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Tales from a Scenic Artist and Scholar. Part 1193: Mirza Shrine in Pittsburg, Kansas, 1924

In 1924 Thomas G. Moses wrote, “Closed a contract at Pittsburg for some new drapery at the Shrine.” Moses was referring to the new Shrine Temple in Pittsburg, Kansas. The Mirza Temple featured an auditorium and galleries with a seating capacity of 2,500.

*The Mirza Shrine building in Pittsburg, Kansas, 1924.*

*The building is now known as the Pittsburg Memorial Auditorium.*

On August 25, 1924, the “Parsons Daily Sun” included a picture of the new building and announced, “Mirza Mosque As It Nears Completion” (page 6). The article described, “The mosque of Mirza Temple of the Mystic Shrine at Pittsburg which is being built by the Shriners of southeast Kansas, over which the temple has jurisdiction is nearing completion. The structure is being erected at a cost of over $400,000, of which the Shriners in Parsons pledged a generous amount. The building of the mosque started about a year ago and it is expected the formal opening will take place sometime this fall. The structure is three stories high, covers a half block square is built of dark red brick and trimmed with Carthage building stone. When competed it will have adequate facilities for all the Shrine activities. The auditorium will seat between 2500 and 2600 and the stage, is large enough to care for the elaborate ceremonials of the Shrines. The city of Pittsburg will have access to the various community affairs.” The article went on to state that there were about 3,000 Shriners in the district which includes southeastern Kansas. Mirza Temple also had a 52-piece band whose members came from all over the area, including Iola, Parsons and Coffeyville. By the late 1920s, Mirza Temple also had a group named the “Agitatin’ Annies,” a woman’s auxiliary of the Shrine that performed and marched in parades.

*The Mirza Shrine’s Agitatin’ Annies, c. 1929*

*Illustrations of the Mirza Shrine were published in regional newspapers.*

*Detail of the entrance still used today.*

On November 13, 1925, the “Chanute Weekly Tribune” included a picture of the new building with the description, “the above building has a frontage of 167 feet on Pine and 142 feet on Fifth Street in Pittsburg. In its interior is an auditorium for conferring the Shrine work, also for entertainments, including the productions of the largest theatrical companies on the road. The most wonderful electrical effects produced in great theatres of New York City can be reproduced by the Temple equipment. Various offices, patrol and band rooms, dining hall accommodating 1500 people, dancing floor, kitchens, etc. are also in the building” (page 6).

*The Patrol for the Mirza Shrine, c. 1929*

*The Mirza Shrine drew members from Iola, Kansas.*

On November 27, 1925, the “Chanute Weekly Tribune” reported, “Many Chanute Shriners sojourned to Pittsburg yesterday to attend the dedication of Mirza Temple’s new mosque, costing half a million dollars. The dedication ceremonial was held at 10 o’clock in the morning and in the afternoon a class of 114 novices began their pilgrimage over the burning sands at the largest ceremonial session ever held by Mirza Temple” (page 4).

To be continued…

Tales from a Scenic Artist and Scholar. Part 1179: The Fort Wayne Shrine, 1924

In 1924, Thomas G. Moses wrote, “Fred and I took an auto trip to Fort Wayne and got the wires laid for the Shrine work.” They were bidding on scenery for the new Mizpah Shrine Temple at 409 West Berry Street in Fort Wayne, Indiana. On April 24, 1924, the “Garrett Clipper” reported, “The general contract for the construction of the auditorium of Mizpah Shrine temple to be erected in Fort Wayne has been let to Max Irmscher & Sons of that city and excavations were started Thursday morning. The structure will be finished some eighteen months from now or around September 1, 1925.” Designed by Fort Wayne architect Guy Mahurin, the building was an interesting mixture of eastern and western elements. The stage was intended to host professional productions. From the beginning the Masons anticipated that the stage would be used for much more than Masonic activities.

In 1925 Moses wrote, “Fulton and I started our western work by making a lot of models and sketches for a big job in Fort Wayne, Indiana, all Shrine work. The Mizpah Temple. We have endeavored to give them some new ideas and I hope they will go…After a number of delays, we expressed our models to Fort Wayne.”

Moses landed the contract and painted everything on site. That fall, he recorded, “Arrived in Fort Wayne on September 17^th and found everything in good shape; a good bridge and frame and a drop on the frame ready for me. I got busy the next day and did a 30’ x 75’ wood in a day and a half – quickest time I ever made, and for one who had not worked in five months, I considered it some feat. I found that I was in good condition and capable of doing a good day’s work.” He was 69 years old and still incredibly fast at scene painting.

After the project was completed, Moses even stayed for the opening ceremonies, writing, “I finished on time and enjoyed my Fez parade and mixing with real fellows, especially the stunts that I have been working on for so many years.”

The opening of the Mizpah Shrine was a three day event that ended with a production of “Aida.” On Nov. 18, 1925, “The Times” announced, “Fort Wayne, Ind. Nov. 18. – A three-day program marking the dedication of the new $1,000,000 clubhouses and auditorium of the Mizpah Shrine temple was opened here today with hundreds of Shriners from Northern Indiana, Ohio and Michigan in attendance” (Muncie, Indiana, page 6).

On Nov. 19, 1925, “The Times” reported, “With 3,000 nobles from all over Indiana in attendance, the three-day program incident to the dedication of the new $1,000,000 building of the Mizpah Shrine Temple was opened here today. Ritualistic services of the order during the day were in charge of Elias Jacoby, of Indianapolis, past imperial potentate. The day’s events closed with a grand ball in the auditorium of the new temple. Tomorrow a class of 300 novices will cross the hot sands to Mecca, the initiation being in charge of Imperial Potentate James C. Burger of Denver, Col., and his divan. A banquet will be served in the evening. The dedication ceremonies will come to a climax Friday evening when the Chicago Grand Opera Company will present Verdi’s “Aida,” with Rosa Raisa singing the title role.”

I was surprised about the addition of n operatic performance. More information was published in the “Steuben Republican” – “The Chicago Grand Opera Company is now in the midst of its season at the Auditorium, Chicago, but will break into its season there and transport the entire immense company and massive scenic equipment to Fort Wayne for the one appearance at the new Mizpah Temple” (Angola, Indiana, 4 Nov., 1925, page 4). That had to have cost a pretty penny at the end of the day, as the production traveled with a 65-piece orchestra too. Membership in the Shrine was skyrocketing and the coffers were filling fast. This did not last, and the Masons could not hold onto their grand edifice.

*From the “Garrett Clipper,” 18, June 1925, page 4*.

The building is now known as the Robert Goldstine Performing Arts Center.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1173 – Thomas G. Moses and the Wichita Shrine Circus, 1923

Thomas G. Moses visited Wichita, Kansas, multiple times throughout 1923. Often it was a quick stop as he hustled from one project to another, zipping across the country. By summer, he stayed at Wichita’s Acacia Hotel, made sets for the Shrine, closing a contract for $750.00.

Moses was working on scenery for the Midian Shrine Circus. Planning for the 1924 Shrine Circus began by April 1923. The Shrine Circus was under the direction of Henry Wallenstein. Wallenstein was in charge of most Masonic ceremonies and activities in Wichita; his being involved in numerous Masonic orders, as well as being both the Director of the Work and Secretary for the Wichita Scottish Rite. Wallenstein had known and worked with Moses since the 1890s. He was heavily invested in fraternal theatre endeavors throughout the state, and the circus was his new pet project.

On February 8, 1924, the “Inman Review” reported, “The Midian Shrine Circus to be presented at the Wichita Forum February 18^th to 23^rd will eclipse any previous show ever produced in the number of real circus acts in the variety and ability of the performers and in the large display booths and other attractions. There will be a very pervading atmosphere of fun and frivolity during the full six days of the Circus” (page 4).

*The Midian Shrine Circus was held at the Forum in Wichita, Kansas*

By Feb 8, 1924, the “Inman Review” reported, “A complete change of program will be offered, all new and different acts out of the big summer white top shows. It is the policy of the Management of the Midian Shrine Circus to spare no expense in offering this amusement event to the public. Ten months have been spent in planning and twenty big acts of professional performers will be on hand to offer you the greatest indoor attraction witnessed in the Southwest. 50c admittance, the same as always, will be charged, and there will be hundreds of free seats” (page 1). The 1924 shows ran from Feb 18-23^rd.

The Lindsborg News-Record described some of the acts: ‘Among the twenty real circus acts booked are the now Famous Flying Wards, who are now booked at the New York Hippodrome; the Joe Hodgini Troupe of Equestrians from Sells Floto Circus; Madame Bellini, the biggest individual act in the circus world who brings her beautiful menagerie and high school horses; Sir Vistor’s Dogs and Ponies; the Laemy Sisters; Dainty Ethel Marine in her Spanish Web Act, the Hamilton Sisters; Hassan Bey and his Arab Troupe; twenty other famous clowns, and many others” 1 Feb 1924, page 4).

Of the event, the “Hazelton Herald” announced, “Five thousand members of Midian Temple located in every progressive city of the Southwest are assisting in making the Midian Shrine Circus of 1924 a success. The date is set for the entire week of Feb 18 to 23 and two performances a day will be given at the Forum, Wichita. One hundred and fifty thousand people who have seen the previous Midian Shrine Circuses are anxiously waiting for the doors to open on Feb 18^th” (1 Feb 1924, page 1).

To be continued…

Tales from a Scenic Artist and Scholar. Part 1157 – The Joe Bren Production Co., 1923

In 1923 Thomas G. Moses wrote, “Joe Bren’s work came in early this year, and we will try and give him a good job. It is not apt to be paid for very soon as usual.”

The Joe Bren Company was a Chicago-based theatrical production company that partnered with fraternities and civic groups to stage fundraising shows. Bren became a Sosman & Landis client in 1916 and continued to order scenery on an annual basis until the early 1920s. By 1922, however, the amount of scenery purchased by Bren from Sosman & Landis began to dwindle.

Bren Company representatives traveled from town to town, working with local talent to organize minstrel reviews, vaudeville frolics and “Jollies.” They were especially popular with the Kiwanis Club, Lions, American Legionnaires, United Commercial Travelers, Elks, and Shriners. The Bren Company provided sketches, jokes, and songs, even supplementing some of the local talent with professional acts. The Joe Bren Company not only provided instruction, but also all of the technical trappings, including scenery, lighting equipment and costumes.

By 1922, however, the Bren company began purchasing much of their scenery from another source – Service Studios, also known as the Scenic Service Studio of Chicago. On Dec. 10, 1922, the “Leader-Telegram” included a announcement about a Bren production reporting, “Scenery for the Bren company constructed and painted by the Scenic Service Studio of Chicago” (page 8). The Service Studios was completely composed of previous Sosman & Landis artists, so they new what Bren needed for his production. In 1920, a group left Sosman & Landis to form Scenic Studio. Service Studios rapidly made inroads in the theatre industry, winning projects from many competitors, including Sosman & Landis. Here is a past post about Service Studios: https://drypigment.net2020/05/05/tales-from-a-scenic-artist-and-scholar-part-981-john-hanny-and-the-chicago-service-studios-1918/

The primary Bren production for 1922 to 1923 was a musical revue in two acts and six scenes, under the direction of Ralph Hamilton and Alex Robb of the Joe Bren Production Co., Chicago. The production staff for the event included: Delos Owen (orchestrations and musical direction), Joe Bren (Dialogue and Lyrics), Geo. L. Ownes (staged musical numbers), Scenic Service Studios, Chicago (scenic design and execution), and New York Costume Co., Chicago (costumes).

In 1925, Scenic Services Studios was still producing scenery for Joe Bren, now the “Jollies of 1925” (Hamilton Evening Journal, 10 March 1925). This all changed in 1926 when Service Studios sold out to Art Oberbeck of ACME Studios. Interestingly, Oberbeck had also started out at Sosman & Landis scenic artist in 1904.

By the early 1920s, Bren hired Sosman & Landis for production elements, no longer the main design for the primary stage show. With Sosman & Landis struggling, clients may have hesitated, fearing the fir would closed before their scenery was delivered. In 1923, Sosman & Landis provided booths and lighting fixtures for a Bren-produced Shriner charity event; it did not end well.

On March 30, 1923, the “Chattanooga Daily Times” reported, “Booths and fixtures at the Shriner’s fun festival, now in progress at the Billy Sunday tabernacle, were attached yesterday through a chancery court action started by Sosman, Landis & Co., of Chicago, Ill., for the collection of $2,000 due by reason of an alleged breach of contract. The bill asserts that Joe Bren, named as defendant with the local Shriner’s organization and others, acting as purchasing agent for the fun festival management, contracted to buy certain supplies from the plaintiff. This contract, according to the bill, was breached to complaintant’s damage. The attachment was run merely to prevent the sale or removal of the fixtures attached and will not interfere with the operation of the show (page 4). Bren was branching out beyond his musical reviews and directing all kinds of events, including trade shows and circuses.

By the late 1920s, Bren Production company events began to dwindle, and by 1930 Bren became department head for the Music Corporation of America.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1156 – The Dallas Shrine, 1923

In 1923 Thomas G. Moses wrote, “Did a model for the Dallas Shrine, which was accepted, and we built it and found we were way too low, as the carpenters managed to put in a lot of time.” The project was for ceremonials activities conducted by Hella Temple, A.A.O.N.M.S. Desert of Texas, Oasis of Dallas.

On May 5, 1923, the “Courier-Gazette” reported, “The Dallas Shriners are making preparations for the entertainment of five thousand Nobles who are to assemble from various sections of the state for the magnificent spectacle and initiation” (McKinney, TX, page 2). A week later, the “Corsicana Daily Sun” reported, “The members of Hella Temple under the leadership of its Potentate Al. H. Reed, will gather in Dallas on Friday, May 11^th, for the spring Ceremonial Session at which time it is expected that over four hundred candidates from the jurisdiction will be initiated. A large amount of the fees received by the Dallas Shrine from initiation of candidates is being used in payment of the hospital appropriation. The Dallas Shriners are making preparation of the entertainment of five thousand Nobles who are to assemble from various sections of the state for the magnificent spectacle and initiation” (May 12, 1923, page 8). At the ceremonial held in May the Dallas Shriners took up a collection for their new children’s hospital, raising an additional fund of $9,000” (The Marshall Messenger, 16 June 1923, page 4).

By 1923, Dallas had a membership of over seven thousand Nobles, the greater part of whom resided in the north, east and central Texas (Courier -Gazette, McKinney, TX, 5 May 1923, page 2). At this time, the Masonic Fraternity in the State of Texas numbered over one hundred twenty thousand. Big funds were pouring into the Fraternity, being applied to both charitable works and extravagant membership events.

Although Moses was not yet a Freemason, it was Moses’ past history with the Fraternity in Dallas that helped land the 1923 Shrine project. Moses first painted Masonic scenery for Dallas in 1909, the same years that Sosman & Landis landed six Scottish Rite contracts. Sosman & Landis delivered scenery and stage machinery to the Dallas Scottish Rite. I am including a brief recap of this project, as it provided inroads to other Masonic work in the region, especially the Dallas Shrine.

Although Dallas Scottish Rite was not completed until 1913, 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. and subcontracted to Sosman & Landis Scene Painting Studio. In a July 7, 1912 letter from Brown to William G. Bell of the Austin Scottish Rite, he included information about the Dallas Scottish Rite stage: “the Dallas stage has in the neighborhood of 25,000 lineal feet of wire and rope in its installation.”

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, “The largest stage in Texas is in this degree room – and the largest pipe organ…a 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.” Here is a link to my post about the 1909 Dallas Scottish Rite scenery project: https://drypigment.net2019/01/26/tales-from-a-scenic-artist-and-scholar-part-627-the-dallas-scottish-rite-1909/

The next time Moses mentioned Masonic projects in Dallas was 1921. While in town working on the Majestic Theatre, he wrote, “During the stay, I furnished a big set for the Shrine which was done in Chicago.” This was in the midst of a massive membership explosion. From 1920 to 1926, Masonic membership in Dalla more than doubled, going from 4,098 to 9,935. This was during a time when lodges all over the country churned out members for the sake of record membership numbers. It is really a perfect example of quantity over quality, and quantity secured unprecedented funding.

Moses was still completing projects for the Dallas Shrine in 1926. That year Moses wrote, “Several drops for the Dallas Shrine gave us another little boost in color, also several drops for Detroit.” The size of Masonic projects kept the studio afloat.

*Example of one Shrine ceremonial setting. Butte, Montana, 1921.*

*Hella Temple Shriners remain active despite a drop in membership*

To be continued…

Tales from a Scenic Artist and Scholar. Part 1127 – William F. Hamilton and the Shrine Circus, 1921-1923

In 1921, Thomas G. Moses traveled to San Francisco to paint scenery for the San Francisco Shrine Circus. Sosman & Landis were renting the shop at Edwin H. Flagg’s studio. He wrote, “After four hard weeks of hustling, we got the big show ready. In the meantime, I took a run to Los Angeles for two days, to look after some Masonic work. We got the big Shrine show opened October 17^th and it was certainly a big hit. Thousands could not get near the building…I think I have laid the foundation for a good job, but you can never tell.”

At this time, Moses was reunited in work with his former business partner, William F. Hamilton. The two had partnered in 1900 to establish Moses & Hamilton. Located in New York, their firm was quite successful in painting a variety of projects, including Broadway shows and many attractions for Fredrick Thompson at Coney Island. Moses & Hamilton closed its doors in 1904 when Moses returned to Chicago, becoming vice-president of Sosman & Landis.

Born in Franklin, Pennsylvania, Hamilton moved to New Jersey in the 1890s. Like many scenic artists, he worked all over the country on a variety of projects. He spent most of his early years on the east coast before moving to San Francisco. Hamilton saw the potential for an ever-increasing number of opportunities along the coast. The Ancient Arabic Order of the Nobles of the Mystic Shrine became one of Hamilton’s biggest clients, and he became the director of the Oakland Shrine Circus in 1920. The Shrine needed an experienced personality, such as Hamilton, to secure the various attractions and appropriate staging requirements for the event. The Shrine circuses were monumental fundraisers that generating a substantial amount of capital.

By 1921, Hamilton was featured in a “Variety” article (Vol. IXIV, No. 11. Nov. 4, 1921). The article, “Hamilton’s Special Events,” credited him with creating “an abundance for special scenery” for the Shrine that year.

The following year, Moses returned to work in California again. In 1922 he wrote, “Our work progressed very nicely, in addition to our regular contract, we had some extras and some work for Hamilton to be used at the Shrine Circus at Oakland.” Hamilton was again the director for the Oakland event, as well as delivering the opening address for the Sacramento Shrine Circus that year. (Sacramento Star, 2 Nov. 1922, page 8). The “Sacramento Star” reported “W. F. Hamilton of San Francisco planned and managed the circus.” Over 40,000 people attended the Sacramento Circus in 1922, with all proceeds “turned over to the Shrine treasury for charity and other work.”

Of the Oakland Shrine Circus in 1922, “The Oakland Tribune” reported, “Making good on their promise to offer a program entirely different features in connection with their Mardi Gras and circus, the Oakland Shriners have arranged a real old southern Mardi Gras festival for this evening. Stress is laid upon the fact that the festival will be identical with that which is held every year in New Orleans and other southern cities. W. F. Hamilton, who has produced Mardi Gras spectacles for the southern cities will have personal direction of the event” (28 April 1922, page 15). The article continued, “Hamilton Praised. W. F. Hamilton, the director, is given credit for his achievement by the members of the Shrine.” Hamilton was again hired as director for the 1923 circus too. The “Oakland Tribune” reported, “W. F. Hamilton, the director of last year’s event has been placed in charge of the circus and he declares that from every standpoint the show will be staged on a more lavish and pretentious plane “6 April 1923, page 22). In 1923, proceeds from the circus financed a trip of the Oakland Shriners to Washington. This included securing a special baggage car for the trip, “filled with literature to distribute en route and wherever the occasion offers lectures will be given in Oakland and Alameda county” (Oakland Tribune, 20 March 1923, page 4).

*The Municipal Auditorium once hosted the Oakland Shrine Circus*

Moses continued to visit with Hamilton whenever he was working near San Francisco. In 1925 he wrote, “I ran into San Francisco for a day or so, met my old pal, Hamilton, had a nice visit, then went to San Jose.”

I am sure that throughout the 1920s, Hamilton placed pressure on his old friend to move west, urging him to leave Sosman & Landis for better opportunities. Near the end of 1921, Moses wrote, “Letters from the Pacific Coast, which offered me all kinds of inducement to come west are all very good, but when I consider my age, I hesitate to make the plunge.” His hesitation would turn into regret as the years passed. If Moses were to jump ship; upend his life in Chicago and move west, it had to happen in 1921. Unfortunately for Moses, he stayed on the sinking ship until the bitter end.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1126 – San Francisco Shrine Circus and Arabian Fete, 1921

In 1921 Thomas G. Moses traveled from Chicago to San Francisco for a large project. He wrote, “After four hard weeks of hustling, we got the big show ready… the big Shrine show opened October 17^th and it was certainly a big hit. Thousands could not get near the building.”

*Interior for Shrine Circus with scenery painted by Thomas G. Moses of Sosman & Landis studio. Image from the “San Francisco Chronicle,” 18 Oct 1921 page 13*.

Moses was referring to the San Francisco Shrine Circus and Arabian Fete that ran from October 17 to October 25, 1921. The program was changed nightly and included exhibitions by wire and trapeze artists, contortionists, juggler, acrobats, Japanese jugglers, hoop roller, Spanish dancers, lion tamers, and Hawaiian singers and dancers (“San Francisco Chronicle,” 2 Oct 1921, page 6). Popularity contests were also held, with the crowning of a Queen and selection of the most beautiful baby boy and girl. The “San Francisco Chronicle” announced, “There is entertainment to suit all tastes. The first night’s vaudeville show was one of the many thrills not the least of which was the tight rope performer’s offering on a rope stretched over the heads of the persons on the floor from balcony to balcony” (San Francisco Chronicle, 18 Oct 1921 page 13).

The prelude to the Shrine circus included a large parade, winding from Islam Temple on Geary Street to the Auditorium, by way of Geary, Kearny and March Street. One of the parade floats was a “Sphinx” mounted on a truck that announced the dates of the circus, October 17 to 25. Fed fezzes, red coats, and white pantaloons were work by members of the Islam band and patrol, leading the way for the officers of Islam Temple. The parade also featured “1000 visiting Shriners, the Athens Temple divan with its band and two patrols from Oakland. The “San Francisco Chronicle” also described, “The “caged novices,” six men in grotesque costumes with their shrill shouts and weird antics followed” Charlie Chaplin, a group of circus performers and a menagerie exhibit of mountain cats and lions brought up the rear of the procession” (18 Oct 1921, page 13).

An article headline in the “San Francisco Examiner” announced, “20,000 Attend Shrine Circus in Auditorium,” reporting, “The Shrine Circus opened at the Exposition Auditorium here last night with an attendance of more than 20,000 persons. The circus, which is for the 1922 session fund will continue through next Tuesday. The decorative scheme of the interior of the auditorium represents an Arabian village” (Oct. 18, 1921, page 14).

The “San Francisco Chronicle” described the interior on opening night: “The Auditorium has been transformed into an Arabian village, populated and conducted by hustling Shriners and their friends. The decorations are gorgeous. Balloons of many colors are strung around the balcony. The many booths housing the concessions, where one pays good money gladly for the cause, have facings of Arabian architecture. In the main floor is a kiosk for musicians. Atop it is a glowing ball of facets which reflect a variety of brilliant colors when played upon by spotlights” (18 Oct 1921 page 13).

The “San Francisco Examiner,” described: “Color, color everywhere and so many San Franciscans inside and outside the Civic Auditorium that you couldn’t get within a hundred feet of the building. That was the situation at 9 o’clock last night when the big street parade of the Shrine Circus reached the Auditorium. They say the Shriners sold 100,000 tickets for the big show – apparently the arm of ticket buyers all turned out for the big night. Inside – if you were lucky enough to get inside – was a glittering midway which circled the building. At one end, on the stage, the circus took place. The Shriners in their colorful costumes of red and green and blue and gold and every other hue in and out of the rainbow, paraded around the midway. Then the show started, Mexican acrobats, tumblers, high wire artists and clowns in rapid succession…More than $20,000 was spent in transforming the Civic Auditorium into an Oriental City. Islam Temple of the Mystic Shrine had done its work well.” The purpose of the Shrine Circus was to raise $250,000 for the entertainment of the Imperial Council of the Shrine which met in San Francisco the following June” (Oct. 18, 1921, page 3).

To be continued…

Tales from a Scenic Artist and Scholar. Part 1125 – Thomas G. Moses and the Shrine Show, 1921

In 1921 Thomas G. Moses traveled from Chicago to San Francisco for a large Shrine project. He wrote, “September 13^th had a very good trip and started work immediately at Flagg’s studio. After four hard weeks of hustling, we got the big show ready… the big Shrine show opened October 17^th and it was certainly a big hit. Thousands could not get near the building.” Moses was referring to the San Francisco Shrine Circus that opened on October 17. Of the event the “San Francisco Examiner” announced, “Height of Funmaking Glimpsed at Arabian Ball. Throng Fills Auditorium on First Night of Shrine Circus” (Oct. 18, 1921, page 3).

*From the “San Francisco Examiner,” October 18, 1921*

Moses’ project falls within a period of dramatic growth for the Ancient Arabic Order of the Nobles of the Mystic Shrine. The organization is known to many as “the Shrine.” In 1921, there were three steps to becoming a “Shriner”:

Step 1: Complete the first three degrees Freemasonry in a Blue Lodge, becoming a Master Mason.

Step 2: Continue with your Masonic studies in the Ancient and Accepted Scottish Rite or York Rite. Both Rites had the option to use theatrical presentations as an educational tool, like morality plays. When a stage was not available, there were still portions of the degree work that was dramatized.

Step 3: Relax after your hard word and join the Ancient Arabic Order of the Nobles of the Mystic Shrine. This was intended as primarily a social group; an opportunity to play after all of the hard work was completed.

This was a pretty simple process, like having to complete one grade in school before progressing to another. Ideally, social promotion does not kick in and members are not rushed thought the steps. The point is to learn something at each stage and allow members time to process the information. For those who simply wanted to join a social group right away, there was always the Mystic Order of the Veiled Prophets of the Enchanted Realm, otherwise known as the poor man’s Shrine. Keep in mind that each step cost a member money, as well as annual dues. This was like any fraternal organization at the time; they all depended on money collected from incoming and existing members.

Over time, the process became streamlined and the stipulated delays between degrees were shortened; this allowed even more members to join and increased overall funding. There was a lot of justification to adopt abbreviated timelines. Then, as today, there were abundant explanations as to why quickly admitting members was a good idea.

Eventually, the Shrine allowed Master Masons to skip all of the “hard work” and just join. For obvious reasons, this did not sit well with either the Scottish Rite or York Rite. This change also interrupted anticipated waves of membership for both the Scottish Rite and York Rite; previously membership ebbed and flowed together within the Fraternity.

For example, if a big group of men became Master Masons, part of this large group joined the Shrine and York Rite as they continued onto the Shrine. You could track the large number progressing their way through the Blue Lodge, Scottish/York Rites, and Shrine. Similarly, if there was a decline in membership of Master Masons, a decline would later follow in all groups. Again, this all cost money, so economic downturns were also a factor. Membership levels also affected the planning and construction of Masonic edifices, as well as the eventual selling. As more and more people joined the Scottish Rite in the early twentieth century, there was enough funding to construct massive Scottish Rite theatres. This wave continued onto the Shrine by the 1920s.The wave of men that joined the Scottish Rite in large numbers from 1895 to 1915, contributed the later construction of Shrine buildings in post-WWI years.

Moses’ 1921 Shrine project was part of this surge. The Shrine not only constructed buildings and banquet halls, but also staged elaborate productions. Many Shrines at this time also began establishing a circus.

*Another big Shrine event in California in 1921. From the “Pomona Progress,” 30 April 1921, page 1*

The Sosman & Landis Studio depended on Masonic projects for years. New Shrine buildings and circus events promised a significant amount of specialty work and substantial income. They desperately needed to reestablish a link with the Fraternity. Before Joseph Sosman’s passing in 1915, he maintained the Masonic connections, just as Perry Landis maintained Elk connections. Moses was neither a Mason nor an Elk, and the studio’s workload reflected this by 1920.

Unfortunately, it was not until the 1920s that Moses began to realize that in order to land the big Masonic projects, he really had to become a Mason. He eventually would join the Fraternity, but far too late. Moses would not begin the process until 1923. That year he wrote, “March 1^st, I took my first degree in Masonry. I don’t know when I shall get around to the others; rather interesting and I would like to go through the Shrine.” It would take two more years for Moses to a Master Mason. In 1925, Moses was sixty-nine years old; too old to be a mover and shaker in the organization.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1123 – Shrine Contract for Hammond, Indiana, 1921

In 1921 Thomas G. Moses, “A good Shrine contract at Hammond came our way and we will be able to put up something good.” Moses was referring to the Orak Temple Shrine in Hammond, Indiana. Members of the Ancient and Arabic Order of the Nobles of the Mystic Shrine (A.A.O.N.M.S.) met at Hammond’s Masonic Temple. The massive fraternal edifice, completed in 1909, was expanded and a large stage installed in 1921.

*The Masonic Temple where the Orak Shrine* *met in Hammond, Indiana. This building was greatly expanded in 1921.*

*The Masonic Temple in Hammond, Indiana, after it was expanded in 1921. The Orak Shrine and other Masonic orders met here.*

At the beginning of 1921, hundreds of Shrines participated in the installation of newly elected officers of Orak Temple Shrine that January (The Times, Munster, Indiana, 12 Jan 1921, page 1). The new leadership would immediately invest in membership experience that spring and on Jan. 13, 1921, the Masonic Building Association let out contracts for the construction, fixing dates for the various stages of construction (The Times, page 1). The excavation and foundation work was scheduled to be completed by March 1, with the entire building under a roof by May 15, 1921. The three-story structure included an immense auditorium in the northwest section. The design of the stage was 40 feet wide by 27 feet deep with “all the accessories found in big theatres.”

*Progress on Hammond’s Masonic Temple was published in “The Times,” (Munster, Indiana) 22 March 1921.*

*The proposal for Hammond’s new Masonic Temple. From “The Times,” (Munster, Indiana), Jan 13, 1921.*

The scenery contract may have been entered into with the Shrine, but there were likely other scenic pieces for Masonic groups that met in the building. Scottish Rite scenery contracts frequently included Blue Lodge, York Rite, DeMolay and Shrine scenery.

By March 19, 1921, cornerstone laying ceremonies were conducted at the Masonic Temple. “The Times” reported, “The entire front of the old temple has been torn away so that the wall of the new structure will be in uniform in its Muenich court frontage. The steel work in the left background encloses the opening of what will be the huge stage of the auditorium” (22 March 1922, page 1).

On March 22, 1921, “The Times” reported, “The corner stone, a mammoth block of four feet square, will be placed…The old stone has been removed and the steel box and contents, placed in the cavity within a stone years ago. will be placed in the new stone along with another box containing newspapers, documents and other articles of interest.” The building was sold in 1999 and eventually demolished a decade later. The structure didn’t even make ninety years. It is always difficult to read about the efforts of one generation, and the to trace these efforts dismissed by others.

The two time capsules were recovered in 2009 amidst the rubble of the demolished building. The capsules contained a variety of artifacts that included newspapers, yearbooks, architectural plans, photographs, moonshine, whiskey labels, lodge coins, a box of laxatives and horse manure. Attached to the small box of manure was a note explaining that future generations might not understand its significance with the advent of the automobile.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1083 – Hella Temple, Dallas, Texas, 1921

In 1921, Thomas G. Moses wrote that he secured a scenery contract with the Dallas Shrine. In addition to supervising Shrine settings being built in Chicago, Moses was also negotiating a new scenery installation for the Little Rock Scottish Rite Theater. Of the upcoming projects, Moses wrote, “ “I have plenty to do on Masonic models and I am afraid I will have to get some help.”

This Dallas project was for Hella Temple, Ancient Arabic Order of the Nobles of the Mystic Shrine. Moses recorded that Sosman & Landis “furnished a big set for the Shrine which was done in Chicago.” This means the actual construction and painting for the setting was completed in Chicago; the setting was shipped to Dallas that spring. In April, the Hella Shrine Temple hosted the Shrine Director’s Association of North America annual convention. The painted setting was possibly for use at that event.

On 27 March 1921, “Galveston Daily News” announced “Six Hundred to Attend Dallas Shrine Meeting” (page 8). The article continued, “Dallas, Tex., March 26.- Reports received by the arrangements and reception committee for the convention of the Shrine Director’s Association of North America, which meets in Dallas April 7 to 9, are to the effect that about 600 delegates will attend. The directors are meeting in Dallas in the third annual convention for the purpose of checking up of the curriculum of events encountered along the desert sands over which the novices travel at each ceremonial given by the Shrine Temples in North America. The meetings in Dallas will not be open to the general membership of Hella Temple, but will be confined exclusively to the directors and the committees in charge. Hella Temple will be host to the convention and will entertain the visitors while in Dallas. James E. Forrest is president of the association.”

On the last day of the convention, Frank H. Cromwell, of Ararat Temple, Kansas City was chosen president of the association (Austin America-Statesman, 9 April 1921, page 1)

To be continued…