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Tales from a Scenic Artist and Scholar. Part 1142: Scenery for the Davenport Masonic Temple, 1922

I return to the life and times of Thomas G. Moses after a four-week break.

In 1922 Thomas G. Moses wrote, “… got a train for Davenport, Iowa. Some fine daylight ride. Met Lester Landis and we set our model up for the Scottish Rite Bodies. No chance to close for some time.” Work had started on the building during the spring of 1921 and was completed in the fall of 1923. The old Masonic temple that housed the Davenport Scottish Rite was located on the corner of Third and Main Streets, built in 1886.

Davenport Masonic Temple, home of the Davenport Scottish Rite until 1923.

A picture of the old Masonic Temple in the “Daily Times,” Nov. 19, 1923.

Moses was representing Sosman & Landis Studio, whereas Toomey & Volland delivered the first Scottish Rite scenery to Davenport. In fact, a Toomey & Volland advertisement in “New Age Magazine,” listed the Davenport as one of sixteen Scottish Rites theaters using Toomey & Volland scenery by 1912.

By the spring of 1922, the foundation for the new Masonic Temple was completed, just in time for the Scottish Rite Reunion. There were nearly one-hundred candidates in the Cornerstone-Stone Class, named in recognition of the progress on the new temple. Six months later, the four-day fall reunion with the Zerubbabel Class was also very large. On Jan. 1, 1923, the membership strength of Zarephath consistory was 2,383. The building was dedicated during the fall reunion of 1923.

Moses wrote, “Made several trips to Davenport in hopes of getting the big contract of about $16,000.00, but we were too high.” It was a massive endeavor with scenery for two stages.

The main auditorium was located on the second floor. With a seating capacity of 2,700, it featured a pipe organ and motion picture booth. The main theater was not only intended for public entertainment but also Masonic ceremonial for the Ancient and Accepted Scottish Rite, Ancient Arabic Order of the Nobles of the Mystic Shrine and the Mystic Order of the Veiled Prophets of the Enchanted Realm (Grotto). There was also a smaller theater on the main floor, known as the Gothic Room. This secondary stage hosted ceremonials for the York Rite and Order of the Eastern Star.

Main auditorium in the Davenport Masonic Temple, 1923.

Doric Lodge room in the Davenport Masonic Temple, 1923.

Egyptian Lodge room in the Davenport Masonic Temple, 1923.

The new Masonic Temple was completed by the fall of 1923. When the building opened, the “Daily Times” announced, “Davenport’s new million-dollar Masonic temple is a monument to the faith and perseverance of a group of Davenport Masons who long ago conceived the idea of sheltering all of the local Masonic lodges and clubs in one large building. It has always been the hope of Davenport Masons that this city should eventually have one of the most beautiful temples in the state, representative of the prominent position occupied by Davenport in Iowa Masonry. More than 10 years ago progressive members of the various lodges began to study out plans whereby their ideal might be worked out, and October 1913, the first committees are said to have been named to consider the project and to report upon its possibilities. Strange enough, the earliest committees on the new temple project agreed upon the site at Seventh and Brady streets as one of the most ideal locations in the city for the new temple. Today the Masons are dedicating their new temple…The temple together with its site cost approximately $1,040,000 and this amount has been raised through subscription by the members of all the Masonic bodies of Davenport, in the form of stock in the New Masonic Temple association” (Nov. 19, 1923, page 9).

On Nov. 19, 1923, “The Daily Times” included a series of articles about the new building. Of the theater, the newspaper reported, “The new Masonic temple has the finest auditorium in the tri-cities and offers exceptional facilities for public concert work and other forms of entertainment. The auditorium is built in the amphitheater style and is illuminated by the largest indirect lighting fixture in the United States……As an auditorium devoted to music and the art of dancing, the Masonic temple will in a large measure take the place of Davenport’s lost ‘legitimate’ theater.”

William J. Klinck was manager for the main auditorium. Of the new theater, Klinck reported, “We have gone to a great deal of additional expense to equip the stage for practical show purposes. Of course, there are over a hundred sets of stuff for the Masonic work alone, but aside from this, we will be able to accommodate any stage attraction, no matter how large. We are not planning any theatrical attractions this season, but for next year I am trying to line up Al Jolson, the Passing Show, the Greenwich Village Follies, the Barrymores and many other high-class attractions. We will have nothing whatever to do with mediocre shows and will not even listen to any proposition that does not include the binging here of performers regarded as real stars.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 1119 – All by Myself, 1921

In 1921 Thomas G. Moses wrote, “Most of my time has been taken up with model making and looking after the work. Not much chance to paint.” Moses was working on an annual contract at Sosman & Landis Scene Painting Studio in Chicago. He resigned as president of the company in 1918, leaving to work for both New York Studios and Chicago studios before returning to the firm. After all, he had a long history with the company, and by 1921 had worked for the studio forty-one years.

After a director’s meeting in 1921, Moses wrote, “It was settled that I remain at $8,000.00 a year. The next day I was on the road to Little Rock, Arkansas, where I spent a week and closed the contract for $9,548.00, then on to Kansas City where I got a small order for a window display, and Omaha where I closed for $2,400.00, another Scottish Rite job, all on my 65^th birthday week.”

At sixty-five years old Moses was constantly on the road again, but this time with growing health concerns. He had physically pushed himself to the limit for a long time, and life was starting to catch up with him. The 1920s would be a difficult decade for Moses, and American Society as a whole. In some ways, the roaring twenties was akin to fire, raging out of control; clearing a path, but destroying much along the way. As society tried to progress forward, there were those who dug their heals in the sand trying, desperately to maintain a status quo. Moses continued to plod along, but the world and theatre industry were rapidly changing around him. More and more he was asked to solely secure contracts, design productions, and manage a disgruntled paint force. Since 1904, Moses had been in charge of all design, construction, painting and installation at Sosman & Landis studio. Regardless of title or position, there was less and less time to do what he loved – paint. Like many, Moses continued to search for that ideal balance of work and pleasure.

Many colleagues tried to lure him west, suggesting that he relocate to California. Late in 1921, Moses wrote, “Letters from the Pacific Coast, which offered me all kinds of inducement to come west are all very good, but when I consider my age, I hesitate to make the plunge.”

It’s understandable. All of his previous departures from the company had been unsuccessful; yet remaining at Sosman & Landis posed a whole host of problems. In 1920, six members of the Sosman & Landis paint staff left to form Service Studios, now a competitor. This was a significant percentage of the work force, causing a difficult situation for all.

Moses continued to trudge along, but all by himself. The situation makes me think of the lyrics from the 1921 song, “All By Myself” by Irving Berlin:

All by myself in the morning

All by myself in the night

I sit alone in a cozy Morris chair

So unhappy there

Playing solitaire

All by myself I get lonely

Watching the clock on the shelf

I’d love to rest my wear head on somebody’s shoulder

I hate to grow older

All by myself.

Here’s a link to Aileen Stanley singing “All By Myself” on May 6, 1921: https://www.youtube.com/watch?v=0nlYtxLZEWU&list=PLPlFFQ50gU_RtmZ2HmZnD0yhwwA3SvLrL&index=90&t=0s and the corresponding sheet music: https://www.sheetmusicsinger.com/wp-content/uploads/2020/03/All-By-Myself-SHEET-MUSIC.pdf

Berlin’s song was introduced in “The Music Box Revue of 1922.” It certainly stood the test of time, having struck a chord with many. Here’s Bobby Darin’s version from 1962: https://www.youtube.com/watch?v=c5V2xgsC59U

To be continued…

Tales from a Scenic Artist and Scholar. Part 1052 – The Rock Island Theatre 1920

In 1920, Thomas G. Moses wrote, “New models for an Indian decoration to be used in a Rock Island theatre. Of course, a movie. These were accepted by the owners and I know we can get something very effective out of it.”

The Rock Island Theater has been one of the more difficult venues to track down, especially since there are multiple theaters named “Rock Island.” Does “Rock Island Theater” designate the name, location, or both name and location? There was an Illinois Theatre in Rock Island, Illinois.

If Moses installed the scenery at the Rock Island Theater in Venice, Illinois, it was possibly the same one noted at Cinematreasures.com, stating, “The Rock Island Theatre was operating as an African-American theatre between 1948 until at least 1955.” Here is the link: http://cinematreasures.org/theaters/56291 It makes me wonder if the venue also opened as an African-American theatre.

In 1921, “The Julius Cahn-Gus Hill Theatrical Guide and Moving Picture Directory” included an “Index to Colored Theatres.” The beginning of the section notes:

“The following lists have been compiled within the past six month from information obtained in many ways. Since there has been no previous effort to list either attractions or houses the task has been rather difficult. The Guide is greatly indebted to M. C. Maxwell, former manager of the Liberty Theatre, Alexandria, La.’ The T.O.B.A.; the Comet Film Exchange of Philadelphia, the Micheaux Pictures Corporation and to Jackson of the Billboard for their kindly co-operation in collecting the necessary information. We make no pretense that the lists are complete, nor do we assure absolute freedom from inaccuracies, We do, however, present these results of painstaking effort with a view of serving the profession as much as it is possible with the information at hand, and with the object of encouraging additions and corrections that will make possible a complete and accurate tabulation of the theatrical interests of the group. Owners, managers and artists alike will be performing a distinct service to themselves by filing addresses and description of their interests with Julius Cahn-Gus Hill Theatrical Guide and Moving Picture Directory, thus enabling us to properly answer the many professional inquiries that come to us in your interest. List of theatres dependent upon colored patronage, either owned or operated for the race; with Negro population of cities where 1920 census were available, character of ownership and type of house, so far as has been ascertained:

KEY-W means white; O means ownership; C means colored; M means management; V means plays vaudeville or road shows; E means equipped for shows, but operated at present with pictures only; P means pictures only; D means drama.”

The Julius Cahn-Gus Hill Theatrical Guide and Moving Picture Supplement, 1921

To be concluded…

Tales from a Scenic Artist and Scholar. Part 1020 – Ancient Arabic Order of the Nobles of the Mystic Shrine in Pittsburgh and Denver, 1919

In 1919 Thomas G. Moses wrote, “A large drop curtain for Pittsburg Shrine took up a lot of my time, it being over 70’ long and 26’ high. I did the picturesque city of Tiberius, and it made a good picture. A heavy gold frame gave it a very Oriental feeling.”

Previously, Moses closed an $8575.00 contract for Pittsburgh’s 3,700-seat Syria Shrine Mosque theater (see past post 906, https://drypigment.net2020/01/19/tales-from-a-scenic-artist-and-scholar-part-906-the-pittsburgh-shrine-1915/). In 1915, he wrote “May 15^th, I went to Pittsburg with my big models for the Shrine and closed for $8,575.00.” A year later Moses wrote, “The Syria Temple of Pittsburg is still jogging along. If they don’t get it under roof pretty soon, we will have the scenery finished long before they are ready for it.” On October 27, 1916, the “Record-Argus” reported, “Syria Mosque Dedicated by Shriners.” The article continued, “Syria Temple, the new $1,000,000 mosque of the Ancient Arabic Order of Nobles of the Mystic Shrine of Pittsburgh, was formally dedicated Thursday afternoon…. Following the dedicatory exercises a banquet, attended by 5,000 Shriners was served in the dining hall of the temple…Nearly 700 prospective Shriners were also dined and occupied positions as guests with out-of-town visitors. Thursday night the largest class of candidates was initiated. The number ran close to 700 and is probably the largest to be accepted at one time in the history of the Shrine…Initiation took place in the auditorium, the officers in the charge wearing new costumes. During both ceremonies the elaborate lighting system was demonstrated. Rays from two search light machines, made soft, played in the stage throughout.” (Greenville, Pennsylvania, page 1). This provides context in regard to the scale of Shrine initiations in 1919, as that year Moses also designed and painted scenery for Denver’s El Jebel Shrine ceremonies.

In the summer of 1919, Moses wrote, “In August I made a number of Shrine models for Denver and we received a contract.” “The Indian Journal” of Eufaula, Oklahoma described the El Jebel Temple was “one of Denver’s most beautiful and imposing buildings” (23 Oct. 1919, page 1). It may have been a lovely theater, but it was not grand enough for a massive gathering of Shriners on Nov. 21, 1919.

The El Jebel Shrine theater was too small for the ceremonial production in 1919, causing the Shriners to rent the Denver Auditorium.

For the event, Shriners staged the Shrine ceremonial at the Denver Auditorium, complete with special scenery. Moses recorded that the scenery shipped from Chicago on November 1, 1919; plenty of time for transportation, inspection and installation at the Denver Auditorium. The event was a multi-state Shrine initiation. On Nov. 28, 1919, the “Western Kansas News” announced, “Initiation at Denver was biggest Masonic affair ever held in the West.” The article continued, “The initiation was the greatest every attempted by any Shrine in the west. The cost of the scenery and other essentials represented an expenditure of over $11,000. The large and beautiful Shrine Temple in Denver was entirely too small for the event which resulted in securing the Denver Auditorium for the ceremonial. The large auditorium which seats many thousand people was crowded to its doors by Shriners from Colorado, Kansas, Wyoming and New Mexico. This was a big production for Moses and by the end of the year he reflected, “While we have been very busy the whole year, we have not done any very notable productions, excepting the Coliseum shows and Denver.” The demand for painted scenery was down everywhere, except for Masonic productions. The fraternity was alive and thriving.

The massive interior of the Denver Auditorium provided ample room for a large Shrine event.

The Denver Auditorium was the location for a massive Shrine initiation in 1919.

To be continued…

Tales from a Scenic Artist and Scholar. Part 998 – The Hamlin Theatre Picture Set, Chicago, 1918

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

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

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

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

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

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

Advertisement in the “Chicago tribune” 23 April 1919, page 20.

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

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

To be continued…

Tales from a Scenic Artist and Scholar. Part 989 – William F. Hamilton, 1918

In 1918, Thomas G. Moses wrote, “I made a lot of models and sketches for floats for Labor Day. Hamilton came out from New York to superintend the work. He always drops into a fat job somewhere.” Moses was referring working with William F. Hamilton again. The project was floats for the San Francisco Labor Day. The parade of 1918 focused on labor unions and worker’s rights, with eighty-seven unions participating in the parade that day, spread out over seven divisions.

Article about the San Francisco Labor Day parade in 1918, From the “San Francisco Chronicle,” 3 Sept 1918, page 11.

Detail from the “San Francisco Chronicle,” 3 Sept 1918, page 11.

It has been more than two years since I explored the life of scenic artist Will Hamilton and the short-lived firm of Moses & Hamilton. It is time to recap, because I think that working with Hamilton during the summer of 1918 prompted Moses to tender his resignation to Sosman & Landis by that fall. Hamilton may have reminded him that better opportunities were lurking elsewhere, and that Sosman & Landis was a sinking ship.

Moses first met Hamilton in 1892 when they were both hired to design the models and paint scenery for “Ben Hur,” the pantomime tableaux (see past installment 256 https://drypigment.net2017/11/22/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-256-thomas-g-moses-painting-scenery-for-the-ben-hur-tableaux-and/).

Less than a decade later, the two established Moses & Hamilton in New York. The partnership lasted until 1904 when Moses returned to Chicago to become vice-president at Sosman & Landis studio. When Perry Landis had to leave the company for health reasons, Sosman assumed many of the administrative and marketing duties. Therefore, someone was needed to supervise all design, construction, painting and installation.

Moses & Hamilton advertisement in Julius Cahn’s Official Theatrical Guide, 1903-1904.

It had been difficult for Moses to leave in 1904. That year he wrote, “When I had to tell Hamilton, I almost gave in to stay with him, for he was awfully broken up over it.” Moses was leaving a good friend, a good crew, and good work, hoping for something even better upon his return in Chicago. This was especially difficult as the theatrical center of the United States was shifting to New York.

Moses & Hamilton had assembled a paint crew at the Proctor’s 125^th Street Theatre only three years earlier. Their staff included Ed Loitz, Otto Armbruster and Al Robert. Projects were plentiful, and consistently spread across three theatres: The American Theatre, Proctor’s Twenty-third Street Theatre, and Proctor’s 125^th Street Theater. Thomas G. Moses was the lead scenic artist at the American Theater, William F. Hamilton was the lead scenic artist for Proctor’s Twenty-third Street Theatre, and Al Roberts was the lead scenic artist at Proctor’s 125^th Street Theatre.

For three years, Moses & Hamilton had more work than they could handle, producing scenery for opera, vaudeville, and other entertainments. Their work for Frederick Thompson at Luna Park included “A Trip to the Moon,” “20,000 Leagues Under the Sea” “War of the Worlds,” and “Fire and Flames.” A few of Moses & Hamilton’s Broadway designs included “Under the Southern Skies” (Theatre Republic, Nov. 12, 1901 to Jan. 1902), “In Dahomey” (New York Theatre, Feb. 18, 1903 to April 4, 1903, with a return to the Grand Opera House from August to September, 1904), “The Medal and the Maid” (Broadway Theatre, Jan. 11, 1904 to Feb. 20, 1904, Grand Opera House, March 1904), “The Pit” (Lyric Theatre, Feb. 10, 1904, to April 1904), and “Girls Will Be Girls” (Haverly’s 14th Street Theatre, Aug. 27, 1904 to Sept. 3, 1904). Their work was sought after by Helena Modjeska, John C. Fisher, Henry Savage, and other well-known theatre personalities.

Another advertisement for Moses & Hamilton.

Even after Moses & Hamilton folded, the two continued working together on a variety of projects across the country until 1909. Moses remained at Sosman & Landis, while Hamilton worked at New York Studios, the eastern affiliate of Sosman & Landis. However, as business picked up at Sosman & Landis, it became more and more difficult for Moses to do any outside work with Hamilton. Previously, he earned extra income by taking on these outside projects. Part of the perks was his being able to use the studio for night work. However, as Sosman & Landis took on more and more work, hours were extended into the evening, prohibiting outside projects.

So work slows down during the war years, and Hamilton comes around again. It was no coincidence that Hamilton shows up in July and Moses resigns as president of Sosman & Landis less than two months later. Moses wrote, “September 1^st, I resigned as President of the Sosman and Landis Company which severs my connection with the firm after thirty-eight years of service. I joined the New York Studios and expect to get a studio and an office to do business.” On September 2^nd Moses recorded, “There was a big Labor Day parade and such a crowd. Mama and I went down but were very careful not to get in the thick of it.” That was his first day of freedom from Sosman & Landis, his first day without the worry of being president at the company.

To be continued…

Tales from a Scenic Artist and Scholar. Part 970 – Akron Masonic Work, 1918

In 1918, Thomas G. Moses wrote, “2^nd of January, I had to go to Akron to see about the Masonic work, where I spent one day… Made more models for Akron. It seems we make fifty percent more sketches and models than we did twenty years ago.”

The Akron Masonic Temple housed the Asylum Theatre with Sosman & Landis scenery.

Moses was referring to the Akron Masonic Temple that opened during the fall of 1918. Located at 103 S. High St., the new 66,000 sq. ft. building was designed by Harpster & Bliss; built at a cost $500,000. The seven-story building had an exterior of sandstone and terra cotta and a grand interior. There were double marble staircases leading to a third-floor balcony, lodge rooms on the fourth floor, and an auditorium on the sixth and seventh floors, and a grand ballroom. The building was reported to be “one of the finest temples in the state” (News Journal, Mansfield, Ohio, 10 Sept. 1918, page 5). Initially, dedication ceremonies were scheduled for Nov. 16, with the Grand Lodge of Ohio Masons dedicating the Blue Lodge room under the direction of Grand Master Henry M. Hagelbarger and the Grand Commandery of Ohio dedicating the Asylum Theatre the direction of Grand Commander William B. Baldwin. The “News Journal” reported, “The ceremonies will not be elaborate as planned when the temple was started because of war conditions. The preparations are along conservative lines” (Mansfield, Ohio, 10 Sept. 1918, page 5). The ceremonies became a little more elaborate and were delayed.

The Asylum Theatre in the Akron Masonic Temple that once housed scenery by Sosman & Landis for York Rite degree work. Photos from Lisa DeJong. The Plain Dealer. Posted to https://www.cleveland.com/
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The dedication of the new Masonic Temple in Akron, Ohio, actually occurred on Nov. 21, 1918. It coincided with the seventy-sixth annual state conclave for the Grand Commandery, Knights Templar of Ohio (Akron Beacon Journal, 20 Nov. 1918, page 1). Hundred of Masons from all over the state attended the ceremony. A parade headed by the new Akron Masonic band preceded the dedication ceremonies, with the Mayor making the opening address and tendering the keys of the city to the Grand Commandery. Then Oliver D. Everhard made the address of welcome on behalf of the Akron Commandery, No. 25, of the Knights Templars. The dedication of the Blue Lodge and Asylum Auditorium continued as originally planned.

The Asylum Theater, located on the sixth and seventh floors, had a seating capacity of 450. I have yet to uncover any information about the stage house or original scenery delivered by Sosman & Landis in 1918.

The building went up for sale in 1999, with a price tag of 1.3 million. “The Akron Beacon Journal” reported “The Akron Masonic Temple is used by five different lodges, and their membership, about 2,500 at last count – is a post-World War II low…Once flush with members and money, these groups built magnificent halls that in recent years have become too costly to maintain. Some of these buildings get torn down; others are saved” (1 July 1999, page 37).

The Akron Masons sold their building for less than asking price to developer Jeffrey O’Neil. O’Neil was from California and the son of former General Tire chairman Jerry O’Neil. He planned to use it as a special event/entertainment center and office building. The Masons were to still occupy the fourth floors, with the rest of the building being used for social and artistic events. This seems to be the key in purchasing a Masonic Temple; you can pay less than the asking price, if you continue to rent a portion of the building to the organization; a win-win for the buyer. O’Neil’s involvement with the endeavor did not last long. After starting an extensive restoration of the building, he ran into unanticipated expenses and had a cash flow problem. Fortunately for O’Neil, the city bailed him out less than two years after his purchase in 2001 (Akron Beacon Journal. 8 Feb., 2001, page 40). In the end, the city paid 2.6 million dollars to buy the building from O’Neil and leased it back to him for 15 years, after which time the property was to revert to O’Neil. The city’s purchase of the Masonic Temple amounted to a 30-year loan at the federal discount rate – then at 5 percent – with a balloon payment after 15 years; that’s when the building would revert back to O’Neil. The city’s ownership was intended to be temporary, with O’Neil leasing the building back with the intent to buy it. However, by 2009, O’Neil severed his ties to the property, citing the weak economy. There is much more to the story, but it echoes strains of what has happened all over the country as the Fraternity slowly collapses.

When the Akron Masonic Temple was first sold to a developer in 1999. From the “Akron Beacon Journal,” 1 July 1999, page 33.

When the developer who purchased the Akron Masonic Temple in 1999 was bailed out by the City of Akron in 2001. From the “Akron Beacon Journal,” 8 Feb 2001, page 36.

The building is now known as Greyston Hall. Here is the link to the rental webpage: https://www.greystonehall.org/

To be continued…

Tales from a Scenic Artist and Scholar. Part 939 – Thomas G. Moses and the Ten Allies Costume Ball, 1916

In 1916, Thomas G. Moses wrote, “Hurried to New York City, made a hasty model; closed a contract for $5,700.00 for Allied Ball Decoration.” Later that year he wrote, “…on to the big Allied Ball work…November 25^th, Mama and I started for New York. We expressed the scenery and November 28^th it was all up. I did the society stunt while Nadier and Pausback put all the work up, and for a wonder everything fitted.”

Ten Allies Costume Ball. Poster collection, Hoover Institution Archives, https://digitalcollections.hoover.org/objects/38561

The event mentioned by Moses was the Ten Allies Costume Ball. On Novemebr 28, 1916, the “Evening Sun” reported, “America’s greatest single effort on behalf of relief organizations of the Entente Allies will be staged tonight when the Ten Allies Costume Ball will be given in Madison Square Garden. Ten boxes will be decorated to represent each of the ten nations of the Allies. In each will be prominent persons f these nations. At a given hour the hall will be darkened and a spotlight turned on the French box from which Madame Chenal will sing the chorus of the “Marsaillaise.” Next will come “God Save the King” then the Russian, the Italian and the rest. Finally the light will be directed as the box draped in the Star and Stripes and the “Star Spangled Banner” will be sung. All of the national soloists and a chorus of 2,000 will join in the singing of the American anthem “ (Hanover, Pennsylvania, 28 Nov. 1916, page 3).

Among the organizations that benefitted were, the American Ambulance Fund, the British-American War Relief Fund, French Heroes LaFayette Fund, the Millicent Sutherland Ambulance Three Acts Fund for the Crippled and Maimed French Soldiers, the Blinded in Battle Fund, Refugees in Russia Fund, National Allied Relief Committee, Vacation War Relief Committee and the American Fund for French Wounded.

As I searched for more information, I came across a really interestingly article in the Chicago Tribune on Nov. 26, 1916 (page 36). “Chicagoan Goes East with Scenery for Allied Ball” was written by Mme. X, and the first few sentences say much of the theatrical relationship between New York and Chicago in 1916:

“When New York wants anything out of the ordinary accomplished it is not from the ranks of home talent that it seeks its organizers and leaders. Chicago supplies much of its bone and sinew. George W. Perkins, T. P. Shonts, Frank A. Vanderlip, Elbert H. Gary, and a host of others are all drawn from the ranks of Chicago capables. And now one more proof that the great metropolis is dependent on us, not alone in the realms of finance and big business, but in the domain of art and adornment is the departure of Mrs. John A Carpenter last Tuesday for New York and the much heralded Allied ball, which takes place next Tuesday in the Madison Square Gardens. Mrs. Carpenter was escorted by huge rolls of scenery for the East Indian background and setting for the ball, which had been painted here from her designs and under her direction. She is developing a genius for this sort of artist expression, which is making her name famous on both sides of the Atlantic…It is rather a stupendous affair, a costume ball, with remarkable stunts, and its proceeds are to go to the same cause as the big New York allied bazaar last spring and ours is coming this January.”

The day after the event, the “New York Herald” published an account of the eventnon November 29, 1916 (page 2):

“15,000 See Pageant at Ten Allies Ball. Brilliant Costumes Worn by Society and Stars at Fete. Notable in the Parade.

New York may be neutral, but not when there’s an Allied Ball going on. At least there were 15,000 or so Gothamites at Madison Square Garden last night who didn’t talk neutral, didn’t act neutral and didn’t dress neutral. And the old Garden, that has held everything from aristocracy’s horse show to Col. Cody’s Wild West in its day, never sheltered such a gathering before as far as brilliant costuming and bizarre disguises go.

The Ten Allies Costume Ball started at midnight according to the programme, but it was really nearer half past by the clock. It is true the doors opened at 9 and the music started for dancing some time after 10, but the real thing was the pageant.

A group of buglers sounded a fanfare and out from between hanging curtains at the east side of the Garden came the pageant. India led, with Rajah Ali Ben Haggin at the head on a big black Arab steed. Ben Ali had planned to ride in on an elephant, but the floor wouldn’t stand it. Behind him came Mrs. Haggin and Mrs. William Astor Chanier in palanquins borne on the shoulders of Hindus and surrounded by an entourage of military looking Ghurkas and Sepoys in khaki.

Next came Great Britain, with Lady Colebrook as Britannia, and Miss Louise Drew with a company of girl scouts. John Drew and sixty members of the Lambs and Players club stood for England of to-day, every man of them in khaki. In fact khaki was the color scheme for the men and there were many who wore the little cloth stripes that mean real service.

Ireland, color scheme green and leader Miss Elsie Janis, came next with some of the best known actresses on the Broadway stage in the train. Scotland of course was Burr McIntosh and William Faversham, with Bruce McRae and Cyril Scott and the like.

Canada was represented by a train of Red Cross nurses, and Mrs. Charles Greenough who led them, had culled the pick of society’s debutantes.
For Belgium marched Miss Ethel Barrymore, with a score or so of the “Four Hundred” and Miss Marie Louise de Sadeleer, daughter of the Belgian Minister.

Alla Nazimova led Russia’s contingent, with a company dressed in costumes from “War Brides” and “Women of the People.”

The theatre had charge of Italy, with Mrs. William Faversham leading a group of screen actresses and actors with Blanche Bates and the Washington Square Players in their “Bushido” costumes marched for Japan, and Miss Cathleen Nesbit and come others were for Portugal.

James K. Hackett as Louis XVI and Mrs. Hackett as Clothilde had charge of France’s pageant, and in the ranks were every one from Jeanne d’Arc to Robespierre. And at the end a big bunting covered tower was shoved out and Miss Anna Fitziu of the American Opera Company gowned as Columbia and wearing the Liberty cap closed the show with “The Star Spangled Banner.”

Up to the time of the pageant it was all music and dancing. The loge and arena boxes were filled with people whose autobiographies are in “Who’s Who,” while behind them, in the seats of the gallery, where the hoi polloi, who could only pay $5 for a seat. And everybody was there.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 929 – The State of Sosman & Landis, 1916

In 1916, Thomas G. Moses wrote, “May 1^st was my first in six months at painting attempt in the studio. Models and sketches take up all my time.”

He was now the president of Sosman & Landis. A partnership had made the firm a success, and now Moses was pretty much on his own. In the beginning, Landis was on the road securing contracts followed by Sosman painting the projects. Moses was their first hire in 1880, assisting Sosman on many of their early projects before the staff grew, yet Sosman maintained artistic control while Landis headed sales. When Landis left in 1902, Sosman appointed Moses vice-president two years later. At this time it was David H. Hunt who focused on sales. By 1916, however, Sosman was gone and Hunt had started his own studio. Moses was left to pick up the pieces and please the shareholders, in addition to competing with Hunt for the same clientele.

Moses was attempting to both secure and supervise projects in the main studio and annexes. His statement, “Models and sketches take up all of my time,” emphasized his workload for sales that year.

He later wrote, “October 10^th I was re-elected president of the company, Mrs. Sosman vice president and Lester Landis secretary and treasurer…Sosman and Landis Company enjoyed a good year. We have all been very busy. I have not done as much as I would like to do in the way of pictures, but I guess I did fairly well.” Moses then added a sentence that starts to show the wear and tear of his artistic soul, “I live on year to year, hoping, always hoping, for a little more time to gratify my ambition to paint if only one picture that I could really fell was worth while and all the years I have tried to do this were not spent in vain.”

At the beginning of 1916, everything seemed possible. The firm delivered scenery for the Strand Theatre in Indianapolis. Sosman & Landis took out an advertisement in the “Indianapolis Star” in support, announcing, “Designed, built and painted the elaborate picture setting for the new Strand Theatre listing their contribution. “Producers of Quality Scenery” listed Thos. G. Moses as “President and Designer” with P. L. Landis as “Secretary and Treasurer.” The advertisement also noted that the firm was established in 1877. An article also announced “Strand Scenery Excellent,” adding “Thomas G. Moses, president of the Sosman & Landis Company, producers of theatrical scenery, superintended the arrangement of the elaborate setting for the Strand Theatre. Mr. Moses has done a great deal of scenery work in the different theaters of Indianapolis dating back to the first production of Ben-Hur at English’s Theater. Mr. Moses has designed and painted productions in nearly every city in the country. In the Strand stage settings the possibilities for excellent lighting are obvious, and are taken advantage of by the Strand’s electrician, Mr. Dalton” (Indianapolis Star, January 15, 1916, page 9).

From the “Indianapolis Star,” 15 Jan 1916, page 9.

Moses started doing something new in 1916; Moses now took credit for his own designs work when Sosman & Landis manufactured it. In other words, programs and newspaper article now differentiated “designed by Thomas Moses” and “built by Sosman & Landis.” For example, on April 15, 1916, the “Rock Island Argus” reported “[Around the Town] was built in its entirety by the Sosman & Landis scenic company from special designs made by Thomas Moses” (15 April 1916, page 8). Another instance was for the Boston English Opera’s production of “Martha.” Newspaper advertisements reported, “Scenery Designed by Thomas Moses and Built by Sosman and Landis Studios” (The McPherson Daily Republican, 21 Oct 1916, page 5). T was too little too late, as the names of designers were no longer a driving that attracted attention.

All of Moses’ talents and experience wouldn’t help him in the end. The studio would soon begin to crumble. Times were changing; there was a new game with new rules and a war overseas. So many things began happen simultaneously and the supply for painted scenery began to outpace the demand. A new movement was in the making for the stage, and it concerned the rejection of painted scenery on the stage in lieu of fabric setting and motion picture. Moses would become the proverbial fish out of water, with Sosman & Landis floundering. The company would not survive the next seven years.

To be continued.

Tales from a Scenic Artist and Scholar. Part 906: The Pittsburgh Shrine, 1915

In 1915, Thomas G. Moses wrote, “May 15^th, I went to Pittsburg with my big models for the Shrine and closed for $8,575.00. A good one.”

Moses’ designs were for Syria Shrine Mosque, a 3,700-seat auditorium. 1913, the Syria Improvement Association mailed a prospectus outlining plans for a new building. A parcel of land known as the old Schenley Farm land was identified as the site for a new building that year. Two years later, ground was broken for the new temple on April 20, 1915. It was around this time that Moses secured the contract for $8,575.00 worth of scenery; today’s equivalent of $218,173.47.

On June 19, 1916, the laying of the corner stone for the Syria Shrine building was preceded by “a parade of 3,000 nobles, headed by a half dozen bands” (Indianapolis Star, 20 June 1915, page 6). Newspapers reported that the parading nobles were clothed in full dress suits, wearing their traditional red fez as headgear. The Shrine patrol was dressed in their oriental costumes for the parade. The largest flag in the United States at the time was also carried in the parade.

April 20, 1915, groundbreaking ceremony, Syria Shrine Pittsburgh.

In 1916, Moses wrote, “The Syria Temple of Pittsburg is still jogging along. If they don’t get it under roof pretty soon, we will have the scenery finished long before they are ready for it.” Later that year he added, “Stopped at Pittsburg on my way home and inspected the Syria Temple work. It looks very good to me and everyone seems to be well please with it.”

On October 27, 1916, the “Record-Argus” reported, “Syria Mosque Dedicated by Shriners. New Million Dollar Temple at Pittsburgh a Shrine of Oriental Magnificence” (Greenville, Pennsylvania, page 1). The article described, “Syria Temple, the new $1,000,000 mosque of the Ancient Arabic Order of Nobles of the Mystic Shrine of Pittsburgh, was formally dedicated Thursday afternoon. Solemn ceremonies, including the ritual of the Shriners, attended the dedication, which was completed before a large crowd. Prominent men of the order from every section of this country, Canada and one from Hawaii took part in the festivities, which were held behind closed doors…Following the dedicatory exercises a banquet, attended by 5,000 Shriners was served in the dining hall of the temple. The dinner was informal and speeches were tabooed. Nearly 700 prospective Shriners were also dined and occupied positions as guests with out-of town visitors.

Thursday night the largest class of candidates was initiated. The number ran close to 700 and is probably the largest to be accepted at one time in the history of the Shrine. Instructions were given candidates in Memorial Hall in the afternoon and at 7 o’clock they were formally accepted.

Initiation took place in the auditorium, the officers in the charge wearing new costumes. During both ceremonies the elaborate lighting system was demonstrated. Rays from two search light machines, made soft, played in the stage throughout.”

The dedication ceremonies occurred over the course of a week in October, with an estimated 40,000 guests attending various activities.

The Syria Shriner’s website notes, “A movement began in the late 1980’s to replace the aging structure with a new facility that offered greater amenities to suit the needs of its members and its special events business. The Syria Mosque went up for sale in June of 1989. The building was demolished August 27, 1991. In October 1994, the Syria Shrine Center opened its new, 40,000 square foot, $10 million facility set on 37 acres in Harmar Township, Cheswick, PA. Great effort was spent to retain some of the classic features of the former Mosque, such as the twin sphinxes which guarded the entrance and the immense chandeliers which hung in the auditorium.” Here is the link to the Syrian Shrine history for more details: https://www.syriashriners.org/history/

There is a little more to the story. On March 1, 1992, “The Morning Call,” noted, “The Syrian Mosque was a Pittsburgh landmark. Alas, it recently came under the wrecker’s ball. Prior to its demolition, it was home to a prestigious Pittsburgh antiques show, the Pittsburgh Symphony, and a theater group. It was one of seven temples in Pennsylvania” (Allentown, Pennsylvania, page 102). Now fast-forward twenty years.

In 2012, the “Pittsburgh Post-Gazette” published, “Two decades later, razing of Syria Shrine Mosque still a sore topic” (Sept. 23, 2012.) The article detailed, “Despite one of the fiercest preservation battles in the city’s history that culminated with Mr. Ferlo, then a Pittsburgh city councilman, and three fellow supporters being arrested the morning bulldozers rode in on Aug. 27, 1991, the Mosque and its acoustically perfect hall couldn’t be saved. Now in its place is a surface parking lot for UPMC and University of Pittsburgh employees. The building’s owner, the Shriners, had it demolished so that it could sell the 2 acres of land under it to UPMC, then known as Presbyterian University Health System, for $10 million. ‘At the time it was probably one of the highest prices ever paid for real estate in the city at $5 million an acre for land,’ said Greg Hand, who was vice president in charge of development and construction in 1991 for National Development Corp. and was the main architect behind the deal that brought UPMC together with the Shriners. Though the hospital system tried to conceal its role as buyer for months in 1991 — until it was forcibly revealed during a court hearing — its purchase of the site, and what it has done with it since, is for many observers a prime example of how UPMC pays inflated prices for taxable land and takes it off the tax rolls… The site was converted into a ‘temporary’ parking lot, and UPMC converted it from taxable to tax-exempt. In 1991, the last year the building was in use, the Shriners paid $66,535 in property taxes to the city, county and school district.” Here is the link for the full: https://www.post-gazette.com/local/city/2012/09/23/Two-decades-later-razing-of-Syria-Mosque-still-a-sore-topic/stories/201209230185

In 2016 the former Syria Mosque property made headlines again when the “Pittsburgh Post-Gazette” announced, “A committee of University of Pittsburgh trustees today approved acquisition of the former Syria Mosque property in the heart of the school’s Oakland campus from UPMC for $10 million. The vote by the Property and Facilities Committee involves 2.1 acres of undeveloped land just north of Fifth Avenue between Bigelow Boulevard and Lytton Avenue. Decades ago, the property was ground zero for one of the roughest land preservation fights in city history. The site already is zoned Educational/Medical/Institutional (EMI), which facilitates university usage of the property, Pitt said in a statement released minutes after the mid-afternoon vote. ‘The University continually monitors the local real-estate market for strategic opportunities to acquire buildings or land that are in close proximity to any of its University campuses and suitable to support and advance the University’s mission,’ said Art Ramicone, senior vice chancellor, chief financial officer, and interim senior executive vice chancellor for business and operations. ‘Opportunities such as this, to acquire property of this nature in Oakland, are extremely scarce.’ A committee of University of Pittsburgh trustees today approved acquisition of the former Syria Mosque property in the heart of the school’s Oakland campus from UPMC for $10 million.”

How unfortunate. I wonder what ever happened to the scenery.

To be continued…