Scottish Rite Theater – Page 9

Tales from a Scenic Artist and Scholar. Part 628 – The San Francisco Scottish Rite, 1909

Part 628: The San Francisco Scottish Rite, 1909

In 1909, Thomas G. Moses wrote, “The Dallas Masonic work came in early, so did San Francisco and Cleveland, Ohio.” These were only three of six Scottish Rite installations supervised by Moses in 1909 while he was working at Sosman & Landis. Others included Kansas City, Kansas, Winona, Minnesota, and Atlanta, Georgia.

The San Francisco Scottish Rite built in 1909. It is now called the Regency.

The first San Francisco Scottish Rite outfitted with scenery by Sosman & Landis was destroyed during the fire after the San Francisco earthquake. The original 1906 collection was contracted with M. C. Lilley & Co., and subsequently subcontracted to the Sosman & Landis scenic studio. In 1906, the western sales representative for M. C. Lilley & Co., Bestor G. Brown, was in town attending a meeting at the San Francisco Masonic Temple when the earthquake struck. During the first tremors early in the morning of April 18, 1906, Brown was sleeping at the Union League Club. The San Francisco earthquake triggered several fires that burned the city for the next two days. Brown’s eyewitness account of his experience was first published in the “Topeka Daily Capital” (April 25, 1906, page 7).

The article reported, ““The Grand Chapter of Masons met in the forenoon at the Masonic temple and were holding their meeting when the military came in and said it was time to move as they were going to dynamite the Palace hotel.” Brown elaborated, “I went out to the street and saw the fire creeping up from two sides. I saw it creep up to the back door off the meat market on Market Street and the minute it touched the rear of the building it seemed to sweep through and bulge out into the street in front. About the time I took to the woods, I started for the waterfront and got there in about an hour and a half.”

Cornerstone laying ceremony took place after the building was constructed, on October 12, 1909. From “The San Francisco Call,” Oct. 13, 1909

The cornerstone for the second San Francisco Scottish Rite Temple was laid on October 12, 1909, by the Grand Master of California, Oscar Lawler. The “San Francisco Call,” reported “Cornerstone of Scottish Rite Cathedral Lowered Into Place Before Big Throng.” The trowel was a “handsome beaten silver blade of which the insignia f the order was an appropriate inscription” and presented to Grand Master Lawler by W. P. Filmer in behalf of the Scottish Rite Temple Association. Lawler was retiring and being succeeded by W. Frank Pierce. Remember that Pierce was also the Inspector General of California and the Grand Grand Chancellor of the Scottish Rite instrumental in advocating for the new House of the Temple. As part of the Finanace Committee, Pierce introduced the 1904 resolution that paid each SGIG and Deputy $2 per each incoming 32^nd degree Mason for each respective jurisdiction

The “San Francisco Call” article continued, “The dedication of the building itself was as a house erected to God, and destined to stand as a symbol of truth, intelligence, honesty and integrity in the pursuit of the highest ideals of mankind.” The time capsule placed under the cornerstone included a roster of the members of the San Francisco bodies of the Ancient and Accepted Scottish Rite of Freemasonry, a copy of the Trestle Board for October, 1909, the bulletin of the San Francisco lodges of perfection for August and September, 1909, the latest bulletins of the chapter, council, and consistory, the bulletin of the reception to Sovereign Grand Commander James Daniel Richardson, the notice of laying of the cornerstone, samples of the stationary used by the San Francisco bodies of Scottish Rite, the San Francisco morning daily papers of yesterday, the proceedings of the grand lodge of California for 1908, coins minted in 1909, a copy of the New Age for September of this year and business cards of the architects and contractors in charge of the construction of the building.”

Located on the northeast corner of Sutter Street and Van Ness avenue, the block was cemented in the foundation wall of the new building. The final cost of this four-story building was $330,000 and was home to the San Francisco Bodies No. 1, Ancient and Accepted Scottish Rite. As part of the ceremonies on October 12, 1909, the “San Francisco Call” noted that “many members of the grand body attended a meeting in King Solomon’s Hall, where Berkeley lodge exemplified the work in the apprentice, or first degree.”

The stage was outfitted with scenery by Sosman & Landis, and Moses supervised the production of the backdrops for the West Coat. These drops area still used on the same stage, but the building is now known as the Regency Center. It is no longer owned by the Fraternity and odd to see the Masonic settings as thematic backings for a variety of public events, including cabaret shows. The current stewards of the building now advertise the edifice as a unique venue with three separate event spaces. The Scottish Rite theater is now marketed as “The Lodge.” Generations of San Franciscans have now performed on the stage, worked the fly lines, or applauded from the audience, all marveling at the painting from years ago. Moses’ scenery, especially his forest scene, continues to thrill both spectators and performers.

Landscape scene by Thomas G. Moses (1856-1909) in the 1909 Scottish Rite building, now called the Regency

The Lodge of the Regency, once the 1909 San Francisco Scottish Rite

Scenery at the 1909 Scottish Rite building used for a cabaret show

In 1964 the San Francisco Scottish Rite moved to new building, new scenery constructed by the Western Scenic Studio, of Oakland, California. The backdrops were designed and painted by member Gus R. Schneider, an MGM artist. The third Scottish Rite constructed for the San Francisco Bodies is a sign of the times when it was built. I have included some images that from their Facebook page that give a sense of the degree work now being performed in the space with Schneider’s scenery.

Scenery at the San Francisco Scottish Rite

Scenery at the current San Francisco Scottish Rite

To be continued…

Tales from a Scenic Artist and Scholar. Part 627 – The Dallas Scottish Rite, 1909

Part 627: The Dallas Scottish Rite, 1909

Postcard of the Scottish Rite Cathedral in Dallas, Texas, completed in 1913.

Sosman & Landis delivered 119 drops and stage machinery to the Scottish Rite at 500 S Harwood Street, Dallas. This Temple was not completed until 1913, however, degree productions took place on the stage by 1909. The scenery contract for the stage was negotiated by Bestor G. Brown of M. C. Lilley & Co.

On April 26, 1913, the “Dallas Morning News” described the Masonic Cathedral and Architect Herbert M. Green’s contributions. Keep in mind that the theater of the building was referred to as “the great degree room.”

The article reported, “On the second floor one will find the lobby, which is in Roman Ionic; the Corinthian lodge room is green and gold: candidates lounging room, modified Colonial with color scheme of brown and blue and smoking foyer in the same effect. In the great degree room are columns copied from those in the Temple of Karnak at Thebes. Over sixty shades of color are used harmoniously in the ornamental beams and columns supporting the ceiling of sky blue – a ceiling whereon the stars of the twelve signs of the Zodiac are so cunningly constructed, and with such ingenious electrical attachments that when the great hall is in total darkness, the constellations seem to blaze in all reality from the very heavens above.

The largest stage in Texas is in this degree room – and the largest pipe organ. There are offices restrooms, wardrobe rooms, bowling alley, grill and kitchen – heating, ventilating and lighting systems which are unsurpassed, push button elevator and house telephone system – In short every device by which modern ingenuity can add to beauty and comfort and convenience.”

The article further described that the theater, “a proscenium arch 28×22 feet is the largest stage in Texas, 24 feet deep and 60 feet in width. One hundred and nineteen scenic drops are so delicately counterweighted that the stage picture can be changed in two seconds, and if necessary in the dark. These drops are hung over the entire ceiling of the stage, being spaced three inches apart from the proscenium arch to the rear wall of the stage. Each degree has its own scenery, some degrees three and four scenes, all forming an extensive and complete equipment that it is possible to produce more different scenes than on any stage in the country. Fifteen hundred white, blue, red and amber lights, controlled from a switchboard seven feet high and twelve feet long are required to light the stage properly. These are subdued and softened as necessary by bank after bank of dimmers arranged by interlocking devices to control the degree of light at any one point of en masse. The dawn of day, a nightfall or a moonlight effect can be reproduced with marvelous fidelity…To the rear of the stage are property rooms, etc. and on the third floor a large wardrobe room, with cases for the various costumes.”

The 1913 article concluded, “”The complete cost of the building has not been, as yet, made public but it is expected to be close to $230,000. Other items not included in the building cost are:
Organ $23,000.00
Stage Scenery $28,000.00
Furnishings $21,000.00
Ground $34,000.00
Making an estimated cost of the complete equipment of about $350,000.”

The article ended here.

Today’s monetary equivalent of $28,000 spent in 1909 for a Scottish Rite scenery collection is $773,024.62. Dallas was only one of six Scottish Rite collection supervised by Thomas G. Moses that year. The others were in San Francisco, CA, Cleveland, OH, Kansas City, KS, Winona, MN, and Atlanta, GA. Keep in mind that Masonic work only made up 25 -30% of all work at the Sosman & Landis studios. The firm, like the Scottish Rite, was accumulating a massive amount of money at this point.

In a letter from Brown to William G. Bell at the Austin Scottish Rite, dated July 7, 1912, Brown provided further information pertaining to the Dallas Scottish Rite stage. This correspondence was to help Austin Scottish Rite bodies understand the design and delivery process; Sosman & Landis could not provide estimates or cost and installation without knowing how much scenery was needed and the structural condition of the building. Brown used the Dallas Scottish Rite as an example, writing, “the Dallas stage has in the neighborhood of 25,000 lineal feet of wire and rope in its installation; the quantity of wire and rope necessary, is determined by the heighth of the gridiron, the location of the fly gallery, and the general dimension of the stage. We would also have to look into the question of freight charges and be advised as to what prices we could obtain common gray iron castings in Austin for use as counterweights. We would have to determine on the correct number of drops to be used, because each drop requires eight pulleys besides counterweight frames and eye bolts.” These costs all needed to be estimated prior to providing a number, yet the Austin Scottish Rite kept asking, “but how much will it cost?”

Brown continued, “In our original correspondence, Mr. Green of Dallas, indicated that he was preparing plans for remodeling an old building [in Austin] and that when these plans were determined upon, he would send us the dimensions of the stage. Mr. Green understands what would be wanted, as he had the experience on the Dallas Temple.” Again, Brown was referring to Herbert M. Green, the architect and a member of the Scottish Rite and the Ancient Arabic Order of the Nobles of the Mystic Shrine.

To be continued…

Tales from a Scenic Artist and Scholar. Part 624 – The Scottish Rite, Southern Masonic Jurisdiction 1909

Part 624: The Scottish Rite, Southern Masonic Jurisdiction 1909

For me, it is hard not to look at the Scottish Rite during the first two decades of the 20^th century with out thinking of a line from the musical “Hamilton,” – history has its eyes on you. A similar sentiment was expressed in 1909 by then Grand Commander James D. Richardson. He stated the following during his Allocution, “The Rite is in our hands now, and those who are to succeed us will have the right to hold us to strict account for our faithfulness or unfaithfulness, for our wisdom or unwisdom, in passing it on to them. We are apt to flatter ourselves with the comforting thought that the Rite is in safe and sane hands, but it is the dangers of the future I would caution you against. It was a wise old Chinese philosopher, Lastsze, who said, “Contemplate a difficulty when it is easy, Manage a great thing when it is small.”

The Supreme Council of the Sovereign Grand Inspectors General of the Thirty-third Degree of Ancient and Accepted Scottish Rite of Freemasonry, for the Southern Jurisdiction of the United States of America, met in Biennial Session in Washington, D.C., on Monday, October 18, 1909. The Supreme Council was opened by Grand Commander James D. Richardson. Representatives from Supreme Councils in other countries, included England, Ireland, Canada, Columbia, Peru, Brazil, Mexico, Paraguay, Uruguay, Italy, Sweden, Greece, Denmark, Switzerland, and Belgium.

Grand Commander James D. Richardson, seated, with Jno. M. Gibson, Grand Commander of the Supreme Council of the Dominion of Canada (left) and Samuel C. Lawrence, Grand Commander of Supreme Council, Northern Masonic Jurisdiction.

Richardson’s Allocution addressed the continued growth and expansion of the Scottish Rite:

“It is becoming a power in our land, but is really in its infancy. It struggled along for the first half of the last century with barely sufficient strength or vitality to prove that it was alive. The revival began nearly fifty years ago, but its progress for the quarter of a century following was slow and tedious. Within the past two decades of years a new light has shone upon us, and no man can foretell the greater glory that is to come to the Order. The marvelous progress we are witnessing year by year, and the greater power and influence that await the Rite in the future create the imperative call for the wisest and best men in the land. And as its power and influence increase, its duties and responsibilities will correspondingly grow. In order to grapple with them successfully, we must bring into our ranks, not only the best men of the country, but we must enlist in our service those of superior breadth of mind and strength of intellect. Men of talents, as well as men of honor, are required in our work. The Scottish Rite needs students and thinkers who are willing to serve, not merely in the routine of interpreting the degrees and exemplify in its Rituals, but in the development and in giving wise direction to its forceful power and influence” (Transactions of the Supreme Council, 1909, page 12).

Richardson continued, “At one city, and that not a large one, in a western state of our Jurisdiction, I was highly pleased to see the Governor of the State, the Judge of the United States Court and four or five judges of the state courts, including the Chief Justice, and two or three clergymen with several leading physicians and attorneys, all actively assisting in the degree work.” Richardson continued to list numerous examples of members with important political ties to the country. This was really no different than many other Masonic addresses to it membership.”

There was one more section that caught my attention, however, that acknowledged the continued search for members: “The time has passed, if it ever existed, when we needed to go forth on the hunt for members, in order that the Rite might be supported, and pay for its Temples. But the time has not passed, nor can I contemplate any future period, when will need not need men of brains, intellect, culture, and marked ability, men in the old Roman sense of the word vir. Of such men our ranks cannot be too crowded.

Many in the Scottish Rite realized that membership was booming and funds were rushing in like never before, allowing massive buildings to be constructed at an unprecedented rate. Would future funds be allocated to the maintenance and repair of those buildings, or become liberally wasted on temporal pleasures and projects? Would the Rite anticipate times of membership decline or economic disasters? Which Valleys would really plan for their future and the experience of future generations? Which Valleys would, “Contemplate a difficulty when it is easy” or “manage a great thing when it is small?” It is hard to understand the dynamics in each Valley, the individual power plays, or those who rose through the ranks to simply glorify themselves. Not everything makes its way into the history books or even the minutes. Many are silenced by those in power at the time.

Looking at the current state of many Scottish Rite Valleys, only a few truly looked toward the future with caution and conservative planning, investing in their building’s maintenance and financial stability to withstand future obstacles. One example is Omaha, Nebraska.

In 2019, many Scottish Rite Valleys are faring poorly or just hanging on by a thread, citing the crippling effects of a rapidly declining membership and the increased expenses of maintaining enormous buildings. Others are renovating their spaces and preparing for a sale to later downsize. More is being lost than gained and it is simply a waiting game. Knock on a door and document that scenery now, before it is too late.

To be continued…

Tales from a Scenic Artist and Scholar. Part 623 – “Patron Saint” of the Scottish Rite, Albert Pike

Part 623: “Patron Saint” of the Scottish Rite

There was an interesting article that I stumbled across while looking for information about Scottish Rite theaters in Kansas. It concerned Gen. Albert Pike, Grand Commander of the Scottish Rite for the Southern Jurisdiction from 1859 until his passing in 1891. Born in 1809, Pike revised the Scottish Rite rituals in 1857, unifying the degrees. For those unfamiliar with the Ancient and Accepted Scottish Rite of Freemasonry’s theaters and degree productions, this may help clarify why scenery was added during the mid-nineteenth century. Part of Pike’s ritual revision included specific decorations for the various apartments, or necessary settings for each degree. You see, the degree work often included dramatic sections.

Pike’s “Magnum Opus” was replicated in the Northern Jurisdiction by Charles T. McClenachan in his “The Book of the Ancient and Accepted Scottish Rite of Freemasonry.” There is some debate regarding how much McClenachan directly copied from Pike that I won’t get into today. What McClenachan did add into his publication was illustrations of the various apartments, providing visual reference for those purchasing painted settings and draperies for their Scottish Rite lodge room, or stage.

Over time Scottish Rite legislation in both the Southern and Northern Jurisdictions mandated that five of the Scottish Rite degrees had to be conferred in “full form.” This indicated the mandated use of costumes, props and scenery to stage dramatic enactments of certain scenes. At first five in number, these degrees were referred to as “Indispensable” or “Obligatory” degrees and included the 4, 14, 18, 30 and 32. Increasingly theatrical interpretations with scenic elements were used in the center of the lodge room. This was similar to a “theatre in the round” production, with audience members on all four sides.

Soon, small elevated stages were added to include even more elaborate backings for the dramatic sections. For example, a cut out tomb might first be introduced as a profile piece, complete with flip jack, or booked sides. On a stage, the tomb would be painted on a backdrop, maybe even with wooden supports for a practical opening. Each tomb had the same characteristics, yet the presentation changed as the lodge room space was altered, eventually becoming a state-of-the-art theater with hundreds of seats. Simultaneously, the ritual work transitioned from initiating a single candidate to using an exemplar to represent an entire class of candidates in the various staged degree productions.

Pike was adamant, however, that the dramatic portions of each degree were NOT meant to be big melodramatic and theatrically staged affairs. After his passing in 1891, however, plans for Scottish Rite theaters throughout the Southern Jurisdiction immediately commenced with two of the first full-fledged stages being completed in Little Rock, Arkansas and Oakland, California during 1896. The Northern Jurisdiction (geographic region north of the Ohio River and East of the Mississippi) had been constructing Scottish Rite theaters since the 1860s. The degree productions proved time and time again to be an incentive for Blue Lodge Masons to join the Scottish Rite.

With that little bit of background about Grand Commander Pike, here is a wonderful article published in the “Evening Kansasan-Republican on Dec. 29, 1909, celebrating the 100^th birthday of Pike (page 1).

Honor “Patron Saint”

—-

Scottish Rite Masons Observe Centenary of General Albert Pike

Washington, D.C., Dec. 29:-Scottish Rite Masons everywhere unite today in paying honor to the memory of Gen. Albert Pike, known as the “patron saint” of Scottish Rite Masonry, on the one hundredth anniversary of his birth. Plans for a widespread observance of the centenary were perfected at the meeting of this city last October of the supreme council of Scottish Rite Masons for the Southern jurisdiction. In further commemoration of the anniversary the supreme council has distributed among its members two hundred medals, bearing an image of the head and bust of General Pike and with an appropriate inscription.

Though General Pike is best remembered for his services to the Masonic fraternity, these do not by any means constitute his only claim to fame. In the course of his stirring career he fought with distinction in two wars, attained national prominence as a journalist and was known as one of the most able lawyers in his day. He also found time to write much credible poetry.

General Pike was a product of Massachusetts and in his youth attended Harvard University and subsequently taught school at Newburyport. At the age of 21 he went West and engaged in exploring the country. In 1832 he located in Arkansas, where he taught school for a time and then engaged in newspaper work. In 1835 he was admitted to the bar. Upon the outbreak of the Mexican war he recruited a company of cavalry, which he led at the battle of Buena Vista. He returned to his extensive law practice in 1849, and in 1853 transferred his office to New Orleans, returning to Arkansas in 1857. As attorney for the Choctaw Indians, he obtained the award of nearly $3,000,000 from the United States Government.

At the beginning of the Civil war, he was appointed Confederate commissioner to negotiate treaties of alliance with the Indians. He was appointed a brigadier-general in the Confederate

Army and took the leading part in the battles of Pea Ridge and Elkhorn. In 1866 he removed to Memphis, where he edited a newspaper and two years later he came to Washington to practice law.

General Pike was grand commander of the supreme council of the 33^rd degree of Masons, and was also grand commander of the royal order of Scottish Rite Masons. He compiled numerous Masonic rituals and also wrote a famous reply to Pope Leo XIII’s tirade against Masonry.”

Not everything in the article is correct, by it paints a pretty picture of Pike. Keep in mind that 1909 was a period of unprecedented membership growth in the Southern Jurisdiction and Scottish Rite theater construction was booming throughout to country. Scottish Rite Valleys in the Western region of the Southern Jurisdiction were surpassing their eastern counterparts in terms of membership and funding, especially in Kansas. There was space to build massive structures in a region of seemingly unlimited resources. For Scottish Rite Masonry, theatrical interpretations of degree work became the proverbial “goose that laid the golden egg.” Would Pike have approved of the ever-increasing stage effects and settings to accompany the degrees? No.

Pike spoke out against the Northern Masonic Jurisdiction’s performance of staged degree productions throughout his lifetime. In his 1882 Allocution, Pike stated, “The Rite in this Jurisdiction is a Rite of instruction, and not of scenic pomp and stage-show.” Pike also said, “I can not conceive of a more useless occupation than the arranging and performing of degrees, neither the effect nor the purpose of which is to make men wiser or better, but which are acted as melodramas, to gratify an aesthetic taste and please the imagination, like the pageantry of cardinals and orioles.”

That being said, men joined in droves and loved the Scottish Rite productions. After all, everyone had a chance to become a star.

To be continued…

Tales from a Scenic Artist and Scholar. Part 622 – Leftover Lights for Lawrence, Kansas

Part 622: Leftover Lights for Lawrence, Kansas

In 1909, the Scottish Rite Masons in Lawrence, Kansas, were planning for the construction of a new home. By 1911, their Egyptian-Revival style building included a stage with 55 backdrops produced by Sosman & Landis studio in Chicago, Illinois. Between the initial planning stages and final dedication ceremony, several things were in play in regard to stage, scenery and lighting. Let’s start with lighting.

Letterhead for M. C. Lilley & Co. with Bestor G. Brown as manager in Kansas City, ca. 1910.

In 1910, the Scottish Rite in Lawrence was mentioned in a letter from Bestor G. Brown, western sales representative for M. C. Lilley & Co., to Frank A. Derr, secretary of the Oklahoma Consistory, in Guthrie, Oklahoma. Guthrie was enlarging the stage of their building, requiring all new scenery and stage machinery.

The home for Scottish Rite Masons in Guthrie, Oklahoma, 1901.

The building in Guthrie, Oklahoma, after the addition. This building included the new stage with scenery by Sosman & Landis of Chicago.

The used scenery was returned for credit on the new scenery. The Guthrie bodies were upgrading all of their equipment, including the border lights. On July 26, 1910, Brown wrote, “I shall probably go to Lawrence some time within the next few days and if I can dispose of your electrical equipment, I will be very glad to do so. It is old and will not pass inspection. The borders have a wooden strip on the top and that disqualifies them under the present regulations. If the Lawrence people want to buy them with the full knowledge of the facts, I shall be very glad indeed to see them get them.” In other words, “these could catch on fire, but if they know that we’re all good.”

Brown continued in his letter, “The battens on the scenery could be left there if you want to use new battens for your job. In that event, however, the people at Lawrence would have to pay us more than we allowed you for your scenery because you will remember we were to retain the battens at Guthrie and use them in your new scenery. It is impossible to get lumber that is the equal of the lumber in your own battens. I do not think you will have a great deal of trouble with the new lumber, but at the same time, the old battens will curl less in Guthrie than the new battens would curl in Lawrence on account of the difference in climate.” This is the first mention that I have ever encountered about warping battens. The lumber that was always specified noted white pine. This meant old growth, first cut pine.

The original stage lighting for Guthrie was listed in a contract between the Guthrie Scottish Rite and E. A. Armstrong Mfg. Company of Chicago, dated April 28, 1900. The Armstrong company was located at 300-302-304 Wabash Avenue, Chicago, and listed as “Manufacturers of Secret Society, Military and Band Supplies.” The lighting, scenery and stage work for the new Guthrie stage was provided by through M. C. Lilley and Co. The companies western sales manager, well-known Mason Bestor G. Brown, subcontracted the new work to Sosman & Landis.

E. A. Armstrong <fg. Company letterhead, 1900

The original stage lighting order from Armstrong for Guthrie included:

“Four (4) Borders, each 24 feet long, each containing 60 lights wired for three colors; sockets and wiring complete but no lamps-

Four (4) portable ground rows, each 10 feet long, each containing 15 lights, wired for three colors, sockets and wiring complete – but no lamps

Two (2) Strip rows, each 16 feet long, each containing 24 lights, wired for three colors; sockets and wiring complete but no lamps

Two (2) eight light, porcelain lined, swing head, iron stand bunch lights; complete with extension cord and plug, but no lamps-

Six (6) Cast iron floor pockets

Twenty-four (24) Slate receptacles

Fourteen (14) Plugs for receptacles, three attached to each of the ground rows and one each to bunch lights

Four (4) 40 Ampere dimmers, German silver wire wound

Three (3) Ampere dimmers, German silver wire wound

One (1) Slate switch board, full fused, containing 1 main 3 service and 32 subordinate double contact knife switches – 36 switches in all; connections on board all made

$620.00 (Today’s equivalent in approximately $18,200 – pretty good deal).

A portion of 1900 contract between the Guthrie Scottish Rite and E. A. Armstrong Mfg. Company that includes some of the lights.

Sockets all of Edison pattern

MISCELLANEOUS LIGHTING APPARATUS

One (1) Lamp and chaser 32.00

One (1) 4,000 c/p focusing lamp and reflector, stand and rheostat included 42.50

Large and small carbons – no charge

One (1) Lighting box, Complimentary

Note – Goods packed and shipped by American Reflector and Lighting Co. Charges collect, but to be paid and applied on bill.”

Keep in mind that Abraham Perry Landis, of Sosman & Landis, was one of the founders for the American Reflector and Lighting Co. Joseph S. Sosman was also an investor in the company.

To be continued…

Tales from a Scenic Artist and Scholar. Part 621 – Meanwhile in Lawrence, Kansas

Part 621: Meanwhile in Lawrence, Kansas

In 1909, the Topeka Scottish Rite membership was soaring and the scenery provided by Sosman & Landis to the Valley in 1906 was still an unprecedented success. Meanwhile in Lawrence, Kansas, there were new plans a brewin’…

“The Lawrence Daily World” included the article “Scottish Rite Temple Here” (29 April 1909, page 1). The first four lines printed in bold included:

Plans Are Underway for a $20,000 Building

AN OLD MUSIC HALL CORNER

Secured Option on Property Today for $10,500.

Will Probably Erect New Building This Coming Summer – To Help Masonry Here.”

There you have it; big beautiful buildings incited men to join the Ancient and Accepted Scottish Rite of Freemasonry. The bigger, the better. Impressive edifices signaled a successful group of men doing exciting things.

Little did Lawrence Masons realize that their vision for the future would never last. Could they have even conceived that by the summer of 2018, the Lawrence Scottish Rite Bodies would move once again from a space in a shopping mall to a nondescript metal warehouse.

Home of the Scottish Rite in 1911. Lawrence, Kansas.

Home of the Scottish Rite in 2018. Lawrence, Kansas.

As we drove through Lawrence on our way home last summer, I desperately tried to find the current Scottish Rite location; we were making stops along the way from Santa Fe to Minneapolis. After making several circles around a shopping mall parking lot, we finally found the new building a few blocks over, and my expectations were crushed. I have never encountered any building with less character and I could not help think of the irony when reflecting on the degree work that heralded King Solomon’s Temple and the chief architect Hiram. I could hear the arguments to move to a smaller, and less-expensive location, citing declining membership and increasing building expenses. I am sure not all jumped on board as the Scottish Rite Masons left their magnificent home.

So lets go back to 1909 and see how these beautiful buildings ushered in a wave of membership and newspapers reported that new buildings were being constructed to “Help Masonry”

The Lawrence Daily World” reported,

“A committee of five from the Ancient and Accepted Scottish Rite lodge of Perfection visited J. B. Watkins this morning and secured an option for the old Methodist church at the corner of Berkely and Massachusetts street, for $4500 less than what Mr. Watkins figured was a reasonable interest on his investment.” Today’s monetary equivalent of $4500 in 1909 is $124,173.79. That is a lot of money to give up for a good cause, even if you are a Mason.

The article continues, “Mr. Watkins made this special price of $10,500 because he said he considered the property as sacred ground, and favored a Scottish Rite temple being built on the site.

This encouragement and the words of Governor Stubbs in Topeka yesterday, that the Scottish Rite body of Lawrence ought to have a temple, together with the enthusiasm of the fifty members present at the meeting last night, and the recent words of Grand Inspector General Thomas W. Harrison, of Topeka, encouraging the Scottish Rite bodies to press forward enthusiastically and increase their membership and build a building if they ever expected to have a consistory here, all seemed to make this an opportune time to seize this opportunity and start immediately effecting plans for the building, and raising the money from the members by subscription to stock to build a temple that would easily accommodate and enrolled membership of a thousand.

A Lawrence consistory of 32^nd degree, Ancient and Accepted Scottish Rite Masons would have jurisdiction over the state of Kansas, except those countries in which there were already established consistories – like Topeka, Wichita, etc. Also it would have the added advantage of securing new members from among the student Masons attending K. S. U., besides the 500 Blue Lodge Masons in Lawrence, and all Blue Lodge Masons in adjoining towns, the insuring continued and rapid growth and assured success to the enterprise.

The plans are estimated to require an expenditure, all told, or some $20,000, and figured on a strictly business basis of income from the building, and increase in the membership to create a sinking fund expected to clean up its indebtedness in from five to seven years, as that has been the history of the success of every Scottish Rite body that has taken an aggressive stand and started to build a temple, as can readily be proven by the records of the many temples in Kansas.

It is eminently fitting that the Lawrence bodies should have a template of their own, as it was the first Scottish Rite organization in Kansas, and has installed the bodies of the Topeka, Fort Scott, and most of the other prominent lodges in the state.

This is also a good thing for Lawrence, and the Masonic bodies in general, as it is aiding to cement them all the more closely together, and is evidence of the rapid march of Lawrence to the front as one of the wide awake towns in the state.” The Ancient and Accepted Scottish Rite Cathedral Committee of Lawrence Kansas, was listed as J. H. Cohn, C. W. Murphy, F. P. Smith, T. J. Edmonds, and Frederick Crowe.

In 2003, the “Lawrence Journal-World” included the article “Landmark sheds its wraps; Masons seek temple buyer” (14 May 2003). The executive secretary of the Scottish Rite commented that the Scottish Rite in Lawrence, Kansas, was “Faced with aging membership and ever-increasing costs.” Lawrence-area Freemasons decided to sell the majestic Scottish Rite Temple.

Executive Secretary of the Lawrence Scottish Rite in an article that reported the intended sale of the Masonic Temple. He is pictured in front of a Sosman & Landis backdrop. At the time, area Mason believed that nearby college students created the scenes.

The Scottish Rite auditorium pictured in 2003.

The asking price for the 1911 Egyptian-Revival style building was $775,000. At the time, the stage included 55 backdrops. It was another collection that Thomas G. Moses recorded being responsible for at Sosman & Landis. The fate of the scenery is currently unknown.

Sosman & Landis backdrop created for the Lawrence Scottish Rite, 1910.

To be continued…

Tales from a Scenic Artist and Scholar. Part 620 – 1909 Masonic Work – Topeka

Part 620: 1909 Masonic Work – Topeka

In 1909, Moses wrote, “The Dallas Masonic work came in early, so did San Francisco and Cleveland, Ohio.” He also commented, “I think we should turn out some work and we do. It is often a puzzle to me where it all goes, but the Masonic work requires a lot of time, and there is an average of eighty drops in each order so it makes plenty of work and is very interesting. The artists never grumble when they get it to do.” That year, Moses also supervised scenery collections for Scottish Rite theaters in Kansas City, Kansas; Winona, Minnesota; and Atlanta, Georgia. From 1906-1907, he had already supervised scenery for Scottish Rite theaters in Detroit, Michigan; Topeka, Kansas; Fort Wayne, Indiana; Salt Lake City, Utah; Wheeling, West Virginia; Dubuque, Iowa; Danville, VA; Wichita, Kansas; and Clarksburg, West Virginia. By 1909, Moses’s resume recorded that he had supervised the creation of eighteen Scottish Rite scenery installations.

Masonic work now made up between 25% and 30% of all projects in the Sosman & Landis studio. The Scottish Rite was growing extremely fast. Newspaper articles even detailed the necessary qualifications for Scottish Rite membership: “An applicant for the degrees of the Ancient and Accepted Scottish Rite must be an affiliated Master Mason of good standing and a resident of the state of Kansas” (Topeka State Journal, 19 March 1909, page 1).

During 1906, Thomas G. Moses wrote, “The New Year found me at work on some new work for Topeka, Masonic Hall. Very nice work.” The “Topeka Daily Capital” reported, “The Scottish Rite bodies of Topeka purchased the building now occupied by the local Masonic bodies three years ago, and they have spent over $20,000 in the last four months in furnishing a lodge room that will compare favorably with any in the United States. A new stage thirty-five feet in depth has been built, and it is said to have more scenery than any other in the country. There are 110 drops, over one hundred of which are the property of, and will be used by, the Scottish Rite in conferring their degrees, which are peculiarly adapted to stage work. The electrical effects that can be produced are almost without number, and are controlled by a marble switch-board eight feet long.” (21 Feb. 1906, page 5). Sosman & Landis delivered the scenery to the Masonic building located on Jackson Street in Topeka, Kansas. $15,000 worth of scenery had been sold to the Valley of Topeka.

Although Freemasonry might be considered a “secret” society, the identity of incoming members was often published in the local newspaper. In many ways, membership growth and the construction of Scottish Rite theaters across the country became quite a competition. Scottish Rite membership was on the rise and it meant something to be associated with the Fraternity. Spring and Fall Scottish Rite Reunions were big news in many areas. I have heard so many people say, “My grandfather was a Scottish Rite Mason, but he never spoke of it and we had no idea what he did.” I believe that communities from the first decade of the twentieth century had a pretty good idea of what happened during Scottish Rite Reunions. Schedules were published, candidates were listed by name, and impressive images of Scottish Rite building interiors dominated newspapers around Reunions time. Sure, not ever detail was provided, but one was able to gather quite a bit of information pertaining to the various events and banquets held throughout the Reunion.

The “Topeka State Journal” described the four-day Fall Reunion from November 8-11, 1909, in great detail. It was the thirty-third semi-annual gathering and included a Scottish Rite Class of 100 candidates (30 Oct. 1909, page 6). Images included with the article, pictured two stage settings for the Peristyle Scene (3^rd Apartment of the 18^th Degree) and the Egyptian Scene (31^st degree Hall of Justice).

“Topeka State Journal,” 30 Oct. 1909, page 6

Slide taken by Professor Emeritus Larry Hill of the Peristyle cut drop in Topeka, Kansas. A different backdrop was paired with it for this picture.

The fact that they pictured two stage settings used during degree work is mind boggling to me. This was a “look at the cool stuff we do” moment for area Masons.” I am including a few paragraphs about the Topeka Reunion as it really provides some historical context for the Fraternity using media to entice new members across the country. One just had to read the paper to understand the extent of activities happening at the Scottish Rite in many cities at this time. Here is a small section of the article from the Topeka State Journal:

“The Rite of Freemasonry called by the French writers the ‘Ancient and Accepted Scottish Rite,’ which title is now generally adopted as the correct one, although one of the youngest of the Masonic Rites, having been established not earlier that the year 1801 is today one of the most popular and extensively diffused. Supreme councils and governing bodies are to be found in almost every country of the world and in many of them it is the only Masonic obedience.

Outline of Work.

In speaking of the new features among the detail program of the reunion this fall, William M. Shaver, director of the work said: ‘With a view to placing candidates who reside outside of Topeka on the same basis with those who reside in Topeka, as nearly as may be, as to the cost of obtaining the Scottish Rite Degrees, the Topeka bodies have adopted a new rule which will go in to effect with this coming fall reunion. The rule is this: Non-residents of Shawnee county, who take the entire series of degrees form the 4 degree to the 32 degree inclusive at the same reunion, will have refunded to them their actual railroad expense from their home to Topeka and return…The bodies will continue to bear the hotel expense of candidates as has been the custom on the past.”

Topeka was trying many new things to increase membership. Earlier that year, “The Topeka Daily Capital” reported, “The Topeka bodies of the Scottish Rite began their evening class work in the Lodge of Perfection degrees at the Masonic temple on Friday evening. This evening work is designed for the accommodation of Topeka Masons who thus avoid the loss of time in business hours necessarily attendant upon regular reunion work and the plan is increasing in favor. About one hundred and twenty-five members and visitors sat down to a 6 o’clock supper in the new banquet hall and this number was largely increased as others dropped in later in the evening to see the work. A number if sojourning legislators and politicians were among the visitors” (25 Jan. 1909, Page 8).

The Topeka Scottish Rite figured something out in 1909, they had to invest in their members and understand their outside obligations that may prohibit men from joining. They took this into account, and made it possible for many more men to join.

To be continued…

Tales from a Scenic Artist and Scholar. Part 593 – The Wheeling Scottish Rite, 1908

Part 593: The Wheeling Scottish Rite, 1908

In 1908, Thomas G. Moses wrote, “Starting on Wheeling, W. Va. Masonic work, a good contract and I enjoyed the work. The Darius Palace and the approach to Jerusalem were very interesting things to do, and a dozen others with the same amount of interest for others to do.”

For the past two days, I have examined the subject of the scenes that Moses worked on in 1908 – Darius Palace and approach to Jerusalem. Today’s post is about the actual Scottish Rite building in Wheeling, West Virginia, where the scenery was delivered. In 1907, the Wheeling Scottish Rite Masons began the construction of a massive edifice, complete with a theater and scenery by Sosman & Landis. The Wheeling Scottish Rite was built on the corner of Fourteenth and Byron Streets in Wheeling, West Virginia. Previously at that location, was the residence on Mr. James Caldwell. Soon after his marriage in 1839, Caldwell erected a residence, which, with its garden and stable yard.

*Scottish Rite Cathedral in Wheeling, West Virginia, that had scenery produced by Sosman & Landis in 1908. This building was destroyed by fire in 1915.*

The Sosman & Landis Studio’s work was short lived, however, as the Wheeling Scottish Rite Cathedral was destroyed by fire on March 4, 1915. Losses were estimated at $50,000. While looking for information to include in the timeline for the “Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre,” I read that the Wheeling Scottish Rite Cathedral was destroyed by fire on the morning of March 5 (“Santa Fe Scottish Rite Bulletin,” April 1915, Vol. II No 4, page 8).

*The auditorium of the Wheeling Scottish Rite, pictured after a devastating fire during 1915.*

Last week, I discovered another article about the fire published on April 7, 1915. Interestingly, it was posted at fireengineering.com:

“The Masonic Scottish Rite Cathedral at Wheeling, W. Va., was partially destroyed by fire on March 4th, with an estimated loss of about $50,000. The fire started in the basement and is attributed to rubbish. The fire was discovered at 12:20 A. M., and the alarm was sent in over the Gamewell system from a street box. When the department, commanded by Chief Engineer Edward T. Rose arrived, fire was coming out of the windows in the basement. The flames spread through an airshaft to the back of the stage in the main auditorium on the second floor and swept through that and the upper portion of the building, the first floor being damaged by smoke and water. The building, a four story structure, was less than ten years old, and was constructed with brick walls, wood joists and tar paper roof. All partition walls were hollow. There were few hand extinguishers in the building. There was in service one first size Ahrens-Fox engine, two third size Ahrens-Fox engines, one Silsby third size engine, one 85foot aerial ladder, and 9,000 feet of 2 1/2-inch hose. Three 6-inch and five 4-inch hydrants were available, the distance between them being 800 to 1,000 feet. The water pressure at the hydrants was 80 to 65 pounds. In all 11 streams were thrown, including three hydrant and eight engine streams. Three turrets and one cellar nozzle were used. The loss on building amounted to $30,000, and on contents to $20,000. The contents included scenery on stage, paraphernalia of the order, and a large pipe organ. Chief Rose is quoted as saying the fire demonstrated the danger of vertical openings and lack of fire stops, there being a large space under the roof without a fire stop of any kind. Chief Rose sounded a genera! alarm and a call was sent in to Martin’s Ferry and an auto truck responded. (https://www.fireengineering.com/articles/print/volume-57/issue-14/features/scottish-rite-cathedral-at-wheeling-partially-destroyed.html)

The Wheeling Scottish Rite immediately began plans for a new building in 1915, and by October 1916, the new Scottish Rite was completed, dedicated, and held the first reunion. I have uncovered very little about the original Scottish Rite, other than the opening was postponed. On March 18, 1908, the “Daily Telegram” reported “Postponed Is Dedication of Scottish Rite Cathedral as Interior Work Will Not Be Finished” (Clarksburg, West Virginia, page 1). The article continues, ”The new Scottish Rite cathedral, corner of Fourteenth and Byron streets, Wheeling, will not be dedicated until the latter art of June, as the interior work will not be completed until that month. Elliot & Winechell, contractor who built the Empire building and the county jail and sheriff’s residence in the city, are building the cathedral.

*Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The 1916 auditorium. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The bowling alley. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The Scottish Rite room. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The Ladies Room. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The Blue Lodge room. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

It was originally intended to hold the dedication exercises at the time of the spring convocation or reunion of the Consistory of the Valley of West Virginia, but he high officers of the society were notified by the contractors that it would be an impossibility to have it completed and ready for dedication by that time. The paraphernalia for the degree work has been already ordered from the manufacturers.

The spring convocation will be held in the old temple, on Market street Easter week, closing the usual Maundy Thursday banquet. The latter will probably be held in the Arion hall. There will be work in all of the degrees, and they will be exemplified at the old temple.”

Volland business records indicate that the new scenery was delivered by Toomey & Volland Studios of St. Louis, Missouri in 1916. I was surprised when I encountered a image of the 1916 drop curtain for the auditorium. The design reminded me of a Sosman & Landis version (c. 1898-1908) now used in Yankton, South Dakota. It is very likely that some of the scenery delivered for the new Scottish Rite stage was previously owned and painted by Sosman & Landis artists. The drop curtain is characteristic of Sosman & Landis designs, not that delivered by Toomey & Volland artists.

*The 1916 drop curtain at the Wheeling Scottish Rite.*

*Yankton Scottish Rite drop curtain delivered in 1910 by Sosman & Landis is similar to the one delivered by Toomey & Volland to the Scottish Rite in Wheeling, West Virginia, during 1908.*

To be continued…

Tales from a Scenic Artist and Scholar. Part 567 – Thomas G. Moses and the McAlester Masonic Job, 1907

Part 567: Thomas G. Moses and the McAlester Masonic Job, 1907

In 1907, Thomas G. Moses wrote, “South McAlister Oklahoma was a good Masonic job.” He was referring to the second scenery installation delivered to the Scottish Rite in McAlester, Oklahoma by Sosman & Landis. Moses was also involved with the delivery of the first and third installation to the McAlester Scottish Rite. For me, everything gets exciting at this point in Moses’ diary as many of the Scottish Rite installations that he worked on are still hanging in theaters across the country.

The scenery created for the Scottish Rite in McAlester, Oklahoma, now hangs in Salina, Kansas.

Looking up into the flies above the Salina Scottish Rite stage. This is the original scenery and stage machinery created for the McAlester Scottish Rite in 1907, as recorded by Thomas G. Moses.

The used McAlester Scottish Rite scenery collection from 1907 is now used in Salina, Kansas. The drops are clearly marked with the original delivery location of “So. McAlister,” or sometimes, “McAllister;” the same misspelling that Moses used in his diary. Other charcoal notations on the scenery note the original size of 18 feet high by 36 feet wide.

The scenery in Salina, Kansas, will have the original shipping notes for McAlester, Oklahoma.

Here is the story of the three scenery installations for McAlester – 1901, 1907 and 1929. In 1901, Sosman & Landis delivered the first scenery installation to “South McAllister.” By 1907, there was the construction of a second theater that necessitated the purchase of a new scenery collection for McAlester, Oklahoma. As with many first-generation Scottish Rite scenery collections, it was returned to the studio for credit on a new purchase to be refurbished and sold to another venue.

The first Scottish Rite theater in McAlester, Oklahoma. Scenery for this stage was purchased by the Scottish Rite in Santa Fe, New Mexico, to practice with while building their own theatre.

The first 1901 collection was sold to the Scottish Rite in Santa Fe, New Mexico during the planning phase for their 1912 building. The purchase of the used scenery was requested by the SGIG (Sovereign Grand Inspector General) of New Mexico, Harper S. Cunningham. Cunningham was previously the SGIG to Oklahoma and instrumental in integrating theatrical productions as part of Scottish Rite degree work. He was known as the “Temple Builder.” When Cunningham requested that the Santa Fe Scottish Rite Bodies purchase the used McAlester scenery collection, he intended that the purchase old McAlester scenes would prepare the members for their new theatre; they would understand the logistics of theatrically staging degree productions.

At the time of the used scenery purchase, the Santa Fe Scottish Rite Masons met in a standard lodge room – the Masonic Hall on Water Street near the center of town. Like many Masonic meeting rooms, it was located in an upper-level space and was rectangular in format. In 1908, the hall was renovated to include a small stage for the McAlester, Scottish Rite scenery – this was also common practice at the time.

Scottish Rite drop curtain in McAlester, Oklahoma, that was purchased by the Scottish Rite in Santa Fe, New Mexico.

Same drop curtain from McAlester, Oklahoma, pictured at the Masonic Hall in Santa Fe, New Mexico.

I made this discovery while doing research for the book “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018). I recognized the drop curtain in a few historic photographs that were being used in another chapter. The drop matched images that I took of a historic McAlester Scottish Rite photograph. I compared the two sets of historic photographs and realized that they matched! The first-generation scenery is no longer in existence, with the exception of a possible grand drape piece that was rolled up and stored in wardrobe.

Notice grand drape pictured in the first-generation Scottish Rite theatre in McAlester, Oklahoma.

Detail of the grand drape pictured in the first-generation Scottish Rite theatre in McAlester, Oklahoma.

Detail of the same grand drape in the Masonic Hall in Santa Fe, New Mexico.

Masonic Hall in Santa Fe with stage that housed the used first-generation McAlester Scottish Rite scenery.

As with McAlester, both the first-generation and second-generation scenery collections for the Santa Fe Scottish Rite were produced by Sosman & Landis, a subcontracted project from M. C. Lilley & Co. Bestor G. Brown, western sales manager for M. C. Lilley, would contract all of the theatre work for a Scottish Rite theater and then subcontract portions of it, such as the scenery to Sosman & Landis and the lighting to Frank Adam electric.

When the third McAlester Scottish Rite stage was planned, their second scenery collection was sold to the Scottish Rite in Salina, Kansas, for their new building during 1927.

Painted detail of a scene created for the Scottish Rite in McAlester, Oklahoma, now hanging in Salina, Kansas.

In Moses’ scrapbook, he pasted a newspaper clipping about the used McAlester Scottish Rite scenery collection that was purchased by the Salina Scottish Rite in 1927. The article reported, ”The one hundred and seventeen drops of scenery that has been in use on the old stage for twenty-five years, has been sold to the Scottish Rite Bodies of Salina, Kansas, and it has been shipped to them. There was nearly a carload of it. Brother John T. Leibrand, 33°, Wise Master of South McAlester Chapter of Rose Croix, negotiated the sale to the Salina brethren who came to McAlester to inspect it. The scenery was painted by Brother Tom Moses under the direction of that great Scottish Rite Mason and student Bestor G. Brown, and was said to be the finest in the Southern Jurisdiction at the time. Brother Tom Moses is painting the scenery for our new stage settings. He is also building stage properties, and all will be the last thing in that line. The brother that does not see this great stage and these wonderful properties at our Fall Reunion will miss something. The Salina brethren are negotiating with Brother John G. Redpath, who had charge of the old stage for years, to superintend the hanging of the drops in their temple.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 557 – Home for the Holidays, 1906

Part 557: Home for the Holidays, 1906

Thomas G. Moses wrote, “Pitt, Stella and Baby Eleanor arrived home for Christmas.”

During the summer of 1906, “The Oak Park Leaves” reported, “Mr. and Mrs. W. Pitt Moses of Trenton, N.J., are the proud parents of a baby girl, who arrived Sunday, July 29. The father is the son of Mr. and Mrs. Thomas G. Moses of 233 South Euclid avenue” (4 August 1906, page 10).

Tom and Ella had four children: William “Pitt” Moses (1879), Mary “Mamie” Titcomb Moses (1881), Lillian Ella Moses (1886), Thomas “Rupert” Moses (1889). Moses recorded that Pitt and Mamie were the mischievous pair of the four when they were young, keeping his wife Ella on watch every minute.

As the first child to become an adult, Pitt followed in his uncle Frank Moses’ footsteps. In 1900, he moved to Trenton and worked at the gas plant in New Jersey. Three years later, he married Stella Martin of Trenton. Moses’ youngest son, Rupert, entered the theatre manufacturing business with his father. The girls were married and became homemakers. Lillian married George Salzman in 1910. Mamie married William Hanover in 1911. Last, but not least, Rupert married Ula McNeill of Ames, Iowa in 1914.

By 1917, Moses wrote, “Pitt came out for a short visit and for the first time in twenty years, we had only the four children at home for a dinner. They were not allowed to mention their families. We sat each in their accustomed place. We all enjoyed it immensely. It carried us back many years when we were all much younger. I wish we could do it every year.” That same year, Moses wrote, “Stella and the girls arrived on December 22^nd. Pitt came out on the 24^th. We certainly had some family this Christmas – 17 at the table and two in the kitchen, and we had a fine dinner. I had Eugene Hall come to the house and pose us and he got one good negative. Had to use a flash as the light was very poor. I have wanted this for a good many years, and I am pleased to get it, even if it is not as good as a gallery picture.” I would love to find this picture.

Because Rupert and his father worked together, the two families would occasionally share the same home, sharing everything from food to scarlet fever over the years. Although his eldest son Pitt lived far away in Trenton, New Jersey, Moses passed along fatherly advice across the miles in the form of letters.

In 1931, Moses wrote to his eldest son,

“My dear Pitt.

Many thanks for your letter of congratulations and expression of your love. I am very thankful to know and receive both of them. As the 75 years bear down on me I often wonder if my life has been worthwhile to myself and others. While I have been partly successful in many ways. I have failed to reach the goal I set for myself fifty odd years ago. But the domestic side of my life has been a very happy one in choosing a wonderful mate, and who has not only been a good mother to our four healthy children, but a good help in sifting out many financial difficulties that are bound to come in our lives.”

1931 letter to William “Pitt” Moses from his father Thomas G. Moses

Fortunately for us, John H. Rothgeb (University of Texas) corresponded with many of Moses’ descendants, by gathering copies of letters written by Moses near the end of his life. At the time, Rothgeb was researching the life of Moses, as well as the history of the Sosman & Landis studio. This was during the 1970s and early 1980s. He left an enormous wealth of information in the Harry Ransom Center in Austin, Texas. Rothgeb was the second generation to identify the significance of Masonic scenery. The first generation was James “Jim” Maronek, a Chicago scenic artist who collected many Sosman & Landis artifacts during the 1960s. He even held the first exhibit placing Masonic scenery within the context of theatre history; this was during the early 1960s.

The third generation of scenic artists to study Moses and Masonic scenery was Lance Brockman at the University of Minnesota, hence how I became the fourth generation. Early in my undergraduate career I created an index for Moses’ typed memoirs and scrapbook for Brockman as a class project. I was also the assistant to the curator (Brockman) for the Theatre of the Fraternity exhibit in 1996. This was when I wrote letters to all known descendants of Thomas G. Moses.

During this same time, I came in contact with another student and friend of Maronek, one who became the paint charge at Chicago’s Lyric Opera. Like me, Brian Traynor became fascinated with Moses and his contemporaries. He actively collected materials and other information pertaining to historical scenic art. I have remained in contact with Traynor over the years and we have become friends. He is an amazing source of information and artifacts relating to the Chicago scenic art scene, while remaining a professional scenic artist. Traynor was also the one who contacted me about the Scottish Rite collection in Peoria, Illinois, when the Valley was getting rid of it. We worked together in search of a new home, but when no university or museum was willing to receive the donation, I rented a truck and took it home.

Without my predecessors, Maronek, Rothgeb, Brockman and Traynor, I would not be able to successfully tell the story of Thomas G. Moses.

To be continued…