According to Virginia Lewis in her book “Russell Smith, Romantic Realist, “ in 1872, the artist Russell Smith painted a replica of an 1856 entr’acte drop curtain. The drop curtain was originally installed at the Academy of Music in Baltimore, Maryland. The painting for the curtain was described by “The Philadelphia Inquirer” on Dec. 16, 1894. The article noted that although the scene was titled “Como,” the actual scene was from sketches that Smith made at the head of Lake Lugano, in Northern Italy.” The article described, “A conventional design with huge frame, the center of the lower border included a Greek bust. The scene depicted a brilliant summertime view with Italian skies above the glitter and sheen of greenish blue waters.” Lewis notes that the curtain was painted on British imported linen and the drawings were inked in with logwood, commenting it resulted in “soft atmospheric effects which could not be gotten otherwise.” The article also noted that “the colors were made by him personally, as was his custom.”
A recipe for logwood ink appeared in the 1912 publication of “The Standard Reference Work for the Home, School and Library: “Logwood ink is made easily. Logwood may be boiled in soft water, or else extract of logwood may be used. When ink of a proper consistency has been obtained, add one part in ten of ammonia or alum dissolved in boiling water. This gives a violet ink.”
Logwood is a small redwood tree indigenous to Central America, Mexico and the West Indies. Introduced in Europe during the 16th century, it is still used today in a variety of industries. The dye is contained in the heartwood of the tree, cut into small blocks and then chips for use. Logwood was inexpensive at the time when Russell Smith was using it and provided a wide color range, spanning from violet and blue to deep brown and black. Logwood was not only used for inks, but also watercolor paints.
I immediately thought back to the ink lines still visible on Smith’s 1858 drop curtain. Although water damage washes away an artist’s painting, it often reveals the original drawing beneath, such is the case with the drop curtain at Thalian Hall.
Drawing revealed after water damage. Inked lines on the 1858 Russell Smith drop curtain at Thalian Hall in Wilmington, NC.Drawing revealed after water damage. Inked lines on the 1858 Russell Smith drop curtain at Thalian Hall in Wilmington, NC.Drawing revealed after water damamge. Inked lines on the 1858 Russell Smith drop curtain at Thalian Hall in Wilmington, NC.
A variety of logwood inks appeared in the 19th century after the design of the steel pen necessitated new ink; iron-gall inks corroded the steel nibs. Chrome-logwood inks were noncorrosive and flowed freely. Cr logwood inks were among the most popular in use, reaching the market in 1848. Unfortunately, chromium caused the ink to gelatinize in the bottle and other alternatives were repeatedly sought out.
There were also alum-logwood inks and copper-logwood inks. Logwood inks were cheap, but not a perfect solution to replace the traditional and expensive black inks. Some of the early violet inks also came from logwood, with the best versions appearing as an intense blue black. Once dry, logwood inks could be wetted without smearing or spreading; a perfect application in inking scenic art compositions that would be painted over. Van Gogh also used chrome-logwood ink for many of his paintings.
It is very possible that the Smith’s inked lines, now visible in the Thalian Hall drop curtain, were made with logwood ink.
The 1858 Thalian Hall drop curtain is a significant artifact within the framework of American history. It is much more than an old piece of scenery created for a theater. This signed drop curtain is a large-scale artwork painted by a nationally recognized artist, one who left a substantial written legacy. Written records of Smith’s design, painting and installation of the curtain provide additional artistic provenance for the piece. Smith’s journal entries provide an extensive historical context not only for the 1858 drop curtain, but also theatre work at the time.
Smith’s memoirs give insight into the life of the artist, his art, and the shift in American theatre practices. Many of his journal entries were interpreted by Virginia Lewis and published in the book “Russell Smith, Romantic Realist.” Of Smith, Lewis wrote, “All through life he enjoyed talking and writing about his scenery work, and liked to explain his philosophy of scene painting, writing many thoughts into his journals.”
When Russell Smith painted the drop curtain destined for Wilmington, North Carolina, he was 46 years old. A well-known and established scenic artist, by this point in his career he had worked for three decades.
Of interest to me is Russell’s studio at Edgehill in Jenkintown, Pennsylvania. He built his studio specifically for painting drops that he sometimes referred to as the “painting room for the Academy of Music.” This provided better light and a quiet environment to focus on his painting. A private studio space was preferable to the traditional one used by most artists in the theater. Most often, scenic artists painted scenery on frames that existed in the theater that they were creating scenery for at the time. However, a theater space was often busy with the hustle and bustle of rehearsals and stage preparation prior to a production. As there were fewer people watching him work, it is likely that criticisms and “suggestions” were kept to a minimum – a benefit when working off site. Smith suffered from chronic headaches throughout his entire life; to create art in the peace and quiet of his own studio must have been a relief from the noise of a commercial space.
Of Smith’s studio at Edgehill, Lewis notes that a frame structure was attached to the wing of the stone house. Smith wrote: “After the refreshment of sleep I would lie an hour and plan in my mind my day’s work – contrive the composition, dispose the masses of light, shade and color; and go over more than once, in fact, think it out; so that when I came before the canvas after breakfast, I never hesitated or lost time rubbing out, but went straight forward, and by night there would often be a finished scene. Some of the other prominent scene painters, Coyle and Jones, for instance, would express their surprise at the directness and the speed with which I pushed forward. They knew not the cause. But even that speed would not satisfy some stage managers; and I have been induced to paint three entire scenes in forty-two consecutive hours, and they were not simple scenes, like a calm sea and sly, or a quiet lake and distant hills, but represented an encampment, fortifications and a City, for ‘Edward the Black Prince.’”
Smith followed a traditional design process that is still used by many artists today, myself included. The design starts with a pencil drawing, or a simple concept sketch. This initially defines the composition. From this preliminary sketch, a quick painting or study is produced in a slightly larger format. These early works evolve into a finished picture, or scale color rendering that will be used for full scale painted drop. As today, this design process verifies the direction of the composition at every step. Ideally, it prevents a flurry of recommendations and alterations after any on site installation.
Small sketch for the Russell Smith 1858 drop curtain at Thalian Hall in Wilmington, North Carolina. It is approximately 2″ high by 3″ wide – very small. Almost like a sketch on a bar napkin!1858 drop curtain by Russell Smith shows the final composition, after it evolved during the design process.
However, beauty lies in the eye of the beholder; then, as now, the value of scenic art varies from one to another. In his memoirs, Smith commented that some perceived scenic art as “but a coarse kind of daubing, indeed an inferior trade; and no doubt much of it deserves no higher position-with its want of nature and extreme exaggeration of color. But the best poetry of the Drama justifies the grandest and most beautiful illustration; and if the audience would demand it and the painter could bring to his great canvas sufficient genius a wide experience of nature and mastery of execution, where would lie its inferiority? And how much less would his power of instructing and pleasing be than a painter who strived to do so in the space of a yard or square foot? This was always my estimate of my profession; and I ever strove to sustain it by avoiding all false color, glitter and exaggeration of every kind, whilst striving to represent the most beautiful features of nature, I could see with reverential love of truth. The material, canvas and color, I used were also genuine as that of the best oil pictures; and as I painted in my own painting room, out of town, I was freed form the injudicious dictation of prompters, stage-managers, etc., who care little for real good art and are justly blamed for their shortcomings of the Stage, but who always justify themselves by saying. ‘The business must pay, and therefore it is our duty to give to the public what they want to see.’”
I spent much of yesterday examining a drop curtain painted by William Thompson Russell Smith (1812-1896) in 1858. At the time of installation, a local newspaper placed his work alongside that of other scenic artists whose work hung in many prominent New York theaters.
The Russell Smith curtain hanging at Thalian Hall in Wilmington, North Carolina
On October 7, 1858, the “Daily Herald” in Wilmington, North Carolina, reported, “There are many theatres there [New York], but none which possesses even a decent drop curtain as a work of art. Take the great Lyric Temple on Fourteenth Street, what have we there? A large masse of elaborate drawing, a pile of impossible architecture, devoid of the poetry and charm of color, and feeble in light and shade. Again at Burton’s there is an extensive canvass, the subject the town of Miessen, Saxony, celebrated for the clay which forms the world famous Dresden china, treated in a tame and common place style. At Laura Keene’s there is another mass of incongruous architecture, with great plethoric Shakespeare in the centre, at whose feet are some figures of sitting boys holding scrolls, having the appearance of very uncomfortable seat, and dangerous liability of slipping off. At the Broadway, the subject is an allegory, something of Shakespeare-for the Bard of Avon is unmistakably there-but what is about, must ever remain as inscrutable as the Egyptian Sphinx. Then at Wallack’s and the Bowery, we have one, a view on the Hudson, the other the Falls of Niagara, neither possessing a single feature entitling them to rank as works of art. The province of art, as of poetry is to expand the mind, and prepare it for the reception and diffusion of elevated ideas and reflection. And in this respect, has Mr. Smith well chosen his subjects. There are doubtless, who would have preferred a local, or national subject for a drop curtain.
“Without desiring to ignore the beauty of American scenery, or importance of many of our historic annals, let us fairly place the picture before us in the balance, and find out what are its superior attractions and intellectual teachings.
“Americans must bear in mind, that–nationally–we are but infants. We present to the world the nucleus of a great Future, the artist has portrayed the customs and great beauties of the great Past. Therein lies the lesson.
Detail of Russell Smith’s 1858 curtainDetail of Russell Smith’s 1858 curtain
“On the banks of a beautiful river–an arm perhaps of the fair [Argean]–rises a majestic Temple of the Doric order, grand and imposing in its proportions, pure in details. On the steps of the portico a mystic ceremony is taking place. The Seers, are invoking the protection of the Gods on some favored warrior, perhaps, who is evidently about to embark on a warlike expedition, indicated by the fleet of gallies ‘peacefuly slumbering’ on the golden waters.
Detail of Russell Smith’s 1858 curtain
“When the eye has thoroughly scanned and surveyed the varied beauties of the pictures; then let the mind enquire who were those people who related such imposing edifices, sailed on such gorgeous gallies; and lived in a land of perpetual sunshine?
“As we said before, the picture is a perfect study and well worthy of an extended visit….We predict an entire success to Mr. J. F. Marchant and the new Theatre.”
The fact that this curtain still exists is unbelievable when considering that much of the original scenery was repainted over the years, and then replaced multiple times when the stage was enlarged and repeatedly renovated. The drop itself was widened, shortened and “tweaked.” Regardless of the alterations, Smith’s original design and painting radiate from the fabric.
When looking at the overall history tied to both the curtain and the theater, it is remarkable that anything remains of Smith’s painting. This significant cultural artifact disappeared and reappeared over the years, yet kept returning home. The drop curtain now permanently hangs in the lobby, greeting each new patron who arrives to see a performance at Thalian Hall.
Russell Smith’s curtain at Thalian Hall in Wilmington, North CarolinaRussell Smith’s curtain at Thalian Hall in Wilmington, North Carolina
I am going to devote the few posts to what I discovered yesterday about the drop curtain and the prolific artist who painted it. Simply put, this curtain is a national treasure.
Sosman & Landis delivered stock scenery, an asbestos curtain and a drop curtain to the Temple Theatre in Rochester, New York, in 1909. The Temple Theater was located just across the street from the popular Lyceum Theatre on Clinton Street. This was the same year that they also delivered Masonic scenery to Scottish Rite theaters in Winona, Minnesota, Kansas City, Kansas, Dallas, Texas, Atlanta, Georgia, and Memphis, Tennessee.
Postcard of the Temple Theatre in Rochester, New York.The Temple Theatre across from the Lyceum Theatre in Rochester, New York.
On September 22, 1909, and advertisement for the Cook Opera House was placed in the “Rochester Democrat and Chronicle,” noting that it was “to be succeeded in November by the Temple Theatre as Rochester’s Home of International Vaudeville” (page 16). As the Cook Theatre, it was the present home of “J. H. Moore Vaudeville” (Democrat and Chronical, 14 March 1909, page 24).
There were venues known as “Temple Theatres” across the country, many managed by the Knights of Pythias. There were many other Temple Theatres in 1909, including those in Alton, Illinois, Youngstown, Ohio, New Orleans, Louisiana, Palestine, Texas, and Detroit, Michigan, to name a few.
In regard to the new Temple Theatre in Rochester, he “Democrat and Chronicle” reported, “[the Temple Theatre] will have the most complete vaudeville house on the American continent” (25 October 1909, page 10). Architect Leon H. Lempert drew the plans and supervised the construction of the theater. Of the installation, the article continued,
“The stage scenery is from the studios of Sosman & Landis of Chicago, and a carload of scenery will arrive in the city next week, several other cars of scenery following rapidly. The asbestos, or fire curtain, will be the first to be placed so as to avoid wrinkling and the beautiful drop curtain will be the last thing.
This drop curtain will be a picture of Marie Antoinette receiving Louis XVI at Versailles. The scenic equipment itself is perhaps the most elaborately ever placed in a vaudeville theater in the world, and the subjects as well as the designs of the interior scenes were carefully selected at a conference of the artists, the owners and the architect. J. H. Moore gave carte blanche for this work. And the cost of the decorations and scenery alone is more than the cost of the average theatre.”
Of the other elaborate decorations in the new Temple Theater in Rochester included fresco work was completed by Charles S. Allen of New York. The article noted that he worked on the ceiling with “a dozen Italian artists” who were brought to this country to decorate the home of Charles M. Schwab, the steel magnate. Furthermore. The mural paintings on the soundboard above he proscenium arch were painted by Raphael Beck, an artist from Buffalo, New York. Beck had exhibited his work at the Pan-American Exposition.”
Program for the Temple Theatre in Rochester, New York.
Part 694: The Scottish Rite in McAlester, Oklahoma, 1904
There was something else happening in the world of the Ancient and Accepted Scottish Rite of Freemasonry when the Scottish Rite in Kansas City, Kansas, was dedicated. In 1904 the Scottish Rite in McAlester, Oklahoma, photographically documented a few of their scenes, complete with costumed characters for the corresponding degrees. I first encountered these photographs while restoring the Scottish Rite scenery collection in the 1929 Masonic Temple. In a room with south-facing windows, a glass display case held a handful of photographs. There were several old photographs that depicted a small Scottish Rite stage and costumed degree teams.
One of the photographs in a display case at the Masonic Temple in McAlester, Oklahoma. This image depicts a degree team from 1904.
The typed card that accompanied the photographs stated:
“These are pictures taken of McAlester Scottish Rite degree teams in 1904, taken on stage “The Tabernacle,” McAlester’s first Scottish Rite Temple. It was located on the south side of Washington Avenue between 2nd and 3rd Streets, where the drive in facility of the Bank, NA, is presently situated.”
As with many onsite discoveries, I carefully tucked this little bit of information away and went on with my work for about a decade. I did not think about the photographs again until I was working on “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” book (Museum of New Mexico Press, 2018). We were trying to track down some interesting images of Harper S. Cunningham, Sovereign Grand Inspector General of New Mexico, when the Santa Fe Scottish Rite was being planned. Cunningham had also functioned as the S.G.I.G. of Oklahoma Territory before moving to Santa Fe to help with the impending plans for constructing a new home with stage. Cunningham was referred to as the “Temple Builder.” As possible images were passed back and forth, one included Cunningham seated in front of a candidate class. This was taken in front of Santa Fe’s first Scottish Rite stage on Water Street.
Drop curtain created for the first Scottish Rite stage in McAlester, Oklahoma.Curtain created for the first Scottish Rite stage in McAlester, Oklahoma, used by the Santa Fe Masons at their Masonic Hall on Water Street.
As with many Scottish Rite Valleys, the stage was constructed at the end of a Masonic hall. The intent of this stage was to get the members used to staging degrees, as they were planning a new theater in the proposed Scottish Rite building. Cunningham had directed the Snat Fe Scotish Rite to purchase the used scenery from the McAlester Scottish Rite Masons as they had just built a new stage and ordered new scenery.
Small stage constructed at the end of the Masonic hall on Water Street in Santa Fe, New Mexico.
As I looked at the photograph of Cunningham stoically seated amongst a candidate class of twenty-two men, I noticed the tassels on the drop curtain behind. Many Scottish Rite drop curtains during the first two decades of the twentieth century have a similar feel and composition, but I have yet to find two that are identical. When I compared the drop curtain in the Santa Fe photograph and the McAlester photograph, I realized that they were identical. The used scenery purchased from the McAlester Scottish Rite during the planning and construction of the Santa Fe Scottish Rite Cathedral was sitting in a display case in McAlester, Oklahoma.
At the time I documented the McAlester degree team images, they were deteriorating from direct exposure to sun and heat. I realized that it was unlikely a conservator had swept in after my departure from McAlester and removed the photographs form the cases to care for these significant images. I simply treasured the images that I already had and requested additional photographs depicting the scenery installed for the Santa Fe Scottish Rite Masons on Water street to get an understanding of the collection’s scope.
Jump ahead to the fall of 2018. I am carefully adding the research files of Professor Emeritus Lance Brockman to my own files. Years earlier, I had already added the research of Larry Hill, who thoughtfully sent me boxes of slides and past research about historic scenery, stage machinery, and panoramas upon his retirement. As I tucked Brockman’s “McAlester Scottish Rite file” in with my own, I quickly flipped through the contents. In one manila folder, there was a color copy of a 1995 letter from Rhett Bryson at Furman University (Greenville, South Carolina). It an old newspaper clipping. Bryson also traveled with Brockman and Hill across the country, documenting Scottish Rite scenery during the 18980s and 1990s.
The first 2” x 3” color image pictured in the letter was recognizable as the scenery behind the degree team for the 1904 McAlester Scottish Rite degree team photo. This was huge! Rhyson indicated that there were thirteen drops clearly marked “So. McAlister” on the back. This meant that the original scenery created for the McAlester Scottish Rite was used by the Santa Fe Scottish Rite and then shipped to and used by the Charleston Scottish Rite. The scenery had three lives! I was curious to see what I could find about the Scottish Rite stage in Charleston that used the scenery.
Yesterday, I explored the creation of a drop curtain by Sosman & Landis for the renovated theatre at the Elk’s Temple during the 1908. Here is another interesting article on the opening after the completion of the renovation during July 1908.
Here is the article published in the “Detroit Free Press” on July 26, 1908 (page 7):
TEMPLE THEATER; INTERIOR BEAUTIFULLY DECORATED, READY TO CHARM AND AMUSE
Richly Trimmed in Ivory and Gold, Soft Blues, Massive Mirrors, Hanging with Massive Cords and Tassels, Cosy Little Playhouse is One of Most Magnificent in the Country.
“Tomorrow afternoon will be thrown open to the public one of the most exquisitely, beautiful interiors ever designed to delight a Detroit audience when the Temple theater after having been closed to its patrons for three weeks will be reopened to the thousands of men, women and children who have come to look upon this pretty little play house as one of their weekly haunts.
But if the Temple has for years been one of the most attractive spots to the pleasure-seeker in quest of a few hours diversion, it has in the last three weeks become much more than that – the ideal of the artists and the skill of the decorator has been combined to produce here as a charming an effect as could well be imagined. In ivory, gold and varying hues of soft old blue, the spirit of the Italian Renaissance has been wrought out with marvelous success. The William Wright Company, responsible for the conception and execution of all this dainty, bright, buoyant one-harmony has achieved no small triumph in what they accomplished in the Temple theater interior. If the contention of those philosophers be true, who say that the moral tone of a community is elevated when it is provided with pure beauty in its public buildings, then this little playhouse since it has been converted into a symphony of blending tones ought to expert a happy influence upon the thousands who frequent it every week.
A symphony of color.
It’s difficult to make a pen picture of the effect that long hours of planning on the part of his decorators have produced. From the very light blue and cloud effects of the dome with its heavy escutcheons in gold to the ivory walls with their gold-capped pilasters, to the deeper Italian blue of the brocatelle hangings with their massive cords and tassels, and from these to the still deeper tones that soothe with they vivify.
The very spirit of the Renaissance, especially as it expressed itself in Italy has been reproduced here. The sense of blithe, gay freedom, the genius of the joy of living, the protest against gloom and somber thought is expressed in form and color. The whole place sings with gladness and care-free serenity. That is what the Renaissance means and no thing more fitting could have been devised for a place where thousands go in quest of laughter and song. This spirit of joy greets one as he enters the vestibule, it grips him as he passes into the foyer and bursts upon him in the stream of soft light and subdued color as he finds himself in the theater proper. The walls of the vestibule have been treated in metallic effects finished in soft green mosaic glaze and same scheme carried out in a higher key in the green and ivory of the ceilings with the heavy gold cornices and the Renaissance torches with their crystal globes.
Boxes Elegantly Furnished.
The foyer with its exquisite lights, its heavy rich gold ornamentation, the blue and ivory walls and deeper blue carpets is full of the promise of gaiety that lies behind the gilded arches. As for the massive doors fashioned of bars of thick gold across their heavy plate glass and great laurel wreaths wrought out in burnished gold, they form one of the most striking details that has been added to make up this elegant interior.
These swinging doors lead to the boxes which it is safe to say are unsurpassed for beauty of furnishing anywhere in any playhouse in the country. The daintily designed chairs made on an old, renaissance model are of heavy gilt, the hangings, of thick Italian brocatelle are caught back with cable-like cords of blue silk finished with mammoth tassels.
In the mezzanine boxes, the hangings are a deeper velvet – deeper than the very light tone of the domed ceiling, not so deep as the low keyed blue of the carpet.
New Drop Curtain.
Beyond all this the proscenium arch a mass of burnished gold and set within like a picture in its frame is the new drop curtain – a splendid thing the product of Sosman & Landis scenic studios in Chicago. It pictures an old Italian garden, the spirit of the joy-seeking Renaissance caught here in every other part of the theater. Here too the predominating note is blue with only the suggestion of green in the foliage and a hint of old rose in the costumes of the grand dames, which lend the desired touch of life to the stately old garden. It’s all brightly beautiful and happy thought and ideal as a playhouse should be, and proves with subtle insistence that those responsible for it are artists in a very substantial and satisfying sense.”
Here are the two pictures that were included with the article:
Photograph of the Temple Theatre interior, published in the “Detroit Free Press”, July 26, 1908, page 7Photograph of the Temple Theatre interior, published in the “Detroit Free Press”, July 26, 1908, page 7
Sosman & Moses provided a drop curtain for the new Temple Theatre in Detroit, Michigan, during 1908. It was part of an extensive renovation that included a new themed décor, inspired by the Italian Renaissance.
The Elks Temple and Temple Theatre opened on Dec. 23, 1901. The entertainment complex originally hosted the Wonderland Theatre Company and curiosity museum of oddities.
The building was designed by architect John Scott, with the 1500-seat theater being designed by Col. J.M. Wood. The building was located immediately next door to the Detroit opera house, on the north side of Monroe Street in the Campus Martius area.
Postcard of Campus Martius area in Detroit. The Temple Theatre is on the far right side, next to the white Detroit Opera HousePostcard of Campus Martius are in Detroit, Michigan, ca. 1909. The Temple Theatre is the red building connected to the white building (Detroit Opera House).The Temple Theater in Detroit, MichiganPostcard of Temple Theater next to Detroit Opera House
In 1908, the Temple Theatre closed for three weeks during July to complete the renovation of the theater space. On July 2, 1908, the “Detroit Free Press” described the imminent renovation plans (page 7):
“The Temple theater will close at the end of the week to permit decorators to transform the interior. The work will take three weeks, artists working in two shifts, night and day. When the theater is thrown open to the public, Monday afternoon, July 27, the many patrons will marvel at the transformation. It is said that the decorations, with carpets, tapestries, drop curtain and incidentals will cost in the neighborhood of $20,000.
“The entire decorations will be in the Italian Renaissance period, and William Wright company has guaranteed Manager J. H. Moore the richest vaudeville theater interior in this country. The ceilings and cornice work will be in light Italian blue and ivory, this scheme being carried throughout. The proscenium boxes will be draped with rich brocatelle hangings of light blue, with heavy cords and tassels, and fine old Roman gold chairs will replace the mahogany ones now in use.
Artists and designers have been at work on the preliminary plans for the last three months, and all that is left now is to complete the actual work. The carpets have been made from a special design by the decorators, and Sosman & Landis, the scene painters of Chicago, are in consultation with the William Wright artists carry out in the new drop curtain, to cost $1,000, the color scheme of the auditorium.
“The double baize doors, leading from the foyer to the right proscenium boxes will be replaced with Roman gilt and gold plate glass doors, with gold columns. New and beautiful electrical effects will be seen in the ceiling of the foyer.
“On account of the reopening of the Temple falling the revival of the famous Blue Ribbon meeting in Detroit, the bill of vaudeville for that week will be designated the “Blue Ribbon” bill. It will contain the names of artists, not the least of whom will be Loie Fuller, the celebrated fire dancer.
The Temple theater has not been closed, summer or winter, since it was thrown open to the pubic eight years ago. The many hundreds of patrons who have reserved their seats throughout the seasons will call for them during the week preceding the opening when the regular sale will go into effect.”
The Temple theatre (left)Interior of the Temple Theatre in Detroit, ca. 1905Interior of the Temple Theatre in Detroit, ca 1905
The “Detroit Free Press” described the new drop curtain on July 26, 1908:
“Beyond all this the proscenium arch a mass of burnished gold and set within like a picture in its frame is the new drop curtain – a splendid thing the product of Sosman & Landis scenic studios in Chicago. It pictures an old Italian garden, the spirit of the joy-seeking Renaissance caught here in every other part of the theater. Here too the predominating note is blue with only the suggestion of green in the foliage and a hint of old rose in the costumes of the grand dames, which lend the desired touch of life to the stately old garden. It’s all brightly beautiful and happy thought and ideal as a playhouse should be, and proves with subtle insistence that those responsible for it are artists in a very substantial and satisfying sense” (page 7).
Temple Theatre in Detroit with stage scenery. ca. 1905.
In 1908, Thomas G. Moses wrote, “Starting on Wheeling, W. Va. Masonic work, a good contract and I enjoyed the work. The Darius Palace and the approach to Jerusalem were very interesting things to do, and a dozen others with the same amount of interest for others to do.”
For the past two days, I have examined the subject of the scenes that Moses worked on in 1908 – Darius Palace and approach to Jerusalem. Today’s post is about the actual Scottish Rite building in Wheeling, West Virginia, where the scenery was delivered. In 1907, the Wheeling Scottish Rite Masons began the construction of a massive edifice, complete with a theater and scenery by Sosman & Landis. The Wheeling Scottish Rite was built on the corner of Fourteenth and Byron Streets in Wheeling, West Virginia. Previously at that location, was the residence on Mr. James Caldwell. Soon after his marriage in 1839, Caldwell erected a residence, which, with its garden and stable yard.
Scottish Rite Cathedral in Wheeling, West Virginia, that had scenery produced by Sosman & Landis in 1908. This building was destroyed by fire in 1915.Scottish Rite Cathedral in Wheeling, West Virginia, that had scenery produced by Sosman & Landis in 1908. This building was destroyed by fire in 1915.
The Sosman & Landis Studio’s work was short lived, however, as the Wheeling Scottish Rite Cathedral was destroyed by fire on March 4, 1915. Losses were estimated at $50,000. While looking for information to include in the timeline for the “Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre,” I read that the Wheeling Scottish Rite Cathedral was destroyed by fire on the morning of March 5 (“Santa Fe Scottish Rite Bulletin,” April 1915, Vol. II No 4, page 8).
The auditorium of the Wheeling Scottish Rite, pictured after a devastating fire during 1915.
Last week, I discovered another article about the fire published on April 7, 1915. Interestingly, it was posted at fireengineering.com:
“The Masonic Scottish Rite Cathedral at Wheeling, W. Va., was partially destroyed by fire on March 4th, with an estimated loss of about $50,000. The fire started in the basement and is attributed to rubbish. The fire was discovered at 12:20 A. M., and the alarm was sent in over the Gamewell system from a street box. When the department, commanded by Chief Engineer Edward T. Rose arrived, fire was coming out of the windows in the basement. The flames spread through an airshaft to the back of the stage in the main auditorium on the second floor and swept through that and the upper portion of the building, the first floor being damaged by smoke and water. The building, a four story structure, was less than ten years old, and was constructed with brick walls, wood joists and tar paper roof. All partition walls were hollow. There were few hand extinguishers in the building. There was in service one first size Ahrens-Fox engine, two third size Ahrens-Fox engines, one Silsby third size engine, one 85foot aerial ladder, and 9,000 feet of 2 1/2-inch hose. Three 6-inch and five 4-inch hydrants were available, the distance between them being 800 to 1,000 feet. The water pressure at the hydrants was 80 to 65 pounds. In all 11 streams were thrown, including three hydrant and eight engine streams. Three turrets and one cellar nozzle were used. The loss on building amounted to $30,000, and on contents to $20,000. The contents included scenery on stage, paraphernalia of the order, and a large pipe organ. Chief Rose is quoted as saying the fire demonstrated the danger of vertical openings and lack of fire stops, there being a large space under the roof without a fire stop of any kind. Chief Rose sounded a genera! alarm and a call was sent in to Martin’s Ferry and an auto truck responded. (https://www.fireengineering.com/articles/print/volume-57/issue-14/features/scottish-rite-cathedral-at-wheeling-partially-destroyed.html)
The Wheeling Scottish Rite immediately began plans for a new building in 1915, and by October 1916, the new Scottish Rite was completed, dedicated, and held the first reunion. I have uncovered very little about the original Scottish Rite, other than the opening was postponed. On March 18, 1908, the “Daily Telegram” reported “Postponed Is Dedication of Scottish Rite Cathedral as Interior Work Will Not Be Finished” (Clarksburg, West Virginia, page 1). The article continues, ”The new Scottish Rite cathedral, corner of Fourteenth and Byron streets, Wheeling, will not be dedicated until the latter art of June, as the interior work will not be completed until that month. Elliot & Winechell, contractor who built the Empire building and the county jail and sheriff’s residence in the city, are building the cathedral.
Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.The 1916 auditorium. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.The bowling alley. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.The Scottish Rite room. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.The Ladies Room. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.The Blue Lodge room. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.
It was originally intended to hold the dedication exercises at the time of the spring convocation or reunion of the Consistory of the Valley of West Virginia, but he high officers of the society were notified by the contractors that it would be an impossibility to have it completed and ready for dedication by that time. The paraphernalia for the degree work has been already ordered from the manufacturers.
The spring convocation will be held in the old temple, on Market street Easter week, closing the usual Maundy Thursday banquet. The latter will probably be held in the Arion hall. There will be work in all of the degrees, and they will be exemplified at the old temple.”
Volland business records indicate that the new scenery was delivered by Toomey & Volland Studios of St. Louis, Missouri in 1916. I was surprised when I encountered a image of the 1916 drop curtain for the auditorium. The design reminded me of a Sosman & Landis version (c. 1898-1908) now used in Yankton, South Dakota. It is very likely that some of the scenery delivered for the new Scottish Rite stage was previously owned and painted by Sosman & Landis artists. The drop curtain is characteristic of Sosman & Landis designs, not that delivered by Toomey & Volland artists.
The 1916 drop curtain at the Wheeling Scottish Rite. Yankton Scottish Rite drop curtain delivered in 1910 by Sosman & Landis is similar to the one delivered by Toomey & Volland to the Scottish Rite in Wheeling, West Virginia, during 1908.
Design for an advertising curtain in the Twin City Scenic Co. collection. Here is the link to the University of Minnesota Performing Arts Archives scenic collection search: https://umedia.lib.umn.edu/scenicsearchDesign for an advertising curtain in the Twin City Scenic Co. collection. Here is the link to the University of Minnesota Performing Arts Archives scenic collection search: https://umedia.lib.umn.edu/scenicsearchDesign for an advertising curtain in the Twin City Scenic Co. collection. Here is the link to the University of Minnesota Performing Arts Archives scenic collection search: https://umedia.lib.umn.edu/scenicsearch
Here is one last installment on advertising curtains. It gives information pertaining to the revenue collected for advertising curtains in 1909 and the decision of Martin Beck to remove advertising curtains in Orpheum Theatres. President Meyerfeld and General Manager Martin Beck ran the Orpheum Company. The “Lincoln Star” summarized Beck’s position in the company. It is well worth including as it provides the scope of the Orpheum company.
General Manager Martin Beck for the Orpheum Theatre company who decreed that all advertising curtains would be removed from Orpheum Theatre in 1911. Image from the Lincoln Star, 21 May 1911, page 19
“Mr. Meyerfeld was in his San Francisco office exercising general control over all the big Orpheum company. Around him are able lieutenants, who assist him in his executive work. At the other end of the line in New York is Mr. Beck, with his big offices and a small army of men who are lieutenants. Over in London is another group of expert vaudeville booking agents, all busy as bees under the guidance of Mr. Meyefeld and Mr. Beck, and in Berlin is still another group of booking men who report to Mr. Meyerfeld and Mr. Beck. In Chicago is still another big Orpheum office in the Majestic Theatre building, with a corps of vaudeville agents who do nothing but canvas the field searching for the very cream of vaudeville and submitting it for Mr. Meyefeld and Mr. Beck’s approval” (The Lincoln Star, 21 May 1911, page 19).
In 1909, the “Los Angeles Times” quoted General Manager Martin Beck: “Never again will an advertising curtain be permitted in one of our theaters” (3 Oct. 1909, page 28). The Times noted that the loss of revenue to art for the local house would be slightly in excess of 500 dollars per month. Today’s equivalent purchasing power is just shy of $14,000 per month. This provides us with a little information; many advertising curtains had approximately ten to twelve spaces, so each space could generate approximately $1000 each month.
Beck argued that there was a “gain to the sensibilities of the patrons in many fold” with the removal of advertising curtains, but he did not elaborate. In the Los Angeles article, Beck noted that the new screen for the front of the theater was being painted in Chicago.; this replaced the advertising curtain. I found the terminology for the replacement piece interesting – “screen,” instead of front curtain or drop curtain. It is possible that he was referring to a picture sheet, with a central screen surrounded by an elaborate and painted frame. Is it possible that the progression in some theaters went from painted front curtain to advertising curtain to picture sheet?
Front curtainAdvertising curtainPicture sheet
At the same time, the advertising curtain had also gained prominence by 1909, having moved from a position behind the front curtain to replacing it. This means that the advertising curtain had moved from being dropped during intermission to taking the prominent spot behind the proscenium, being on permanent displayed in the theatre. During the 1890s, there are many articles that support the advertising curtain was lowered for a specific period of time and was not on permanent display as the front curtain for all who entered the theatre. At the time, advertising companies even hired individuals to attend various productions at theatres to make sure that their ad drops were being displayed as promised. This was similar to making sure that television commercials appear in the specific time slots.
An article titled “Curtain Fight” was published in the “Buffalo Commercial” during 1897 (18 Oct 1897, page 15). It discussed a legal battle that ensued after the proprietor refused to allow the placement of an advertising curtain as contracted with a scenic studio. In May of 1896, John Laughlin became the manager of the Lyceum theatre and he refused to allow the New York Curtain Company to place an advertising curtain in his theatre on the ground that it would be a detriment to the house. The curtain company alleged that the contract had been broken and that it had suffered damages to the amount of $500.”
There was a shift from advertising curtains being displayed at certain times, to replacing the front curtain. My research suggests that it occurred around 1900. It was during this period when the placement of an advertising curtain also began suggesting that the venue was suffering and needed extra income. An article in the “Cincinnati Enquirer” commented that the need to place an advertising curtain could indicate the proprietor’s precarious financial state. The article reported, “The stage 12 x 14, with an ‘ad’ curtain which when it went up bespoke more plainly than words the nervous condition of the manager’s hand” (The Cincinnati Enquirer, 16 Dec 1900, page 36).
Part 536: W. H. Clifton, Yore’s Opera House, and Bell’s Opera House in Benton Harbor, Michigan
This is the second post installment about Sosman & Landis employee W. H. Clifton. In 1889, the “News-Palladium” reported on the completion of Yore’s Opera House in Benton Harbor, Michigan (Benton Harbor, Michigan, 14 June 1889, page 3). Clifton was mentioned as the Sosman & Landis stage machinist sent to superintend the installation.
The News-Palladium article noted, “Messrs. Sosman & Landis of Chicago, furnished the scenery and stage fixtures – Will H. Clifton, stage machinist, having been sent here by the firm to superintend the work some four weeks ago. He has just finished up this task of fitting the stage carpets – one green and the other red.
“The stage is admirably appointed. There are seven compete sets of scenery, namely, Parlor, Kitchen, Open Wood, Garden, Prison, Water View and Street, and all accompanying wings, borders, box scenes, etc., necessary to a first class theatre. All the doors and windows in scenery are “practicable: instead of being blind, as is usual in small theatres. There are also a number of “set” pieces – set rocks, set water, balustrades, a set house, a pair of garden vases, etc. The drop curtain is a handsome work of art and is unsurpassed in Michigan outside of Detroit and Grand Rapids, the scene being “The Hudson River from West Point.” Size of curtain 42×30 feet.
“Three traps, stage braces, stage screws and other stage paraphernalia complete Sosman & Landis’ branch of the work, which has been done in first-class shape. The proscenium opening is 36x24feet; depth of stage, 30 feet; 75 feet wide and 33 feet in length, with full set of grooves; flats 18×26; depth beneath stage, a little over 7 feet; sets of grooves, four; two roomy fly galleries. There is a special scenery entrance in the rear and also a private stage entrance. The stage will be brilliantly lighted by two rows of border lights, the footlights and numerous other side lights – electric” (Benton Harbor, Michigan, 14 June 1889, page 3). The seating capacity for the opera house was 1,027.
The fate of the Yore’s Opera House. From the “Herald Palladium,” St. Joseph 19 Jan 1994, page 44
In 1896, the first Yore Opera House caught fire, sometime after manager J. J. Simon closed the theater around 11 p.m. This immense blaze threatened the entire town of Benton Harbor and calls of distress were sent to fire department of St. Joseph (The Herald-Palladium, 19 June 1992, page 44). Eleven firefighters lost their lives battling the flames when a theatre wall collapsed; a twelfth firefighter died from complications a few days later. The Yore opera house became an example in the dangers of firefighting in the area. However, like many theaters destroyed by fire during the late-nineteenth century, another was constructed in its place and the community soon anticipated the completion of their “new, modern, first-class playhouse” (News-Palladium, 15 August 1899, page 4).
In regard to the necessity of an opera house in Benton Harbor, the “News-Palladium” reported, “An opera house? Of course we need one. No city of any enterprise or importance but can boast of a large auditorium where meetings, conventions, and entertainments of whatever nature, political, religious or educational, can be held with comfort and convenience. One of the most forcible illustrations of our need of a large auditorium was the funeral of the brave boys who dies to save the Yore’s opera house. There was no room in the city that could hold the Congregations” (5 Sept. 1899, page 1). Several plans for a new building were proposed, but all failed, until Dr. John Bell and George A, Mills entered the picture.
On the August 14, 1899, a franchise was granted “for the construction of an electric road to connect various resorts about the city, and as soon as it was given the promoters of the road surprised the alderman by showing plans of a $25,000 opera house that they have arranged to build” (Owosso Times, 18 August 1899, page 3).
Proposed opera house in Benton Harbor, Michigan, from the “News-Palladium,” 2 Sept 1899, page 1John Bell and George A Mills, from the “News-Palladium,” 10 May 1900, page 1
On November 11, 1899, the “News-Palladium” reported “The new auditorium, which is being constructed by Dr. John Bell and Geo. A Mills, was obtained in a novel way. The promoters of the opera house desired to know whether of not the citizens really wanted the play house and in order to see what encouragement they would receive, Dr. Bell and Mr. Mills offered to erect a modern building if the business men would buy 1000 tickets for the opening performances at $5 each. The citizens responded generously and in a few days the tickets were sold” (News Palladium, 11 Nov. 1899, page 3). The article also reported, “Representatives of Sosman & Landis a scenery firm of Chicago, are here today making estimates for the scenery and scenic supplies.” But the contract was not awarded to Sosman & Landis, instead the work went to Armbruster of Columbus, Ohio; accidentally published as “Ambrewster & Company on opening night.” By that fall, the cornerstone of the new Bell Opera House was laid and fraternal orders planned a grand celebration for the occasion. On Wednesday, May 9, 1900, the Bell Opera House was dedicated.
The Bell Opera House in Benton Harbor, Michigan
Architect C. A. Brehmer of South Bend, Indiana, planned Bell’s Opera House after the famous Harrigan’s of New York City. In speaking of the opera house, Mr. Brehmer said, “There are two points which no play in the entire country can excel – its points for egress in case of fire or other necessity and the superior arrangement of the seats” (News-Palladium, 10 May 1900, page 1). On opening day, the “News-Palladium” provided detailed descriptions of the new building (0 May 1900, page 1):
“The auditorium is lighted by 450 incandescent lights and the beautiful blue tinted dome is brilliantly illuminated with 99 electric lights. The system of lighting was planned by James W. Pearl and the wiring done by the English brothers under the supervision of Henry Mason. The switch board for the main part of the building is located on the stage and is so arranged that any number of lights may be turned on or off as the occasion demands. The switch board for the lights in the halls and ticket office is in the box office, Both boards are of the latest pattern. The stage is 9 feet longer and 2 feet wider that the stage of the burned Yore auditorium and the height of this part of the building is 60 feet from the stage to gridiron, giving accommodation for any spectacular performances played in the larger cities. The theatre is fully equipped with its own scenery of the latest patterns, including slide drop curtains, side scenes, flies, and other stage setting. The scenery was painted and manufactured by Armbruster & Company, or Columbus, Ohio. The stage has fourteen dressing rooms with all improvements and conveniences.”
