, started by David Hunt during the first decade of the twentieth century. New York Studios was incorporated on April 8, 1910, and lasted until its dissolution on Dec. 15, 1939.

Keep in mind that Sosman & Landis had regional offices throughout the country, including one in New York City before New York Studios was established in 1910.  An article in “The Times” even mentioned Sosman & Landis’ presence in New York describing, “the well known New York and Chicago artists, Sosman & Landis” (The Times, Streator, Illinois, 14 Sept. 1910, page 5). Regardless of their east coast office, Sosman & Landis treasurer and secretary, David H. Hunt, proposed a new business venture. Instead of maintaining a regional office, he would establish an eastern affiliate. New York Studios stockholders included David H. Hunt, Adelaide Hunt, Edward Morange, Henry L. Rupert, and W. E. Castle.

Painted wings for both large and small stages were the bread and butter of our scenic studios at this time. Their construction necessitated the careful collaboration between both carpenters and scenic artists. Whether they accompanied shutters, roll drops or fly drops, these painted sidepieces were necessary to complete the scenic illusion while masking backstage areas. These sidepieces were supported with grooves, stage jacks and other hardware.

Painted wings are still found at some historic venues, but seldom used.  They often become the chipped sugar dish in china set that is missing its creamer.  When only one wing is left, how can it be used for a production? It can’t, so it simply sits backstage in a corner, or tucked away somewhere. Such was the case at Thalian Hall. After almost all other scenery left the building, this one wood wing remained.  The New York Studios wood wing may possibly be the last remnant of New York Studio, after the firm produced thousands.

Wings were just one element on the historic stage, and integral part of the scenic illusion. To simplify what was on stage in a historic theater, stock scenery collections consisted of backings (roll drop/fly drop/shutter), sidepieces (wings/tormentors), top pieces (borders/teasers) and set pieces (rocks, trees, balustrades, etc.). Keep in mind that stage terminology shifts over time. The important thing to remember is that the painted sides and set pieces are often the first things to go when a venue was sold, renovated or repurposed. A painted backdrop may remain tucked away when almost every other scenic piece has disappeared. A painted wing is often the earliest form of collateral damage while a stage is being renovated. Hanging scenery often enjoys a slightly longer life span than its counterparts, maybe because it is more difficult to remove.

The greatest amount of flat stock (wings, set pieces, profiles, etc.) is still found at Scottish Rite theaters, although those pieces are rapidly disappearing too. Why are there still thousands of extant pieces in Scottish Rite theaters?  The main reason is that they are too hard to reach and the average age of Masonic stagehands is now well past retirement age. Keep in mind that the design of many Masonic stages incorporated a lofted storage area opposite of the fly rail. Today, the idea of climbing up a wooden ladder, finding the correct flat, removing a guardrail, and lowering it to the stage is often a deterrent for many Masonic stage crews. On the bright side, the lack of use has preserved many pieces. They remained quietly waiting in the wings to once again accompany the remainder of a painted scene.  

To be continued…

As David Hunt continues to be part of Thomas G. Moses story, it is time to recap the life of this interesting character. David H. Hunt was born during September 1869 in Detroit, Michigan. His parents were Patrick  (b. 1851) and Anna (b. 1849), both Irish immigrants. Hunt was one of three children born to the couple in America, with his brothers being James (b. 1871) and Frances (b. 1886). To date, I have found no indication of how Hunt became involved in the theatre business, but by the age of 24 yrs. old he was both working for Sosman & Landis and working independently as a stage manager.

In 1893, Hunt was working in both Chicago and Detroit. On June 4, 1893, the “Detroit Free Press,” reported that Hunt was managing the benefit performance, “Caste, “for the St. Boniface and Jesuit churches new auditorium (page 15). The new Jesuit hall boasted a seating capacity of 650 with new stock scenery (“Detroit Free Press, June 20, 1893, page 5). The production featured Harry C. Barton of the Warde-James combination, Una Abel of the Rhea Company, Henry Wilkinson, Mrs. T Kennedy and W. H. Powers Jr. of the Nora Machree Company, and both Adelaide Cushman and John P. Barrett of the Glen-da-Lough Company. The article reported, “Manager David H. Hunt has returned from Chicago where he made arrangements for special scenery to be used throughout, and promises excellent staging.”

Hunt also worked for Sosman & Landis at this time. In 1894 Hunt convinced both Sosman & Landis to establish the theatrical management company of Sosman, Landis & Hunt in 1894. It is obvious that Hunt had been with the company for a while, but I have yet to discover when he actually started with the firm.  

The mid 1890s were a time of transition for Sosman & Landis; they were expanding and diversifying their interests. As Chicago theatrical scenic outfitters, they took the next step in securing a few opera houses and establishing a stock company. Sosman & Landis first tried their hand at theatrical management in Chicago, producing and managing the two electric scenic theatres on the rooftop of the Masonic Temple.   In addition to Sosman, Landis & Hunt, they invested in the American Reflector & Lighting Company, with Landis being one of the company founders. Previously they had founded a panorama company.

Sosman, Landis & Hunt’s first theatrical out-of-state management opportunity was in Cincinnati at the Pike Theatre. By 1897, Hunt was in the process of remodeling and redecorating the Pike Theater hiring the Chicago theatrical architect Sidney R. Lovell. In 1899, the “Chicago Inter Ocean” reported “David H. Hunt of Cincinnati, a member of the firm of Sosman, Landis & Hunt, the well-known theatrical managers, says: “Chicago can’t compare with New York as a theatrical town” (16 July 1899, page 14). An 1899 article in the “Los Angeles Herald” provided a little more insight into Hunt’s roll in the Sosman, Landis & Hunt theatrical management venture.  It was an interview with Hunt titled “How the Stock System Pays.” Hunt was interviewed and explained the stock company:

“The growth of the stock company idea in the west would surprise you easterners,” said David H. Hunt, of Sosman, Landis & Hunt, the other day. “I have charge of the Pike opera house In Cincinnati, and we are making more money with a stock company than we did when the house was given over to vaudeville and variety was the society fad. A haphazard stock venture will not succeed, but properly managed the scheme is a huge success, and the companies are now so plentiful that it has become a matter of difficulty to obtain players who are not only willing but capable of doing leading stock work. The lesser people are not hard to get hold of, for there will always be an excess of players, but to get good names to head the company is constantly becoming more difficult because of the advance of the idea. We have a big company, and not only get good plays, but we try to give for seventy-five cents as good a production as is provided by a visiting company for double the money. We have two scene painters and two assistants always at work, and we never use a rag of scenery for more than one play. [The scenic artists in Cincinnati at the Pike Theater for Sosman, Landis & Hunt were Thomas G. Moses and Fred McGreer.  McGreer is covered in installments #301-304.].”

Hunt continued, “We give the property man money enough to hire really good furniture and we have as good a stage manager as we can get, for we very early awoke to the fact that we could save money on this department of the work. A competent man will get all there is that is good in an actor, while an incompetent one will spoil a good player. Then we have found that we must spend a little money in royalties. It is a nice thing to have the old plays to fall back on, but a season which lists a succession of ‘East Lynne’ and ‘A Celebrated Case,’ with ‘Leah’ and similar plays to follow, will not be a remunerative one in the west, and we find that by laying out four or five hundred dollars for the use for one week of a play like ‘The Prisoner of Zenda,’ we cannot only get back the money we pay out, but enough more to make it worth our while to get the best. Of course, there is the constant study to be urged against the stock system, but to offset this, there is the avoidance of the discomforts of travel and to be able to settle down in a flat for a season instead of alternating between the one night stands and the sleeping cars, is a sufficient attraction to many to offset the fact that they will have to get up a new play each week instead of one or two for the season.”

Unfortunately, a series of lawsuits were filed against Sosman, Landis & Hunt around this time. They didn’t quite follow the rules laid out in various contracts. Both actors and authors contended that the firm violated agreements and took their cases to court. Sosman, Landis, & Hunt slowly loses steam around this time and Hunt began to flail around, starting to manage his own shows again. The 1900 census still listed Hunt as a stage manager and living with his parents in Detroit, at 151 Eighteen St in Detroit Ward 10, Michigan. Yet Hunt continued to work as a stock manager for the next decade before founding New York Studios, the eastern affiliate of Sosman & Landis.

In 1901, the “Detroit Free Press” made an interesting observation about Hunt on 15 April 1901 (page 4). An article about the Pike Theatre Company’s production of “Charity Ball” at the Lyceum reported, “The organizer and manager of this enterprise is David H. Hunt, a young man whose ideals are high and whose mental attitude toward the theater is not merely sordid. By this it is not meant that his work is entirely altruistic. There is a necessary commercial side of art, and Mr. Hunt knows that in order to continue along the lines he has followed since the beginning of his managerial career the support that comes only through the box office is essential. But he also knows that while he is a frankly confessed merchant of theatrical wares, it behooves him to offer the best, and to present them in an attractive manner. The public is well enough acquainted with his way of doing business to feel justified in expecting another season of honorable achievement on his part. It is quite within the limits of conservatism to say that the re-advent of his company is a distinct public gain, for it may fairly be assured that what is known as the popular-price theater can boast no better balanced combination of players than the cast that Mr. Hunt gave us last evening.”

In 1902, the “Evening Star” reported, “Stock was a new thing when Mr. David H. Hunt decided that vaudeville was not a success at his Cincinnati theater, and installed the first stock company there since the famous old days when Davenport, McCullough and other old-time stars had appeared with the ante-bellum stock companies in the smoky city.  Mr. Hunt was a young man, his company contained players who were themselves little known, and with the development that followed hard work and success the organization was brought to a standard of perfection.  Mr. Hunt early decided that pecuniary success would only result from artistic success.  He set about obtaining good plays and good players, with the result that people in Cincinnati accord the Pike Theater Company both consideration and affection.  For several years the company played entirely in Cincinnati, then tried Minneapolis and St. Paul for spring engagements, next added Detroit to their list of cities and now adds Washington, New York and Baltimore” (Washington, D.C., 13 Sept. 1902, page 22).

By 1903, Hunt married Angela Delores, an actress with the Pike Theatre Company. Their romance sprung up while she was under his management, with her forte being dramatic roles. The groom was described in the newspaper as “a Detroit man and widely known for his theatrical profession of the middle west as a hustling manager”  (“Detroit Free Press,” 21 May 1903, page 12). In 1905, the couple celebrated the birth of their daughter, Anna.

By 1906, Hunt is managing the stock company for the Chicago Opera House. Of this endeavor, a newspaper article reported, “David H. Hunt who has considerable experience in this particular branch of amusement business, will assume active management, and he has made definite arrangements with important Eastern managers whereby he will offer their successes at popular prices” (“Inter Ocean,” 19 August 1906, page 26). However, in 1908 Hunt has returned to solely managing his wife’s touring production with William Duvre and Harry English (Cincinnati Enquirer 30 August 1908, page 26). This Newspapers report that her tour remained under the personal direction of Hunt and who promoted her as the “best known stock leading lady” (Fort Wayne Daily News, 16 Feb 1911, page 5). Between 1908 and 1910, Hunt transitions from management to founder of a scenic studio.  His major investors for New York Studios include scenic artists and Adelaide A. Hunt, who becomes president of the firm. I have uncovered precious little about Adelaide as there were quite a few Adelaide A. Hunts at the turn of the century. At first I thought that Adelaide may have been a matronly relative with money.

However, 1925 US census records list David H. Hunt is living with his wife Adelaide A. Hunt and their daughter Patricia (age 4) in New York. Hmmm. Adelaide A. Hunt was still the President of New York Studios in 1919. Interestingly, the 1920 census listed Hunt as a commercial salesman for the scenic studio industry, still married to Angela, living at 1920 Oakwood Blvd. in Chicago, Illinois. His daughter with Angela was 15 years old by this time.

To be continued…

In 1912, Thomas G. Moses wrote, “Sosman left for the south on a vacation.  My work doubles.  We are doing a lot of work for the New York Studios – not much profit in it for us, as Hunt seems to think we should be satisfied with a small profit.  I have made a number of designs for him which I am pleased to do as long as we get the work.” 

Hunt was a long-term employee at Sosman & Landis, founder of the theatrical management firm Sosman, Landis & Hunt (est. 1894), and founder of New York Studios (est. 1910). New York Studios was considered an eastern affiliate of Sosman & Landis. In 1905, Thomas G. Moses wrote, “Went to Baraboo to see Ringling Bros.  Hunt went with me.  I don’t know why, as I had to do all the talking and make the sketching for ‘The Field of the Cloth of Gold.’ We got the contract for $3,500.00.” Moses did not get along well with David H. Hunt of New Yorks Studios and periodically mentions the discord in his diary.

By 1910, tensions were high between Moses and Hunt, escalating when Joseph S. Sosman leaves on a 15-week European tour. At the time, both Moses and Hunt were left in charge of the studio, with shops in both Chicago and New York. Hunt was the company secretary and treasure, whereas Moses was responsible for the design, construction and installation of all projects. Of this time, Moses wrote, “Mr. Hunt was secretary and treasurer, and expected to run the business, but I wouldn’t allow it.  Mr. Hunt kept on the road most of the time.” After Sosman returned and assessed the studio’s state of affairs, Moses wrote, “I heard some reports as to what Hunt had reported to Sosman about my treatment towards him.  I got mad and wanted to quit.  Sosman wouldn’t listen to me.  I finally got cooled… I arrived June 25th.  Sosman had his doubts as to my coming back.” It was around this time that Hunt officially established New York Studios. Smart move, as it was beginning to appear that Chicago was not big enough for both Moses and Hunt.

The establishment of New York Studios is the beginning to the eventual demise of Sosman & Landis. Sosman steps out of the daily running of the company, leaving it to others, while investing in new business ventures such as New York Studios, managed by friend and past employee Hunt. Keep in mind that Sosman was a scenic artist; Hunt was not. Hunt was also working on many other business endeavors that distracted him from solely focusing on any one company, whether it was Sosman & Landis, Sosman, Landis & Hunt, or New York Studios projects.  Based on Moses’ description of Hunt and newspaper articles. Hunt reminds me a bit of a salesman selling any pyramid scheme, hoping for maximum returns with minimal investments; it is all based on the underlings beneath him doing the work.

Over the years, Hunt had remained a thorn in Moses’ side for many reasons, including his poor treatment of good artists; prompting many to leave the studio. The exodus of scenic artists from Sosman & Landis included Moses’ good friend, John H. Young. Young went on to dominate the Broadway scene as a well-known designer.

Hunt had started with Sosman & Landis during the early 1890s, quickly worming his way into both Sosman & Landis’ confidence. Although I have yet to find an official start date for Hunt, I estimate that his initial hiring was connected with many Columbian Exposition projects. By 1894, Hunt convinced Sosman & Landis to establish, the theatrical management firm of Sosman, Landis & Hunt. This was a secondary business venture; a company that leased theaters and founded touring companies in Cincinnati, Indianapolis and Detroit.  The firm kept Hunt busy as the primary manager for the endeavor, yet the Sosman & Landis studio staff from Chicago completed much of the necessary work. Moses’ diaries suggest that Hunt did not treat the artistic staff working for Sosman, Landis & Hunt well; scenic artists were swapped and directed to various projects like pawns on a chessboard, ready to be sacrificed at any point. Throughout this period Hunt had remained on the administrative end of the studio, always finding the public spotlight to share his great wisdom on a subject.

By 1910, Hunt also talked Sosman into investing in a new business venture – New York Studios. That year, Moses wrote, “Hunt had started a New York studio in New York City and he expected us to do a great deal of work, as he had Sosman invest a small amount.” New York Studios listed Adelaide A. Hunt as the President, Edward A. Morange as the vice president, and David H. Hunt, as the Treasurer. The company’s starting capital was $40,000, and listed the following directors: Edward A. Morange, Adelaide A. and David H. Hunt, with offices located at 325 W 29^th  Street, New York. Business listings noted that theatrical equipment was the primary product produced by the company. Now there were two scenic studios to consider, and only one Moses. In the 1919 Adelaide A. Hunt was still listed as president of New York Studios, with Edward Morange as Vice-President and David H. Hunt as treasurer, still supplying theatrical goods. Office locations varied from 29^th to 39^th to 95^th Streets. Many scenic artists worked for New York Studios including John H. Young, William F. Hamilton, Victor Higgins, William Smart, Art Rider, and Al Dutheridge to name a few.

New Yorks Studios was listed as the eastern affiliate of Sosman & Landis, whereas Sosman & Landis were listed at the western offices of New York Studios. Studio stamps on the back of some designs at the University of Minnesota’s Performing Arts scenery collection list the New York Studios “Home Office” at 328 West 39^th St. N.Y. There are other New York Studio designs that link designs to their  “Chicago Office.” The Chicago Office for New York Studios was located at 1022 Consumers Building, separate from the main offices of Sosman & Landis on Clinton St.

Sosman & Landis Studio and New York Studios were two very separate entities. Although they shared work and scenic artists, Moses hints that New York Studios always got more out of the relationship than Sosman & Landis, always taking advantage of the situation.

Between 1910 and 1912, Hunt and New York Studios were repeatedly mentioned in several newspaper articles across the country. One particular article concerned an electrical apparatus that enabled one man to handle sixty-five drops. Hunt was part of a group interviewed about the innovation; again his being in the right place at the right time. Hunt was chumming around with Martin Beck (manager of the Orpheum Theatre), A. C. Carson (manager of the Denver Orpheum), and Fred W. Vincent (New York booking offices). Regardless of Moses’ complaints, Hunt was a genius at social networking and always falling in with the right crowd.

In regard to Hunt keeping company with Beck, Carson and Vincent in 1910, I am including a section of the group interview with a “Lincoln Star” reporter. On Dec. 18, 1910, the “Lincoln Star” quoted Beck, “‘I have just inspected the invention of Seth Bailey, stage manager of the Orpheum in Denver,’ said Mr. Beck. ‘He has devised an electrical appliance which makes it possible for one man to handle sixty-five drops. It operates everything from the stage curtain to the back, gives absolute fire protection and does the work of an average of twenty stagehands. One man can operate it. It looks good to me, and if further tests prove it as successful as the indications are here we will install in all the Orpheum Theatres. ‘The apparatus for handling drops, consisting of ropes and counterweights, has been the same for 200 years,’ said A. C. Carson, manager of the Denver Orpheum house. ‘Mr. Bailey has perfected, the first invention, bringing the stage mechanism up to date. It has been a field neglected by inventors.’

By 1911, newspapers reported, “Theatrical men and others in Denver have organized a $500,000 corporation to manufacture a mechanical device, which, it claimed, will reduce the number of stage hands needed in a theatre by three-fourths, at least. The new corporation is called the Bailey Fly Rail Machine Company. It is incorporated under the laws of Colorado. Seth Bailey, stage carpenter at the Denver Orpheum, is the inventor of the device. He worked on it several years before he announced that it was successful. About two months ago Martin Beck, M. Meyerfeld Jr., John W. Considine and other vaudeville managers, met in Denver and saw a demonstration of the apparatus. They appeared to be highly pleased with it. The names of A. C. Carson, manager of the Denver Orpheum; Fred W. Feldwich and Frank Bancroft appear at the prime movers in the matter of incorporation. Mr. Bancroft is an attorney. The device is operated by electricity (“Wilkes-Barre Times Leader,” 18 Feb 1911, page 11). Other than patents, the stage carpenter and company seem to have vanished into thin air, as did Hunt’s association with the endeavor.

What remains significant in terms of theatre history is that Hunt was there, part of the vaudeville managers who gathered to see Bailey’s invention. He was certainly a mover and shaker.  I will continue with David Hunt’s story tomorrow.

To be continued…

In 1912, Thomas G. Moses wrote, “In May I went to Grand Rapids, Michigan, to paint an asbestos curtain from a scaffold – it was a bad job to do, but as usual, I got something out of it and it pleased the manager.  I saw a number of old friends.  One of the men that I knew in the orchestra thirty-five years ago, told me of one of my girl friends, Jennie Wilson, who was a clerk in a music store, selling sheet music when I knew her at the time.  She was still there.  I thought I would call on her.  One evening I walked down to the store and was going in.  I saw her back of the counter near the window, the same place, but what a change in her – stopped, almost white hair and wrinkled face, but the same black eyes.  I didn’t have the nerve, so I turned and walked away.  I felt afraid I might not be welcomed – what a ravisher of good looks is our old friend ‘Father Time.’ One that never deserts us  – with us from start to finish.”

Some of Moses’ old stomping grounds were in Grand Rapids, Michigan. Although promised to Susan “Ella” Robbins in Sterling, Illinois, he certainly maintained a social life as he traveled about the country. At the age of 19 in 1875, Thomas G. Moses found himself “out of work and very little money on hand.”  He managed to secure a job as a train boy, working the run from Grand Rapids, Michigan to St. Joseph. His work for the railroad left him well traveled and well fed, but yearning for artistic work and a better income. While waiting for his train to depart from Grand Rapids one day, Moses strolled about town and wandered into Powers Theatre.  Of his visit to Powers Theatre, he wrote, “I went in and found an artist at work on the paint frame.  I called up for permission to go up.  I found that I knew the artist – he was from Chicago.  He had an Odd Fellow Hall to decorate and needed help.  I agreed to quit my job within a week and help him out.  I did the thing I thought was best and Christmas found me very busy on all kinds of decoration.”

By the spring of 1876, Moses was known as a decorator of fine homes in Grand Rapids, completing one project after another.  In July he had even received the contract to do the decoration on Pearl Street’s big arch.  While completing this project, Moses met a Frenchman named Wardus who was decorating St. James Catholic Church. Wardus was in desperate need artist and contracted Moses. The project also called for a good figure painter, and the couple placed a newspaper advertisement. After receiving numerous responses, they selected Tom Brown, an Englishman from New York. They also hired an assistant, a young local by the name of John H. Young.  Moses wrote, “We three, the same age, roomed and chummed together and we had a fine time.  And, as I remember, we did some pretty good work.” Wardus began advertising Moses, Brown and Young as the “Three young Roman Artists,” with Moses recalling, “We didn’t look it – we were all quartered at a cheap hotel and we met a great many young people.” It is likely during this time that Moses met Jennie Wilson, the clerk at the music store who was still working there in 1912.

To be continued…