Scenic Art Sources – Drypigment.net

Tales from a Scenic Artist and Scholar. Part 1184 – The Pelican and the Worm

My post about the Scottish Rite scenery at Fort Leavenworth from 1924 included the standard Sosman & Landis design for the 18^th degree. Labeled “Peristyle,” the design included a landscape with river dividing the scene, a pelican feeding its young, and a few other symbolic objects. The pelican was supposed to be piercing its breast to feed its young – a symbol of sacrifice.

Correct image of pelican posted to the Traveling Templar. here is the link:
https://www.travelingtemplar.com/2013/08/the-pelican.html

This image is not unique to Freemasonry at all. It is found on stained glass windows in churches and even on the Louisiana state flag.

At Fort Leavenworth, however, Moses painted the pelican is feeding its young a worm.

*18th degree setting at Fort Leavenworth, Kansas.*

*Detail painted by Thomas G. Moses – pelican feeding a worm to its young.*

He had done this before – many times. Besides, pelicans are water birds, and don’t really search for worms in the ground. I had always wondered who kept adding the worm and should have made the connection long before now. After all, in 1904, the artistic direction at the studio was handed over to Moses when he returned and became the vice-president of the firm. Moses and Fred Megan purchased the Sosman & Landis name after the company liquidated in 1923 and continued to deliver Scottish Rite scenery. It was seeing the pelican with a worm on the Fort Leavenworth scenery this week that made me realize Moses was the culprit. After all, he didn’t become a Mason until 1925, so it is understandable. What I find humorous is that it wasn’t immediately pointed out, or quietly fixed over the decades.

*Correct depiction of pelican painted when Thomas G. Moses was not in charge of Masonic scenery production at Sosman & Landis.*

*Scottish Rite scene for Winona, Minnesota, painted under Thomas G. Moses’ supervision.*

*Scottish Rite scene for McAlester, Oklahoma painted under Thomas G. Moses’ supervision, 1908. This scene was later sold to the Salina Scottish Rite.*

*Scottish Rite scene for St. Paul, Minnesota, painted under Thomas G. Moses’ supervision.*

There are few Scottish Rite scenes that were solely designed for Masonic degree productions. Most stage settings that were used by the Fraternity originated for other venues. Many stage compositions had been used for centuries in a variety of theatrical and operatic productions. Palatial interiors, cathedrals, catacombs, dungeons, classical interiors, mausoleums, Egyptian temples, desert scenes, forests, rivers, landscapes, Gothic armories, rocky coasts, and garden scenes were all used for both commercial and fraternal productions.

The “INRI Peristyle” scene for the eighteenth degree, however, was unique. It would become a standard setting in many Southern Jurisdiction Scottish Rite theaters during the first decade of the twentieth century. This scene used a translucent lighting effect. The words “Infinity,” “Nature,” “Reason,” and “Immortality” were typically placed at the tops of columns. The first letter of each word (I.N.R.I.) was backed with red silk, allowing it to glow.

I am frequently asked questions about the subject matter and necessary symbolism in degree production scenery. How did the artists know what to paint? How did the Masons ensure appropriate symbolism on each backdrop without revealing any secrets? Did all of the scenic artists understand what they were painting on drops? The short answer is, “No, look at the pelican; it’s a perfect example of a detail being lost in translation.”

The pelican is an integral part of the eighteenth degree. In many stage settings it either appears on the backdrop or cut drop. Sometimes it is included as a set prop or light box.

*Pelican piercing its breast light box for the 18th degree at the Scottish Rite stage in Grand Forks, North Dakota.*

Screwing up this significant image is a big deal, and yet many Scottish Rite scenes still have a Pelican feeding a worm to its young.

This major faux pas, however, was not unique to Sosman & Landis. Once Volland installation at the Scottish Rite in Hastings, Nebraska has a lone Pelican piercing its breast – no young anywhere in sight. It’s like a pelican suicide.

*Pelican painted by Volland scenic artists for the Scottish Rite in Hastings, Nebraska.*

To be continued…

Tales from a Scenic Artist and Scholar. Part 1102: Henry C. Tryon’s Drop Curtain for the Salt Lake Theatre, 1883

In 1883, Henry C. Tryon painted a drop curtain for the Salt Lake Theater. Many sources explain that Henry C. Tryon replicated a painting by William Linton (1791-1876), “A City of Ancient Greece, with the Return of a Victorious Fleet” for the Salt Lake Theatre’s drop curtain composition. The actual title of the painting was “A City of Ancient Greece – Return of the Glorious Armament,” and was painted by Linton in 1825. By 1840, the composition was engraved by J. W. Appleton and published by the Royal Gallery of British Art in 1840 with the title “A City of Ancient Greece.”

*Henry C. Tryon’s drop curtain for the Salt Lake Theatre, pictured in George D. Pyper’s 1937 publication, “The Romance of an Old Playhouse.”*

*Source that Henry C. Tryon used for “The Return of the Victorious Fleet” drop curtain at the Salt Lake Theatre, 1883.*

On Sept. 2, 1883, the “Salt Lake City Herald” published a long description of Tryon’s drop curtain composition (page 4). Here is the article in its entirety:

The picture is from a painting by W. Linton, called “A City of Ancient Greece, with the Return of a Victorious Fleet,” but the lines of the composition have been materially altered, and it must be admitted, with happy results. Instead of making the city of primary interest, Mr. Tryon has made the “Return of the Victorious Fleet” the subject of his story, using the city as a necessary detail to the perfection of the tale. The hour is just before sunset, the sky soft, warm, and tender – just such a sky as any lover of nature might have noticed here repeatedly about a week ago when our warm Indian summer evenings began; and one of who had watched the progress of the picture must have felt forcibly on many occasions during the past two weeks what a powerful effect our summer evenings have had on the artist’s mind and with what trust and feeling he has expressed the sentiment they awakened in him.

The scene opens in a broad harbor. Showing the grand architectural structures of the period and nationality in the rear, gradating into the distance with a few hazy mountains, as an accessory background, the outlines of which are made apparent by a remarkable atmosphere and soft clouds tinged and iris-hued by the rays of the fast sinking sun, the existence of which, while not visible, is none the less strongly felt. On the right, and very prominent, are marble supports and marble steps leading down to the water’s edge; opposite to the left there is a distinct intimation of the same architecture, only hidden by a profusion of foliage and the sails and banners and pennants of the incoming vessels. A viaduct beneath which a stream of water flows fringes the centre of the harbor in the rear, and here again the foliage golden tipped by the sun, grows in glorious profusion and saves the eye from that sense of weariness which architecture, bare and unrelieved, however magnificent, however fascinating for the time being, invariably produces upon a longer acquaintance.

With the genuine landscape artist’s feeling, which does not exist where it does not reach after trees and water generally, foliage freaks out from unexpected yet natural points, and while doing service by relieving the monotony of architecture, introduces a feeling which, even though unobserved, gives a sense of satisfaction which is experienced and enjoyed without passing through the judgment for approval. The story of the picture is told in its title – “The Return of the Victorious Fleet.” There need be no title for the picture explains itself. The vessels filled with warriors enter at the left, pass up the harbor, then turn to the right where they group together, where wives, children and friends rush out of the grand marble structures and are massed between the marble columns, and receive the dear ones who have come home safely and victoriously out of the contest with a powerful foe. Everything is glowing, warm and cheerful, the expression being free and happy, while the bright colors, the brilliant banners, streamers and pennants, the colors commingling and toned down by the intervening atmosphere, give to the principal chapter of the story a gala-day appearance, and inspire a sentiment of pleasure in the bosom of the spectator. There is enough omitted detail to give the imagination ample sway, hence it is that the story continues to the right outside the picture, leading to the belief that the scene which the eye beholds is continually indefinitely, and that the same happy and joyful sentiment prevails at other colossal structures which do not appear in the picture.

The story is made the richer by the happy idea of coloring which the artist has employed – that is, the line of light follows the interest of the story, which begins at the left, spreads bout two-thirds over the picture, and culminates at the extreme right hand. So the shadows are deepened at the left (the bright colors of the sails just entering the harbor relieving it of a dismal air) the light gradually dawning towards the middle of the picture where it breaks in a glorious flood just at that point where the interest of the story culminates, and then modulates and tones down to the right, leaving the impression that away in the distance the story is concluded, leaving also to the imagination just as much as is essential to the perfection of a charming sketch. One objection that might naturally be interposed to the detail of the story is the fact that on the front marble steps there are no figures such as can be seen in the rear, and which as a matter of fact ought really to be visible at the point referred to. But there are weighty reasons why these were omitted. In the first place, Mr. Tryon is essentially a landscape painter, and confesses his inability to paint respectable figures. This being true, he could add nothing to the effect. But even were he capable of painting figures, for the truth of the story they are better omitted in this picture. To paint them well, or even indifferently, would be to arrest the eye, and in the degree in which this result was produced, just in that degree would the interest of the story be interrupted, and the idea of the artist be disadvantageously affected. It is a principle in all art that too much detail ruins the finest paintings, as in all stories, those details only are to be tolerated which are essential to the solution of the plot, that moment it is an injury.

Therefore, for the reason that he was incompetent for good figure-painting, and because such a detail would arrest the eye at a point where the injurious, Mr. Tryon wisely deemed it best to leave out the figures, and made the architecture as simple as possible, relieving it only by the water at its edge, and the prows of the two vessels just turning one of the columns. So much for mechanical thought and labor. But who can explain in words the sentiment, the tone, the poetic idealism the artist intended and has expressed? It is in these mainly that his genius is manifest; and every eye that rests upon the glowing canvass will behold beauties peculiar to itself; in every mind it will awaken thoughts that may occur to none other, and the impression and sentiment that it may arouse will be individualized in each bosom. Imagine, a warm, rich, summer day, the haze of an Indian summer’s eve lingering lovingly and tenderly overall, toning down features that might be harsh and making indistinct and indefinite points that seem to fade away into atmosphere so delicate, so mild, so feeling, so tender!

Here and there a flood of warm light develops a particular feature in order that the contrast may heighten the effect, as for instance in the foliage under the viaduct, or as a single point in the architecture; as a cloud catches a single ray of the warm sun as to appears on the ripples on the waves. The beauty of the water in the harbor must strike every artist and art lover as a thing of surpassing loveliness, in that it is true to nature and nature is beauty. The reflection of the brilliant colors from the prows of the bright colored boats, mingling in the waves, produces a combination of brilliant colors, which is rendered beautiful from the very indistinguishable profusion of the hues and the brilliance of the effect, rendering the transparency of the water so realistic that the deception is perfect. But who can describe a painting in words, however beautiful, however poor? It may be pronounced good, bad, or indifferent, particularly points favored and others condemned; it may awaken thoughts that otherwise would remain dormant, and may call to view things of beauty which would otherwise have blossomed and blushed unseen, but to the artist alone is given to produce anything approaching an imitation of the evanescent beauty, the supreme grandeur of nature. The critic cane merely direct public attention, and that is all we dare attempt with regard to Mr. Tryon’s picture. The drop curtain just finished, establishes, or will establish a fact that has always been claimed by the HERALD, that a successful scene painter is every inch an artist. Only view “The Return of Victorious Fleet” by Mr. Tryon, and be convinced.”

The newspaper article stated that Tryon replicated a painting by William Linton (1791-1876) – “A City of Ancient Greece, with the Return of a Victorious Fleet” for the Salt Lake Theater. The actual title of the painting was “A City of Ancient Greece – Return of the Glorious Armament,” and was painted by Linton in 1825. By 1840, the composition was engraved by J. W. Appleton and published by the Royal Gallery of British Art in 1840 with the title “A City of Ancient Greece.”

*William Linton’s 1825 painting was sold at auction in 2015*

In 1910, Tryon’s drop curtain was replaced with a new one, tucked away in storage for the next two decades. Of the event, “The Salt Lake City Herald-Republican” reported,

“After thirty years of almost continuous service, the drop curtain at the Salt Lake theatre is to be replaced by a new one which manager George D. Pyper expects to have in place in time for the engagement of Henry Miller, beginning September 29. The subject of the new curtain will be Salt Lake Valley in the days of the pioneers, and it will be copied from a painting by William M. Minor, scenic artist at the theatre.

It will be difficult to exceed the beauty of the old curtain, whose artistic coloring and good drawing have made it a favorite for years. “The Return of the Victorious Fleet” was painted by Henry C. Tryon, one of the best artists in his line who ever came to Salt Lake. Those who have studied the stately ships coming into harbor may have wondered at the absence of life in the picture. The original, which is in the possession of Mr. Pyper, contained a crowd of people on the steps of the buildings, but Mr. Tryon was not a figure painter, and rather than mar his painting by inferior work, left the out altogether.

Except for the short intervals, “The Return of the Victorious Fleet” has hung in the theatre nearly thirty years. Some years ago an attempt was made to replace it by a picture of the chariot race in “Ben Hur.” The artist made the horses of heroic size, and so near the edge of the curtain that they seemed to menace the spectators who sat close. One critic of the day said that a certain scene in a play created a strong effect until “Pyper’s horses came clattering down” that there were plans for a new drop curtain for the Salt Lake Theater” (Salt Lake City Herald-Republican, 18 Sept. 1910, page 26).

Tryon’s curtain remained in storage until 1930 when it was donated to Kingsbury Hall. Tryon and his drop curtain made headlines again on January 9, 1930, when the “Deseret News” announced, “S. L. Theatre Curtain to be Hung at ‘U’” (page 9). The article reported, “The beautiful old Salt Lake theatre curtain, which hung for more than 40 years and witnessed, if curtains have that power, some of the earliest graduating classes of the old University of Deseret, will now function entirely as a cohort of education. It was announced Thursday that George D. Pyper, former manager of the theatre, had presented the curtain to the University of Utah to be hung in Kingsbury hall on that building’s completion. The curtain carries a painting by Henry C. Tryon entitled, “The Return of the Victorious Fleet.” “It was the most popular curtain ever hung in Salt Lake,” says Mr. Pyper.

On January 10, 1930, the “Salt Lake Tribune” reported, “ University Auditorium Gets Historic Curtain. Announcement was made Thursday by George D. Pyper, manager of the old Salt Lake Theater, that the curtain which was used in the historic structure would be presented to the University of Utah for the use in the new auditorium of the state institution, Kingsbury hall. The Salt Lake theater was razed last year, and the curtain is among the few relics of the building. It is decorated with a painting by Henry C. Tryon entitled, “Return of the Victorious Fleet.” Kingsbury hall will be completed about March 1. The new curtain will be hung shortly thereafter, with some form of ceremony” (page 7).

George D. Pyper wrote about the history of the Salt Lake Theatre in the 1937 book, “The Romance of an Old Playhouse.” Pyper recalled the popularity of Tryon’s drop curtain at the venue, writing:

“Many other artists have contributed to the scenic investiture of the plays produced in the old theatre, among whom may be named J. Guido Methua, George Tirrell, De La Harpe, R. Kirkham, Henry C. tryon and later James Anderson. Of these, most interest is centered on Tryon who painted “The Return of the Victorious Fleet” o a drop curtain which hung for many years in the Theatre, and which Salt Lake theatregoers never grew tired of. It was quite marvelous that Tryon’s curtain should have been so well regarded, because, while the original picture contained what seemed to be thousands of figures, Tryon’s reproduction contained absolutely none. Years later, desiring a change, I was induced by one of the artist’s to allow him to paint the chariot race from Ben Hur” with figures heroic size. The curtain was hung but did not make a hit. Mr. LeGrande Young, a regular patron and an expert on horses, came to me and said seriously that I might fool him on a landscape or marine scene, but I could not fool him on a horse; that those Ben Hur horses were spavined and their shoulders out of joint and that unless I took down the curtain he would not patronize the theatre. Then one of the newspapers said that in a very quiet scene which required a slow curtain, “down clattered Ben Hur’s horses and spoiled the scene.” So the noisy horses were turned out to grass and up again went “The Return of the Victorious Fleet” to the great satisfaction of the theatrical patrons. Only when it actually became thread-bare and the stage lights could be seen through its worn fabric would the public permit me to junk it” (pages 143-144).

*The “Ben Hur” drop curtain that replaced Henry C. Tryon’s “Return of the Victorious Fleet” for a short period of time.*

To be continued…

Tales from a Scenic Artist and Scholar. Part 971: St. Edmund’s Parochial School, 1918

In 1918, Thomas G. Moses wrote, “The new St. Edmond’s Parochial School within two blocks of our home needed scenery, so I got a little line from one of the Parishioners. Met Father Code and he was willing to spend $600.00, but wanted a figure curtain. I had a fine wood cut of “The Landing of Columbus” which he selected, and we were very successful in getting a very good curtain. He was well pleased with it.” Moses was referring to Rev. Msgr. John J. Code of St. Edmund, the first Catholic Parish in Oak Park, Illinois. St. Edmund’s Catholic School opened in the fall of 1917 and operated until 2016.

Code was appointed by Archbishop James Quigley to organize the Oak Park church, serving from June 1907 until October 1956. Father Code made plans to construct a school on the corner of Oak Park Avenue and Pleasant Street in Oak Park and selected architect Henry J. Schlaks. Schlaks designed the new school after the Palace of Justice in Rouen, France.

The cornerstone for St. Edmund’s school was laid on May 20, 1917, with dedication ceremonies on October 14 of that year. The original structure had five classrooms, one of which housed the nuns; the Dominican Sisters from Adrian, Michigan were the instructors. A convent was later purchased for the nuns on the southwest corner of Euclid and Pleasant Street. Over time the school expanded to 17 classrooms. An annex to the school was completed in 1948, with four new classrooms, a music hall and library. In 1959 and a modern two-story addition was added on the south. Unfortunately enrollment declined for a variety of reasons by the twenty-first century.

On Jan. 13, 2016, the “Chicago Tribune” reported, “The Chicago Archdiocese has announced that one more school will close at the end of the academic year, just one year short of celebrating its centennial. St. Edmund Catholic School in west suburban Oak Park could not overcome years of declining enrollment and financial difficulties, the archdiocese said. There are three other Catholic schools in Oak Park: Ascension, Sr. Giles and St. Catherine Siena-St. Lucy.”

Here is the current website for the church: http://www.stedmund.org/

To be continued…

Tales from a Scenic Artist and Scholar. Part 968 – The Olympia Theatre in Olympia, Washington, 1917

On May 11, 1917, “The Washington Standard” reported. “Olympia theater is now provided with two drop curtains, one painted by Sosman & Landis, Chicago, entitled “The Water Place,” and the historic painting of Olympia by Mr. Lange, which was used at the Spokane Fair during the canvass for state capital” (Olympia, Washington, page 7). This is another one of the many jobs by Sosman & Landis not mentioned in Thomas G. Moses’ memoirs. This is a single article with no follow-up information, so I am left with very little to go on.

The article notes that a painting created for a country fair was repurposed for a theatre, used as a drop curtain. This is not unusual. In 1893, a 20×30 mural for the California building at the world fair was repurposed as a drop curtain for the Native Sons of the Golden West Hal in San Francisco. I explored this subject a few years back (see post #294). The Reed & Gross Panorama Company created large scale paintings for the California State Building with compositions that included: the harbor of San Francisco and the city, as viewed from Goat Island; Christmas in Pasadena; the Stanford Ranch in northern California; Leland Stanford’s Vineyard; Leland Stanford Jr. University in Palo Alto; New Years at Hotel del Monte in Monterey, Santa Barbara, and Fresno.James D. Phelan, one of the of the World’s Fair Commissioners in 1893 purchased the 20’ x 30’ painting from the California State Building after the fair, intending to use it as the new drop curtain at the Native Sons of the Golden West’s Hall. At the time, the organization was constructing a new building in San Francisco. Phelan was the association’s president and purchased one of the paintings. Unfortunately the painting was irreparably damaged in transit.

On January 10, 1896, “The San Francisco Call” reported, “A Fine Painting Spoiled” (page 8). The original painting by Thaddeus Welch depicting “Golden Gate as Viewed from Goat Island” was sold for $3,000. The article noted, “On Tuesday it was found that the painting had been ruined by the careless persons who packed and shipped it two years ago. Instead of winding the canvas around a roller these bunglers wrapped it around a 4 by 4 inch scantling and every four inches the canvas is cracked so that it is doubtful if it can be used.”

There are a few factors to consider:

The first is that the 1893 world fair painting was likely an oil painting, as it cracked. Even if it had arrived safely, it may have looked horrible under stage lights due to the sheen, characteristic of oil paintings. Those unfamiliar with scenic illusion, for example Phelan, may not have realized this, or that the oil painting would propose a fire threat once on stage. However, I am intrigued with the basic idea that any large painting could be transformed into a drop curtain for the stage.

To be continued…

Travels of a Scenic Artist and Scholar. The Twin City Scenic Co. in Milton, North Dakota

For well over a year I have posted a historic stage setting every day to my Facebook group “Dry Pigment.” This post is then shared with other groups for digital dissemination, but not here. I often group stage compositions on a theme, posting one version after another over the course of a week. In the past I have covered landscapes, seascapes, palaces, dungeons, hell scenes, cathedrals, and much more. The images are often from scenery evaluations that I completed over the past few decades while traveling throughout the United States of America.

While I take a break from the life and time of Thomas G. Moses until November 11, 2019, I am going to share my Dry Pigment FB Group posts. It helps illustrated the scenic aesthetic that I have been writing about for over three years.

I primarily post daily pictures of historic backdrops each day for my fellow scenic artists, many of whom were not exposed to this history during their training, or friends who are completely unfamiliar with this form of American popular entertainment. I always hope that this small and consistent gesture will help others with their future projects and research.

Today’s Dry Pigment post looks at the source, design and final backdrop created at the Twin City Scenic Co. of Minneapolis, Minnesota, for the opera house in Milton, North Dakota

Twin City Scenic Co. design, now part of the Performing Arts Archives, University of Minnesota, Twin Cities.

Drop curtain in Milton, North Dakota, by the Twin City Scenic Co. This was a slide taken by Prof. Emeritus Larry Hill.

Travels of a Scenic Artists and Scholar: Russell Smith’s Source Material

Portrait of Russell Smith by James R. Lambdin and included in “Russell Smith, Romantic Realist” by Virginia Lewis (1956).

Russell Smith (1812-1896) took pride in his nature sketches. Tromping out into the wilderness with stool, paint box and easel was a time-honored tradition for many nineteenth century scenic artists. Sketching trips provided an opportunity to gather source material for future compositions, whether placed in an art gallery or on the stage. These plein air paintings, or portions thereof, were incorporated into many settings for the stage. Twentieth century scenic artists continued this practice, long after printed sources became readily avaialble, as it was a way to hone their artistic skills. Thomas G. Moses (1856-1934) wrote of his sketching trips with fellow artists during the 1880s. His traveling companions included Henry C, Tryon, Walter Burridge, Edward Morange, John H. Young, Hardesty Marratta and many others, publishing his recollections of the outings years later. They all had ties to Russell Smith.

Scenic artists who were associated with the Düsseldorf School, such as Sosman & Landis artists David Austin Strong (1830-1911), also supported plein air painting, leaving the four walls of their studios to work from nature as it was integral to the artistic process. Strong was a contemporary of Smith who also sought training in Europe and became a prolific scenic artist in his own right. He was one of the original scenic artists for “The Black Crook” at Niblo’s garden in 1866 and later settled in Chicago, working at the Sosman & Landis studio. Strong’s work was well known throughout the United States in hundreds of theaters from New York, Boston, and Philadelphia to Chicago, Kansas and California.

I think back to Moses’ records describing the numerous sketching trips where he peacefully sat and captured the pristine beauty of mountain valleys, sunlit meadows, and babbling brooks. Their trips to the Catskills, Rocky Mountains, Canadian Rockies, New Mexico, California, and many other picturesque locations were immediately incorporated into both small-scale and large-scale projects, ranging from art exhibitions to scenic spectacles. The expansion of America’s railway system opened up possibilities for ambitious artists.

Detail of 19th century sketching box sold on eBay

Smith discussed in detail the need for nature studies throughout his journals. Virginia Lewis included many of these remarks in her 1956 book “Russell Smith, Romantic Realist.” Of note, Smith acknowledged that some artists replicated specific engravings or paintings, while he used his own materials. Of mentioning the need for nature studies, one director responded, “Oh what’s the difference so its pretty, you’ll spend much money and time making sketching tours when you could buy something just as good or better by Calame or Harding for fifty cents.” The manager was referring to the many lithographs available at the time by Alexandre Calame (1810-1864) and James Duffield Harding (1798-1863).

Calame was a lithographer and a popular artist associated with the Düsseldorf school of painting, as Strong had been. A Swiss landscape painter, Calame’s work was featured in numerous series of lithographs depicting picturesque mountain regions. Similarly, Harding’s work was readily available in print form for scenic artists to replicate. Harding was an English landscape painter, lithographer and author of drawing manuals. Harding’s “Lessons on Art,” “Guide and Companion to Lessons on Art,” “The Principles and Practice of Art,” and “Elementary Art, or the use of the chalk and lead pencil advocated and explained,” were widely sought after.

Much more could be said of both Calame and Harding, but the main issue at hand is Smith’s identification of artists whom opted for printed sources in lieu of sketching trips. Nature studies provide training for the artistic eye, something a printed work cannot do. Although the blue in a lithograph can be replicated, it is not the same as capturing the brilliancy of a clear blue sky. There is a depth of color that is lost in translation in print form.

The difference between the artists who easily purchased prints for reference instead of creating their own can be identifiable in their painting, taking on a flat and lifeless characteristic that accentuates any overall lack of skill. Sitting outside and observing nature, trying to replicate the color of atmospheric landscapes yields different results than those who dutifully copy a print. Smith continued to describe the artists who “captured the truth.”

Near the end of his life, Smith wrote, “What I am going to say of some scene painters I knew in early life I hope may not be attributed to the general tendency of the old to praise the past at the expense of the present. There were forty or fifty years ago, some, in Philadelphia, New York and Boston, that were true artists; men who could make a fine original drawing from nature, and paint a scene possessing much truth as well as beauty; and were not content to work from print only. Robert Jones, a pupil of Stanfield’s was one of these, but seemed to aim more in the style of Turner. Then there was James and William Coyle, both of whom had painted with Marinari in Drury Lane Theatre, were excellent in Gothic and Picturesque architecture. Whilst Harry Wilkins, a pupil of Naysmith’s, the Edinburgh landscape painter, was admirable in landscape, trees and rocks. Hugh Reinagle, a brother of the Royal Academician Reinagle, was also a very fine architectural painter. So was Mr. Hilliard, well known in New York. I have preserved specimens of the work of all these painters and any good artist can see the truth of what I say. Now there is such a glut of design, in fine woodcuts, engravings, chromes, photographs, and even paintings that a young man who can copy and desires to paint scenes, can for a little money, supply himself with a collection that will enable him to furnish a scene of any subject, or a view of any remarkable place; and like all easily acquired knowledge, is very shallow. As a consequence there are a very few scene painters now who could rank as an artist-studying and bringing from Nature their skill. Many believe that the same may be said of actors in general; but of that I cannot pretend to judge.”

Smith passed away in 1896. His work remains part of the American scenic art legacy, artists who saw value and benefit in gathering source material from nature. These were also artists who worked in both small scale and large scale, each requiring a unique skill set and distinct understanding of contrast, color, and detail for each. Many artists can produce small artworks, easily transported and hung on both private and public walls. Not all are able to successfully transition their ideas to a large-scale format that is best viewed from a distance. Tightly painted and detailed artworks become fuzzy from the back of an auditorium. The stage demands the separation of color and an increased contrast that allows the audience’s eye to work and see the illusion. Smith could do it all.

To be continued…

Tales from a Scenic Artist and Scholar. Part 591 – The Sixteenth Degree Setting for King Darius’ Palace

Part 591: The Sixteenth Degree Setting for King Darius’ Palace

In 1908, Thomas G. Moses wrote, “Starting on Wheeling, W. Va. Masonic work, a good contract and I enjoyed the work. The Darius Palace and the approach to Jerusalem were very interesting things to do, and a dozen others with the same amount of interest for others to do.” Instead of starting with the venue, I am beginning with the Sosman & Landis scenic design called “Darius Palace.”

Darius Palace setting by Sosman & Lanids for the Scottish Rite in Winona, Minnesota, 1909.

Painted detail on Darius Palace cut drop by Sosman & Landis, 1909

For the Scottish Rite’s sixteenth degree production, it is important to consider the historical context and inspiration for the stage work. The exiled Hebrews returned to Jerusalem in approximately 530 BCE, yet they had to wait for Darius’ ascension to the throne for the rebuilding of King Solomon’s Temple. The Second Temple was completed about 510 BCE. There is much more to the story, but this provides us with the basic context that inspired three Sosman & Landis scene designs: King Solomon’s Temple ruins, King Darius’ palace, and the rebuilding of the Temple. I have recently posted a series of images regarding stage settings that depict the ruins of King Solomon’s Temple from the 15^th degree. This degree includes the story of when King Cyrus reigned and Zerubbabel was sent to check on the site. The 15^th degree stage setting carries over the 16^th degree and was often used again. Understand, however, that what appears on Scottish Rite stages now does not always use the scenery as intended.

Two of the sixteenth degree settings were noted in the “Buffalo Consistory” during 1908. An article describing the upcoming events at a Scottish Rite Reunion reported, “On Tuesday morning there is no class, but in the afternoon the sixteenth degree, prince of Jerusalem, will be presented in three sections. The first and third represent the ruins of the Holy City and the second the court of Darius, King of Persia” (Buffalo Morning Express, 21 April 1908, page 6).

That same year, the “Brooklyn Daily Eagle” also mentioned the 16th degree production at the Scottish Rite: “The sixteenth degree, Princes of Jerusalem, was the work in Brooklyn Consistory on Wednesday evening last.” After listing the cast members, the newspaper commented, “This beautiful, instructive, historic degree is one of the most interesting in the entire Scottish Rite system.” (5 April 1908, page 25).

For those unfamiliar with King Darius I, here is a brief recap. Darius the Great was born in 522 BCE. He is recorded as being one of the greatest rulers of the Achaemenid dynasty, ascending to power in 522 BCE and reigning until 486 BCE. Darius was known for his administrative genius and monumental construction projects, including his palace in Susa located at the center of the Persian Empire. Stretching from the Nile and the Aegean to the Indus Valley, at its peak, the Persian Empire included much of West Asia, the Caucasus, parts of the Balkans (Thrace-Macedonia and Paeonia), most of the Black Sea coastal regions, parts of North Caucasus, and Central Asia. It reached as far east as the Indus Valley with portions of north and northeast Africa including Egypt, eastern Libya and coastal Sudan. A great book on this subject is Jean Perrot’s “The Palace of Darius at Susa: The Great Royal Residence of Achaemenid Persia.”

King Darius was known for centralizing and unifying the Persian empire, He divided land under his reign into provinces, placing satraps to govern it. Darius established a new uniform monetary system, introduced standard weights and measures, as well as making Aramaic the official language of the empire. He also instigated several construction projects throughout the empire, including Susa, Pasargadae, Persepolis, and Babylon. This is the part that we are most interested in as nineteenth-century archeological discoveries would greatly impact popular culture and Masonic stage design.

It was the information and illustrations published about archeological discoveries that were incorporated into Masonic degree productions designs by Sosman & Landis and other scenic studios. King Darius’ Palace at Susa (western Iran) was one of the most important of the Achaemenid Persian palaces. When it was rediscovered in 1851, details of the architecture and ornamentation remained in the public eye and were eagerly sought after by all types of artists.

These discoveries especially fueled the designs of stage settings for the 16^th degree. Scenic studios labels became more description over time, going from a simple “Darius Palace” to Darius Festival Rose Palace.”

Darius Palace by Sosman & Landis for the Scottish Rite in Tucson, Arizona, 1914

Early twentieth century Sosman & Landis scenic designs were characterized by Persian columns and double-bull capitals, replicating discoveries in Persepolis and Susa. Floral garlands were draped throughout the scene, wrapping around orate columns. Skilled scenic artists at Sosman & Landis painted hundreds of roses in varying shades of pink, depicted from every conceivable angle. These floral garlands are some of the most beautiful examples of scenic art that I have encountered to date.

Artists in scenic studios relied on printed source material for these ancient palaces, such a Dr. Franz von Reber’s “The History of Ancient Art.” This publication provided beautiful examples of ancient architectural ornamentation for the sixteenth degree. Here is a link to Dr. Von Reber’s 1882 publication, as it is a wonderful addition to any library: imageshttps://www.gutenberg.org/files/42082/42082-h/42082-h.htm#page_025

To be continued…

Tales from a Scenic Artist and Scholar. Part 568 – Chicago Industrial Exhibit at Brook’s Casino, 1907

Part 568: Chicago Industrial Exhibit at Brook’s Casino, 1907

In 1907, Thomas G. Moses recorded that one of his projects was “Brook’s Casino Exhibit of the sanitary and unsanitary workrooms in Chicago,” noting that it was “ some stunt.” He wrote, “I had to go among some awful places to get some sketches for the work and not far from the studio.” He was talking about the Chicago Industrial Exhibit held at Brooke’s Casino from March 11-17 in 1907.

In 1905, the Chicago Woman’s Club held a conference on Women in Modern Industry. Two years later they sponsored the Chicago Industrial Exhibit. This event was held to depict current industrial conditions, representing the labor that fed and clothed the “modern” world. There were many displays that contrasted sanitary shops with insanitary shops and unacceptable conditions. Moses helped create displays that revealed the hard and material side of life that occurred in factories and workshops. One of the objects of the overall exhibit was to influence legislation to investigate of the conditions of working women and children at the time.

There were “Process Exhibits in Modern Industry” that showed groups of young men and girls working in their trades, depicting shop conditions, the hours of work, how workers are paid by the piece and not the hour, the speed, the skill and the overall youth. There were booths that depicted, “A Night Scene in a Glass Factory in Pennsylvania,” “The Coal-breakers,” “Boy miners three miles from daylight,” “Stogie-making in Pittsburg,” “Rag-stripping,” “The Custom Tailor Shop,” and “Cash Girls and Delivery Boys.” Other areas depicted boot and shoe making, glove making, printing/bookbinding, candy wrapping, bakeshops, woodworking factories, laundry facilities, and much more.

Here is the handbook that accompanied the Chicago Industrial Exhibit in 1907. It included many photographs of the displays. Here is the link: https://babel.hathitrust.org/cgi/pt?id=wu.89058507294%3Bview%3D1up%3Bseq%3D9

There was a handbook that accompanied the Chicago Industrial Exhibit including many photographs of the displays. Here is the link: https://babel.hathitrust.org/cgi/pt?id=wu.89058507294;view=1up;seq=9 It is a very insightful publication that depicted the “sweated industries” of the time, women in industry, protected machinery and occupational diseases.

Photograph from the handbook that accompanied the Chicago Industrial Exhibit in 1907.

During the conference, presentations discussions “The Child in Industry,” “Risks in Industry,” “The Power of the Consumer Over Industrial Conditions,” “The Immigrant in Industry,” “Women’s Fitness For Industrial Life,” “Women in Industry – Special Problems,” “Industrial Education,” “Women in Industry – Remedies,” and “Demonstrations in the Evolution of Textile Processes.”

In the “Sweated Industries” area a group of typical Chicago tenement houses were constructed so that the contents of several rooms were clearly seen from without. The purpose of the exhibit was to promote remedial legislation covering sweating in food and clothes products, and to improve conditions tending to lower the health and morals of the workers in the sweated trades, by attracting the attention of the public to the conditions as they existed.

There was also an exhibit of an “Insanitary Tenement Sweatshop- old-fashioned foot-power shop.” The handbook noted, “In a room such as this a child with scarlet fever was recently found sleeping in a pile of sweatshop clothing. Several members of the family were finishing pants in this room when discovered. In this particular case the place was closed by a Factory Inspector, and the clothing disinfected by the Health Department. How largely the recent epidemic of scarlet fever in Chicago was due to the fact that the clothing is manufactured in tenement houses under such conditions as these is a matter of conjecture. This shop is shown in opposition to the sanitary clothing shop with mechanical power.”

In this brochure there were some interesting statistics that provides a little peak into the history of working women:

-Of married women, 5.6% were gainfully employed

-Of gainfully employed women, 14.5% were married.

-There was a noted lack of occupation opportunity for women. In 1840, there were 140 employments open to women. By 1907, women were employed in 295 occupations, but over 86% were found in only 18 of these occupations.

The handbook stated, “Men seem to be crowding women out.”

Similarly, we remember why child labor laws were instituted. In 1907, the National Child Labor Committee called attention to the fact that there were no less than 450,000 children under 16 years of age at work in manufacturing and mechanical pursuits in the United States. This number did not include the thousands of children under ten years of age who sold newspapers and merchandise in the streets, nor the children classed as agricultural workers. The handbook included the statement, “The vast army of children, deprived of educational opportunities, stunted in growth, subjected too often to immoral influences, is a constantly increasing menace to our civilization.” In the history of the United States, that is really not that long ago.

To be continued…

Tales from a Scenic Artist and Scholar. Part 504 – Henry C. Tryon’s “The Return of the Victorious Fleet” Drop Curtain

*Henry C. Tryon’s drop curtain, “The Return of the Victorious Fleet was included in George D. Pyper’s “The Romance of an Old Playhouse,” 1937.*

Part 504: Henry C. Tryon’s “The Return of the Victorious Fleet” Drop Curtain

Yesterday I explored the scenic career of Henry C. Tryon, a pupil of Thomas Moran. Thomas G. Moses commented that Tryon followed Moran’s style of work even into his scene painting. Moses also replicated prints of Moran for scenic art compositions. There was another landscape artist whose paintings were replicated as subjects for drop curtains – William Linton. It was noted in a newspaper article about Tryon’s work for the Salt Lake Theater. Images remain of both Tryon’s work, and Linton’s famous historical painting ““A City of Greece – Return of the Glorious Armament.”

William Linton’s 1825 painting ““A City of Ancient Greece – Return of the Glorious Armament.”

“A City of Ancient Greece – Return of the Glorious Armament,” was recently listed online as sold during an auction on October 27, 2015. Here is the link: https://www.mutualart.com/Artwork/A-CITY-OF-ANCIENT-GREECE/D5D556A8E53500D8

In 1883, “The Salt Lake City Herald” described the new drop curtain for the Salt Lake Theater painted by Henry C. Tryon (2 Sept 1883, page 4). This provides insight into this contemporary of Thomas G. Moses.

Here is the article in its entirety, as it is the most beautiful description of a drop curtain that I have come across to date. There is something to be said about the reverence, detailed description and insight of the author in regard to Tryon’s composition. It is an incredibly long article to describe a single drop curtain!

“Henry C. Tryon, artist of the Salt Lake Theatre, has finished the drop curtain on which he has been engaged for some time past. To those who have been acquainted with the artist’s condition during his work on this picture, the result will be a profound surprise. He has had scarcely one day on it in which he had the strength necessary to the labor, to say nothing of the unfortunate condition of mind that naturally results from physical incapacity and sickness. The picture is from a painting by W. Linton, called “A City of Ancient Greece, with the Return of a Victorious Fleet,” but the lines of the composition have been materially altered, and it must be admitted, with happy results. Instead of making the city of primary interest, Mr. Tryon has made the “Return of the Victorious Fleet” the subject of his story, using the city as a necessary detail to the perfection of the tale. The hour is just before sunset, the sky soft, warm, and tender – just such a sky as any lover of nature might have noticed here repeatedly about a week ago when our warm Indian summer evenings began; and one of who had watched the progress of the picture must have felt forcibly on many occasions during the past two weeks what a powerful effect our summer evenings have had on the artist’s mind and with what trust and feeling he has expressed the sentiment they awakened in him.

1825 painting by William Linton that Henry C. Tryon replicated for a drop curtain in 1882

Detail of ship in William Linton’s Painting

Detail of same ship from William Linton’s 1825 painting as later replicated in Henry C. Tryon’s drop curtain for the Salt Lake Theater (1882).

Detail of William Linton’s 1825 painting replicated by Henry C. Tryon for the Salt Lake Theater in 1882-1883.

Detail of Henry C. Tryon’s drop curtain painting, replicating William Linton’s 1825 painting

The story of the picture is told in its title – “The Return of the Victorious Fleet.” There need be no title for the picture explains itself. The vessels filled with warriors enter at the left, pass up the harbor, then turn to the right where they group together, where wives, children and friends rush out of the grand marble structures and are massed between the marble columns, and receive the dear ones who have come home safely and victoriously out of the contest with a powerful foe. Everything is glowing, warm and cheerful, the expression being free and happy, while the bright colors, the brilliant banners, streamers and pennants, the colors commingling and toned down by the intervening atmosphere, give to the principal chapter of the story a gala-day appearance, and inspire a sentiment of pleasure in the bosom of the spectator. There is enough omitted detail to give the imagination ample sway, hence it is that the story continues to the right outside the picture, leading to the belief that the scene which the eye beholds is continually indefinitely, and that the same happy and joyful sentiment prevails at other colossal structures which do not appear in the picture. The story is made the richer by the happy idea of coloring which the artist has employed – that is, the line of light follows the interest of the story, which begins at the left, spreads bout two-thirds over the picture, and culminates at the extreme right hand. So the shadows are deepened at the left (the bright colors of the sails just entering the harbor relieving it of a dismal air) the light gradually dawning towards the middle of the picture where it breaks in a glorious flood just at that point where the interest of the story culminates, and then modulates and tones down to the right, leaving the impression that away in the distance the story is concluded, leaving also to the imagination just as much as is essential to the perfection of a charming sketch. One objection that might naturally be interposed to the detail of the story is the fact that on the front marble steps there are no figures such as can be seen in the rear, and which as a matter of fact ought really to be visible at the point referred to. But there are weighty reasons why these were omitted. In the first place, Mr. Tryon is essentially a landscape painter, and confesses his inability to paint respectable figures. This being true, he could add nothing to the effect. But even were he capable of painting figures, for the truth of the story they are better omitted in this picture. To paint them well, or even indifferently, would be to arrest the eye, and in the degree in which this result was produced, just in that degree would the interest of the story be interrupted and the idea of the artist be disadvantageously affected. It is a principle in all art that too much detail ruins the finest paintings, as in all stories, those details only are to be tolerated which are essential to the solution of the plot, that moment it is an injury. Therefore, for the reason that he was incompetent for good figure-painting, and because such a detail would arrest the eye at a point where the injurious, Mr. Tryon wisely deemed it best to leave out the figures, and made the architecture as simple as possible, relieving it only by the water at its edge, and the prows of the two vessels just turning one of the columns.

Foreground figures in William Linton’s painting that were omitted in Henry C. Tryon’s drop curtain for the Salt Lake Theater.

Foreground figures in William Linton’s painting were omitted in Henry C. Tryon’s drop curtain for the Salt Lake Theater.

So much for mechanical thought and labor. But who can explain in words the sentiment, the tone, the poetic idealism the artist intended and has expressed? It is in these mainy that his genius is manifest; and every eye that rests upon the glowing canvass will behold beauties peculiar to itself; in every mind it will awaken thoughts that may occur to none other, and the impression and sentiment that it may arouse will be individualized in each bosom. Imagine, a warm, rich, summer day, the haze of an Indian summer’s eve lingering lovingly and tenderly over all, toning down features that might be harsh and making indistinct and indefinite points that seem to fade away into atmosphere so delicate, so mild, so feeling, so tender! Here and there a flood of warm light develops a particular feature in order that the contrast may heighten the effect, as for instance in the foliage under the viaduct, or as a single point in the architecture; as a cloud catches a single ray of the warm sun as ot appears on the ripples on the waves. The beauty of the water in the harbor must strike every artist and art lover as a thing of surpassing loveliness, in that it is true to nature and nature is beauty. The reflection of the brilliant colors from the prows of the bright colored boats, mingling in the waves, produces a combination of brilliant colors, which is rendered beautiful from the very indistinguishable profusion of the hues and the brilliance of the effect, rendering the transparency of the water so realistic that the deception is perfect. But who can describe a painting in words, however beautiful, however poor? It may be pronounced good, bad, or indifferent, particularly points favored and others condemned; it may awaken thoughts that otherwise would remain dormant, and may call to view things of beauty which would otherwise have blossomed and blushed unseen, but to the artist alone is given to produce anything approaching an imitation of the evanescent beauty, the supreme grandeur of nature. The critic cane merely direct public attention, and that is all we dare attempt with regard to Mr. Tryon’s picture.

The drop curtain just finished, establishes, or will establish a fact that has always been claimed by the HERALD, that a successful scene painter is every inch an artist. Only view “The Return of Victorious Fleet” by Mr. Tryon, and be convinced.”

The “Salt Lake City Herald’s” article’s author noted that Henry C. Tryon replicated a painting by William Linton (1791-1876), “A City of Ancient Greece, with the Return of a Victorious Fleet” for the Salt Lake Theater. The actual title of the painting was “A City of Ancient Greece – Return of the Glorious Armament,” and was painted by Linton in 1825. By 1840, the composition was engraved by J. W. Appleton and published by the Royal Gallery of British Art in 1840 with the title “A City of Ancient Greece.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 130 – Art for Art’s Sake, L’art pour l’art

The nineteenth century phrase “art for art’s sake” made me think of scenic artists interpreting fine art compositions for the stage. Although “l’art pour l’art” first emerged in French literary circles, the phrase rapidly spread to other countries and became a rallying cry for many artists. There was the perceived threat that the creation of art would become solely subject to utilitarianism. Taking an existing fine art work and retrofitting it for the stage, especially if mass-produced in a scenic studio, is pretty utilitarian. I started to ponder the eventual perception of painting scenery as a “lesser art.” Could this have contributed to the belief that art hung in a theatre was far less significant that that hung on a gallery wall? That backdrops were “just backings?”

Then I thought back to the late-nineteenth century artists who produced scenery for both the theatrical stage and the fine art galleries. Their work was praised for both venues. They remained a respected part of the fine art world. I immediately thought of the the 1885 Scene Painters’ Show in Chicago and how the work of scenic artists were received by their peers. I also kept returning to the saying, “imitation is the greatest form of flattery.” This was the case for many art movements as a group of artists emulated a particular style, Scenic artists were also imitating the popular aesthetic, whether it be the Düsseldorf school or some other artistic movement.

The first historical example that I ever encountered of a scenic artist copying a fine art work in its entirety for a drop curtain was at the University of Minnesota Performing Arts archives. I stumbled across a paint-spattered print by Thomas Moran, copyright 1906. On the back of the print was written, “”Reverse and use right half of picture only. No figures. For West.”

“Sunrise in Old Mexico” by Thomas Moran, 1906 print. In supplemental box 1 of the Twin City Scenic Company Collection (PA43), University of Minnesota Performing Arts Archives.

John Z. Wood drop curtain base on “Sunrise in Old Mexico” by Thomas Moran, 1906 print. Inbox 2 of the Twin City Scenic Company Collection (PA43), University of Minnesota Performing Arts Archives.

It matched the drop curtain in the Twin City Scenic Company collection by John Z. Wood. I was so excited to identify the match. This occurred while I was assigning metadata for the scenery collection database and I immediately noted the pairing in the description about each piece. The design for the painted drop curtain was in box 2 and the print had been tucked away in supplemental box 1. The artist for the drop curtain was John Z. Wood, an unknown at the time. I wondered what his scenic art would look like, especially in light of his imitating Moran’s “Sunset in Old Mexico.” It was this encounter that made me first contemplate the eventual division between fine artists and scenic artists.

Initially the scenic artist was also the designer, respected for his creative vision and mechanical genius. David Austin Strong is a great example for nineteenth century American stage design. His painting, in conjunction with stage machinery, created magical effects during many visual spectacles for the stage, such as ‘The Black Crook.” He might have only created the scenery for one act of the production, but his contribution was well noted in the program. If his setting were successful, critics might be herald him as a genius, or note that his work the highlight of the production!

Then there was a shift during the early twentieth century as scenic artists became theatrical manufacturers in a studio setting. They now would make multiple copies of each other’s vision. Scenic artist still designed the compositions to show prospective clients. Then, a new position emerged in the form of a scenic designer and it became his vision that a legion of artists created. Some scenic artists were reduced to simple manufacturers of a painted product, almost as in a factory setting. I think of the same camp scene for the Scottish Rite’s 32^nd degree that appeared over and over again across the country.

El Paso, Texas, Scottish Rite Camp scene.

Galveston, Texas, Scottish Rite camp scene.

This mass-production of a painted scene is just one of many factors that I think attributed to the shift. Other factors would include electrical lighting innovations, the emergence of a lighting designer, modern stage design and the onset of the scenic studio system. It seemed like the perfect storm to remove the scenic artist from the initial “vision” for the stage.

What I find fascinating is that during the early through mid-nineteenth century, artists easily shifted from the fine art studio to a paint bridge high above the stage. They could paint a picture, paint a show, paint a carriage, or paint a sign. Possibilities were everywhere. In some ways this might suggest that the establishment of scenic studios offered a position that eventually limited the aspiring artist. A full-time position in a studio would lead to working on a never-ending stream of projects depicting the artistic composition of others. This meant far less time for sketching trips or other artistic projects that would later appear in galleries. Prior to the studio system, artists would have a project, but then there would be a break and they would work on a variety of other artworks. Feast or famine; it is still a problem for those who freelance. A permanent position limits the opportunities for artistic escape.

Thomas G. Moses was just one example of an artist who crossed the line of stage art and gallery art, constantly trying to participate in art shows throughout the country. He joined a variety of groups, including the Palette and Chisel Club (Chicago), the Salmagundi Club (New York), the Laguna Beach Art Association (California) and others. As a young many, he had pondered, “Would I ever be able to paint pictures framed in heavy gold frames, my name on the corner, and hanging in an Art gallery?” Some of his contemporaries eventually made a permanent transition to the world of fine art, but most remained in the scenic studio, reproducing the artworks of others over and over again.

Examining historical scenery collections is a wonderful way to track popular fine art images for the stage and the artists who manufactured them. The Egyptian settings for the Scottish Rite’s thirty-first degree depict many popular fine art compositions, incorporating various aesthetic shifts and changes in painting techniques. It is one of the easiest scenes to identify discrepancy in interpretation, color palette and brush stroke.

The Great Collosi of Memnon, Ernst Weidenbach, 1850.

To be continued…