In 1924, Thomas G. Moses wrote, “Met Fulton at Denver and were soon on our way to San Jose. Arriving in San Francisco, we soon reached the 3rd Street Station just in time to catch a train for San Jose…It took us eight days to close a $7,000.00 contract.” Moses was working with Fitch Fulton to land Scottish Rite contracts in 1924. In addition to San Jose, California, their projects included Scottish Rite scenery for Fort Scott, Kansas and Pasadena, California.
Ground breaking for the Scottish Rite building in San Jose, California.
The groundbreaking ceremony for the San Jose Scottish Rite was announced in the “Salina Daily Index” on Feb. 20, 1924. The article reported, “Work on Scottish Rite Temple Progressing Rapidly.” The construction went quicker than the contract negotiations. Like most Scottish Rites at this time, discussions were drawn out until the last possible moment. This never worked well for either the scenic studio or client. In the end it everything was rushed through, greatly taking its toll on the artists and installers.
In 1925 that Moses recorded, “We finally received out contract back from San Jose after they had it a month, which settled the matter of our going there immediately after we completed Pasadena.” The San Jose Scottish Rite was scheduled to open at the beginning of May.
The San Jose Scottish Rite.
That spring, Moses wrote, “I started for San Jose on March 27th and found Naile had everything in good shape. Fulton and I got busy immediately, got a good start and pounded away pretty steadily until April 18th”. It was at this point that Moses’ health troubles came to a climax and he was rushed to hospital by Dr. Moore and Fitch Fulton. He wrote, “All through my illness, I had to keep work going and had to ask the Madam to see that the salaries were paid and the work at the Consistory did not stop. It was opened on time and we were through on April 27th, a few days before my second operation.” Moses’ second operation was on May 1, 1925, with him recovering at the hospital all month. He was not released until May 30.
The San JoseScottish Rite.
The San Jose Scottish Rite Temple opened on May 8, 1925. On May 10, 1925, the “Oakland Tribune” announced, “Masons Dedicate San Jose Home.” The article reported, “Formal dedication of the new $450,000 San Jose Scottish Rite Temple was made last evening with Sovereign Grand Commander J. H. Cowles, highest ranking Mason in the United States, as guest of honor. The dedication ceremony followed a banquet in honor of Cowles and Sovereign Grand Inspector W. P. Filmer. Scottish Rite Masons and their ladies only were in attendance, and the big new temple at Third and St. James streets was packed to capacity for the rites.”
By 1926, Thomas G. Moses wrote, “During this year, I have had the opportunity to paint several large canvases to be presented to Masonic Temples and school boards. I presented one large canvas to the San Jose Consistory.” He also presented paintings to the Tacoma Scottish Rite, the Board of Education at Johnstown, Pennsylvania, and Saint Francis Academy of Joliet.” His paintings included the inscription “Compliments of Sosman & Landis.” Of his gifts to various clients, Moses wrote, “While these are all in the line of business, it gives me the opportunity of painting them.”
In 1923, Thomas G. Moses wrote, “June 22nd, I took a run over to Ft. Scott and met the committee on Masonic work. At this new Temple Roy Givens came down and we had quite a showing. Our old work is in the present Temple and as they are well please with it, I feel that we stand a good chance on it, but one can never tell.”
After closing the Fort Leavenworth Masonic scenery contract in 1924 Thomas G. Moses wrote, “Went to Kansas City where I met Roy Givens. A day’s rest in a hotel bed made me fit for another jaunt on to Denver where we rested for a day before going to Cheyenne…. Givens went back to Denver after we had a showing of our model, without getting much encouragement as to our chances on a $16,000 contract.”
I am still a little perplexed about Given’s relationship with Moses. In 1920, census records report that Givens was the manager of a uniform factory. It is possible that Givens was supplying fraternal regalia, working with Moses to deliver complete installations, similar to the agreement between Bestor G. Brown of M. C. Lilley and Joseph Sosman of Sosman & Landis. They worked together to delivered scenery to Scottish Rite stages during the 1890s and first decade of the twentieth-century. Moses may have been trying to establish a concrete Masonic link with western Masons again.
James Roy Givens was born on August 23, 1885 in Salina, Kansas. He was the son of John Wesley Givens (1842-1921) and Penina Jane McCall (1847-1966). As a young many, “Roy” Givens was featured as an excellent student, participating in both musical and theatrical productions. He went on to law school, graduated from college and was admitted to the bar by June 1905. He even made the headlines with a few of his cases. And then he joined the fraternity…
On Oct. 20, 1906, the “Salina Evening Journal” announced, “Roy Givens and George Meyers received the first degree in John Brown Lodge, A.F. and A.M. last night” (page 3). This was John H. Brown Lodge, No. 216, A.F. & A.M.
By the next spring, the “Salina Semi-Weekly Journal” announced “Roy Givens will be secretary to Grand Master Wellington” (1 March 1907, page 7). The article reported, “Roy Givens, a young man who has lived in Salina all his life, and who for the past year has been private secretary of T. L. Bond, grand master of Kansas Masons, left Wednesday for Ellsworth, where he will take a similar position with E. W. Wellington, who was elected to succeed T. L. Bond as grand master at the grand lodge at Wichita last week. Roy is an excellent stenographer and his association with Mr. Bond for the past year, and the fact that he took care of a great deal of the grand master’s private Masonic work, makes him peculiarly fit for the position. He has many friends in Salina who will regret to see him leave this city, but he will not be so far away to come home for a visit occasionally.”
Grand Master Wellington was Waldo Wellington. A year later the two were mentioned in the newspapers again. On Nov. 12, 1908, the “Ellsworth Messenger” announced, “Roy Givens, of Kansas City, spent a few days this week in Ellsworth with his friend, Waldo Wellington. While here he received his degree in Ellsworth Chapter, No. 54, R. A. M.” This means that after completing the third degree and becoming a Master Mason, he entered the York Rite.
In 1911, Givens married Florence Grace Robb (1882-1964). The couple celebrated the birth of two daughters Nina-Belle Givens (1912-1983) and Sarah Jane Givens (1915-2010). Both were born in Kansas City, Missouri.
Over the next few years, Givens was repeatedly connected with the fraternity, and then nothing. Moses only mentioned Givens in 1923 and 1924. By 1930, Givens was the manager of a refrigeration factory in Kansas City. He continued in that capacity for the next decade. I have uncovered very little else so far. Givens passed away on Nov. 16, 1959 in Kansas City, Missouri.
In 1924 Thomas G. Moses wrote, “On my way to Fort Leavenworth very soon, where I closed a small Masonic job of $2,000.00… I started home by way of Omaha. On arriving home, I started to work on Fort Leavenworth drops…Megan on the road most of the time makes the studio work so much harder for me, especially when I want to paint more.”
Moses’ $2,000 scenery project was for Boughton Memorial, Fort Leavenworth, Kansas. The Masonic Temple was dedicated during the summer of 1922. On June 23, 1922, the “Leavenworth Times” reported, “Hundred Witnessed Dedication at Fort. Impressive Ceremonies Held Last Night at Boughton Memorial, Masonic Temple.” The article continued, “One of the most impressive and interesting ceremonies ever held by Masons at Fort Leavenworth was held last night when Boughton Memorial, the Fort Leavenworth Masonic Temple, was dedicated. There was an unusually interesting program and hundreds of Masons, including two thirty-third Degree Masons, Col. E. B. Fuller and W. L. Burdick.” (page 1).
On June 12, 1924, the “Plainville Times” announced, “Army Lodges Confer Scottish Rite Degrees” (page 6). The article reported, “Fort Leavenworth, Kans. – During the great war the Scottish Rite Bodies of this city were of necessity somewhat disorganized but the bodies are now re-established and are comfortably housed in their new temple. Considerable equipment has been provided and the work is being conducted with efficiency and enthusiasm.”
The “considerable equipment” was the new scenery and properties painted by Moses for the stage. This “small Masonic job” both referred to the number and the size of the drops. The drops are approximately 12-feet high by 18-feet wide.
Scenery by Thomas G. MosesScenery by Thomas G. MosesScenery by Thomas G. MosesScenery by Thomas G. MosesScenery by Thomas G. MosesScenery by Thomas G. MosesScenery by Thomas G. MosesScenery by Thomas G. MosesScenery by Thomas G. MosesScenery by Thomas G. MosesScenery by Thomas G. MosesScenery by Thomas G. MosesScenery by Thomas G. MosesScenery by Thomas G. MosesScenery by Thomas G. MosesScenery by Thomas G. Moses
In 1924, Thomas G. Moses wrote, “We also did a small job at Manhattan, Kansas of $1,100.00.” It was York Rite scenery for the Masonic Temple.
From the “Manhattan Mercury,” 20 May 1922, page 2.
On Nov. 29, 1924, “The Morning Chronicle” announced, “Select Masters Degree to Four Candidates Tonight. New Scenery – Nine Drops and Four different scenes – to be used.” The article continued, “Four candidates will be given the Select Masters degree by the Masonic be the first to be performed by the Council tonight. The ceremony will council and the number of candidates was limited for that reason. There are about 25 candidates for the degree.
The new scenery for the temple arrived Thursday night and will be in position for the services tonight. The scenery consists of nine drops and four scenes. It is to be used by all the Masonic bodies.” The new scenery would be further described a year later when it was featured again. On June 30, 1925, “The Morning Chronicle,” reported “New scenery will be utilized.” The article continued, “A stunt night program in which all of Manhattan’s six Masonic orders will join is to be held in the Masonic Temple next Thursday evening…The occasion will afford a splendid opportunity to utilize the new scenery and lighting equipment to fine advantage.”
Moses’ work was well known in Manhattan, as Sosman & Landis delivered scenery to the new temple in 1922. On July 13 of that year the “Manhattan Nationalist” reported, “New Scenery Arrives. Drop Curtains Placed in Masonic Temple – to Confer Degree on Large Class.” The article reported, “The scenery which will be used by the Masonic in conferring the Most Excellent degree arrived Monday and has been put in position in the new Masonic temple. It is expected that it will be used the first time in conferring the degree upon a class of eight candidates from Wamego, who have signified their intention of coming to Manhattan for the ceremonies. The scenery was made by Sosman & Landis Scenic Co. of Chicago, one of the largest firms of this kind in the country and is considered a real work of art.”
The Sosman & Landis scenery was mentioned again the next year. In December 1923 the Royal Arch Masons conferred degrees on a class of 25 candidates from Manhattan and Wamego. “The Morning Chronicle” reported, “Historic hymns which are included in the ceremonial will be illustrated with lantern slides. The new scenery furnishing settings for degree work which was purchased and installed in the temple last year will be used in connection with the initiatory ceremonies.”
In 1923, Thomas G. Moses delivered and installed scenery at Masonic Hall in El Dorado, Arkansas. He arrived in town on November 7 and left a few days later. Of his short visit, Moses wrote, “A few days’ work – put all my scenery up and had it paid for, which was a surprise as I expected I would have to wait for some time.”
Moses then headed to Wichita, Kansas, stopping by El Reno, Oklahoma, on his way. Of his journey, he wrote, “Had to go across the country to El Reno on my way to Wichita. Arriving there I found the scenery all up and the ceremonial under way. I left for Wichita the next day, wired the Madam that I was passing through Chicago on my way back to Binghamton, as I wanted her to meet me at the depot, which she did.”
Moses’ mention of “ceremonial” made me wonder if it was a Masonic scenery collection, so I started looking for a Masonic Temple in El Reno. Yep, there was one and it’s currently for sale – $60,000. This is really a “fixer-upper” though, as the Mason’s left in the 1950s, and the space fell prey to a variety of retail stores, all of which left its mark.
The Masonic Temple in El Reno, Oklahoma
What I did find interesting, however, was that when it was constructed in 1909, the Masonic Temple was located next to an opera house – the Derry Theatre. The Derry Theatre hosted many Masonic activities, as well as many other activities.
The Masonic Temple in El Reno
Moses’ stop in El Reno was likely for the Derry Theatre. The Derry was used by many groups in 1923, including the Masons, Baptist Church and American Legion. Masons used the space for certain ceremonials and events, the Baptist church held Easter Services, and guest lecturers even spoke about the evils of the Klan. About the time Moses arrived, the American Legion was preparing for an Armistice Day ceremony at the venue. On November 11, the American Legion and the Baptiste Church would meet at the Derry Theatre in a special patriotic program to “participate in exercise appropriate to the day” (El Reno Democrat, 7 Nov 1923, page 1). Part of the evening’s entertainment included special patriotic musical by Baptist church choir.
The Derry Theatre is quite interesting all on its own. It started as a response to the fire that destroyed the old El Reno Theatre (the local opera house). On Jan. 12, 1921, the “El Reno Democrat” reported, “The new Derry Theatre offers a marked contrast to those days when El Reno people climbed the rickety stairs in the old opera house to see Andrews and other noted players, and it marks a new era in the theatrical business in El Reno…Years ago there was such a demand for a theater building in keeping with the city, that public spirited citizens united in the building of the old Reno Theatre. It was destroyed by fire two years ago and since that time Al Derry has had in mind the building of a playhouse that would be a credit to any city in the state, and his dreams were realized last night when the Derry Theatre was thrown open to the public for the first time” (page 1).
By April 1923, the Derry Theatre was not in great shape and entered mortgage foreclosure proceedings. Public notices from April 2-14 of that year announced the impending sale of all theater’s contents. The first public notice stated, “Notice is hereby given that in pursuance of an order of sale issued of the district court of Canadian county, State of Oklahoma, on the 2nd of April 1923, in an action wherein Roy Wolcott, as Bank Commissioner of the State of Oklahoma was plaintiff and Al Derry, Grace Derry and Chas. L. Engle were defendants. Along with all of the following foods to sell was “all standing, movable and shifting scenery other than curtains hung on rolls and other scenery so attached as to permanently remain in same place in the building. By Nov. 15, 1923, the “El Reno American” announced the suit to prevent the removal of moving picture show fixtures from the Derry Theatre” (page 1).
But the Derry reopened on Dec. 19, 1923, and the Derry’s were still involved in the management. On Dec. 13, 1923, “The El Reno American” reported, Derry to Open Saturday. Unless unforeseen circumstance arises, the Derry theatre will be restored to El Reno on Saturday night when Mr. and Mrs. Al Derry will open up with a combined picture show and vaudeville their new playhouse in the old armory building at the corner of Rock Island and Hayes. The new addition to the theatrical field, which will be the fourth to be put into commission in El Reno, has been fitted up with one of the largest stages in this part of the state, and Mr. Derry states that he has booked a number of high-class road shows for the coming winter. The building will have a seating capacity of 900 and will be heated with coal furnace” (page 1).
On Dec. 19, 1923, the “El Reno Daily Democrat” announced, “New Derry Theatre Will Open Tonight” (page 1). The article continued, “The New Derry Theatre at the corner of Rock Island and Hays street will open tonight with a big feature program…The opening of the Derry offers a wide range of entertainment – spoken drama, film drama and vaudeville” (page 1).
In 1923, Moses wrote,” I went to El Dorado and signed up for $3,150.00 including the murals. I felt pretty good over that. I will do something worthwhile on them.”
Moses landed the contract for scenery and murals in the lodge room at the new Masonic Hall on North Washington Street in El Dorado, Arkansas. It was a four-story building designed in the Egyptian Revival style. The cornerstone laying ceremony took place on April 28, 1923, and Moses began work on it right away while juggling a few other projects. Although was still employed at Sosman & Landis, this was one of the side projects for Moses & Megan, as they bided their time, waiting purchase the Sosman & Landis name.
Masonic Hall in El Dorado, ArkansasMasonic Hall in El Dorado, Arkansas
Much of the scenery for the El Dorado Masonic Hall was painted after hours when Moses was on site in Binghamton, New York. That fall, Moses wrote, “On the 25th of October, I received a wire from El Dorado, asking me to come on there for a few days and lay out the color scheme. As I had been working on the scenery for El Dorado and Wichita during my stay in Binghamton, I had it shipped so I could put it up.” After arriving in El Dorado to install the scenery, he wrote, “A few days’ work – put all my scenery up and had it paid for, which was a surprise as I expected I would have to wait for some time.” He also collected $600 as a down payment for the mural work. A month later, Moses was working on the lodge room murals. He wrote, “I started my mural panels for El Dorado and some Masonic models which we were sadly in need of…I am very anxious to have my murals at El Dorado come out good as it is going to mean a great deal for me in the future, not only in Masonic work but back again in lobby displays in hotels and theatres.”
At the same time he was working on the El Dorado murals, he and Fred Megan were also going after Masonic projects in Little Rock, Denver and Fort Leavenworth. Those were the projects that required Masonic Models. Early in 1924, Moses wrote, “I started to work on Fort Leavenworth drops, during the week spent some little time on El Dorado murals. My best day on murals is Sunday. Megan on the road most of the time makes the studio work so much harder for me, especially when I want to paint more.” By the end of March 1924, Moses brought his finished murals to El Dorado. Of his trip, he wrote, “Got all my murals up and everyone pleased. Bowers paid me $600.00, a like balance to be paid later.” The mural project was $1800, with 1/3 due upon contractual signing, 1/3 upon delivery and 1/3 at a later date.
El Dorado is quite a fascinating town on its own, situated along the Ouachita River in the Timberlands region of Arkansas. It was timber and agriculture that initially fueled the area. However, on January 10, 1921, the Busey No. 1 oil well was completed one mile southwest of El Dorado. Dr. Samuel T. Busey was an oil speculator who struck it rich. On February 3, 1921, Topeka’s “Petroleum Journal” reported, “A doctor, a farmer and a Chinese laundryman gambled in oil at El Dorado, Arkansas. Now the little town of El Dorado, Ark., is counting its millions, actual and prospective. Samuel T. Busey of Newark, N.J., is the doctor. He’s also a geologist and globe trotter. He heard of a gasser near El Dorado Ark. That was so strong it blew its own vents in the surface on the earth. By July 31, 1921, newspapers announced, “He is a pioneer. A discoverer of three mammoth oil fields, known as the Wildcat King of the Universe; Now drilling a Super Wildcat on 6000 Acres” (Fort Worth Record-Telegram, page 28). Although the Busey No. 1 produced only a short-lived oil run, it brought a wave of speculators into the area, transforming the small town with 4,000 residents into the oil capital of Arkansas.
Fort Worth Record-Telegram, July 31, 1921, page 28
Okay, really hard to write this with the “Beverly Hillbillies” song going through my head…
“Come and listen to my story about a man named Jed A poor mountaineer, barely kept his family fed, And then one day he was shootin’ at some food, And up through the ground come a bubblin’ crude. Oil that is, black gold, Texas tea.”
The Beverly Hillbillies was one of my favorite shows growing up
By the time Moses visited El Dorado in 1923, the city was in the midst of a building boom, with fifty-nine oil contracting companies, thirteen oil distributors and refiners, and twenty-two oil production companies. It’s not surprising with Moses having worked with Herbert Barnard on the Petroleum Expo in Tulsa that year. He likely got the connection at the event.
This is where El Dorado is located in Arkansas
It was during this time that El Dorado Lodge No. 13, F. & A.M. built their new Masonic Hall. By 1925 the El Dorado’s population reached 30,000.
The El Dorado Masons had been around for quite a while, having first received their charter in 1846. Like many Masonic Orders at that time, they met in a variety of locations, until they secured enough funds to purchase their own building. Their luck was not fantastic though, as one after another of their buildings burned to the ground. Their last purchase before building the Hall in 1923 was the Johnsten Opera House; and yes, that burned to the ground too. Fortunately, the El Dorado Masonic Hall has withstood the test of time and even made it onto the National Register in 2001. It is now part of the El Dorado Commercial Historic District, comprised of sixty-nine buildings and one monument.
El Dorado Masonic Temple Marker
Tracking down any historic image of the hall has been quite a challenge. Fortunately, Zackery A. Cothern included two images of the building in “Arkansas Listings in the National Register of Historic Places: Egyptian Revival Design Elements,” published in “The Arkansas Historical Quarterly,” (Vol 63, No. 4, 2004).
Image used in Zackery A. Cothern’s article.
…and then I turned to Facebook…
The Masonic Hall stage pictured on the El Dorado Masonic Lodge FB Page.El Dorado Masonic HallMurals by Thomas G. Moses in the El Dorado Masonic HallMurals by Thomas G. Moses in the El Dorado Masonic HallMurals by Thomas G. Moses in the El Dorado Masonic HallMurals by Thomas G. Moses in the El Dorado Masonic HallMurals by Thomas G. Moses in the El Dorado Masonic Hall
I started looking to see if the lodge or members were posting any photos of ceremonial activities that would provide a glimpse of the stage or lodge room. Strike! Although the stage area still remains a mystery to me, Moses’ murals for the El Dorado Masonic Hall were featured numerous times. They are quite lovely. This small fraternal theater will be part of my next southern travel itinerary.
In 1922 Thomas G. Moses wrote, “On November 21st I signed a petition to the Fair Oaks Blue Lodge. I sincerely hope it is accepted. A little doubtful on account of my age.” Moses was 66 yrs. old and initiated into Freemasonry at the Masonic Lodge in Oak Park, Illinois.
The Masonic Temple in Oak Park, Illinois.
In 1923 Moses wrote, “March 1st, I took my first degree in Masonry. I don’t know when I shall get around to the others; rather interesting and I would like to go through the Shrine.” Only a few blocks from his home, he was initiated at Fair Oaks Blue Lodge No. 1006 A.F. & A.M. The Masonic Temple was located at Oak Park Avenue and Lake Street. The building still exists and is now known as Scoville Square, a 72,000 sq. ft. complex.
Scoville Square in Oak Park, Illinois.
Two more years passed before Moses returned to his Masonic degree work; this time in California. In his defense for the delay, it was a challenging period in his life, with his health deteriorating, Sosman & Landis studio closing their doors, and Moses struggling to secure projects in an entertainment industry that was gradually turning away from traditional scenic art. In the end, he purchased the name “Sosman & Landis” and began targeting Masonic scenery contracts. Scottish Rite theater scenery installations offered traditional scene painting projects with substantial profits. Although Moses was not a Mason, he intimately understood the designs and demands of many Southern Jurisdiction stages. Finishing his Blue Lodge work and becoming a Scottish Rite Mason would give him an edge in landing these lucrative projects. After the passing of Joseph Sosman in 1915, Sosman & Landis lost their Masonic ties. Sosman was a Mason. Moses may not have realized it when he became president of the company in 1915, but having a Masonic connection made all the difference in the world as it was often the determining factor when Scottish Rite Valleys selected a studio to manufacture scenery for degree productions. Between 1915 and 1925, Toomey & Volland took the lead in Scottish Rite Theatre production as Hugo Volland was a Scottish Rite Mason in St. Louis, Missouri.
In 1925, Moses wrote, “I have made up my mind to go on with my Masonic degrees and have a coach for the Blue Lodge work. I was very fortunate in getting young Champion, as he has a lot of patience and I am afraid he will need all of it, as I can’t commit very easily and especially when it is word of mouth entirely. It will be very hard, but I want to get in the Scottish-Rite class at Pasadena.” After being initiated at Fair Oaks Lodge, Moses was passed and raised in Carmelita Lodge, No. 599, F. and A.M. in Pasadena, California. In 1925, Carmelita Lodge held their meetings on Thursday nights (The Pasadena Post, 2 April 1925, page 8). Fortunately for Moses, he was in town for an extended period of time delivering the Pasadena Scottish Riet scenery for the opening of the new cathedral. Meetings were held on the third floor at the Masonic Temple, located on the corner of Raymond and Colorado streets.
The Masonic Temple in Pasadena, California, where Thomas G. Moses completed the 2nd and 3rd degrees, became a Master Mason.
Moses later wrote, “On February 10th, we completed the Pasadena job – and I finished my 2nd Degree in the Blue Lodge, Carmeleto [sic.]. The worshipful Master gave me a nice record for my past labors and for my future life, which I hope I will be able to follow to the line.”
The Pasadena Scottish Rite.Thomas G. Moses was included on the front page for his scenic contribution to the new Pasadena Scottish Rite cathedral’s stage. “Pasadena Evening Post” Feb. 14, 1925.
Moses was officially recognition in the “Pasadena Post” on Feb. 14, 1925. An article on the front page announced, “Maj. Skillen is donor of Scenic Drop. Beautiful Curtains Painted for Cathedral Stage by Thomas G. Moses.” The article continued, “The magnificent scenic drop curtains which have been hung in the new Scottish Rite cathedral to be dedicated Thursday evening, are the gift of Maj. Charles M. Skillen, in memory of his son, the late Dr. Ralph G. Skillen. Both father and son were charter members of the Pasadena Consistory. The 73 drops represent some of the finest work that the artists of Sosman & Landis company of Chicago have ever produced, according to Thomas G. Moses, president of the firm, who is in Pasadena to personally supervise the work installing them. Each of the drops were especially designed and finished for the Pasadena cathedral. Months were spent in the preparation of them, it is said. About half were painted in the Chicago studios of the company and the remainder finished in this city. Mr. Moses has watched carefully the painting of the curtains, much credit for their final perfection must go to the assistant and scenic artist, F. B. Fulton. Mr. Fulton believes the scenic work to be some of the finest he has ever produced. The final work of hanging and installing the curtains will be under the supervision of Harry Nail, a member of the Sosman & Landis company. This work demands such expert workmanship that Mr. Nail was brought from Chicago so that no mistakes in installation could be made.”
First of all, the drops noted as being painted in Chicago were the used drops from Little Rock Scottish Rite. With the impressive scope of the project, it is understandable that the Pasadena Scottish Rite did not want to advertise that they were purchasing used scenery.
King Cyrus setting pictured in the Little Rock Reunion program, 1904.Detail from same setting, now used at the Pasadena Scottish Rite.A scene at the Pasadena Scottish Rite that was originally painted for the Little Rock Scottish Rite in 1902.A scene at the Pasadena Scottish Rite that was originally painted for the Little Rock Scottish Rite in 1902.
These used drops, a few new drops, fabric curtains and stage machinery were purchased and installed for $8,500. Harry Naile removed both the used drops and stage machinery in Little Rock, so it only made sense that he installed the same equipment in Pasadena.
The stage left area of the Pasadena Scottish Rite stage showing the bottoms of drops and counterweight system originally manufactured for the Little Rock Scottish Rite in 1902.Used counterweight system installed by Harry Naile in 1925 at the Pasadena Scottish Rite.The original line numbers for use in Little Rock and the new line numbers for the Pasadena Scottish Rite stage.
In regard to completing the third degree, Moses wrote, “My third was given to me on February 23rd, just in time for me to get into the Scottish Rite Class on the 24th.” This is interesting, as the third degree was officially planned for Masons at Carmelita lodge on Feb. 26, and not Feb. 24th in 1925. On Feb. 26, 1925, the “Fraternal News” section of the “Pasadena Post” reported, “Carmelita Lodge, No. 599, F and A.M., will meet tonight at 7:30 o’clock on the third floor of the Masonic temple. The third degree of Masonry will be conferred, and all members are urged to attend” (page 6). This meant that Moses was considered a special case and was raised three days before the scheduled degree work.
On Feb. 24, 1925, the “Pasadena Post” reported, “Masons of Pasadena were the guests Saturday evening of local Scottish Rite Masons at a reception given in the new cathedral on North Madison avenue. A short program in the auditorium included a display of the costumes and scenery used in the degree work of the order. Following the program, dancing was enjoyed in the large ballroom and the guests were given an opportunity to inspect the new edifice. A reunion will be held at the cathedral, beginning today and ending Saturday, when degree work will be put on for a class of candidates every afternoon and evening” (24 Feb 1925, page 11).
The Pasadena Scottish Rite Reunion took place from Feb. 24 to Feb 29, with degree work put on each afternoon and evening. Moses wrote, “On the 28th I was a 32nd Degree Mason and very proud and thankful for it. It was like a dream to me as all my Masonic knowledge was only padded over by the ritual and some new work which was thankfully received. So, after forty years of designing and painting these degrees, I will now go into the work with a better understanding.”
Thomas G. Moses’ Scottish Rite patent from 1925. From the Waszut-Barrett Theatre Collection. Backside of Thomas G. Moses’ Scottish Rite patent from 1925. Some members used their patent to collect signatures from other Masons, like a yearbook.
The next month, Moses wrote, “On March 25th, I crossed the “Hot Sands” of the Al Malaikah” Shrine.” So, from Feb. 10 to March 25, 1925, Moses became a Master Mason and joined both the Scottish Rite and Shrine. With this work completed, Sosman & Landis once again became a major contender for Scottish Rite projects again.
Thoms G. Moses’ patent for the Shrine. From the Waszut-Barrett Theatre Collection.
During the first four months of 1922, Thomas G. Moses worked on scenery projects in Tacoma, Seattle, San Francisco and Oakland. He then headed to Denver, Colorado, writing, “On arriving at Denver, we went to the Oxford and secured a fine room. Met the Scottish Rite Bodies and Mr. Stanley Warner, regarding their new Temple, then started for Kansas City where we stopped for only a day. Got a line on what was wanted, then started for home. We arrived home May 14th after an absence of five months and a fine old trip.”
Moses was referring to Stanley C. Warner, a well-known Denver Mason and attorney who became the Sovereign Grand Inspector General (SGIG) of Colorado.
Stanley Clark Warner, c. 1930
Stanley Clark Warner was the son of Sidney Warner and Minerva Jane Clark, born in Wilton, Ontario, Canada, in 1863. In Canada, Warner established himself as an attorney after graduating from Victoria College in 1884 and being admitted to Canadian Bar in May 1887. By the fall of 1887 he married Mary Ella Smith (1863-1935) in Utica, New York, and the couple settled in Napanee, Ontario. In 1903 the Warners moved to Denver where Stanley became extremely active in both Public Service and Freemasonry. Warner was a partner in the firm Herrington, Warner & Grange before becoming a judge. From 1923 to 1929, he worked as the Public Administrator for Denver and by 1929 was a Colorado Agent of the Corporation Trust Co. of New York.
In regard to Freemasonry, Warner belonged to the Scottish Rite, York Rite and Ancient Arabic Order of the Nobles of the Mystic Shrine. Warner was even the Grand Commander of the Knights Templars.
Interestingly, in 1926, Warner delivered the “Gettysburg Address” in honor of Lincolns birthday for radio. It was broadcast from the Scottish Rite cathedral in Denver, presented by Colorado Consistory No. 1, Ancient and Accepted Scottish Rite of Freemasonry (“Aspen Times,” 11 Feb 1926, page 2). When Moses met with Wagner and the Scottish Rite Bodies in Denver during 1922, it was to discuss scenery for this building.
In 1910, Sosman & Landis delivered scenery to the Denver Scottish Rite, so this project should have been pretty simple to land. Unfortunately, times had changed. Scenery delivered to Scottish Rite theaters became more complicated by the 1920s, as the Mason’s attitude toward purchasing scenery began to shift. Before WWI, Sosman & Landis worked in conjunction with M.C. Lilley, a major fraternal supplier. Working together, they delivered entire theater packages to new buildings. This meant an almost guaranteed sale when they began to design the scenery collection. By the 1920s, Scottish Rite scenery projects became more independent of the entire theater project, simply representing one element and going to the lowest bidder. This changed the success rate for Sosman & Landis when going after a project.
Sosman & Landis continued their standard practice to secure a contract; meeting with a client, creating designs and then writing contracts for the desired work. The problem is that they invested too much time in the preliminary process; time that their competitors did not necessarily invest in. In short, competitors let Sosman & Landis do all the upfront work, and then swept in to under bid it. Furthermore, the Masonic design process was extended, the scope for massive complexes taking years to complete. A project began in 1922 may not come to fruition until 1925, 1926 or 1927.
In the end, Sosman & Landis invested too much time into lost work.
In 1918, Thomas G. Moses wrote, “October
10th, I was knocked down by a boy on a bicycle
in Oak Park. It was dark and I did not
see the wheel. It was thought by the
doctor that I had fractured my skull. It
was a couple of months before I recovered.
Only a few days after this I was forced to go to Cleveland to look after
a big Masonic order and I hope we will be able to get the contract.” He was
referring to the new Masonic Temple and massive 2500-seat auditorium being
planned for Cleveland.
The Masonic Temple in Cleveland was home to many Masonic groups, such at the Ancient and Accepted Scottish Rite of Freemasonry.
This should have been an easy sale for Sosman & Landis, as the
Cleveland Masons were a previous client. Sosman & Landis already delivered
Masonic scenery to Cleveland in 1909. That temple theater was located on
Superior Avenue and Sixth Street. Unfortunately, the contract for the new Cleveland
Masonic Temple Theatre was awarded to Toomey & Volland. In 1918 Toomey
& Volland also delivered scenery to Scottish Rite theaters in Watertown, New
York and Peoria, Illinois.
Scottish Rite prospects were diminishing for Sosman & Landis by 1918.
That year, they only delivered scenery to the El Paso Scottish Rite. It would
be another five years before Moses listed another Scottish Rite scenery project
on his resume. 1915 was the last fruitful year for Masonic scenery projects at Sosman
& Landis. This was also the last year that Joseph S. Sosman was alive. Upon Sosman’s death, there was no longer that
essential Masonic connection for the Sosman & Landis studio.
There were major Masonic players at both Toomey & Volland Studio in St.
Louis and John C. Becker & Bro. Chicago. Moses would not complete his Scottish
Rite degrees until February 1925. He then joined the Ancient and Accepted
Nobles of the Mystic Shrine in March 1925. Not being a Mason until the
mid-1920s cost Moses potential work at a time when the demand for other painted
scenery was declining. Whether he was working at Sosman & Landis or New
York Studios, there needed to be someone intimately connected with the
Fraternity to secure the work.
In regard to Cleveland in 1919,
however, Moses received a contract for a Shrine scene. In January he wrote about completing a “big
Mecca scene for Cleveland.” Of the project, he commented, “I painted the top of
the wall in strong sun-light and the bottom in shadow with a number of awnings
and tables of fruit and water jars, which gave a touch of the true Oriental
atmosphere.”
This one scene was not enough to
get Moses back into Masonic scenery game. Scottish Rite work would not pick up
again for him until 1923, and then it would continue in spits and spurts throughout
the decade.
In 1918, Thomas G. Moses wrote, “2nd 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 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.
