Category: Thomas G. Moses

Tales from a Scenic Artist and Scholar. Part 261 – Thomas G. Moses and “Fabio Romani”

“Fabio Romani,” a Tale of the Dead, by Aiden Benedict was based on Marie Correlli’s 1886 novel “The Vendetta.” A deceived husband feigns suicide and disguises himself to torture his unfaithful wife, finally killing her when he reveals his true identity.
The play “Fabio Romani” was based on Marie Corelli’s book, “Vendetta.”
The show was advertised as a “spectacular drama” with “startling scenic surprises, including “a Thrilling Earthquake Effect, an Eruption of Mount Vesuvius, Illumination of the Bay of Naples. Forming a Most Magnificent Spectacular Tableau” There was a dual role of Fabio Romani and Conte Caesar Olivia performed by Walter Lawrence. Nina, a “weak and faithless woman”, was played by Miss Francis Field. A special feature was the famous serpentine dance by Szerina. Newspaper articles noted that the stage settings were particularly beautiful and effective. They were painted by Thomas G. Moses.
Advertisement for the 1893 production of “Fabio Romani,” with scenery by Thomas G. Moses.
The January 6, 1893, issue of the Dramatic Standard described the scenic effect: “At the final scene, Nina is entombed alive by her wronged husband in a mausoleum. In the climax of the subterranean commotion the huge tomb sinks out of sight and reveals dwellings falling in ruins, the earth rocking and rent with fiery fissures, while Mount Vesuvius in the background belches forth a huge column of fire and smoke, and pours red streams of lava upon the city of Naples at its feet.”
Volcano effects at for the 17th degree production of the Ancient and Accepted Scottish Rite.
Volcano effects at the Galveston Scottish Rite with scenery by Great Western Stage Equipment Co., painted by Maj. Don Carlos DuBois. This slide is used by the Fort Worth Scottish Rite.
This description brought to mind the 17th and 30th degree settings for the Ancient and Accept Scottish Rite. The twelfth installment for “Tales of a Scenic Artist and Scholar” examines the volcanic eruption in seventeenth degree for Fort Scott, Kansas.
 
The 17th degree of the Scottish Rite can be one of the most exciting degree productions on a Masonic stage. Lighting flashes, thunder rumbles, the ground trembles, and a volcano explodes, toppling buildings in the foreground of a painted composition. A red plume of lava shoots into the air, while rivulets of lava stream down the mountainside and gradually spill into a lake. Slowly, the sky and water become a bright blood red.” It sounds a bit like the scenic illusion presented for “Fabio Romani,” doesn’t it? This was just one of many popular stage effects that was a popular hit for late-nineteenth century audiences.
 
The Scottish Rite’s staging in the seventeenth degree relates to the breaking of the seven seals in the Book of Revelations. Cataclysmic events occur and a variety of painted visions are magically revealed in transparent sections of the composition.
One of the vision drops at the Fort Scott, Kansas, Scottish Rite. The scene was purchased for the Minnesota Masonic Heritage Center theatre and is currently in storage.
Fort Scott and Winona Scottish Rite stages had small drops for the various visions. The scenic studios used tried and true formulas to develop the settings for Masonic degree productions
 
The first time I documented this impressive scene was during a scenic evaluation at the Winona Scottish Rite Theatre in 2010. There, local volunteers assisted in a brief semi-staging of the scenic effects – without the lighting or flashing lights.
Winona Scottish Rite setting for the 17th degree – before the volcanic eruption. Photograph by Wendy Waszut-Barrett, 2010.
Winona Scottish Rite setting for the 17th degree – after the volcanic eruption. Photograph by Wendy Waszut-Barrett, 2010.
Unfortunately, the City of Winona failed to fix the stage roof and the scene continued to suffer from constant water damage. Even when it was put into temporary storage, it was a shadow of its former self. That scene is currently up for auction and has a slim chance of being seen in its entirety again in any performance venue. Similarly, in Fort Scott, I again staged the scene prior to removal and transportation to a storage facility in Minnesota. Likewise, I doubt that this spectacular stage effect will ever be presented to any audience. People can’t value what they don’t understand.
 
The volcano scene for each location was labeled “17th degree Vision” or simple “Vision.” “Vision” was the title designated by the Sosman & Landis for this particular degree. Each design could include a variety of scenic effects, dependent on the amount of money that the client was willing to invest. Flowing lava rivulets, crumbling buildings, blood-red water – all was possible if you had sufficient funds. Elaborate paintings with complex rigging incorporating netting, transparencies, translucencies, and a variety of rigging mechanisms to lower painted panels on the front of the cut drop also came at a price. The Scottish Rite in Fort Scott, Kansas, had a lot of money to include this particular setting, but Winona had even more money.
 
The Scottish Rite scenery collection installed in Winona, Minnesota, was the most complete Fraternal installation that I have encountered to date. It will never hang as a whole above any stage again. The City of Winona has selected a few drops to retain and the rest will be dispersed; more victims to theatrical homicide leading to a destruction of the past.
 
 
To be continued…

Tales from a Scenic Artist and Scholar. Part 260 – Thomas G. Moses Painting for Buffalo Bill’s “A Lady of Venice”

Thomas G. Moses created painted scenery for a variety of productions during the Columbian Exposition in 1893. One project was for Col. William F. “Buffalo Bill” Cody.

Buffalo Bill wanted his Wild West show to be part of the Columbian Exposition. The Committee of Ways and Means standard tariff for a concession was fifty percent of gross proceeds, not fifty-percent of the actual profits. Cody did not appreciate the high percentage and withdrew his request. He then forged ahead with his own plan and leased approximately fifteen acres of land adjacent to the fairgrounds and constructed an 18,000 seat coliseum.

Poster depicting the area adjacent to the Columbian Exposition fairgrounds leased by Cody for “Buffalo Bill’s Wild West and Congress of Rough Riders of the World.”
Flyers that William F. “Buffalo Bill” Cody sent ahead to Chicago, announcing the arrival of his show in 1893.

On March 20, 1893, “Buffalo Bill’s Wild West and Congress of Rough Riders of the World” arrived in Chicago. 100 former cavalry troops, 46 cowboys, 97 Cheyenne and Sioux Indians, 53 Cossacks and Hussars, and several herds of animals were unloaded from the cars at the railroad. In a bold move, Cody opened on April 3 – a full four weeks before the grand opening of the World Fair. This is especially ironic as the White City was behind schedule in the overall construction process.

Photograph depicting a portion of the cast for Buffalo Bill’s Wild West in Chicago during 1893.

His show included wild animals, bronco busters, a cowboy band, a choreographed Indian attack on the Deadwood stagecoach that was vanquished by mounted troopers, a realistic staging of Custer’s last stand, and Annie Oakley’s shooting at impossible targets.

Poster for “Buffalo Bill’s Wild West and Congress of Rough Riders of the World”
Cossacks featured in a poster for “Buffalo Bill’s Wild West and Congress of Rough Riders of the World”
Annie Oakley featured in poster for “Buffalo Bill’s Wild West and Congress of Rough Riders of the World,” performed in an arena adjacent to the Columbian Exposition fairgrounds in 1893.

Columbian Exposition officials were less than pleased with Cody’s presence. The relationship continued to head south throughout the duration of the fair. When fair officials refused Mayor Carter Harrison’s request for a day with free admittance to the poor children of Chicago, Cody immediately announced a “Waif’s Day” at the Wild West. He offered every child from Chicago free train tickets, free admission to his show, and all the ice cream and candy that they could eat.

1893 newspaper article noting “Waif’s day” in the weekly schedule for “Buffalo Bill’s Wild West and Congress of Rough Riders of the World.”

His show even closed one day AFTER the fair officially closed. During the fair, his show averaged 16,000 spectators for each of the 318 performances. His profits were estimated at one million dollars, today’s equivalent of approximately twenty-six million dollars.

During the Columbian Exposition, Cody also financed “A Lady of Venice,” starring Viola Katherine Clemmons (1870-1930).

Thomas G. Moses painted scenery for “A Lady of Venice,” starring Katherine Clemmons and produced by William F. “Buffalo Bill” Cody in 1893.

“Katherine” Clemmons was born in Palo Alto, California, and first appeared on the stage of McGuire’s Opera House in the mid-1880s. She was cast in a series of Shakespearean plays and traveled to England to study theatre. It was there that she met Cody after she attended one of his shows. Acting as Clemmons agent, he purchased and produced “A Lady of Venice” for her. He established a theatrical business (The Lady of Venice Company) and hired Sherman Canfield to function as her co-manager.

The production opened on September 4, 1893. Newspapers published that it would be “mounted in an extravagant fashion.” The scenes were placed in fifteenth-century Venice and Genoa. The plot dealt with Italian intrigues, politics, and love. Written entirely in blank verse, it was advertised as “a romantic story that admits picturesque accessories.” Clemmons played the character of Nina, an Italian princess and devoted wife who made many sacrifices for an unworthy husband. In the fourth act, Nina dons a man’s armor and attempts to save the city and her husband’s honor, battling her husband’s enemy to the death. She then seeks her Genoese prince, only to find him in the arms of a fair Florentine girl.

Four railroad cars were needed to transport the settings and properties for “A Lady in Venice.” Many newspapers commented on the wonderful mechanical and illumination effects for the stage. Settings included a moonlit masked Fete and Dance, a military encampment, water scenes and canal gondolas. The October 6, 1893 issue of the Buffalo Evening News reported, “The scenery is picturesque and realistic.” This was scenery by Thomas G. Moses.

1894 photograph depicting a scene from “A Lady of Venice,” with scenery painted by Thomas G. Moses. Image from The Museum of New York City collection. Here is the linkL http://collections.mcny.org/C.aspx?VP3=SearchResult&VBID=24UAYWLS9VABQ
1894 photograph depicting a scene from “A Lady of Venice,” with scenery painted by Thomas G. Moses. Image from The Museum of New York City collection. Here is the linkL http://collections.mcny.org/C.aspx?VP3=SearchResult&VBID=24UAYWLS9VABQ
1894 photograph depicting a scene from “A Lady of Venice,” with scenery painted by Thomas G. Moses. Image from The Museum of New York City collection. Here is the linkL http://collections.mcny.org/C.aspx?VP3=SearchResult&VBID=24UAYWLS9VABQ
1894 photograph depicting a scene from “A Lady of Venice,” with scenery painted by Thomas G. Moses. Image from The Museum of New York City collection. Here is the linkL http://collections.mcny.org/C.aspx?VP3=SearchResult&VBID=24UAYWLS9VABQ
1894 photograph depicting a scene from “A Lady of Venice,” with scenery painted by Thomas G. Moses. Image from The Museum of New York City collection. Here is the linkL http://collections.mcny.org/C.aspx?VP3=SearchResult&VBID=24UAYWLS9VABQ

Supporting roles were played by Effie Germon, Francis Carlyle, Clarence Handyside, Richard Ganthony, Erskine Lewis, Helen Russel, and Marion Bender. The show left Chicago for Albaugh’s Opera House in Washington D.C. where it opened on September 19. By September 25, the show was at the Broad Street Theatre in Philadelphia and performing for Buffalo audiences by October 6 (Star Theatre), moving onto the Duquesne Theatre on October 30. By November Clemmons was acting at Globe Theatre in Boston. After a whirlwind tour, the production arrived at Harry C. Miner’s Fifth Avenue Theatre in New York during 1894.

One of many newspaper articles announcing Katherine Clemmons as a “new star” in “A Lady of Venice.” Scenery was painted by Thomas G. Moses for this production.

Unfortunately, Boston and New York critics condemned Clemmons’ performance as “amateurish” and the delivery of her lines as “monotonous.” Cody had met the actress in London during 1887 when Buffalo Bill’s Wild West Show was touring throughout Europe. The November 5, 1893, issue of the Quad City Times (Davenport, Iowa) published, “It was Buffalo Bill’s money that sent [Clemmons] to Europe for a stage education. It was his money which provided for her elaborate scenery, beautiful costumes, and enterprising manager and a good company.” The article continued to explain that he “spent something like $40,000 in putting this young star upon the road, and it is hoped that she is achieving a success that will in time enable her to return to her distinguished friend the large sum of money which his generosity led him to invest in her.” Cody later claimed to have lost $60,000 on Clemmons’ career during 1892, 1893 and 1894.

Photograph of Katherine Clemmons in “A Lady of Venice.”

Unlike Clemmons, the production was praised for its lavish expenditure on scenery and costumes. The cash outlay for scenery and stage effects was reported in excess of $25,000. The Boston Enquirer (7 Oct 1893, page 3) noted that, “the play was sumptuously staged” and “the scenery well painted.”

One of many newspaper advertisements for “A Lady of Venice,” starring Katherine Clemmons in 1893-1894. The “gorgeous scenery” was painted by Thomas G. Moses.

Cody hired Sosman & Landis to design and paint the scenery for the production. The Daily Inter Ocean (22 August 1893, page 6) published, “A great many managers are stocking with scenery just now in this city. Sosman & Landis have big contracts for stocking new opera houses at Ithaca, NY, and Scranton, Pa., then they are painting an original scenic outfit for “The Lady of Venice,” Effie Elishler’s “Doris,” Heywood’s “Edgwood Folks,” Spring & Welton’s “Black Crook,” and Cheeney’s new spectacular production of “Pharaoh.” Moses was in charge of “A Lady of Venice” and many other projects during 1893. This was just one small fraction of his work with a large profit going to the studio.

To be continued…

Tales from a Scenic Artist and Scholar. Part 259 – Thomas G. Moses and the Columbian Exposition, 1893

Thomas G. Moses and Ella found a number of good prospects while house hunting in 1893. They eventually selected one particular house in Oak Park, Illinois, that was relatively new – only a year old. Moses wrote that their new home had “very fine wood-work, a large stable, driveway, and a 60 x 178 foot lot.” They bought the house for $8,575.00, today’s equivalent of $222,238.22. Although the amount was much more than the couple wanted to pay, Moses wrote that it appealed to them as no other one had. He had a perfect spot for a home studio with plenty of light.

The couple moved into their new house on May 1, 1893 – the same day that the Columbian Exposition opened in Chicago. Moses noted that their new home now provided plenty of room to entertain World Fair visitors.

World’s Columbian Exposition in Chicago, 1893. Thomas G. Moses created a variety of painted scenery both for the fairgrounds and nearby performance venues.
Bird’s eye view of the 1893 Chicago fairgrounds where Thomas G. Moses was hired to create painted scenery for a variety of performance venues and exhibits.
Map for the 1893 Columbian Exposition.

The Columbian Exposition lasted from May 1 until October 30, 1893. It was organized to commemorate the 400th anniversary of Columbus’ landfall in the New World. By 1890, the U. S. Congress had the job to select a city that would host the World Fair. Potential exposition sponsors made enormous pledges to become principal contenders as New York, Washington D.C., St. Louis, and Chicago all vied for the honor to host the world fair. It was Chicago banker Lyman Gage’s ability to raise several million additional dollars in a 24-hour period that bested New York’s final offer, prompting Congress to vote in Chicago’s favor. This was just the beginning of many struggles surrounding the site selection, property rights, traffic congestion, the construction process, exhibit selection and identification of exposition authorities. The eventual decision to construct a “White City” with neoclassical structures also prompted debate. Regardless, this event not only became a defining moment in the history of Chicago, but also became a defining moment for many other areas of industry.

A Photograph depicting one small portion of the famed Columbian Exposition’s White City.

There were two distinct areas of the fair: the White City and the Midway Plaisance. Taking lead from the 1889 Paris Universal Exposition, the midway included representations of various people and cultures. Chicago’s exposition directors placed the Midway under the direction of Harvard’s Frederic Ward Putnam. He was also selected to organize the fair’s Anthropology Building. Putnam’s Midway vision was to create a living outdoor museum depicting various countries, especially those with “primitive” human beings that would educate fair visitors. Visitors had an opportunity to “measure the progress of humanity toward the ideal of civilization” (http://www.encyclopedia.chicagohistory.org/pages/1386.html). All of the ethnographic villages and most of the other attractions in the Midway, however, were simply commercial ventures organized by entrepreneurs who obtained concessions through the Ways and Means Committee of the World’s Columbian Commission. The Midway Plaisance country exhibits included: an Indian Village; an Americas and Indian Village; Dahomey Village, Austrian Village; German Village; Panorama of the Burmese Alps; Dutch Settlement; Chinese Village,Theatre and Tea House; Japanese Bazaar; Javanese Theatre; Morocco Exhibits, Panorama of Kilaueau; a Roman House; the Eiffel Tower; Model of St. Peter; National Hungarian Orpheum; Algeria and Tunis Exhibit; a Street in Cairo, a Moorish Palace, a Turkish Village and many other commercial ventures that had specific products to market such as the Exhibit of Irish Industries; the French Cider Press, the Venice Murano Glass Company and the Bohemian Glass Company.

One of the many guides for the Midway Plaisance at the 1893 Columbian Exposition.
Map of the 1893 Columbian Exposition Midway Plaisance.

The Columbian Exposition provided theatrical manufacturers, such as Sosman & Landis with many lucrative opportunities. Massive profits were gained in a very short period of time. Moses wrote, “We were simply swamped with work and the prices were big.” Sosman & Landis, like many others anticipated the final push towards opening day. Their decision to open an annex studio on the West Side of Chicago would be a convenient space to construct a variety of painted scenery for performance venues and other exhibits. Although the space was initially pitched to Moses as his own personal studio for subcontracted work, it really was the studio that would be ideal for fairground production. Studio space anywhere near the White City would be at a premium and clients would be scrambling at the last-minute to secure a variety of manufacturers. Their annex studio wasn’t so much for Moses as the anticipated workload in conjunction with the opening of the Columbian Exposition. I have to wonder at what point Moses realized this factor.

Sosman & Landis had a great many exhibits to do at the Fair as well as scenery for outside shows. Moses’ typed manuscript personally documents his involvement in scenery for a variety of productions that included “The Outsider,” “Columbus” for Mr. Leavitt, “Fabio Romana,” “The Black Crook,” “A Day in the Swiss Alps,” “South Sea Islanders,” “Kansas State Exhibit,” “The Laplanders,” “Streets of Cairo,” Javanese Theatre, Chinese Theatre, a dozen big floats, “Lady of Venice” for Buffalo Bill, W.F. Cody and many others. He also worked on productions that were nearby the fairgrounds such the Trocodevs, the Empire Theatre and the Isabella Theatre. But there were many others produced by the Sosman and Landis studio, such as the various displays in for Western Electric Co. Each of these projects is a worthwhile story to understand and appreciate Moses contributions to the Columbian Exposition.

The next series of posts will examine the Chicago projects that Moses worked on in 1893, both inside and outside of the fairgrounds.

To be continued…

Tales from a Scenic Artist and Scholar. Part 258 – A Crossroads in 1892 

At the beginning of 1892, Thomas G. Moses wrote, “I was again itching to get out for myself.” In other words, he was ready to leave the Sosman & Landis studio as he had five years earlier. In 1887 he left the company to form Burridge, Moses & Louderbeck. It was short lived and Moses soon returned to the company. It was the constant struggle between artistic freedom and the stability of a studio salary.

In 1892, Moses wrote a letter to Landis, suggesting that he might leave Sosman & Landis again. Moses recalled that Mr. Landis sent him “a good sharp letter” in response, telling him that they were going to fit up an outside studio for Moses to handle increased production and special work, so he had nothing to say about the matter. This was the same year that Sosman & Landis opened their annex studio for Moses, promising him all of the company’s subcontracted work and providing him with both a space and supplies at no charge. I guess that would be why Landis wrote that Moses had “nothing to say” about any eminent departure from the studio, even if he was “itching to get out” for himself.

Unfortunately, Moses was seldom in town to use the new annex space or the promised supplies. As he traveled, Ed Loitz was left in charge of the space. I wondered for quite a while why he was constantly sent on the road and then came to the realization – marketing. Moses on the road was a better advertisement and could market the company more successfully than any advertisement or catalogue. On site, Moses was well-known, popular, and soon secured the much of their future work. He impressed the locals with both his personality and talent, resulting in additional projects at nearby venues. He was too valuable to stay hidden within the annex studio of Chicago. But this also kept him away from his family and the possibility of greater profits.

Lets look at just a few projects from the year that he contemplated leaving Sosman & Landis. In 1892, Moses designed and created scenery for productions such as Lew Wallace’s “Ben Hur,” William Haworth’s “A Flag of Truce,” and Charles Davis’ “Alvin Joslin.” He was constantly traveling across the country to paint scenery onsite for other theaters from California to Massachusetts. West Coast performance venues included the Yo Semite Theater in Stockton, California and the Fischer Opera House in San Diego, California. Small halls and other projects often resulted from these large theater jobs.

On top of everything else, the Chicago Sunday Tribune recognized Moses as one of the country’s top scenic artists that same year. However, that recognition came at a price as the article also noted that he had “small opportunity to exercise his creative faculty.” Moses was unhappy with the status quo and began to think about his future at Sosman & Landis. I believe that Moses needed some form of validation that he was not wasting his talents in the Sosman & Landis studios. He was ready to move on.

Advertisement in the “American Mason,” Dec. 1892. Private collection of Wendy Waszut-Barrett.

Regardless of the outcome, Landis’ letter to Moses changed the tenor of their relationship. It must have been a blow to Moses’ ego. He was 36 years old and knew he was at a crossroads in his career. Moses was determining whether the stability of a studio job was worth sacrificing his artistic potential and started to reflect on both his future and past in his writings. At this same time, Moses also began to reconnect with a variety of familial relationships as he continued to travel for work.

Vintage postcard of Woonsocket, Rhode Island. This is where Thomas G. Moses sister lived during 1892.
Vintage postcard depicting Woonsocket, Rhode Island.

During March 1892, Moses traveled to Woonsocket to see his sister Lucia. He recorded that he hadn’t seen his sister in over twenty years, writing, “I certainly enjoyed my short visit. Lucia had grown stout and was happily married. Had two children – Gertrude and Theodore.” The visit took place on his way to paint scenery for an unidentified small hall at Athol, Massachusetts.

In May 1892, Moses’ wife Ella journeyed east to join him while he was working in Maine. While on the East Coast, the couple visited Moses’ Uncle Horace in Boston where they “enjoyed some atmosphere of a truly artistic home.” They also visited many other aunts and uncles. These relatives were curious to see their “wild and wooly” relatives from the West were like, “West” meaning Chicago. In visiting with their extended family who, had “never been out of sight of the salt water,” Moses recalled that he always felt like giving an Indian “war whoop” to prove their suspicions. He commented that many of their questions regarding the West suggested that they expected him to carry a tomahawk and dress with a blanket and feathers.

Vintage postcard depicting Boston where Thomas G. Moses and Ella Moses visited their relatives in 1892.

While traveling, Ella left the children in Chicago in the care of her sister May and Grandmother Moses. May was living in their house with Ella and the children as Moses traveled for work. Ella returned to Chicago at the end of May and Moses wrote, “The children were glad to see her, as their grandmother Moses looked after them during the day and I don’t think they enjoyed her.”

By the end of 1892, Moses had made a profit of $5,000, today’s equivalent of $130,000. The couple was doing financially well despite Moses’ constant travel. It was time to look toward the future and they began planning for a new chapter in their lives. It was just around the corner, as well as the Chicago World Fair. At the beginning of 1893, they started house hunting in Oak Park.

To be continued…

Tales from a Scenic Artist and Scholar. Part 257 – The Ben-Hur Chariot Race 

One of the things that I love about theatre is the magic – the “how did they do that?”

Just like a good magic trick, or slight of hand, I want to understand the magic on the stage. The simple illusion of Pepper’s Ghost in Fort Scott captivated seasoned stagehands by the simple reflection of a skeleton on plate glass. This scenic illusion and many other “smoke and mirror” effects still captivate audiences. We love the theatre magic that facilitates our willing suspension of disbelief during a production.

Wednesday’s post examined Thomas G. Moses’ involvement in creating a model and scenery for “Ben-Hur in Dramatic Tableaux and Pantomime.” This 1892 version was still touring the country when other productions, such as the 1899 Broadway show appeared on the stage. The 1899 production was produced by Klaw & Erlanger, adapted to the stage by William Young and designed by Ernest Albert (more about Albert in installments #131, 133-139, 145, 154, 179 and 2480).

Poster for Klaw & Erlanger’s 1899 production of “Ben-Hur” on Broadway with designs by Ernest Albert, a friend of Thomas G. Moses.

An August 7, 1899, an article in the Indianapolis Journal quoted Marc Klaw in an interview discussing the 1899 production. Although not going into detail, he stated “Our scenic calls for six acts, with the chariot race as the fifth act.” Klaw continued, “We are not quite ready to give out the exact details of the different acts, but the principal events of the book which will be dealt with will be the appearance of the three wise men, the chariot race, the galleon fight, the scene in the grove of Daphne, the boat ride of Iris, the scenes at the palace of the Hurs and the famous Palm Sunday scene.” The sixth act was to depict Palm Sunday with music that included the singing of Hosanna, “Star of Bethlem,” by Edgar Stillman Kellman who was a professor of Oriental and Greek Music.

The Indianapolis article also published, “The most extensive research has been resorted to in selecting the designs for the costumes and obtaining accurate scenes. Our artists spent weeks searching the libraries and old book collectors to find scenes of ancient Jerusalem…All the old books in Columbia University have been kindly placed at our disposal.” Ernest Albert was known for his close attention to detail and historical accuracy.

The September 22, 1899, issue of the Laredo Times (Laredo, Texas, page 1) published an article, “Ben Hur Chariot Race.” The article stated,” “General Lew Wallace’s ‘Ben Hur’ is to be dramatized and presented on the stage. For twenty years General Wallace refused to allow this dramatization because he believed that no mechanism could be devised to give lifelike imitation on the stage of the great chariot race, around which the historical novel centers and because ‘Ben Hur’ with the chariot race left out would not be ‘Ben Hur.’” Moses’ design in 1892 for “Ben Hur in Dramatic Tableaux and Pantomine” was just that – a stage picture for the audience with a live narration.

The design for the stage to accommodate the famous “Ben-Hur” chariot race on Broadway.

The staging of the Broadway race included eight horses and two chariots. It absolutely fascinated theatre audiences. As with other scenic effects for the theatre, the chariot race’s treadmill was even examined and illustrated in “Scientific American” (August 25, 1900, Vol. 83, issue 8). The Laredo article continued, “A New York manufacturer of stage appliances, however, devised a chariot race illusion which General Wallace believes will give the audience as stirring a portrayal of the great contest as he has given in the novel.” The production necessitated the tearing out of the Broadway Theatre stage and bracing it with steel beams in order to support the unusual weight and heavy impact of all the horses as they came thundering down the stage. The treadmill mechanism involved an amphitheater as well as an arena to create a panoramic effect.

Scientific American presented the complex mechanical device that facilitated a race on stage with eight horses and two chariots.

Here is the November 5, 1899 New York Herald’s description of the great chariot race:

“The stage has been propped underneath by enormous cross-beams and great uprights until it is impossible for the eight horses that pound away for dear life to break through. The great treadmill, large enough for eight horses and two chariots, is neatly fitted into the floor and seems to be part of the stage, so that you don’t notice that it is any different from the roadway.” The article went on to describe how the thunder of the horses hooves and whirr of chariot wheels drowned out any noise of the treadmill and moving panorama. The rubber and felt coverings were credited with the mechanism’s success. The article explained that the great moving panorama of painted crowds in coliseum seats moved as the chariots raced side-by-side. The cloaks and skirts of the chariot drivers fluttered in the wind, caused by powerful electric fans, placed immediately in the off-stage area and near the chariots. Furthermore, an additional blast of air from under the horses’ hooves and under the chariot wheels would throw great clouds of real dust through holes in the stage floor. The final “smash-up’ of the chariots is caused when Ben-Hur drives his chariot against Messala’s. A wheel is knocked off and the chariot goes spinning off the stage. When this catastrophe occurred every stage and auditorium light goes out for a moment, plunging the space into darkness. At this same time, the moving panorama stopped and 150 actors raced onto the dark stage. The lights go up to reveal the victor amidst cheering crowds.

On October 8, 1899, the Salt Lake Herald published an article, “The Chariot Race in ‘Ben Hur’” that looked at the preparation for this stage scene (pg. 8). It noted, “For more than a month expert horsemen have been training for this scene. Twelve horses are needed, says a New York paper. More that sixty have been tried and only eight competent ones found. They have to run at full speed on a mechanical device, a thing that some horses will by no means do. Eight horses will be on the stage at a time, and there will be four trained “understudies.”

There will be four bays for Ben Hur’s chariot, “chosen for beauty as well as speed.” Messala’s chariot will be drawn by two blacks and two whites. The substitutes will be two bays, a black and a white. The illusion, so far as the running of the horses is concerned, will be produced in a manner similar to that used by Burgess in the race scene in “The County Fair,” only on an enlarged scale. It is the treadmill principle. There will be eight treadmills built into the stage, one for each horse.

The framework and endless chain of slats which form the running surface are of selected hickory. The slats are two inches wide, and enough space is left between them to allow them to run over steel wheels about eight inches in diameter at either end of the machine. Between the larger end wheels, their tops forming the support for the running surface slats, is a mass of smaller wheels. There are 196 of these in each machine, 1,568 in all. They are of steel, about four inches in diameter and each has a solid rubber tire.

As the horse attempts to run each movement of his hoofs sends the movable platform back, running swiftly on the scores of perfectly balanced rubber-tired wheels beneath. The faster he goes the faster spin the wheels and the more perfect the illusion.”

The intricacy of this mechanical effect is astounding to me. If only I had a time machine to witness this production firsthand.

To be continued…

Tales from a Scenic Artist and Scholar. Part 256 – Thomas G. Moses Painting Scenery for the Ben-Hur Tableaux and Pantomime

In 1892, Moses recorded that he found some work with Will F. Hamilton. They were making models and scenery for a production of Ben-Hur. Moses would eventually leave the Sosman & Landis studio, forming a partnership with Hamilton, then moving to New York in 1900. About “Ben-Hur” Moses wrote, “I enjoyed this work – very interesting. This was before the story was dramatized. It was to be done as a tableaux and pantomime.”

This is the publication for the touring production with scenery designed and painted by Thomas G. Moses.

“Ben-Hur” in Dramatic Tableaux and Pantomime was arranged by Lew Wallace for Messrs. Clark & Cox and based on the author’s “Ben-Hur: A Tale of the Christ” (1880, Harper & Brothers). In an attempt to make his popular novel even more profitable, Wallace licensed his literary property to business managers and formed a tableau company for the purpose of presenting an adaptation of the novel for commercial purposes. This created a significant new and authorized market for the phenomenon. The author insisted on maintaining control and this is what differentiated this endeavor from previous ones of publications such as “The Last Days of Pompeii,” “Alice’s Adventures in Wonderland,” “Uncle Tom’s Cabin” and “20,000 Leagues Under the Sea.” This was also on a much grander scale than previous tableaux popularized throughout the 1880s. In many ways, Wallace’s endeavor was unprecedented for a licensed literary property in the 1890s and was not terminated even after the appearance of Klaw & Erlanger’s production of “Ben-Hur” that opened at the Broadway Theatre on November 29, 1899. For the Broadway opening, Wallace was the special guest of honor. Interestingly, the Broadway production was designed by Moses’ long-time friend Ernest Albert (see past installment #137 that includes images from the souvenir program).

The first page of “Ben-Hur in Dramatic Tableaux and Pantomime” with the first Act opening with the Meeting of the Three Wise Men. Thomas G. Moses created a model for Gen. Lew Wallace and later painted the scenery for his production.

Here is the division of scenes for “Ben-Hur in Dramatic Tableaux and Pantomime” in its entirety:

Act I

Scene 1 – Meeting of the Three Wise Men

Scene II – Joseph and Mary at the Joppa Gate

Scene III – The Three Wise Men at the Damascus Gate

Scene IV – The Three in the Palace before Herod

Scene V – Ben-Hur and Messala in the Garden

Scene VI – Street in Jerusalem

Scene VII – Deck of a Roman Trireme. Arrius and Ben-Hur in Conversation

Scene VIII – Entrance Gate of the Grove of Daphne

Scene IX – The Fountain of Castalia

Scene X – The Orchard of Palms

Scene XI – Door of Ilderim’s Tent

Scene XII – Same Interior of Tent

Scene XIII – Iras and Ben-Hur on the Lake at the Orchard of Palms

Scene XIV – Interior of Simonide’s House

Scene XV – Saloon in the Palace on the Island

End of Act – The Chariot Race

Tableaux – The Chariot Race

Act II

Scene I – A Splendid Atrium in a Roman Place

Scene II – Desolate Home of the Hurs. The Gates of the South Side. Bright Moonlight

Scene III – The Well En-Rogel

Scene IV – The Road-side between Bethany and Jerusalem east of Mount Olivet

Scene V – On the Roof of the Restored Palace of the Hurs

Scene VI – In a Summer House on the Roof

Scene VII – The Shadow of the Cross

Scene VII I– Chamber in the Villa by Misenum

End of the Second Act

Transformation, Iras Story of the Nile

Scene 1 – Iras relating the story

Scene 2 – The Nile – Sphynx – Pyramids

Scene 3 – Opening of the Lotus Flower

Scene 4 – The Temples of Egypt

Scene 5 – The Priestesses of Isis and Osiris

In the January 4, 1893 issue of the “Wichita Daily Beacon” (page 4), the Amusements section reported on the production of “Ben Hur,” under the management of Messrs. Clark & Cox, “who have won remarkable success in the larger cities of the east.” The article noted “’Ben Hur’ is presented in the form of a spectacular pantomime, beautiful, impressive, refined, sanctioned and approved by Gen. Lew Wallace, author of Ben Hur. A special car load of scenery, painted by Chicago artist, Thomas G. Moses, representing historic scenes in Jerusalem and the Holy Land, will be brought to Wichita.” The article went on to describe that there were “twenty-two scenes of surpassing beauty” and that 150 people took part in the living tableaux.

On May 10, 1896, “The Nashville American” published and article “Scenes of the Orient” that described the scenery painted by Moses for the Ben-Hur production (Part 2, Vol. XX, No. 7123, pages 9 to 16). The Woman’s Board of Tennessee Centennial were preparing for the production of the “grand spectacular, Ben Hur at the Vendome beginning the week of May 18.“

The article noted, “The scenery used is from the brush of the celebrated scenic artist Thomas G. Moses, of the Schiller Theatre, Chicago, and the subject of the play itself offers for spectacular effects the best opportunity of any amateur production ever had in Nashville. Rapidly shifting scenes will pass before the eyes of those who have taken delight in reading Gen. Lew Wallace’s incomparable tale of Ben Hur.

The play will begin in the lonely desert where the Magi meet, Joseph and Mary will appear at the Joppa Gate, and the Wise Men will arrive at the Damascus Gate in search of him who is to be born King of the Jews. The appearance of these men before Herod and all the Bible story will be vividly presented. The scenes will again shift, and Ben Hur will be introduced in all the beauty and strength of his youth. The succeeding scenes will carry him through the thrilling experiences of the tale, from the home of happy companionship to the sad position of a galley slave.

The famous chariot race will be introduced, and this part is almost unexcelled in scenic pantomime. The reuniting of the separating families will be shown, ending with the dramatic farewell to Iras. The production will close with a beautiful transformation scene, Iras’ Dream of the Nile. In this closing view is represented $10,000 worth of scenery and costumes, and, taken together with the many pretty faces of Nashville’s society girls, it will be the most gorgeous spectacle to gaze upon.”

Even in 1899, the same year that Klaw “Erlanger’s Braodway production opened, Moses’ contribution was still noted in newspaper publications as the production continued to tour. The “Harrisburg Star-Independent (Feb 10, 1899, page 2) published “Thomas G. Moses of Chicago, an artist of national repute, with two assistants, worked for a whole year on the scenery employed in the production, which is conceded to be the finest of its kind ever shown in America.”

Well, it might have taken Moses a whole year to finish the scenery as he was juggling numerous projects throughout the duration of the year, but this was not his sole focus during his employment in 1892.

To be continued…

One of many published images illustrating the chariot race described by Gen. Lew Wallace in “Ben-Hur.”

Tales from a Scenic Artist and Scholar. Part 255 – Thomas G. Moses and William Haworth’s “Flag of Truce”

As mentioned in yesterday’s post, Thomas G. Moses led a group of artists to create scenery for a “domestic comedy drama” – “A Flag of Truce.” His team included men who would later become well-known fine artists – Harry A. Vincent, A. J. Rupert, and Frank Peyraud. In addition to these three, there were a number of scenic assistants and young paint boys who worked on the project. The production of scenery for “A Flag of Truce” was completed during December 1892. The show immediately toured the country and ended up at the Fourteenth Street Theatre in New York. Located at 107 West 14th Street, this venue was previously known as Haverly’s Theatre.

The original script for the production is available at the University of Chicago’s Charles Morton Agency Collection of American Popular Drama 1842-1950 (box 35, folder 2). William Haworth (1860-1920) was the younger brother to the actor Joe Haworth. Money earned from Joe’s success on the stage enabled William to complete school and attend Annapolis as a naval cadet. However, a life on the stage also appealed to the younger Haworth. In 1882, John McCullough provided William with his first professional opportunity to perform on the stage. Four years later, William was acting at the Union Square theatre. By this point, he had the support of Helena Modjeska.

A sketch for “A Flag of Truce.” Image posted online at http://www.josephhaworth.com/his_brother_William.htm

William soon tried his hand as a playwright and penned the play, “Ferncliff.” Set in Providence, Rhode Island during the Civil War, it opened at the Union Square Theatre in 1889.

William Haworth’s play “Ferncliff” in 1889.
Sketch for “Ferncliff” setting. Image posted online at http://www.josephhaworth.com/his_brother_William.htm

While “Ferncliff” was playing at the Union Square, his brother Joseph was performing in Steel MacKaye’s “Paul Kauvar” at the Grand Opera House. This was also at the same time twhen Bronson Howard’s “Shenandoah” was a very popular production. However, it was unlike “Shenandoah” as it lacked the spectacular reenactments of battles. “Ferncliff” was more of a domestic drama with comic elements instead of grand battle scenes. Haworth wrote another play a few years later, “The Ensign.” Again, the setting was during the Civil War with two acts transpiring in Cuba. Interestingly, in this production Abraham Lincoln makes a cameo appearance.

Poster for William Haworth’s “The Ensign” with cameo appearance by Abraham Lincoln.

“The Ensign” plot set was set in Havana and involved the ploy of two British officers provoking Capt. Charles Wilkes into a quarrel to delay his interception of the “Trent.” Based partially on factual events from 1861, Capt. Wilkes seized two Confederate emissaries to the British government on the vessel “Trent” while on the sea. The incident nearly caused Britain to declare war on the North. In the play, Wilkes eventually escapes the firing squad by the personal intervention of President Lincoln. The production was reported to be an exceptional spectacle. “The Ensign” opened during September 1892 and William’s naval background from studies at Annapolis provided a realistic depiction of military life. The producer Jacob Litt even hired six men who had served on Charles Wilkes’ frigate. Although, Haworth did not act in this production, it skyrocketed him to fame.

Haworth soon reworked “Ferncliff” to became a companion piece to “The Ensign” and a new production was formed “A Flag of Truce.” Moses toured with this production as it appeared in the initial venues. It now included a thrilling rescue in a quarry that involved a real derrick onstage. Moses wrote, “I did a stone quarry set – a very effective scene.” The scene as listed in some playbills notes that the act included “quarrymen, blasters, stone cutters, etc.” The program description from the Fourteenth Street Theatre in New York stated, “The Giant Steam Drills used in “A Flag of Truce” are from the celebrated Rand Rock Drill Co., 23 Park Place, New York.”

Thomas G. Moses and his crew painted the scenery for “A Flag of Truce,” during December 1892. It then toured the country and by December 1893, was performed at the Fourteenth Street Theatre in New York.

I want to pause here and comment on the shared material culture between the Fraternity and commercial theatre. In the Ancient & Accepted Scottish Rite, there is also a quarry scene. In this setting, the two of the assassins of the chief architect (Hiram) of King Solomon’s Temple are concealed as quarry workers. They are apprehended amongst the derricks that lifted the massive stones from the pit of a quarry.

Scottish Rite Quarry scene for the 10th degree. This setting was produced by Sosman & Landis Studio for the Masonic Temple theater in Winona, Minnesota.

Moses traveled with “A Flag of Truce” to Plainfield, New Jersey, where the production opened at the end of December. He wrote, “I arrived there after 12:00 o’clock A.M. Went to a hotel near the depot – door was open. I waited for some time and no one showed up, so I rang the bell for a porter. The office was dimly lighted. I was knocked out when I saw something rise from the back of the desk – it was a Negro porter wrapped in a sheet lying on a cot. No room – had to go some distance to another hotel, where I had a fine room. The show was a hit. Second night in Trenton, then home again.”

Call sheet for “A Flag of Truce” Company. Notice the J. R. Clancy advertisement on the left side. Image posted online at http://www.josephhaworth.com/his_brother_William.htm
Call sheet for “A Flag of Truce” Company. Notice the J. R. Clancy advertisement on the left side and that they were suppliers of “scenery canvas” too. Image posted online at http://www.josephhaworth.com/his_brother_William.htm

To be continued…

Tales from a Scenic Artist and Scholar. Part 252 – Thomas G. Moses at the Yo Semite Theatre in Stockton, California 

 Thomas G. Moses and Ed Loitz traveled to Stockton, California, on June 23, 1892. Moses wrote, “The weather was immense. Even when we were passing through the Humboldt Desert.” They went through San Francisco and visited “the boys.” They then continued onto Stockton by steamer, nearly missing it as they went to the wrong dock. Moses recalled that the boat had to “crawl through the rushes as there was no good channel.” In Stockton they met with Harrington who had been “hustling” to complete the painting framework for the drops. Sosman and Landis had contracted to paint an act for “Lost Paradise.”

Yo Semite Theatre in Stockton, California, in 1892. Thomas G. Moses painted the scenery for “Lost Paradise” at this theatre in 1892 when it opened to the public.

Moses did the drop curtain first, and the principle scenes, so he wouldn’t have to hustle at the opening. He wrote, “I got a good color scheme for the curtains. I met a number of old Sterling people who were in business here.” Within a month they completed the project and headed home on July 25, arriving in Chicago on August 1, 1892.

Theatre arrived to Stockton, California in the 1850. The first theatrical performances in Stockton were given in the assembly room of the Stockton house at El Dorado and Channel Streets. Known as the Stockton House Theatre this space was converted into a makeshift theatre for entertainment. This was a large building constructed at an expense of $100,000. The venue only lasted three years.

Undated image of the Stockton Theatre.

In 1853, Emiele Hestress, a Frenchman, also renovated a portion of his own brick building to include a 700-seat theatre. His space was on the corner of Main Street and El Dorado. He also had a stock company – the George Ryer Company. His venue opened with the productions “The Lady of Lyons” and “Pretty Sadly.” The opening engagement lasted for two month time and was followed by such famous acts as Laura Keane, Helena Modjeska, Lotta Crabtree, George Marion, James O’Neil, John McCullough, Lawrence Barrett, Clara Morris and other well-known starts. This theatre only lasted until 1890 when it was destroyed by fire on the evening of July 4. By 1883, the Avon Theatre opened with “Hazel Kirke” and the following decade the Yo Semite Theatre opened.

The Yo Semite Theatre was dedicated on July 12, 1892 with the production of “Lost Paradise,” starring Maud Adams as Little Nell. This was the show Moses was in town to paint. The Yo Semite theatre was located on 22 North San Joaquin in Stockton as a complex with theater and offices. In addition to offices, it housed the Yo Semite Club from 1892 until 1908. The building was designed by the architectural firm of Weeks and Day (William Penn Day and William Henry Weeks). The theatre was on the ground floor with a seating capacity of 1,350. The illumination of the auditorium and stage was alternated between gas and electricity. The proscenium measured 36 feet wide by 40 feet high with a distance of 40 feet from the footlights to the back wall. There was three feet between the footlights and the front curtain. The height to the fly galleries was 28 feet with the height to the rigging loft measuring 60 feet. The depth under the stage was 10 feet and accommodated three traps.

Image of an Ad drop at the Yo Semite theatre, date unknown.

The venue was closed in 1920 and was later converted into a movie house called the Fox State with a new entrance on Main Street. In 1955 it became the “new” Esquire Theatre. It survived until 1971 when it was razed for a parking lot.

To be continued…

Tales from a Scenic Artist and Scholar. Part 251 – The Significance of Thomas G. Moses and the Fort Scott Scottish Rite Scenery Collection

The same year that the Sosman & Landis Annex studio opened, an article appeared in the Chicago Sunday Tribune, “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” (Dec, 18, 1892, page 41). I posted the article in its entirety over six installments (# 245 to 250). It provided a list of well-respected scenic artists, especially those in Chicago.

1892 illustration in the Chicago Sunday Tribune depicting the transportation of theatre scenery.

I want to pause for a moment to reflect on the significance of a painted scenery collection produced by one of the scenic artists mentioned in this article. Thomas G. Moses designed and painted an entire collection for the Ancient & Accepted Scottish Rite of Freemasonry in Fort Scott, Kansas, during 1924. It survived in its original venue until 2015! This is pretty remarkable, especially in light of his being recognized as one of the top scenic artists in the United States already in 1892. When Moses painted the Fort Scott scenery he was sixty-eight years old.

By the 1920s, most large scenery collections were the products of several unidentified artists, painted in a studio and shipped to a theater for installation. This makes the Fort Scott collection a unique example of a studio artist painting a large collection by himself on site. Furthermore, Moses’ 1924 paintings hung undisturbed in their original installation order for 91 years. This is also unusual as many scenery collections were added to over time or rearranged by enthusiastic stage crews.

In addition, the scenic artist’s personal effects were found on site in 2015. Specifically, the painter sweater, cap, brush, charcoal and other artifacts were discovered during the removal and transportation of the entire collection in 2015. This collection was purchased for eventual display at the Minnesota Masonic Heritage Center. Earlier that year, I had evaluated the scenery, planned the removal and transportation of the collection, and identified key individuals for my restoration crew. As Curatorial Director for the Minnesota Masonic Heritage Center, I was returning from Fort Scott to restore and supervise the installation of the scenery collection. It was to be unveiled to the public at the grand opening on June 24, 2017.

In the end, my position was eliminated and the restoration of this culturally significant artifact was handed over to a company who had no experience in handling or restoring historical theater scenery. Critical information contained on the wooden sandwich battens was lost when they were abandoned for pipe pockets and jute webbing. The fabric was irreparably damaged when hot melt glue was used to attach 1” opera netting to the cut drops and leg drops.  Furthermore, some leg drops were cut in half and overlapped during installation. This destroyed the historical significance of a 1924 leg drop.

It was this wanton destruction of culturally significant artifacts that became a tipping point for me last year. I started with a public forum to raise awareness concerning the significance of historical scenery during the fall of 2016. Its purpose was not only to highlight this particular collection, but also to highlight the work of theatre artists and technicians whose work remains in historic performance venues. If people understand and appreciate historic stages, they might believe that it is important to preserve them for their children and grandchildren. That is my own mission statement. I am passionate about the preservation of both theatre history and Masonic history for future generations to examine and enjoy. It is time for me to take the next step – stay tuned.

1892 illustration in the Chicago Sunday Tribune depicting the stairway to the gridiron at a theater.

To be continued…

Tales from a Scenic Artist and Scholar. Part 249 – Men Who Found Fame in the Wing and Drop Curtains, the Scenic Artists 

The same year that the Sosman & Landis Annex studio opened, an article appeared in the Chicago Sunday Tribune, “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” (Dec, 18, 1892, page 41). Here is the continuation of that article started in installment #245.

“H. J. Buhler is another artist whose interiors are excellent examples of careful drawing, in which projection and shadow are most skillfully handled. Still other rising lights in this circle are John Young and F. E. Gates. The latter averages two drop-curtains every week. He is a rapid worker and has been known to complete a curtain with forty-eight figures in three days. Such rushing gives small chance for detail. The latest addition to the scenic fold is Deneth [Oliver] Grover, formerly an instructor in the Art Institute and winner of the Yerkes prize in the last exhibition. Grover has no rivals in drawing the human figure and his work promises to make artistic sensation.

Fred Dangerfield, a new comer, has been talked of considerably, and his work as the artist at the Chicago Opera House burlesques the last two seasons variously estimated. Thanks to Martin Kruger, he has one of the best lighted stages in America, and light gives wonderful witchery to scenery. It would be interesting to know just how much of “Ali Baba” was painted by Dangerfield, and how much by Gates, Williams, and Burky, who are concealed in that vague word “assistants.”

Manager James Hutton of Havlin’s is the only person holding a similar position in this city who can paint scenery. He has painted the drop curtains for all of the Havlin theaters and is one of the best judges of this class of work in the city.”

Illustration of John H. Young painting in a scenic studio.

Looking at the artists above, I was very familiar with John H. Young’s work.He worked and went on sketching trips with Thomas G. Moses during the 1880s. Later, he found success as a Broadway designer (see past installments # 131, 140, 171-3, 181, 184, 186, 189, 192-3, 195-8, 202, 203, 205-11, and 215-16.) F. E. Gates was also a well-known persona. Like many, he would branch into other areas of painting and interior decoration. Gates came from a family of theatrical managers, musician, and actors and eventually partnered with E. A. Morange to form the studio Gates & Morange (see past installments #149, 171, and 189-91). Gates would also win the Medal of Honor as a painter in 1918 during the Architectural League of New York Exhibition, held in the Vanderbilt Gallery. This exhibition was unique, the idea of an architectural exhibition in collaboration with the building crafts.

F. E. Gates would won the Medal of Honor as a painter in the 1918 Architectural League of New York Exhibition. It was held in the Vanderbilt Gallery.

In “Real Estate Records and Builders Guide, Vol. 101,” the article covering this exhibition noted, “It may seem as though the scenic effect had been deliberately made to dominate over the more serious and ‘architectural’ quality of the exhibition. However, by looking beneath the surface, it will be noted that the exhibition represents the spirit of the times. We do not live with Greek simplicity. We are avid in our eagerness for progress.”

Many of these scenic artists became established and were recognized for work outside of the theatre. Whether fine art, interior design, or another visual entertainment, they continued to seek other artistic avenues. The impression that I am often left with after examining a late-nineteenth-century scenic artist’s career is their penchant for artistic growth. These men continually sought training in the arts, whether drawing or painting, and applied this knowledge to every upcoming project. So when I think about the article’s description of Moses as one “who has small opportunity to exercise his creative faculty,” there is an overwhelming sense of lost opportunities. I can’t help but feel sorry for him and share in his turmoil. He is too busy to really take time for sketching trips in 1892, such as those to Colorado and West Virginia a decade earlier. His primary travel is for the studio. It transports him all across the country, but his work continues at a manic pace. The long sketching trips with fellow artists are becoming less frequent. He might only get away for a day or so on location.

The Sosman & Landis studio is heading toward becoming a scenic factory; one that mass-produces stock scenery and drop curtains. This will remain true until the end, especially with Scottish Rite scenery entering the picture.

Even Moses’ speed is now overshadowed by potential attributed to the younger generation. F. E. Gates who is noted as averaging two drop curtains per week is heralded with completing a drop curtain with forty-eight figures in three days. In 1881, Moses had recorded, “The others were able to draw more, because they were better in the artistic end, but I had it over them when it came to speed.” He was losing his edge and others were already passing him by. In 1892 he was only thirty-six years old.

To be continued…